Eduardo Williams

In Eduardo Williams’s video, scales are flipped and imperceptible movements are unveiled. Images from a camera passing through a digestive system and gazes into the far distance sustain each other with the tension of celestial bodies.

For the 30th anniversaire of FIDMarseille about thirty directors have done us the honor of offering us some very beautiful short films.

『그렇지 않다 』 (No es 는 파르시 의 공동 연출가 마리아노 블라트가 평생 동안 계속해서 이어 쓰고 있는 시로 이 작업 과 정은 그의 일생 동안 지속된다 몇 일 몇 달 몇 년 동안 덧붙여진 이 시의 문구는 어떤 것도 담을 수 있다 이미지들 사람 기억들 풍경 구절들 아이디어 등등 겉으로는 그런 것 같지만 사실은 아닌 것들의 리스트를 담고 있는 에두아르도 윌리 엄스의 영화 파르시 는 공간과 주변 사람들 사이를 끊임없이 배회한다 관객은 마치 복잡한 거리를 걷고 사람들을 만나 며 때론 물 속 세상을 보는 것처럼 느끼고 끊임없는 이미지의 전환을 경험을 하게 된다 그리고 그 경험 자체는 『 그렇지 않다 』 (No es 라는 시의 창작 과정의 일부가 된다

An elf falls asleep in the metro of Buenos Aires. What does he dream of? Maybe of being a young Bolivian man, a robot constructor, evolving in a city that seems to have been built by a child with a wild imagination. In his film, Eduardo Williams continues his project of connecting disjointed terrestrial. From Buenos Aires to La Paz, we move from cool to warm colors, from a fruit and vegetable shop to a dark cave where big metal figures are fabricated. Or maybe something else is being made there. Indeed, it is far away in the phantasmagoric woods of Fontainebleau that those metallic experimentations come to life as agile as voguing dancers. In a few minutes, we travel through three countries, two continents and through the bodies it captures, the voices and sounds it registers, it is the entire world manifesting at our senses.

Shooting on 16mm film in Mozambique, director Ico Costa explores the textures of human behaviour as he follows young men who wonder what lies beyond their immediate surroundings. In the fragments of conversations captured in the Maputo market, a recording studio and on coconut trees, we find daily routines and tedium lead to chit-chat on desire, money and hope. In the interplay between performance and document, poetry emerges from fleeting everyday moments.

Buenos Aires. Exe, 25 years old, has just lost his job and is not looking for another one. His neighbors and friends seem as odd to him as they always do. Online, he meets Alf, a boy from Mozambique who is also bored with his job and who is about to follow Archie, another boy who has run away into the jungle. Through the dense vegetation of the forest, Archie tracks ants back to their nest. One of them wanders off course and comes across Canh, a Filipino, sitting on top of a giant heap of earth and who is about to go back to his strange, beautiful home town, where he too has a miserable job.

Buenos Aires. Exe, 25 years old, has just lost his job and is not looking for another one. His neighbors and friends seem as odd to him as they always do. Online, he meets Alf, a boy from Mozambique who is also bored with his job and who is about to follow Archie, another boy who has run away into the jungle. Through the dense vegetation of the forest, Archie tracks ants back to their nest. One of them wanders off course and comes across Canh, a Filipino, sitting on top of a giant heap of earth and who is about to go back to his strange, beautiful home town, where he too has a miserable job.

Buenos Aires. Exe, 25 years old, has just lost his job and is not looking for another one. His neighbors and friends seem as odd to him as they always do. Online, he meets Alf, a boy from Mozambique who is also bored with his job and who is about to follow Archie, another boy who has run away into the jungle. Through the dense vegetation of the forest, Archie tracks ants back to their nest. One of them wanders off course and comes across Canh, a Filipino, sitting on top of a giant heap of earth and who is about to go back to his strange, beautiful home town, where he too has a miserable job.

Buenos Aires. Exe, 25 years old, has just lost his job and is not looking for another one. His neighbors and friends seem as odd to him as they always do. Online, he meets Alf, a boy from Mozambique who is also bored with his job and who is about to follow Archie, another boy who has run away into the jungle. Through the dense vegetation of the forest, Archie tracks ants back to their nest. One of them wanders off course and comes across Canh, a Filipino, sitting on top of a giant heap of earth and who is about to go back to his strange, beautiful home town, where he too has a miserable job.

Climb up, let’s jump, the fields are green and the houses grey. We’re all small. It feels like the pores of my skin have become gigantic.

Climb up, let’s jump, the fields are green and the houses grey. We’re all small. It feels like the pores of my skin have become gigantic.

Climb up, let’s jump, the fields are green and the houses grey. We’re all small. It feels like the pores of my skin have become gigantic.

Searching for a seed, a young man emerges from the underground where he hangs out with his friends. They all embark on a long digestive trip.

Searching for a seed, a young man emerges from the underground where he hangs out with his friends. They all embark on a long digestive trip.

Searching for a seed, a young man emerges from the underground where he hangs out with his friends. They all embark on a long digestive trip.

Sometimes we find ourselves walking, talking or simply looking at things. That is what the protagonists of this film do. However, inside this mystery of life, we don’t know who they are or what they do. Teddy Williams builds yet again a dense and fantasmatic universe where breezes rhyme with vacancies and to the verb to be has its full double meaning. (M. V.)

Sometimes we find ourselves walking, talking or simply looking at things. That is what the protagonists of this film do. However, inside this mystery of life, we don’t know who they are or what they do. Teddy Williams builds yet again a dense and fantasmatic universe where breezes rhyme with vacancies and to the verb to be has its full double meaning. (M. V.)

Sometimes we find ourselves walking, talking or simply looking at things. That is what the protagonists of this film do. However, inside this mystery of life, we don’t know who they are or what they do. Teddy Williams builds yet again a dense and fantasmatic universe where breezes rhyme with vacancies and to the verb to be has its full double meaning. (M. V.)

Sometimes we find ourselves walking, talking or simply looking at things. That is what the protagonists of this film do. However, inside this mystery of life, we don’t know who they are or what they do. Teddy Williams builds yet again a dense and fantasmatic universe where breezes rhyme with vacancies and to the verb to be has its full double meaning. (M. V.)

The accident leads a group of young boys from the high roofs of their neighborhood, passing through its destruction, to the deepest of the earth.

The accident leads a group of young boys from the high roofs of their neighborhood, passing through its destruction, to the deepest of the earth.

The accident leads a group of young boys from the high roofs of their neighborhood, passing through its destruction, to the deepest of the earth.

The accident leads a group of young boys from the high roofs of their neighborhood, passing through its destruction, to the deepest of the earth.

The supermarket is filled with products, but there’s no one there. Oh, yes, there’s one kid. But he doesn’t walk as if he was in a supermarket. His friends fight with the cashier, they’re looking for something she says it doesn’t exist. Later on the streets they are a group again, they walk and talk like they do every night. They all want time to go by as it always does.

The supermarket is filled with products, but there’s no one there. Oh, yes, there’s one kid. But he doesn’t walk as if he was in a supermarket. His friends fight with the cashier, they’re looking for something she says it doesn’t exist. Later on the streets they are a group again, they walk and talk like they do every night. They all want time to go by as it always does.

Different groups of people wander in a rainy, windy, dark world. They spend time together, trying to get away from their depressing jobs, meandering constantly towards a disturbing surreal queer fantasy.