Editor
Titled after the United States Federal Court decree that forced the closure of the infamously overcrowded Ohio State Reformatory, Everson’s film is a radical transformation of the prison and popular filming location, at once abstracting its interiors into monochrome patterns and textures, and reanimating the ghostly traces of its real and fictive former inhabitants.
Cinematography
Titled after the United States Federal Court decree that forced the closure of the infamously overcrowded Ohio State Reformatory, Everson’s film is a radical transformation of the prison and popular filming location, at once abstracting its interiors into monochrome patterns and textures, and reanimating the ghostly traces of its real and fictive former inhabitants.
Producer
Titled after the United States Federal Court decree that forced the closure of the infamously overcrowded Ohio State Reformatory, Everson’s film is a radical transformation of the prison and popular filming location, at once abstracting its interiors into monochrome patterns and textures, and reanimating the ghostly traces of its real and fictive former inhabitants.
Director
Titled after the United States Federal Court decree that forced the closure of the infamously overcrowded Ohio State Reformatory, Everson’s film is a radical transformation of the prison and popular filming location, at once abstracting its interiors into monochrome patterns and textures, and reanimating the ghostly traces of its real and fictive former inhabitants.
Cinematography
Kevin Jerome Everson’s unique observational gaze collapses Hollywood histrionics and American carceral history into one frame, as a Moscow prison break scene from Andrew Marlowe’s original screenplay for Air Force One—read in affectless voiceover on the film’s soundtrack—is offset by handheld footage taken in the Ohio State Reformatory, where the scene was filmed.
Editor
Kevin Jerome Everson’s unique observational gaze collapses Hollywood histrionics and American carceral history into one frame, as a Moscow prison break scene from Andrew Marlowe’s original screenplay for Air Force One—read in affectless voiceover on the film’s soundtrack—is offset by handheld footage taken in the Ohio State Reformatory, where the scene was filmed.
Producer
Kevin Jerome Everson’s unique observational gaze collapses Hollywood histrionics and American carceral history into one frame, as a Moscow prison break scene from Andrew Marlowe’s original screenplay for Air Force One—read in affectless voiceover on the film’s soundtrack—is offset by handheld footage taken in the Ohio State Reformatory, where the scene was filmed.
Director
Kevin Jerome Everson’s unique observational gaze collapses Hollywood histrionics and American carceral history into one frame, as a Moscow prison break scene from Andrew Marlowe’s original screenplay for Air Force One—read in affectless voiceover on the film’s soundtrack—is offset by handheld footage taken in the Ohio State Reformatory, where the scene was filmed.
Cinematography
"First Team Offense" is made up of Bertha Everson's great grandchildren. Featuring a custom helmet created by Becca McCharen-Tran/Chromat. A short film that "considers family ties and America’s favorite sport." - MoMA
Director
A short film that "channels the 1966 Cleveland Uprising." - MoMA
Director
"First Team Offense" is made up of Bertha Everson's great grandchildren. Featuring a custom helmet created by Becca McCharen-Tran/Chromat. A short film that "considers family ties and America’s favorite sport." - MoMA
Producer
If You Don't Watch the Way You Move features Derek "Dripp" Whitfield Jr. and Taymond "choSkii" Hughes of the music group BmE composing and recording their latest composition, "Shiesty", in the Columbus, Mississippi studio of Jermaine "Country Blakk" Brown only to be interrupted by a John Cage score.
Editor
If You Don't Watch the Way You Move features Derek "Dripp" Whitfield Jr. and Taymond "choSkii" Hughes of the music group BmE composing and recording their latest composition, "Shiesty", in the Columbus, Mississippi studio of Jermaine "Country Blakk" Brown only to be interrupted by a John Cage score.
Cinematography
If You Don't Watch the Way You Move features Derek "Dripp" Whitfield Jr. and Taymond "choSkii" Hughes of the music group BmE composing and recording their latest composition, "Shiesty", in the Columbus, Mississippi studio of Jermaine "Country Blakk" Brown only to be interrupted by a John Cage score.
Director
If You Don't Watch the Way You Move features Derek "Dripp" Whitfield Jr. and Taymond "choSkii" Hughes of the music group BmE composing and recording their latest composition, "Shiesty", in the Columbus, Mississippi studio of Jermaine "Country Blakk" Brown only to be interrupted by a John Cage score.
Director
by Kevin Jerome Everson
Editor
Two University of Virginia workers share a drink and conversation at a local nightclub. One worker is a phlebotomist and the other is a former EKG technician who has relocated from New Mexico and works now in the university cafeteria.Starring Ricky Goldman and Richard Cooper. Inspired by the 1973 film "The Mack" starring Max Julian and Richard Pryor.
Writer
Two University of Virginia workers share a drink and conversation at a local nightclub. One worker is a phlebotomist and the other is a former EKG technician who has relocated from New Mexico and works now in the university cafeteria.Starring Ricky Goldman and Richard Cooper. Inspired by the 1973 film "The Mack" starring Max Julian and Richard Pryor.
Co-Director
Two University of Virginia workers share a drink and conversation at a local nightclub. One worker is a phlebotomist and the other is a former EKG technician who has relocated from New Mexico and works now in the university cafeteria.Starring Ricky Goldman and Richard Cooper. Inspired by the 1973 film "The Mack" starring Max Julian and Richard Pryor.
Director
by Kevin Jerome Everson
Director
by Kevin Jerome Everson
Director
by Kevin Jerome Everson
Director
by Kevin Jerome Everson
Director
by Kevin Jerome Everson
Director
Pleas “Dinky” Everson tunes his vintage Pontiac with the 1924–26 patent-pended Handee Wrench invented by the late J. Sisolok of Mansfeld Ohio.
Director
"Weidle's" was a delicatessen in the artist's hometown of Mansfield, Ohio that serviced the Northside community. In this 16mm silent short film, a neighborhood butcher in Charlottesville, Virginia is filmed as he prepares the goods.
Director
Director
The months of May, June, and July are represented with peonies, fireflies, and the year 2020. A rollerblader (Jahleel Gardner) traverses Black Lives Matter Plaza in Washington D.C.
Director
The artist travels through the Panama Canal, filming 10-minute reels of 16mm to create an almost abstract journey modulated in time through the light and dark of the opening and closing locks. Alternating with submerged darkness, we observe the beauty of the landscape, and the global trade that the canal was built to facilitate; bringing to mind that its American engineers imposed US segregation laws on the canal’s Jamaican migrant workforce.
