In Come Here, Anocha Suwichakornpong's latest film, four people in their early twenties travel to a museum in Kanchanaburi, Thailand. When they learn it is closed for refurbishment, they fill their days with leisure and recreations of various sorts. It is a film of suspended action and suspended time, where Suwichakornpong's formal gestures capture their bodies in the spatiality of a world that seems to have been set to pause.

Eduardo Williams has always been curious about the notion of bodily autonomy—both spatially and temporally—in this world of late capitalism, where we not only sell our labor, but also our (free) time. He looks to people his own age, or younger, and follows them across both literal and figurative borders as they attempt to find new ways to live in this world of ours, whether it is Sri Lanka, Argentina, or Peru. The Human Surge 3 is a pseudo-sequel to The Human Surge from 2016 (there is no Surge 2), but it stands entirely on its own.

Williams is a playful formalist who never hides his insatiable curiosity about the potential of digital image-creation: as with Parsi (2019) and its use of a GoPro 360 camera; or the plunge into a human body through an endoscopic pill camera in A Very Long Gif (2022). The entirety of Surge 3 was shot with an Insta360 Titan, a spherical camera with eight lenses that lets you shoot in all directions at once, and was then edited with a VR headset. Here Williams recorded the movements of his own head to frame the image, which he then transferred to the flat surface of the cinema screen. This creates a digital image that seems to tear apart the seams of its composites; distorted and uncanny. These images blur the lines of the real and the unreal of our digital image perception and that of the lives of Williams' characters, who have all grown up in a world of constant availability. He creates images that carry within them all these tensions of bodily autonomy, and the potentials for new ways to live.