Eduardo Williams’ kinetic films carry the viewer through liminal and peripheral paths—alleys, hallways, jungle trails, and grocery store aisles—into the intimate lives of their protagonists. What propels the movement of the ambulatory young men in Williams’ 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 That I’m Falling? (2013), or Hanoi in I Forgot! (2014), is deepened through the casual minutiae discussed by close friends, or the texture of beloved hangout spots. In 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.