Something about this film felt inevitable; parallel to an increase in World Press Photo submissions featuring people w/ cell phones who just a few years ago wouldn't have had them... Now finally a fully global generation. The film feels both defining & anonymous; so necessarily emerging from this time that it blends in like wallpaper. I'll probably never think of it again, except maybe academically. Still, ambitious!
Meandering with lighting that seems to be on auto-adjust (weirdly this gave the film an interesting visual unpredictability) and hinged around scenes of offbeat, curious conversations. Could easily feel self indulgent but is too light on its feet for that to happen. Reminded me in places of Carlos Reygadas and Apichatpong Weerasethakul.
Interesting debut feature from Williams that follows the actions/daily life of young men on three different continents that entails 'feeding an insatiable need for human connection through technology (Koresky, Film Comment)'. Slow cinema with a couple of rewarding sequences notably the ant hill sequence. Not for all tastes.
It has its moments of brilliance - like the contrast between our primitive construction, the urge to move back to the jungle vs the complicated, cyber artificial society that we created. Unfortunately, majority of the time we spend following random guys, watching how they make money on gay video chat-rooms and the sort... An aimless journey, meandering around a very cool idea, but not really finding it.
when i saw the scene of nature,in the constant shiny white surges,people crosses by turn with the pleasure,i was thrilled by something.young and boundless cinema,looking at human. makes me believe that the essential things of ourselves will be continued in the future even with changing the shape.
An interesting film from writer-director Eduardo WIlliams, The Human Surge would be better if each of the three main narrative strands felt like they had more of a point. As things stand, it's really the way in which Williams moves from one story to the other that seems to hold the key to the message - a rather simplistic one about technology linking people of the world while not really changing their lot in life.
Audacious shit. Its reach exceeds its grasp, but I'm not one to bemoan such things, esp. with a view of technology and capitalism that feel embedded rather than discursive. I hadn't read anything before I pressed play and naturally was occasionally stunned. The natural transgressions, the ease with which people navigate online and communal spaces, Donna Haraway would respect it.
The rhythm is both restless and at times relaxing, capturing lost youth - that uncertain feeling of moving through the world without a concrete destination. The detached scenes reflect realistically the monotone and mundane routine of life. The moving camera following the group with every footstep creates an intimate atmosphere and makes me feel like I'm one of the characters.
Watching this film made me feel how the characters must feel in their constant quest for technological connection, like I was browsing through Instagram or Snapchat stories on a late night - distant, restless, bored, but unable to dissociate myself from technology (and this film). I appreciated what this film was trying to do even though it may not have been particularly engaging at times.
Acest film este "Slacker" nou în anii' 10. Călătorind în trei continente, acest film descrie, într-un mod scurt și la obiect, trei tineri care își trăiesc viață languroasă și annulus nesfârșit al apocalipsei călduțe ia la suprafață de granularitate. Este destul de ciudat dar temerar și nemaivăzut. // 今作は2010年代における新たなる「スラッカー」だ。3つの大陸を股にかけ、3人の若者が気怠い日常を生きる姿を執拗かつ淡々と描き出す末、フィルムの粒子に生温い黙示録の終わりなき螺旋が浮かび上がる。頗る奇妙だが大胆不敵で素晴らしい。
Digital. Indie Lisboa # 8. Another nth film that practices a persecutory handy camera's realism, shaking like Lilian Gish's hair in Sjostrom's wind, which finds no interest in his project other than the tricks that in the fiction allow to do "Ah!". The links between the various parts are good, but too inflated, while what happens in each chapter is a strenuous attempt to attach a discursiveness to it.
Commanding assertion of a fledgling vision. THE HUMAN SURGE is a tremendous achievement, formally self-generative, exploratory, UFO-like. Maybe a little too Undergrad Philosophy. I'm reminded of the title card in Godard's WEEKEND: "a film found on a scrap heap." (I mean that in the best way possible.) In some ways it also invokes some of the bulky networked films of Richard Linklater. One hell of a calling card.