Armed with a 360-degree camera, Argentinean director Eduardo Williams returns to the bold, time-and-continent-skipping world of his 2016 film The Human Surge (NYFF54) and constructs something even more immense, fearless, and breathtaking. As in that earlier film, groups of friends from different parts of the world interact in the downtime between work, drifting and existing in constant motion along with the camera. Yet Williams here pushes things even further into a kind of hypnotic abstraction, filming in Taiwan, Sri Lanka, and Peru and achieving an unprecedented fluidity between spaces and feelings, natural splendor and human sensuality. Working as always without a locked script, Williams highlights the beauty of language and the sensations of people traversing liminal states of being, moving toward a kind of otherworldly queer utopia.