Un groupe de jeunes à Hanoï fait l'expérience de la liberté, de la sensualité et des limites de la ville. Du supermarché au bar, à l'arrière d'un cyclomoteur, en passant par les ponts, les vergers et le toit d'un complexe résidentiel en construction, Hao et ses amis grimpent, sautent et provoquent la loi de la gravité. "Nous sommes tout petits. Il semble que les pores de ma peau soient devenus gigantesques."

The very wide angle captures in a generous gesture the life of a young man, Hoa, who is often surrounded with his group of friends. Following Hoa, busy with various odd jobs, we go from a supermarket to a bar, then in a backyard, we join a motorbike ride through the streets of Hanoi, we cross bridges, go through orchards, to end up on the roofs of a disused building site. Following the little group whose trite, sometimes surprising if not weird conversation we catch snatches, Eduardo Williams shows again his interest in groups and his ability to film them. Simplicity, obviousness of the cutting, a manner of gracefully spinning around his characters, to create a cinema of freedom, won with no apparent effort, in the image of his character that nothing really seems to connect to the ground.
(Céline Guénot. FIDMarseille 2014)