（懶得翻譯成中文了）To discuss the human surge 3, I’d like to start by talking about the long take quietly set in a tropical rainforest first, because for me the film begins to feel right from that moment. In the shot, what appears on screen is no longer just artificial buildings or people living in man-made landscapes as before, but different shades of green with an immersive soundscape of insects and birds chirping. There’s even a monkey that passes by silently “performing” in front of the camera. As the fixed shot begins to pan slowly, the visuals and sounds get even more meditative and hypnotic, which makes me feel as if I’m nestled in the gentle cradle of nature. Before the audience is about to fall asleep, the circular movement of the camera accelerates as it gradually tilts upwards, with the sky surrounded by trees becoming the center of the frame. Then the camera vision spins even faster centered on the white of a small patch of sky, and the trees around the frame blur into green trails from the drag created by rapid motion.Everything is so far so good. However, as the shot continues to zoom out crazily to the sky above the forest - maybe it’s not supposed to - the image becomes pixelated due to the loss of definition, and the surrounding green space starts to shrink. Now the cinema dream falls apart, since it’s revealed to the audience that this illusion of nature is just a digital composition - it has resolution limits and boundaries like computer games. The visual tension caused by the speed reaches its peak as the white of the sky fills the entire screen, and everything turns into emptiness - an emptiness that the directorEduardo William noted in interviews as important to him.Immediately after that blank image, all the tension is released all at once as our gaze is redirected to a dark pool of water. The tight pupils in front of the screen get a soothing dilation as the light is dimmer; the physical and mental muscles of the audience relax again. Our eyes follow the movement of the camera as it extends across the river, and then we see a group of people rowing a boat - the characters have returned to the screen. The camera only passes over them before focusing entirely on the gentle waves at the stern. The world is now reduced to the soft, gurgling sound of flowing water. Thus, our fully mobilized senses also ripple along with the water, as if going through a healing process.Being half awake, I could hardly recall what happened afterward. It just felt like I was tuned into the loosest state possible. Still, I can vaguely remember seeing the characters from different countries that are not so related before finally coming all together in the same frame, hiking in a place filled with natural scenery - very different from the previous landscape. They casually chat in their respective languages, but it doesn’t really matter what they’re saying because they themselves probably don’t know either. On the hillside they are walking on, some animated figures occasionally appear around them, flipping and jumping like characters in a video game. At this point, you've already gotten used to it, as it’s just the way it is. You don’t even bother to question why the little figures are there - it is simply part of the experience.Now that the film reaches its end, let’s take a look back - what is the film doing before the long take? The panoramic shots with unknown perspectives are wandering while the subject behind the camera is as elusive as a ghost. The cultural spectacle of everyday life is distorted by digital effects. All of these leave the audience haunted in total confusion from the very beginning. Fortunately, the film doesn’t seem to require us to solve the confusion. As the director says in the Locarno interview regarding confusion, “not be afraid to go through there.” Nor does the film seem to attempt to construct a meaningful narrative, since most of the dialogs are self-repeating like nonsense dream talk. So the audience can implicitly accept the suggestion - after all, we can tell that nothing here is interested in following rigid semiotic rules anyway - and relax our intellectual brains for a while, which always tend to seek visual symbols to analyze and interpret.If the audience was still a little uneasy before, after the long take that we discussed in the beginning, we would now understand that it’s all about experiencing, and it’s enough just to feel it. Like any stream-of-consciousness work, let it enter through one eye (or ear) and exit through the other, fully feeling the sensations brought to your body by the passage of screen time. Upon reaching a certain point, the viewers can more or less realize that the experience of this film is very similar to the non-linear time and space of dreams. And it’s worth mentioning that, as a feature-length film with little narrative, it has just the right pacing to keep the audience's attention in a dynamic balance, which is very difficult to control in experimental films.。

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