$10 [members $8] For tickets, please visit: https://web.ovationtix.com/trs/pr/1036265 Program curated by Aily Nash Often beginning mid-conversation, Eduardo Williams’s kinetic films carry the viewer through liminal and peripheral paths—alleys, hallways, jungle trails, and grocery store aisles—into the intimate lives of its protagonists. What propels the movement of the ambulatory young men in Williams’s films is less central than the visceral feeling of being along for the ride. The hyperlocal, yet often disorienting experience of place, be it Sierra Leone and France in Que je tombe tout le temps? / That I’m Falling? (2013), or Hanoi in Tôi quên rồi / I Forgot! (2014), is deepened through the casual minutiae discussed by close friends, the texture of beloved hangout spots, and parkour practiced on abandoned buildings. The immersive manner of being with that Williams establishes in these early works lays the groundwork for his acclaimed feature The Human Surge (2016). In his latest film Parsi (2018), the propulsive words of Mariano Blatt’s poem “No es” match the relentless momentum of the embodied camera, which meanders the streets of Guinea-Bissau. In person via Zoom: curator Aily Nash and filmmaker Eduardo “Teddy” Williams The Program: Que je tombe tout le temps? / That I’m Falling? (2013), 15 min Mysteriously unfolding between a suburban French town, the jungles of Sierra Leone, and a tunnel that seemingly connects them, a young man moves between the two, as he searches for a nameless seed and embarks on a digestive journey. Tôi quên rồi / I Forgot! (2014), 30 min The film follows a group of friends through their daily routines of work and play as they weave through the dense rainy streets of Hanoi and the abandoned developments on its outskirts where they parkour between rooftops. Parsi (2018), 23 min The propulsive words of Mariano Blatt’s poem “No es” match the relentless momentum of the embodied camera which meanders the streets of Guinea-Bissau, bringing the viewer into close proximity with its various inhabitants as they move through it. The Filmmaker