Director
Black vulture is the native bird of Cape Charles Virginia where the full moon was somewhat visible.
Director
Director
Set in Charlottesville during the early 1990s, "Pride" follows an aspiring writer as she finalises stories for the latest issue of "Pride", a student run newspaper at the University of Virginia. Over a hectic two-day period, she puts the finishing touches on the upcoming issue. Despite the looming deadline, she moves with a calm confidence.
Director
"July" has fireflies luminating their very temporary surroundings.
Director
A driver is learning how to parallel park an Opel Rekord C at the Olympic stadium in Berlin, Germany.
Director
The ForFour smart car blindly circles the Olympic Stadium in Berlin German, site of Jesse Owens’ 4 Gold Medal Haul at the 1936 Games. East Tech references the East Technical High School in Cleveland, Ohio from which Owens graduated.
Director
An Opel ‘muscle car’, makes its way around and around the Olympic stadium in Berlin, Germany.
Director
The "I" and "S" of "Lives" are the smoothest area of resistance. A rollerblader (Jahleel Gardner) navigates the letters on the pavement of Black Lives Matter Plaza in Washington D.C. on a summer afternoon, 2020.
Director
Projected on a freestanding wall in the center of the gallery is Everson’s new dual-channel projection Opel, which reflects on Everson’s own high school experience with Army Recruiters, who to this day maintain a disproportionate presence in working class communities, particularly communities of color. At the time, recruiters would often tell Black American teenagers that it was cheaper to purchase a car in Panama, or West Germany, and ship it than it would be to purchase one in the U.S. Comprised of two films, individually titled Kadett C Three and Rekord C Three, they each depict toy cars, filmed in black in white, moving from meditative takes to scenes of fast-paced movement, in which the cars nearly blur into abstraction. Accompanied by voiceovers in German, and Spanish, describing automobile performance, the work seeks to distill the complex registers of Everson’s experience, and the dangled promise of ownership into an abstract, fleeting form.
Director
Bird watching
Director
Portrait based on the first cinematic representation of Afro-American intimacy in the 1898 film Something Good-Negro Kiss.
Director
by Kevin Jerome Everson.
Director
Westinghouse One is about an old consumer product produced at the Westinghouse factory in Mansfield, Ohio in the 1960s.
Director
A film about a birdwatcher looking for the state bird of Mississippi.
Director
A meditation on the speed of an Opel car.
Director
Sanfield is a film about airmen training and working at Columbus Air Force Base 14th Flying Training Wing in Columbus, Mississippi. Through an observational approach, Kevin J. Everson continues his decade-long exploration of the lives of African-Americans in the fabric of white American society.
Director
A partial differential equation is illustrated by mathematician Tariah Gatlin.
Cinematography
A 16mm film about an Airman training to be a pilot at Columbus Air Force Base, 14th Flying Training Wing, in Columbus, Mississippi.
Producer
A 16mm film about an Airman training to be a pilot at Columbus Air Force Base, 14th Flying Training Wing, in Columbus, Mississippi.
Director
A 16mm film about an Airman training to be a pilot at Columbus Air Force Base, 14th Flying Training Wing, in Columbus, Mississippi.
Director
A film with found footage about a couple enjoying a beautiful day, long walks and a firearm, a blanket, food, sex and art. It references Everson’s 2007 film The Picnic.
Director
Inventory is based on Želimir Žilnik’s classic Inventory. A quick succession of soldiers explain how they ended up in military life at the Columbus Air Force Base 14th Flying Training Wing in Columbus, Mississippi.
Director of Photography
The July 2, 2019 solar eclipse, filmed in 100% totality, over the Chilean coast, in 16mm black and white. Condor is the national bird of Chile.
Producer
The July 2, 2019 solar eclipse, filmed in 100% totality, over the Chilean coast, in 16mm black and white. Condor is the national bird of Chile.
Director
The July 2, 2019 solar eclipse, filmed in 100% totality, over the Chilean coast, in 16mm black and white. Condor is the national bird of Chile.
Director
A new film by Kevin Jerome Everson and Claudrena N. Harold. Part of the Black Fire UVA series.
Director
Bird-watchers looking for the state bird of Ohio.
Director
Kevin Jerome Everson and his collaborator Kahlil I. Pedizisai filmed the comings and goings in front of a trap house on Empire Street in Cleveland, Ohio. Loosely inspired by Andy Warhol's 1964 film "Empire," which also runs for eight hours.
Director
A silent portrait of the funeral of Mary Louise Everson Humphries Tubbs
Director
Traveling Shoes is based on the hit record by the Ohio-based gospel group, The Brown Singers.
Editor
Students reclaim a popular gathering spot on the campus of the University of Virginia, Charlottesville.
Cinematography
Students reclaim a popular gathering spot on the campus of the University of Virginia, Charlottesville.
Producer
Students reclaim a popular gathering spot on the campus of the University of Virginia, Charlottesville.
Director
Students reclaim a popular gathering spot on the campus of the University of Virginia, Charlottesville.
Director
Union illustrates the Virginia Union University football team working together.
Director
The Barrel is about a proprietor of a liquor store in Mississippi taking inventory.
Director
Rappers and gospel singers, on the streets and in their homes—music from the edge of the allegheny plateau presents different generations from the African American communities of Mansfield, Ohio, sharing their passions, their talents, and their messages of faith and ambition through music and gesture. Filmmaker Kevin Jerome Everson was inspired by William Klein’s The Little Richard Story (1980), a film that tells the story of the rock-and-roll icon’s life through the eyes and experiences of friends, family, and impersonators.
Director
A study in 99 percent totality filmed during the 2017 eclipse.
Director
Richland Black & White
Director
A corrupt Police Dept produced several films. This is what they could have been like.
Director
Director
Historic UFO sightings over Mansfield, Ohio, are evoked through memory, report and gesture.
Director
Filmed during the August 2017 solar eclipse, Polly One is about ninety-nine percent totality.
Director
A gentleman recalls the play-by-play of the 1978 boxing match between Sugar Ray Leonard and Art McKnight, local prizefighter from Mansfield, Ohio.
Director
Round Seven centres on mysterious occurrences in and around the city of Mansfield, Ohio, including UFO sightings, the closing of Mansfield Tire and the famous 1978 boxing match between Sugar Ray Leonard and local prizefighter Art McKnight.
