The Human Surge movie review (2017) | Little White Lies

The Human Surge

06 Jul 2017 / Released: 07 Jul 2017

Three people standing in shallow water, facing away from the camera, with distant views of the ocean and sky.
Three people standing in shallow water, facing away from the camera, with distant views of the ocean and sky.
3

Anticipation.

Preceded by a fearsome reputation following its festival run.

4

Enjoyment.

Yes, it’s impenetrable, but in a really interesting and unique way.

4

In Retrospect.

A thinker, but leaves both a cerebral and emotional impression.

Eduar­do Williams’ strik­ing fea­ture debut rumi­nates on life and leisure in a dig­i­tal world.

Some­times you’ve just got to go with a movie, even when it appears to be ges­tur­ing that you jog off in the oppo­site direc­tion. Resist those bod­i­ly impuls­es telling you to turn away from the screen and just keep ques­tion­ing what you’re watch­ing and why.

Eduar­do Williams’ The Human Surge is cin­e­ma as a dou­ble dare. He asks: if you can see what it is I’m doing, can you admit to be glean­ing any plea­sure from it? Span­ning three dis­parate locales (Argenti­na, Mozam­bique, the Philip­pines), Williams cap­tures the things that young peo­ple do when they have noth­ing to do. There’s lots of wan­der­ing, there’s some idle chat­ter, there’s a lit­tle bathing in a creek, and even some pub­lic urination.

Tech­nol­o­gy offers a gen­tle respite from the numb­ing bore­dom as teens hook up with like­mind­ed peers across the globe and per­form tit-for-tat sex rit­u­als in front of a web­cam. The images cap­tured by the direc­tor (although direc­tor’ doesn’t seem like the cor­rect word for it) are con­fronta­tion­al, grot­ty and abra­sive as he attempts to emu­late the scuzzy visu­als cap­tured by the bud­get equip­ment owned by his subjects.

There’s no Steadicam here as the cam­era bobs and nods inel­e­gant­ly while trac­ing peo­ple as they wan­der through streets, jun­gles and fields – the human fac­tor is always empha­sised. The title may refer to the idea that the world feels fuller now that gad­gets can sign­post our iden­ti­ty and cor­rob­o­rate our existence.

It’s free­wheel­ing to the point of monot­o­ny, yet the dron­ing longueurs are all part of the film’s sub­tle explo­ration of bore­dom, indi­vid­u­al­i­ty and our abu­sive rela­tion­ship with tech­nol­o­gy. The final sec­tion is also the tough­est as Williams seems deter­mined not to force a con­nec­tion or empha­sise a theme. Then when it comes to a cli­mac­tic coda set in an elec­tron­ics shop floor, the film evolves into a sur­re­al com­e­dy tableaux that’s like Samuel Beck­ett play­ing Pong with Chris Mark­er. Weird shit, but good shit.

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