The Human Surge Movie in Full HD With Subtitles, 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. Watch HD Movies Online For Free and Download the latest movies. For everybody, everywhere, everydevice, and everything;) Login in with. The Human Surge (2016) - Torrent Downloads. Download The Human Surge 2016 movie from torrent downloads selecting either torrent or magnet link and watch The Human Surge full movie on HD downloading 720p torrent link. Original Title: El auge del humano. Aug 16, 2016  An ingeniously shape-shifting debut from director Eduardo Williams, which follows the lives of mostly young men in disparate parts of the world.

As a video installation projected on the wall of an art museum, “The Human Surge” would likely find its ideal audience. Williams certainly has his admirers, as evidenced by the prizes he garnered last August at the Locarno International Film Festival. Yet if it hadn’t been for Ela Bittencourt’s wonderful interview with the director in Film Comment, my response to the movie would’ve been as baffled as Warren Beatty’s response to that now-infamous duplicate card at the Oscars. Incorrectly billed as a documentary on IMDb.com, Williams’ three-act opus casts nonprofessional actors as aimless youths yearning to break free from their dead-end jobs and isolated communities through the transporting prism of technology. Williams’ script was a mere 15 pages, enabling him to lose himself in the process of finding each scene during production, giving them the spontaneous rhythm of unguarded moments. This approach demands the skills of a master craftsman, and Williams has not yet reached that point in his artistry. His wandering eye continuously risks losing the audience entirely, resulting in endless shots where the camera follows characters from a distance, surveying the back of their heads as Gaspar Noé did (albeit brilliantly) with his protagonist in “Enter the Void.” The intention here is for the audience to absorb the characters’ surroundings, which are often difficult to make out, as if they were lit by a dim projector bulb.

Any interest the film’s first act generates is of a prurient nature, as it centers on Exe, a Buenos Aires man in his twenties. After losing a job he detested, Exe hangs with his friends who are aiming to acquire a new revenue stream by live streaming footage of their genitals. The frontal nudity on display is as plentiful as one would expect, though not quite as explicit, considering the dingy compositions of the cinematography shot on Super 16. If Williams’ goal was simply to make his viewers as bored and horny as the people onscreen, then this section could be considered successful, if not exactly compelling. Once the second act is triggered by the camera literally entering a computer screen—reflecting the “rabbit hole”-like immersion offered by the Internet—the film starts to come off the rails. The screen displays footage of young men from Mozambique flashing their crotches at whoever happens to be looking, though they stop short of complying to the viewers’ pornographic requests. Then Williams starts to follow these men for a period of time, and the quality of the camerawork is so poor that it caused me to wonder whether the screener I received was somehow flawed. In his interview with Bittencourt, Williams reveals that it actually was his intention to make the footage appear as if it were filmed off a computer screen, because that’s exactly how he captured it, with a Super 16 camera. And it looks just plain awful.

Turns out Alf, one of the men in Mozambique, is also saddled with a job he hates, so he decides to follow another guy into the jungle. As one of them urinates on an anthill, the camera hurtles directly into the ground, immediately evoking memories of the unforgettable opening sequence in David Lynch’s “Blue Velvet,” which honed in on the eerie insects lurking within the impeccably manicured lawn of a repressed suburb. After the initial thrill of a change in scenery, even this odd sequence in “The Human Surge” outstays its welcome. Williams spends so much time lingering on the ants that one wishes they’d break into song just like they did in Lynch’s “Dumbland” series. When the camera reemerges above ground, the story is suddenly transported to the Philippines, thus completing the film’s metaphorical use of an ant colony as a representation of how technology binds us over vast distances, delivering moments of fleeting intimacy that can brushed off as quickly as an ant on a human hand.

