Service Co Exec Producer

Vuk Marjanovic

The Director's Cut of Marc Oller's video for Arlo Parks' Weightless arrives, and adds weight to the symbolism around a story of a&nbsp;couple falling out of love.Oller employs powerful visual metaphors to tell the tale, which are given free rein in this version: Arlo in a car with no driver, a house breaking apart, cars crashing, and perhaps most powerfully of all,&nbsp;a wild horse having escaped from its captor, running free&nbsp;in the city.Within these scenes, Parks herself comes across strongly, performing the song which is the first release from her forthcoming album, My Soft Machine - the anticipated follow-up to her Brit and Mercury Prize-winning debut Collapsed In Sunbeams.[imgtoken data:1]Shot in Serbia last December, Oller says that ‘’we followed the brief of how a lover gets tethered to the idea of someone, either to how good it felt at the beginning or how close things are to looking up, whilst also wanting to present Arlo in a way that her fans had not seen before." He adds that this presented various challenges on the shoot, particularly due to bad weather affecting the production."We had to recreate the exact same room we were shooting in an apartment, then wreck it with a bulldozer," he says. "The construction team was outstanding."[imgtoken data:2]So was the horse, called Asa - who is a magnificent presence in the video, captured wonderfully by DoP Zach Spiger and his team. "Asa was a great actress - we all fell in love with her and she actually made our lives easy," says Oller. "Unfortunately, it was raining heavily and the shoot was constantly interrupted by the storm. This tightened our schedule and we had to sacrifice many shots that we had planned on shooting."&nbsp;Shot on film, which also presented challenges in terms of finding the right kit for "an old school kind of shoot", Oller adds that he was supported by both familiar and new collaborators to achieve his goals.[imgtoken data:3]"They were all amazingly talented and invested in the project," he declares. "Zack Spiger is an old collaborator - we shot a short film back in the day when I lived in Tokyo; Vicki Viñas is one of my longest time collaborators and she’s an outstanding art director and has the best taste; Alberto Ojeda is one of the best steadicam operators in Spain; and Ana Cano is my oldest collaborator and my ‘go-to’ for hair and makeup."And I loved working with our new Head of Music Videos at CANADA, Callum Harrison, who always challenged me to keep pushing the boundaries of creativity and was a great support."[imgtoken data:4]

Serbia

Marc Oller

CANADA

Callum Harrison

Sara Renteria

Anna Bacardit

Débora Zhang

Zack Spiger

Vicki Viñas

Lane Casting

Fouad Gaber

William Kjarval

Cyber Few Good Men

Lewis Munday

Emilie Louizides

Natalia Vega

Ana Cano

Alberto Ojeda

Arlo Parks 'Weightless' (Director's Cut) by Marc Oller

Arlo Parks - Weightless (DC)

Mura Masa explores the state of our youth in No Hope Generation, directed by Yoni Lappin.&nbsp;Shot in Belgrade, Serbia, the striking visual explores society's obsession with nostalgia, and its abilities (and limits) in helping us frame our emotions and memories. Focusing on a series of different characters, the video opens with two girls on a bed talking to each other. One girl shares her fear of getting old and dying, pouring her heart out, followed by the other asking "Can I post that?".&nbsp;This reflection on the lack of empathy and complete chaos that the digital age has ushered in is represented through various vignettes. In another scene, an older woman is bringing tea and biscuits to her family, a traditional memory for many of us. However, the family in this household are completely ignorant to each other's presence, some of them playing with VR headsets, other glued to the desktop computer.Beautifully shot by Jake Scott, the emphasis on raw, daylit footage creates a dreamlike vibe, the overblown highlights in many scenes contributing to the washed out, hyperreal footage. In comparison to many dystopic concepts, which utilise dark, dreary cinematography, this project is much more natural. This helps create a feeling that this reality isn't far off at all, and if we were to blink we could miss its inception. There isn't a huge leap between our lives now and the scenarios on screen, and Lappin's emphasis on this fact makes it truly disturbing.&nbsp;

Vuk Marjanovic

Service Co Exec Producer

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