By Mónica Delgado

This is the realm of the camera, a sort of Go Pro that serves as a pendulum, as a nib, as an extension of hands and eyes, a camera that follows in impossible angles bodies and walks, that travels with the protagonists in cars and skate boards through the streets and avenues of Guinea-Bisseau. In the short film Parsi (2018), Eduardo “Teddy” Willams and poet Mariano Blatt prolongs every possibility of the film-poem, or video-poetry, to establish a strange correspondence between the rhythms of pop verses and the visual cadence of a camera in freedom, given to the characters so they can bring it to life.