The hand witnessed in close-up belongs to a member of a Filipino family we later see bathing in a picturesque location well-lensed by the now-digital camerawork. Yet this section is every bit as frustrating as the first two, in part because Williams deliberately obscures which character is talking at any particular moment. Since we have no investment in any of the allegedly talking heads onscreen, the dialogue comes off purely as pretentious musings from its writer/director. Lines like, “The normal sound of the future will be a crowded food court” or, “I dreamt that the sky was covered in advertisements” are interesting in and of themselves, but they are delivered here like flowers thrust into the void of a freshly dug grave. Nothing resonates because nothing connects. It’s as if the film is bored with itself and is continuously searching for a purpose as elusive as the internet café hunted after by the family’s daughter.

Florescent lights lend a ghoulish aura to the film’s final moments set in a factory where tablets are being created. Echoing through the room is a robotic voice that repeats the word, “Okay,” again and again. https://yournin5.netlify.app/windows-server-2003-standard-with-sp2-iso-download.html. This should be a chilling finale, but it is so prolonged that it devolves into the cinematic equivalent of water torture. Rarely have I felt more relieved by an end credit roll. I hated “The Human Surge,” but I do not hate its creator. I commend him on his audacious attempt at conveying how human connection has become as fragile as one’s Wi-Fi connection. If only I could connect with the film itself.

The Human Surge (Spanish: El auge del humano) is a 2016 experimental film directed, written, photographed and edited by the Argentine director Eduardo Williams. It is Williams' first feature film, after a number of shorts. The Human Surge is structured into three separate narrative and geographical segments: one in Buenos Aires, the second in Maputo, Mozambique, and the third in Bohol, Philippines.

Each narrative segment follows a handful of characters, who are often seen loitering or moving between spaces, such as workplace and home. The segments are linked with diegetic bridges. Williams has stated that he wanted to explore the sensation and feelings related to aimlessness and travel, and thereby 'create a rhythm between excitement and boredom or surprise and depression.'^[4] The characters depicted in the three segments are invariably poor, restless and on the search for connection with other human beings.

The film premiered at the Locarno Film Festival in 2016, where it won the Concorso Cineasti del Presente (Filmmakers of the Present). It was subsequently released at film festivals in Toronto and New York to critical acclaim. Comparisons have been made to other filmmakers working in the slow cinema subgenre, where emphasis is made on the durational aspect of film, rather than its narrative qualities.

Synopsis[edit]

In Buenos Aires, the 25-year-old Exe is seen waking up and getting dressed in his apartment. He wades through a flooded neighbourhood to arrive at his workplace, a supermarket, only to be fired from his position. He subsequently spends time with his friends and family, loitering with the former in urban spaces and visiting online sex chat rooms. They perform sex acts, like fellatio, on each other in front of a web camera for virtual payment.

The movie moves on to the next segment through the window of a Chaturbate website, in which a group of African teenagers in Maputo, Mozambique are also seen engaging in cybersex for money. The Mozambique characters are also unemployed and empoverished, and perambulate through the streets between odd jobs and social events.

One character is found urinating on an anthill, which functions as a diegetic segue to the film's third segment, when the camera follows ants moving into the earth, before finally arriving at a hand holding a smartphone in a jungle somewhere in the Philippines. The film subsequently follows a couple of characters bathing together and walking through the jungle, in particular one woman looking to charge her cellphone. Finally, the film moves into a technological factory in Bohol, where tablet computers are made on an assembly line. The last words are spoken by a machine, repeatedly saying 'Okay.'

Production[edit]

Williams had made six short films before his feature debut The Human Surge, in which he had experimented with different video formats and textures.^[5] In the short films Pude ver in Puma (eng. Could See a Puma, 2011)^[6] and Tôi quên rôi! (eng. I forgot!, 2014), he and his usual cinematographers Joaquin Neira and Julien Guillery experimented with various aesthetic strategies—notably the use of long, handheld tracking shots (often described as 'floating' and 'restless'^[7][8]), amateur photography, as well as elliptical storytelling—which they also used in The Human Surge.^[7]