Director
An enactment of the last days of Alessandro de’ Medici, who was named the first Duke of Florence in 1532. De Medici, born to an African servant in the Medici household, was assassinated by his cousin Lorenzino five years into his rule. Picking up on Everson’s 2012 short film Rhinoceros, the film broadens the scope of the artist’s look at the movement and backstories of people of African descent.
Producer
A collection of sfumato-tinged bottles shot with tight framing and shallow focus provides a mesmeric portrait of a man and a community in Northeast Ohio, where "Brown and Clear" commonly refer to "Bourbon and Vodka".
Editor
A collection of sfumato-tinged bottles shot with tight framing and shallow focus provides a mesmeric portrait of a man and a community in Northeast Ohio, where "Brown and Clear" commonly refer to "Bourbon and Vodka".
Director of Photography
A collection of sfumato-tinged bottles shot with tight framing and shallow focus provides a mesmeric portrait of a man and a community in Northeast Ohio, where "Brown and Clear" commonly refer to "Bourbon and Vodka".
Director
A collection of sfumato-tinged bottles shot with tight framing and shallow focus provides a mesmeric portrait of a man and a community in Northeast Ohio, where "Brown and Clear" commonly refer to "Bourbon and Vodka".
Camera Operator
This film presents three generations of the Carr family waxing poetically about living and working in Salisbury, North Carolina.
Editor
This film presents three generations of the Carr family waxing poetically about living and working in Salisbury, North Carolina.
Director
This film presents three generations of the Carr family waxing poetically about living and working in Salisbury, North Carolina.
Director
Improvement Association features Malik Hudgins, a lifelong member of the UNIA and resident of Philadelphia PA, waxing poetically about life.
Editor
Tonsler Park observes, in black and white 16mm, the democratic process in action, at Charlottesville, Virginia voting precincts, over the course of Election Day, November 8, 2016.
Producer
Tonsler Park observes, in black and white 16mm, the democratic process in action, at Charlottesville, Virginia voting precincts, over the course of Election Day, November 8, 2016.
Director of Photography
Tonsler Park observes, in black and white 16mm, the democratic process in action, at Charlottesville, Virginia voting precincts, over the course of Election Day, November 8, 2016.
Director
Tonsler Park observes, in black and white 16mm, the democratic process in action, at Charlottesville, Virginia voting precincts, over the course of Election Day, November 8, 2016.
Director
Rough and Unequal: Oceanis Procellarum (2017) is a single channel film about the beautiful lunar surface.
Director
Two University of Virginia grapplers take instructions.
Director
Historical reenactments of athletes performing various sports at the University of Virginia are seen as Kent Merritt, one of the first African American scholarship athletes at the university reflects on his experience.
Director
How Can I Ever Be Late takes the tarmac arrival of Sly and the Family Stone as a point of departure: African American students of the University of Virginia greet the band at the airport in 1973.
Director
A riff on the Lumière Brothers’ first film, capturing an audience’s exodus from a football stadium in Salisbury, North Carolina.
Director
The material that keeps southern homes warm in the winter months and cool in the summer.
Director of Photography
In Kevin Jerome Everson’s deeply affecting Ears, Nose and Throat, a woman’s testimonial faculties are confirmed through medical examinations before she recites a tragic story, whose horrors we don't see, hear, or smell, but can imagine far too easily.
Editor
In Kevin Jerome Everson’s deeply affecting Ears, Nose and Throat, a woman’s testimonial faculties are confirmed through medical examinations before she recites a tragic story, whose horrors we don't see, hear, or smell, but can imagine far too easily.
Director
In Kevin Jerome Everson’s deeply affecting Ears, Nose and Throat, a woman’s testimonial faculties are confirmed through medical examinations before she recites a tragic story, whose horrors we don't see, hear, or smell, but can imagine far too easily.
Director
8903 Empire is the address of proud home owner Oscar Dickerson.
Writer
We Demand revisits a ten-day period of unprecedented student upheaval at the University of Virginia in 1970, during the height of the anti-Vietnam War movement. The film reenacts the delivery of two sets of demands regarding action to be taken on campus and in the wider political sphere, spoken by budding activist James R. Roebuck, the first African American president of UVA’s Student Council.
Director
We Demand revisits a ten-day period of unprecedented student upheaval at the University of Virginia in 1970, during the height of the anti-Vietnam War movement. The film reenacts the delivery of two sets of demands regarding action to be taken on campus and in the wider political sphere, spoken by budding activist James R. Roebuck, the first African American president of UVA’s Student Council.
Director
Lost Nothing is the subject Willie James Crittenden waxes poetically about.
Director
Eason is inspired by the life of Rev. James Walker Hood Eason (1886-1923), an early leader of Philadelphia’s Universal Negro Improvement Association (U.N.I.A.).
Director
Famous actor Nathaniel Jitahadi Taylor, who played the role of “Rollo Larson” on the 70’s television series Sanford and Son, waxes poetically on dancers, painters, actors, and filmmakers.
Director
KJE captures the grand finale of Emancipation Day, the annual Detroit River Fireworks, in 2014. Founded by Walter Perry, Emancipation Day was celebrated in Windsor, Ontario, Canada, every August 1 from 1932–1967 to mark the anniversary of British Parliment’s abolishment of slavery in 1834. Also known as The Greatest Freedom Show on Earth, the festival was large enough at one time to double the city’s population. As Emancipation Day became increasingly associated with the Freedom Movement across the border, the Windsor Police Department and city council began to push against the event, eventually culminating in its cancellation in reaction to the Detroit rebellion in 1967.
Editor
This immersive eight-hour documentary follows workers in a Virginia factory over the course of an entire day, from clock-in to clock-out. Long, unbroken sequences of assembly and fabrication focus on the bodies of African American and Vietnamese American workers, while both mobile and fixed cameras transform their acts into pure movement. Everson’s “shift-film” adjusts the frame on race, class, and labor, celebrating the everyday and imbuing working bodies with new dimensions.
Director of Photography
This immersive eight-hour documentary follows workers in a Virginia factory over the course of an entire day, from clock-in to clock-out. Long, unbroken sequences of assembly and fabrication focus on the bodies of African American and Vietnamese American workers, while both mobile and fixed cameras transform their acts into pure movement. Everson’s “shift-film” adjusts the frame on race, class, and labor, celebrating the everyday and imbuing working bodies with new dimensions.
