समाचार

Exhibiting a deliberately fragmentary aesthetic that sought to emulate the context-free disorientation of life mediated through laptops and phone screens, Eduardo Williams’s The Human Surge earned him the Golden Leopard at 2016’s Locarno Film Festival, as well as no small amount of bemusement and scorn from other quarters. The idea that such an obtuse experimental work could have any franchise potential inspired the jokey title of the Argentine filmmaker’s latest, The Human Surge 3. Though mostly unrelated to its predecessor, the film shares its jarring, hyperlinked structure and its focus on the leisure time and everyday routines of unmoored, underemployed youths in liminal settings around the world.

The Human Surge 3 hops with no sense of urgency or discernible goal between Hong Kong, Sri Lanka, Peru, and a variety of other spots, its action (or lack thereof) usually taking place against a backdrop of remote rural villages, natural idylls,...