Digital spaces are a vast and ever-growing landscape one seems to be simply flowing through. Daunting bulks of colliding information, rapid jumps from one place to the other, and the feel of inhabi…
Ever since he broke into the festival scene with 2011’s “I Could See a Puma,” and later solidified his festival standing with Golden Leopard – Filmmakers of the Present winner “The Hum, Eduardo Williams’ oeuvre has stood out by embracing the formal possibilities of new media, and rethinking our relationship with images through its insightful inquiries on human connectivity and digital textures.
“I tend to try not to stick to typical ways of thinking about the future or present. I might be more or less original in different ways, of course, but more than the future, my artistic desire has much more to do with addressing our current times. So many moments in my life, I’ve experienced relating to people through the computer. This has become physical life, and I like to try to do films that embrace this idea,” Williams puts it.
One of “The Human Surge 3’s” most notable aesthetic gambles comes by its use of a 360º camera, which is then carried through different settings and landscapes by the actors. Characters journey through dense jungles, grassy mountains, and tropical cities while taking the camera to intimate and public places. The resulting material was then edited by Williams as an immersive experience that allowed him to see in every direction using a VR headset.
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