Camera Operator
This immersive eight-hour documentary follows workers in a Virginia factory over the course of an entire day, from clock-in to clock-out. Long, unbroken sequences of assembly and fabrication focus on the bodies of African American and Vietnamese American workers, while both mobile and fixed cameras transform their acts into pure movement. Everson’s “shift-film” adjusts the frame on race, class, and labor, celebrating the everyday and imbuing working bodies with new dimensions.
Producer
This immersive eight-hour documentary follows workers in a Virginia factory over the course of an entire day, from clock-in to clock-out. Long, unbroken sequences of assembly and fabrication focus on the bodies of African American and Vietnamese American workers, while both mobile and fixed cameras transform their acts into pure movement. Everson’s “shift-film” adjusts the frame on race, class, and labor, celebrating the everyday and imbuing working bodies with new dimensions.
Director
This immersive eight-hour documentary follows workers in a Virginia factory over the course of an entire day, from clock-in to clock-out. Long, unbroken sequences of assembly and fabrication focus on the bodies of African American and Vietnamese American workers, while both mobile and fixed cameras transform their acts into pure movement. Everson’s “shift-film” adjusts the frame on race, class, and labor, celebrating the everyday and imbuing working bodies with new dimensions.
Producer
Two magicians in Philadelphia practice their slight of hand tricks.
Editor
Two magicians in Philadelphia practice their slight of hand tricks.
Director of Photography
Two magicians in Philadelphia practice their slight of hand tricks.
Director
Two magicians in Philadelphia practice their slight of hand tricks.
Director
Three Pontiacs and a Buick Regal becoming something entirely different.
Director
A multiple exposure of multitasking.
Director
Preparing a surface for re-representation.
Director
In this film, double exposure creates a layered effect of time playing on an old-fashioned pastime.
Director
"Filmmakers that were selected at Visions du Réel in the past twenty editions celebrate the Festival's anniversary by each making a short movie in which they expose their view of the future." - DAFilms.com
Editor
Employees of the Cleveland Water Department on the hunt for leaks in the infrastructure in Cuyahoga County.
Cinematography
Employees of the Cleveland Water Department on the hunt for leaks in the infrastructure in Cuyahoga County.
Director
Employees of the Cleveland Water Department on the hunt for leaks in the infrastructure in Cuyahoga County.
Editor
Two gentlemen making a living hustling metal in Cleveland, Ohio.
Cinematography
Two gentlemen making a living hustling metal in Cleveland, Ohio.
Director
Two gentlemen making a living hustling metal in Cleveland, Ohio.
Director
"A 16mm cinematic exploration of African American intellectual, social, and political life at the University of Virginia during the 1970s. Conceived and written by UVA History Professor and author Claudrena Harold and directed by Harold and UVA Professor of Art, filmmaker/artist Kevin Jerome Everson, the film stars Erin Stewart (the bank teller/race driver in Everson's 2006 feature film "Cinnamon") as Vivian Gordon (the director of UVA's Black Studies program between 1975 and 1980). The film tells the story of African-American women and men who through their public and private gestures sought to create a beloved community that thrived on intellectual exchange, self-critique, and human warmth." - Trilobite-Arts-DAC, Claudrena Harold, Picture Palace Pictures
Director
A beautifully wrought superimposition in black-and-white, MANSFIELD PRODUCT COMPANY layers a crane demolishing a car with two young men installing a stove. The fact that this haiku on the industrial lifecycle was shot in Kevin Jerome Everson's hometown of Mansfield, Ohio, lends a personal dimension to the visual mingling of old and new. - Max Goldberg
Director
Ninety, Ninety-Five is about not quite succeeding and the old-school way of making spirits.
Director
A memorial cake is carefully cut, served and preserved.
Director
A glance at the fancy moves by the Mansfield Senior High football team in Mansfield, Ohio.
Director
U of Virginia Charlottesville, VA 1976 is based on a photograph taken in the mid 1970s of two African Americans playing foosball. note- this film is contained (as a shorter sequence) in Sugarcoated Arsenic
Director
Stoplight Liberty focuses on a single intersection in Columbus, Mississippi.
Director
Charlie Smith recalls segregation, working construction and moonshine. But the real subject of this documentary short is the septuagenarian's wry manner of dodging Kevin Jerome Everson's questions. By focusing on the kind of dissembling, familiar speech that a more traditional documentary filmmaker would cut, Everson suggests that the work of portraiture has less to do with getting the facts than taking the long way around the barn. - Max Goldberg
Editor
Years ago, Kevin Jerome Everson asked his aunt where their old family photos had gone. Her answer - ‘they were all lost in the flood’ - sparked this trip to meet the inhabitants of Westport, a small town just to the west of Columbus, Mississippi. They reminisce about the great flood of the Tombigbee River in 1973, when some people lost everything. Many heirlooms and photos of the Eversons were swallowed up, and part of the family history disappeared.
Director of Photography
Years ago, Kevin Jerome Everson asked his aunt where their old family photos had gone. Her answer - ‘they were all lost in the flood’ - sparked this trip to meet the inhabitants of Westport, a small town just to the west of Columbus, Mississippi. They reminisce about the great flood of the Tombigbee River in 1973, when some people lost everything. Many heirlooms and photos of the Eversons were swallowed up, and part of the family history disappeared.
Writer
Years ago, Kevin Jerome Everson asked his aunt where their old family photos had gone. Her answer - ‘they were all lost in the flood’ - sparked this trip to meet the inhabitants of Westport, a small town just to the west of Columbus, Mississippi. They reminisce about the great flood of the Tombigbee River in 1973, when some people lost everything. Many heirlooms and photos of the Eversons were swallowed up, and part of the family history disappeared.
Director
Years ago, Kevin Jerome Everson asked his aunt where their old family photos had gone. Her answer - ‘they were all lost in the flood’ - sparked this trip to meet the inhabitants of Westport, a small town just to the west of Columbus, Mississippi. They reminisce about the great flood of the Tombigbee River in 1973, when some people lost everything. Many heirlooms and photos of the Eversons were swallowed up, and part of the family history disappeared.
