Jessica Kiang The solar eclipses of 1961 and 1999, both observable in Serbia, bracket the events explored in the lyrical imagery of Nataša Urban’s debut feature-length documentary.
But because life so rarely arranges itself neatly along a defined timeline, they do it imprecisely, blurring over a little at either edge, the way memories do.
As a metaphor, too, these astronomical events are evocatively imperfect: Our tiny little moon can occasionally blot out the sun the way an individual’s act of willful forgetfulness can all but obscure massive geopolitical upheaval.
But an eclipse passes according to immutable laws of physics; memory and reckoning do not obey a similarly strict orbit. People are far less predictable than planets.
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