Short films by Teddy Williams

Eduardo Williams (1987, Argentina) studied at the Universidad del Cine in Buenos Aires, before being part of Le Fresnoy - Studio national des arts contemporains in France. His first short films were shot in Argentina, but his most recent works, filmed in different countries, focus on the uncertainty of movement and spontaneous connections made in various contexts as a central part of his work. Pude ver un puma(2011) and Que je tombe tout le temps? (Que caigo?, 2013) were premiered at Cinéfondation and the Directors' Fortnight at the Cannes Film Festival. Pude ver un puma also took part in the International Film Students Meeting at the San Sebastian Festival. Tôi quên rồi! (Me olvidé!, 2014) was premiered at FIDMarseille.

His short films have been featured as a retrospective in centres such as the Cinémathèque Française in Paris and the Valdivia International Festival, Chile, amongst others. His first feature film, El auge del humano (2016), won the best film award in the Cineasti del Presente section at the Locarno Festival and was later shown at the Toronto International Film Festival - Wavelengths, New York Film Festival - Projections, Tate Cinema, Viennale and Mar Del Plata International Film Festival, amongst others. Tabakalera has scheduled this feature film within its Atomic Age season.

Tan atentos, Argentina, 2011, 7'
Pude ver un puma, Argentina, 2011, 17'
El ruido de las estrellas me aturde, Argentina, 2012, 20'
Que je tombe tout le temps? (¿Que caigo?), Argentina, 2013, 15'
Tôi quên rồi! (¡Me olvidé!), France-Vietnam, 2014, 29'

The session we present is an experiment: it is about projecting all his shorts, one after the other, separated by a short black screen, as if they were part of a single project. Only at the end will the final credits roll.  This is the director’s explanation: “I think it's interesting to see the shorts together because there are similar ideas that are developed in each one and which try to find their way in different manners. It seems to me that showing them without the credits at the end of each one, and each short only separated by a moment of darkness, supports the idea of continuity and creates a unique opportunity to see them in a different way, almost like a new work, which is not a full-length film, or five different shorts either.”