For The Human Surge, Williams used three different video formats, one for each segment: the Argentine segment was shot on 16 mm film, the Mozambique part with a Blackmagic pocket camera—subsequently recaptured in Super 16 from a computer monitor, and the final Philippine sequence on a digital RED camera.^[9][10] In the Mozambique segment, Williams operated the camera himself, considering it 'so small,' whereas in the two other segments he was helped by several assistants.^[11]

In his first short films, Williams had regularly employed a domestic Argentine setting. However, in the latest shorts—That I'm Falling? (2013) and I forgot! (2014)—he opted for different locales, Sierra Leone and Vietnam, respectively. Having travelled abroad only very rarely as a young man, Williams was struck by the beauty of foreign languages, and wanted to use them in a filmic context. He eventually also discovering a charm in his vernacular, spoken Spanish.^[5]

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Using a chronological lifespan approach, the book presents separate chapters on biological, psychological, and social impacts at the different lifespan stages with an emphasis on strengths and Empowerment. https://ninmilliondollar.netlify.app/understanding-human-behavior-and-the-social-environment-free-download.html.

Analysis[edit]

The film has been analysed for its commonalities with other entries in Williams' oeuvre, most notably the themes of alienation in the internet age, and how modern technology creates distance between people.^[9]

The Human Surge Full Film Download Torrent 2017

—Eduardo Williams, 2016.^[7]

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Picking up on the theme of internet psychology, critic Nick Pinkerton praises Williams' ability in addressing 'the enormous cognitive earthquake represented by the internet's colonization of daily life'.^[7]

Several critics have found certain organizational elements within the film and, by extension, Williams' oeuvre. Leo Goldsmith of Cinema Scope has called Williams' work a 'cinema of vectors', noting the constant geographical and ontological displacement throughout his films.^[8] Ambulatory passages are frequent in Williams' cinema, where (often young) characters are seen moving through dilapidated apartments, supermarkets, areas of urban decay, jungles, rocky hillsides and caves.^[11] The novelty in The Human Surge lies in its movement from literal/concrete places (anthill) to abstract/figurative places (internet).^[11]

In the final segment, Williams wanted to address the 'illusion of escape', by moving to the natural, verdant greens of the Filipino jungle, only to pull back into a machine-filled factory, which he found to be a 'very strange' and 'very digital place'.^[12]

Serbo-Croatian filmmaker Iva Radivojevic compared Williams' film to Lucrecia Martel's La Ciénaga (2001, eng. 'The Swamp'). Beyond both being feature debuts from Argentinian filmmakers, Radivojevic found The Human Surge to be starting 'in a kind of swamp' and sharing a 'mystical quality' with Martel's film, causing the spectator to be 'injected into a kind of vacuum of time'.^[13]

Reception[edit]

The Human Surge premiered at the Locarno Film Festival to critical acclaim. It won the main prize in the section 'Filmmakers of the Present' at the festival, the jury of which included Italian horror director Dario Argento.^[7][8][14]

When the movie was shown at the Maryland Film Festival, programmer Eric Allen Hatch invoked the concept of slow cinema, citing filmmakers such as Andrei Tarkovsky, Lisandro Alonso, Harmony Korine and Gus van Sant, who also take advantage of the durational aspect of the moving image.^[15] In an interview with the director for Filmmaker Magazine, critic Vadim Rizov picked up on that theme, regarding Hungarian filmmaker Béla Tarr as an important influence on the film's long tracking shots following characters moving through space. He also mentioned van Sant, finding the handheld camera to be suggestive of 'the physical foot leather fueling the camerawork.'^[11]

Some critics were less enthusiastic about the film. Jessica Kiang panned the film for Variety, claiming that while Williams' 'formal rigor is to be admired' the humans in the film are 'little more than microbes in the petri dish [of the filmmakers'] 'formalist experiment.' Kiang concluded that the film is, 'a victim of its own effectiveness: It's rigorous, rarefied, and utterly remote'.^[16] Carson Lund of Slant Magazine was also critical of the feature, considering it to be easily mistaken for 'a particularly interminable YouTube video'.^[17]

