Eduardo Williams

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.

No es (It isn’t) is a cumulative poem by Mariano Blatt, whose constant writing process extends over a lifetime. The text of the poem, to which verses are added over days, months and years, can cover anything: images, people, memories, landscapes, phrases, ideas, etc. Having that list of “what seems to be but isn’t” ringing in his head, Eduardo Williams’ film Parsi observes in a perpetual movement the spaces and people to create another poem that is caressed, crashes and spins next to No es.

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.

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.)

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.

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.

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.

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.

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.

A short film by Teddy Williams.

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

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.

An undefined sound permeates the city of Athens: constant sirens that no one mentions but everyone seems to accept. Amidst moonlit streets and rooftops, the film follows fragments of lives, from students discussing the university blockade to those searching for a missing friend. The vibration continues in Bangkok, where we meet Mok and Arm with their friends, caught between cosmic dreams and everyday absurdities, while the film accumulates presences, frequencies, and questions until reaching a perceptual threshold where the world seems to oscillate between transformation and collapse.

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.