Director
Kevin Jerome Everson's single-take film of a street hustler's sleight-of-hand game takes its place in a rowdy crowd of onlookers. The camera stays focused on the man's fleet fingers while the audio is glued to his gift of gab: "Keep your eyes on that little red dot if you want to win cold cash money on the spot." Every bit the performer, the hustler makes us wonder whether the film itself might be a kind of shell game (with the seemingly raw immediacy of the shot concealing its artistic intentionality). - Max Goldberg
Director
The Lumière Brothers’ first film is reimagined at a job site in Columbus, Mississippi.
Director
In The Release, professional dancers enact a classic football gesture as a rhythmic dance. Intentionally slowing down the speed of 16mm film, Everson divorces the moves from their original functionality, revealing their engagement with the entire body and surrounding environment. Drawing connections between athletics and performance, the film foregrounds the art inherent in sport.
Sound
"Rhinoceros" (Rinoceronte) involves the fascinating figure of Alessandro de Medici (played by Justin Randolph Thompson) as he makes a passionate appeal to rally the good people of Florence. Shot in the Villa la Pietra in Florence, in black and white video, and spoken in Italian, the film resembles a televised broadcast in the last days of Muammar Gaddafi. This short film sets the stage for Everson's upcoming feature, "Rhino" that will examine the parallel worlds of politics and performance in sixteenth century Italy and twentieth century Hollywood, through the personages of de Medici and the actress Gail Fisher (Mannix).
Editor
"Rhinoceros" (Rinoceronte) involves the fascinating figure of Alessandro de Medici (played by Justin Randolph Thompson) as he makes a passionate appeal to rally the good people of Florence. Shot in the Villa la Pietra in Florence, in black and white video, and spoken in Italian, the film resembles a televised broadcast in the last days of Muammar Gaddafi. This short film sets the stage for Everson's upcoming feature, "Rhino" that will examine the parallel worlds of politics and performance in sixteenth century Italy and twentieth century Hollywood, through the personages of de Medici and the actress Gail Fisher (Mannix).
Director of Photography
"Rhinoceros" (Rinoceronte) involves the fascinating figure of Alessandro de Medici (played by Justin Randolph Thompson) as he makes a passionate appeal to rally the good people of Florence. Shot in the Villa la Pietra in Florence, in black and white video, and spoken in Italian, the film resembles a televised broadcast in the last days of Muammar Gaddafi. This short film sets the stage for Everson's upcoming feature, "Rhino" that will examine the parallel worlds of politics and performance in sixteenth century Italy and twentieth century Hollywood, through the personages of de Medici and the actress Gail Fisher (Mannix).
Writer
"Rhinoceros" (Rinoceronte) involves the fascinating figure of Alessandro de Medici (played by Justin Randolph Thompson) as he makes a passionate appeal to rally the good people of Florence. Shot in the Villa la Pietra in Florence, in black and white video, and spoken in Italian, the film resembles a televised broadcast in the last days of Muammar Gaddafi. This short film sets the stage for Everson's upcoming feature, "Rhino" that will examine the parallel worlds of politics and performance in sixteenth century Italy and twentieth century Hollywood, through the personages of de Medici and the actress Gail Fisher (Mannix).
Director
"Rhinoceros" (Rinoceronte) involves the fascinating figure of Alessandro de Medici (played by Justin Randolph Thompson) as he makes a passionate appeal to rally the good people of Florence. Shot in the Villa la Pietra in Florence, in black and white video, and spoken in Italian, the film resembles a televised broadcast in the last days of Muammar Gaddafi. This short film sets the stage for Everson's upcoming feature, "Rhino" that will examine the parallel worlds of politics and performance in sixteenth century Italy and twentieth century Hollywood, through the personages of de Medici and the actress Gail Fisher (Mannix).
Editor
A film about Black cowgirls and cowboys preparing themselves for the rodeo event of calf roping. Filmed in Lafayette, Louisiana and Natchez, Mississippi the title refers to the type of rope they use to capture fast calves.
Director of Photography
A film about Black cowgirls and cowboys preparing themselves for the rodeo event of calf roping. Filmed in Lafayette, Louisiana and Natchez, Mississippi the title refers to the type of rope they use to capture fast calves.
Director
A film about Black cowgirls and cowboys preparing themselves for the rodeo event of calf roping. Filmed in Lafayette, Louisiana and Natchez, Mississippi the title refers to the type of rope they use to capture fast calves.
Director
In a 2014 artist statement, Kevin Jerome Everson wrote, "The main thing I like doing is filming people of African descent, black folks, who are really good at what they do... engaged in something that is an internal language." Indeed, blink and you might miss this cowboy's lightning-quick way with a lasso. He shows his stuff in an impressionistic montage, flashing a winning grin. - Max Goldberg
Director
Radiating the radical simplicity of a Lumière actuality, THE MAYBERRY PRACTICE CALF shows an African-American cowboy roping a hunk of tire again and again. "Calf roping is a discipline," Kevin Jerome Everson told an interviewer. "People practice it, they know the language of it and they know how to do it." Everson's camera evinces a comparable degree of discipline, with a single long take functioning as a montage through the serial repetition of the cowboy's action. We may wonder if we're watching a loop but gradually our eyes are drawn to small variations. Practice makes perfect. - Max Goldberg
Director
One of several Kevin Jerome Everson pieces regarding African-American rodeo riders, SECOND PLACE brings us inside the big show. The jerkily pixilated view of a bucking bull offers an aesthetic equivalent of the cowboy's wild ride while the film's silence lends an unexpected repose to the contest. Whether anticipating a bull's blasting out of the gate or watching an old hand stretch out his back, Everson's camera is ever-attentive to the action at the edge of the frame. - Max Goldberg
Writer
A car is getting thrashed.
Director
A car is getting thrashed.
Editor
This short is based on Chester Himes’s novel Cotton Comes to Harlem (1965) and its adaptation for the screen by Ossie Davis in 1970. The cotton in the novel and film comes from the region around Columbus, Mississippi. Shot in noir-style, the film focuses on the scene when detectives Coffin Ed and Grave Digger Jones interrogate Lo-Boy, an artist/hustler, about the event around the demise of his friend Early Riser.
Cinematography
This short is based on Chester Himes’s novel Cotton Comes to Harlem (1965) and its adaptation for the screen by Ossie Davis in 1970. The cotton in the novel and film comes from the region around Columbus, Mississippi. Shot in noir-style, the film focuses on the scene when detectives Coffin Ed and Grave Digger Jones interrogate Lo-Boy, an artist/hustler, about the event around the demise of his friend Early Riser.