The film was listed on several best-of-the-year lists for both 2016 and 2017, due to different release dates.^[18] It was considered the second best film of 2017 by the online film magazine Reverse Shot, a publication of the Museum of the Moving Image in New York. Editor Jeff Reichert noted its 'shape-shifting' qualities and compared it to the works of Thai directors Apichatpong Weerasethakul and Anocha Suwichakornpong (the latter's By the Time It Gets Dark was listed as number 8 on the same list), which he lauded for 'allowing themselves to do whatever, whenever they please.' He concluded his entry by calling The Human Surge 'the most laid-back movie of grand ambition to come along in some time.'^[19]

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References[edit]

1. ^ ^abcdef'The Human Surge,' Cineuropa, accessed August 14, 2017.
2. ^Glenn Kenny, 'Review: Pursuing (Cyber) Connections in ‘The Human Surge’,' The New York Times, March 2, 2017.
3. ^ ^ab'Eduardo Williams: The Human Surge', Tate Modern, February 24, 2017.
4. ^Gustavo Beck, 'Embracing Uncertainty: An Interview with Eduardo Williams,' MUBI, August 8, 2016.
5. ^ ^abEla Bittencourt, 'Interview: Eduardo Williams,' Film Comment, October 5, 2016.
6. ^Pude ver un Puma, Universidad del Cine (Vimeo), accessed August 14, 2017.
7. ^ ^abcdeNick Pinkerton, 'Mountain Out of an Anthill,' Artforum, February 3, 2017.
8. ^ ^abcLeo Goldsmith, 'The Wanderer: Eduardo Williams’ The Human Surge,' Cinema Scope 68, TIFF 2016.
9. ^ ^abAndréa Picard, 'Aboard the Human Express,' Metrograph, March 1, 2017.
10. ^Mark Peranson, 'The Human Surge,' Locarno Festival in Los Angeles, accessed August 14, 2017.

    ———. 'El auge del humano,' PardoLive, August 8, 2016.

    ———. 'Cinema Scope 68 Editor's Note,' Cinema Scope 68, 2016.

11. ^ ^abcdVadim Rizov, 'The Art of Walking: Eduardo Williams on The Human Surge,' Filmmaker Magazine, January 18, 2017.
12. ^P. M. Cicchetti, 'An Interview with The Human Surge's Eduardo Williams,' Reverse Shot (Museum of the Moving Image), March 2, 2017.
13. ^'Notebook's 9th Writers Poll: Fantasy Double Features of 2016,' MUBI, December 28, 2016.
14. ^Zach Lewis, '#NYFF 2016: The Human Surge,' Brooklyn Magazine, October 5, 2016.
15. ^Eric Allen Hatch, 'The Human Surge,' Maryland Film Festival, accessed August 14, 2017.
16. ^Jessica Kiang, 'Film Review: The Human Surge (2017),' Variety.com, February 9, 2017.
17. ^Carson Lund, 'The Human Surge,' Slant Magazine, February 24, 2017.
18. ^'World Poll 2016 – Part 1,' Senses of Cinema 81, January 2017.
    • 'World Poll 2016 – Part 2,' Senses of Cinema 81, January 2017.
    • 'World Poll 2016 – Part 3,' Senses of Cinema 81, January 2017.
    • 'World Poll 2016 – Part 5,' Senses of Cinema 81, January 2017.
    • 'World Poll 2016 – Part 6,' Senses of Cinema 81, January 2017.
    • 'World Poll 2017 – Part 1,' Senses of Cinema 85, January 2018.
    • 'World Poll 2017 – Part 2,' Senses of Cinema 85, January 2018.
    • 'World Poll 2017 – Part 3,' Senses of Cinema 85, January 2018.
    • 'World Poll 2017 – Part 4,' Senses of Cinema 85, January 2018.
    • 'World Poll 2017 – Part 6,' Senses of Cinema 85, January 2018.
19. ^'Reverse Shot's Best of 2017,' Reverse Shot, January 1, 2018.

External links[edit]

• The Human Surge on IMDb
• The Human Surge at Critics Round Up