“Eidolon” may not be a word most people are familiar with. In ancient Greek literature, an Eidolon is a spectre of a living or dead person – a look alike, a phantom doppelganger. Oxford describes Eidolon in two ways – 1, an idealized person or thing, and 2, a specter or phantom. While it might be easier to think of eidolons as ghosts – they are much more. Eidolons carry the weight of expectation, the crushing load of grief, and in my opinion are much more tragic figures than most waif-like ghosts and ghouls.

EYES OF EIDOLON is like a beautiful, dreamy journal entry by bereft widower Alexander Makris (Russell Shealy). His musical compositions (actually written by Vincent DeStefano) underscore his moody remembrances of his beautiful wife, Amelia (Kristen Geary). Alexander’s internalized grief is slowly crushing him, even as it pours from him onto his musical staff, and as the ghostly images in his mind become clearer and clearer, he is visited by a messenger (Bill Geiman) who cracks his reality and lets the light in – and the darkness out.

Very little dialogue is spoken is EYES OF EIDOLON, which really allows the bold artistic choices to soar. Beautiful cinematography by Kai Dickson really shines through the moody darkness of the tragic story, and adds warmth and depth to an otherwise dreary and bleak setting. Glowing warm light perfectly halos Amelia, even as Alexander is left in cold dampness in his own shame-filled memories.

Stunning beauty and touching sadness intertwine in a delicate dance in EYES OF EIDELON, as we explore the question of how long one can live with grief before it consumes their very soul. How long can the guilt of what could have been live in our hearts before we are haunted, permanently, by the specters of our past – our past loves, and our past selves? Haunting morality and beautiful aesthetics collide into a beautiful composition in, EYES OF EIDELON 

8.5/10 Stars