Producer
This short is based on Chester Himes’s novel Cotton Comes to Harlem (1965) and its adaptation for the screen by Ossie Davis in 1970. The cotton in the novel and film comes from the region around Columbus, Mississippi. Shot in noir-style, the film focuses on the scene when detectives Coffin Ed and Grave Digger Jones interrogate Lo-Boy, an artist/hustler, about the event around the demise of his friend Early Riser.
Writer
This short is based on Chester Himes’s novel Cotton Comes to Harlem (1965) and its adaptation for the screen by Ossie Davis in 1970. The cotton in the novel and film comes from the region around Columbus, Mississippi. Shot in noir-style, the film focuses on the scene when detectives Coffin Ed and Grave Digger Jones interrogate Lo-Boy, an artist/hustler, about the event around the demise of his friend Early Riser.
Director
This short is based on Chester Himes’s novel Cotton Comes to Harlem (1965) and its adaptation for the screen by Ossie Davis in 1970. The cotton in the novel and film comes from the region around Columbus, Mississippi. Shot in noir-style, the film focuses on the scene when detectives Coffin Ed and Grave Digger Jones interrogate Lo-Boy, an artist/hustler, about the event around the demise of his friend Early Riser.
Cinematography
Centred on a scene from Tennessee Williams’s play Kingdom of Earth (1968). Tennessee Williams was born in Columbus. Filmed as if it were a stage play, the title character, Chicken of Kingdom, struggles with how people view him.
Editor
Centred on a scene from Tennessee Williams’s play Kingdom of Earth (1968). Tennessee Williams was born in Columbus. Filmed as if it were a stage play, the title character, Chicken of Kingdom, struggles with how people view him.
Producer
Centred on a scene from Tennessee Williams’s play Kingdom of Earth (1968). Tennessee Williams was born in Columbus. Filmed as if it were a stage play, the title character, Chicken of Kingdom, struggles with how people view him.
Writer
Centred on a scene from Tennessee Williams’s play Kingdom of Earth (1968). Tennessee Williams was born in Columbus. Filmed as if it were a stage play, the title character, Chicken of Kingdom, struggles with how people view him.
Director
Centred on a scene from Tennessee Williams’s play Kingdom of Earth (1968). Tennessee Williams was born in Columbus. Filmed as if it were a stage play, the title character, Chicken of Kingdom, struggles with how people view him.
Editor
Rita Larson's Boy portrays ten actors auditioning for the role of Rollo Larson in the 1970s sitcom Sanford and Son. Rita Larson's Boy is one of three films included in the Tombigbee Chronicles Number Two. The series of films are based on famous people and objects from Columbus, Mississippi. The actor Nathaniel Taylor, raised in Columbus, portrayed Rollo Larson (Rita Larson's boy) in the television series Sanford and Son. Tombigbee is the river the runs though Columbus.
Director of Photography
Rita Larson's Boy portrays ten actors auditioning for the role of Rollo Larson in the 1970s sitcom Sanford and Son. Rita Larson's Boy is one of three films included in the Tombigbee Chronicles Number Two. The series of films are based on famous people and objects from Columbus, Mississippi. The actor Nathaniel Taylor, raised in Columbus, portrayed Rollo Larson (Rita Larson's boy) in the television series Sanford and Son. Tombigbee is the river the runs though Columbus.
Producer
Rita Larson's Boy portrays ten actors auditioning for the role of Rollo Larson in the 1970s sitcom Sanford and Son. Rita Larson's Boy is one of three films included in the Tombigbee Chronicles Number Two. The series of films are based on famous people and objects from Columbus, Mississippi. The actor Nathaniel Taylor, raised in Columbus, portrayed Rollo Larson (Rita Larson's boy) in the television series Sanford and Son. Tombigbee is the river the runs though Columbus.
Director
Rita Larson's Boy portrays ten actors auditioning for the role of Rollo Larson in the 1970s sitcom Sanford and Son. Rita Larson's Boy is one of three films included in the Tombigbee Chronicles Number Two. The series of films are based on famous people and objects from Columbus, Mississippi. The actor Nathaniel Taylor, raised in Columbus, portrayed Rollo Larson (Rita Larson's boy) in the television series Sanford and Son. Tombigbee is the river the runs though Columbus.
Editor
In Chevelle, Mansfield, Ohio, native Kevin Jerome Everson captures two workhorse GM cars at a moment of drastic transformation. A junkyard crusher puts metal to metal and smashes the cars into tidy rectangular shapes while the life juices and hydraulic fluids drain out of them. The resulting video is partially formalist metaphor and partially the sheer pleasure of seeing stuff get really smashed up. This is one of the projects Everson worked on when he visited the Wexner Center Film/Video Studio program last May. (Description taken from Wexner Center for the Arts calendar, January 2012)
Director of Photography
In Chevelle, Mansfield, Ohio, native Kevin Jerome Everson captures two workhorse GM cars at a moment of drastic transformation. A junkyard crusher puts metal to metal and smashes the cars into tidy rectangular shapes while the life juices and hydraulic fluids drain out of them. The resulting video is partially formalist metaphor and partially the sheer pleasure of seeing stuff get really smashed up. This is one of the projects Everson worked on when he visited the Wexner Center Film/Video Studio program last May. (Description taken from Wexner Center for the Arts calendar, January 2012)
Director
In Chevelle, Mansfield, Ohio, native Kevin Jerome Everson captures two workhorse GM cars at a moment of drastic transformation. A junkyard crusher puts metal to metal and smashes the cars into tidy rectangular shapes while the life juices and hydraulic fluids drain out of them. The resulting video is partially formalist metaphor and partially the sheer pleasure of seeing stuff get really smashed up. This is one of the projects Everson worked on when he visited the Wexner Center Film/Video Studio program last May. (Description taken from Wexner Center for the Arts calendar, January 2012)
Producer
Quality Control consists of a series of 16mm single take shots filmed in the summer of 2010,over a two day period, in a dry cleaners facility in Pritchard, Alabama, near Mobile, Quality Control exhibits the acts as well the conditions around labor and showcases, in Everson's words "the fine folks of Alabama producing a superior product." It is similar stylistically, in form and rhythm, to certain scenarios in Everson's award-winning and critically acclaimed previous films, including Erie (IFFR 2010) and in thematic concerns to several other short form works which follow the daily, quotidian tasks of workers in rest and in motion, and is an oblique sequel, ten years hence, to Everson's Creative Capital granted project A Week in the Hole (2001), which focused on an employee's adjustment to materials, time, space and personnel.
- Written by Madeleine Molyneaux, producer
Writer
Quality Control consists of a series of 16mm single take shots filmed in the summer of 2010,over a two day period, in a dry cleaners facility in Pritchard, Alabama, near Mobile, Quality Control exhibits the acts as well the conditions around labor and showcases, in Everson's words "the fine folks of Alabama producing a superior product." It is similar stylistically, in form and rhythm, to certain scenarios in Everson's award-winning and critically acclaimed previous films, including Erie (IFFR 2010) and in thematic concerns to several other short form works which follow the daily, quotidian tasks of workers in rest and in motion, and is an oblique sequel, ten years hence, to Everson's Creative Capital granted project A Week in the Hole (2001), which focused on an employee's adjustment to materials, time, space and personnel.
- Written by Madeleine Molyneaux, producer
Director of Photography
Quality Control consists of a series of 16mm single take shots filmed in the summer of 2010,over a two day period, in a dry cleaners facility in Pritchard, Alabama, near Mobile, Quality Control exhibits the acts as well the conditions around labor and showcases, in Everson's words "the fine folks of Alabama producing a superior product." It is similar stylistically, in form and rhythm, to certain scenarios in Everson's award-winning and critically acclaimed previous films, including Erie (IFFR 2010) and in thematic concerns to several other short form works which follow the daily, quotidian tasks of workers in rest and in motion, and is an oblique sequel, ten years hence, to Everson's Creative Capital granted project A Week in the Hole (2001), which focused on an employee's adjustment to materials, time, space and personnel.
- Written by Madeleine Molyneaux, producer
Editor
Quality Control consists of a series of 16mm single take shots filmed in the summer of 2010,over a two day period, in a dry cleaners facility in Pritchard, Alabama, near Mobile, Quality Control exhibits the acts as well the conditions around labor and showcases, in Everson's words "the fine folks of Alabama producing a superior product." It is similar stylistically, in form and rhythm, to certain scenarios in Everson's award-winning and critically acclaimed previous films, including Erie (IFFR 2010) and in thematic concerns to several other short form works which follow the daily, quotidian tasks of workers in rest and in motion, and is an oblique sequel, ten years hence, to Everson's Creative Capital granted project A Week in the Hole (2001), which focused on an employee's adjustment to materials, time, space and personnel.
- Written by Madeleine Molyneaux, producer
Director
Quality Control consists of a series of 16mm single take shots filmed in the summer of 2010,over a two day period, in a dry cleaners facility in Pritchard, Alabama, near Mobile, Quality Control exhibits the acts as well the conditions around labor and showcases, in Everson's words "the fine folks of Alabama producing a superior product." It is similar stylistically, in form and rhythm, to certain scenarios in Everson's award-winning and critically acclaimed previous films, including Erie (IFFR 2010) and in thematic concerns to several other short form works which follow the daily, quotidian tasks of workers in rest and in motion, and is an oblique sequel, ten years hence, to Everson's Creative Capital granted project A Week in the Hole (2001), which focused on an employee's adjustment to materials, time, space and personnel.
- Written by Madeleine Molyneaux, producer
Director
A group of workers in Pensacola, Florida clean up after the Deepwater Horizon Spill.
Director
Described as being based on a play by Talaya Delaney, Kevin Jerome Everson' silent HOUSE IN THE NORTH COUNTRY is not your typical stage adaptation. For one, it is unclear where the rehearsal ends and the performance begins. Everson's close-ups offer a distinctly cinematic rendering of theatrical blocking, with the actors' repeated movements (a soldier’s salute, a woman's carrying a lit torch) taking on heightened significance. The plot remains obscure but Everson conjures a psychological intensity comparable to Maya Deren's studies for camera. - Max Goldberg
Producer
Erie consists of a series of single take vignettes in and around communities near Lake Erie that relate to Black migration in the USA, contemporary conditions, folks concentrating on the task at hand, theater and famous art objects.
Director
Erie consists of a series of single take vignettes in and around communities near Lake Erie that relate to Black migration in the USA, contemporary conditions, folks concentrating on the task at hand, theater and famous art objects.
Director
Betty and a candle
Director
American Motor Company (2010) is a film about mid-20th century African American migration. Has two men installing a billboard. The billboard is based on mid-20th century advertisement geared for African Americans to migrate north to work in the automobile factory during the industrial boom of the late 50s and early 60s. The title AMC refers to American Motor Company, a defunct automobile company. In collaboration with Carmen Higginbotham.
Director
A film about the result of labor. A couple uses their hard earned wages in search of furniture, citizens’ leisurely water skiing and fishing. BZV was shot in and around Brazzaville, The Republic of Congo. With a naturalistic approach, the film also interweaves various elements concerning the social and physical landscape of Brazzaville. The title is the three-letter airport code for Brazzaville.
Director
Company Line is a film about one of the first predominately Black neighborhoods in Mansfield Ohio. The title, Company Line, refers to the name historically used by residents to describe their neighborhood, located on the north side of town close to the old steel mill. The Company Line began during the post–war migration of Blacks from the south to the north in the late 1940’s. The neighborhood was purchased in the early 1970’s and its residents were scattered throughout Mansfield. City employees and former residents of the Company Line narrate accounts of past and present.
Director
An attempt to exhibit the “sweet science” in an elegant way.
Thanks
Me Broni Ba is a lyrical portrait of hair salons in Kumasi, Ghana. The tangled legacy of European colonialism in Africa is evoked through images of women practicing hair braiding on discarded white baby dolls from the West. The film unfolds through a series of vignettes, set against a child's story of migrating from Ghana to the United States. The film uncovers the meaning behind the Akan term of endearment, me broni ba, which means “my white baby.”
Director
Second and Lee is a cautionary tale about when not to run. It uses archival reportage and voiceover recollection to trace through repetitive corridors of presumption, justice, and judgment.
Director
1940s identification photographs document the workers of a factory in one of the first predominantly Black neighborhoods in Mansfield, Ohio.
Director
The Citizens includes found footage of Mohammad Ali talking about life, Althea Gibson returning home as a champion, Fidel Castro playing baseball and three gentlemen being escorting into court all under the watchful eye of the media.
Director
Shot in a single, handheld, eleven-minute black-and-white take, Old Cat captures a slow but pleasant motorboat journey along a river in Virginia.
Director
Lead is a tale of an early 20th Century Robin Hood, based on a story by James Williams, involving jumping trains and throwing coal off for needy Southerners.
Director
Home (2008) is about disappointment in northern Ohio. (super-8, 1:30, black and white)
Director
A man blows out the 93 candles on his birthday cake in slow motion and B&W.
Director
Short film in which we see DeCarrio Couley shadow boxing.
Director
A short film in which we see different versions of different tragic events in the countryside of the American South. For his film, Everson used a rich source of so-called found footage, which he augments with his own material.
Director
Something Else is a film about found footage as subject matter and Miss Black Roanoke, Virginia 1971 expressing her thoughts about the upcoming Miss Black Virginia 1971 Pageant.
Director
The art of the cutaway.
Director
Emergency Needs considers the 1968 Hough Riots and the Glenville Shootout in Cleveland, Ohio, and the response to the crisis, as observed in color footage from a local press conference by Mayor Carl B. Stokes. Stokes, the first Black mayor of a major American city, maintains calm and measured composure; his demeanor and words help diffuse an already incendiary situation. Actress Esosa Edosomwan, dressed in a suit and tie, delivers Stokes’ statements. The footage of Stokes and the filmed performance of Edosomwan are rendered in split screen and combined with footage and reportage from the streets.
Director
A film about a young woman's future plans in Munich, Germany. MUNCHEN, RAPHAELA (also known as RAPHAELA RING MUNCHEN) is part of Mike Plante's Lunchfilm series of commissioned shorts (made for the cost of a lunch between Plante and filmmaker Kevin Jerome Everson).
Producer
An experimental film that lifts the veil on the world of African American drag racing.
Cinematography
An experimental film that lifts the veil on the world of African American drag racing.
Writer
An experimental film that lifts the veil on the world of African American drag racing.
Director
An experimental film that lifts the veil on the world of African American drag racing.
Producer
SPICEBUSH interweaves various fragmentary narratives concerning education, luck. landscapes, gaining and losing a job, and the passage of time. The technique and style employed alternates between the documentary, the symbolic, and more conventionally scripted scenes. Filming individuals engaged in their careers conveys the documentary aspect. At a symbolic level, the fossil is a leitmotif suggesting past and present. The title of the film refers to the state butterfly of Mississippi, Spicebush Swallowtail. In the film, Mississippi is a place of origin. The Spicebush Swallowtail represents renewal or starting over. Throughout the film, a little girl appears in different guises and settings, functioning indirectly in the role of the chorus. The scripted scenes, shot in a documentary style, collaged with the other scenes begin to create the traces of a narrative structure.
Director of Photography
SPICEBUSH interweaves various fragmentary narratives concerning education, luck. landscapes, gaining and losing a job, and the passage of time. The technique and style employed alternates between the documentary, the symbolic, and more conventionally scripted scenes. Filming individuals engaged in their careers conveys the documentary aspect. At a symbolic level, the fossil is a leitmotif suggesting past and present. The title of the film refers to the state butterfly of Mississippi, Spicebush Swallowtail. In the film, Mississippi is a place of origin. The Spicebush Swallowtail represents renewal or starting over. Throughout the film, a little girl appears in different guises and settings, functioning indirectly in the role of the chorus. The scripted scenes, shot in a documentary style, collaged with the other scenes begin to create the traces of a narrative structure.
Writer
SPICEBUSH interweaves various fragmentary narratives concerning education, luck. landscapes, gaining and losing a job, and the passage of time. The technique and style employed alternates between the documentary, the symbolic, and more conventionally scripted scenes. Filming individuals engaged in their careers conveys the documentary aspect. At a symbolic level, the fossil is a leitmotif suggesting past and present. The title of the film refers to the state butterfly of Mississippi, Spicebush Swallowtail. In the film, Mississippi is a place of origin. The Spicebush Swallowtail represents renewal or starting over. Throughout the film, a little girl appears in different guises and settings, functioning indirectly in the role of the chorus. The scripted scenes, shot in a documentary style, collaged with the other scenes begin to create the traces of a narrative structure.
Director
SPICEBUSH interweaves various fragmentary narratives concerning education, luck. landscapes, gaining and losing a job, and the passage of time. The technique and style employed alternates between the documentary, the symbolic, and more conventionally scripted scenes. Filming individuals engaged in their careers conveys the documentary aspect. At a symbolic level, the fossil is a leitmotif suggesting past and present. The title of the film refers to the state butterfly of Mississippi, Spicebush Swallowtail. In the film, Mississippi is a place of origin. The Spicebush Swallowtail represents renewal or starting over. Throughout the film, a little girl appears in different guises and settings, functioning indirectly in the role of the chorus. The scripted scenes, shot in a documentary style, collaged with the other scenes begin to create the traces of a narrative structure.
Director
A very different Dorothy ... a much different Oz.
Director
From Pompeii to Xenia puts in echo times of innocence struck by disaster: the lightning tornado which had beaten down on the American city of Xénia in 1974 answers, at thousands of kilometers in distance and centuries apart, the mythical eruption of Vesuvius in 79. The extended panorama, derived through the crossing of history and from an intimate story and urban sociology, is the cinematic reconstruction of a personal history: of its historical and geographical conditions to its processing.
Director
Aquarius is a film about horoscopes and hope, and coping with everyday life.
Director
Sportello Quattro, filmed during a residency at the American Academy in Rome, is about immigration, work and community among people of color in contemporary Rome, Italy.
Director
72 follows a teenage taxicab driver in Columbus, Mississippi multitasking to keep his job.
Director
Vanessa is based on the untimely death of Vanessa Jordan. A work about loss and Michelangelo.
Director
A film interpretation of a poem by Vincent Katz.
Director
A Week in the Hole chronicles a factory employee’s adjusting to the materials, time, space and personnel during his first day of work.
Director
A correctional officer’s daily routine of gaining access into a correctional facility.
Director
Imported (1999) is about three methods of ridding collard and kale greens of a pesky insect.
Director
A disgruntled bank teller’s system before the mornings commute.
Director
Six Positions (1998) is about task of a funeral home director.
Director
Images of the uniforms as the Ohio guard is interviewed off-camera.
