Arnaud Uyttenhove has created an imaginative and highly evocative eight-minute short film to accompany Belgian art-rock band Ghinzu's long-awaited fourth studio album, that captures the beauty and bruises of youth.

Rather than following the conventions of a traditional music video, Uyttenhove film for the new Ghinzu album W.O.W.A - which was filmed in Belgium and Italy - unfolds as a collection of cinematic fragments, anonymous portraits, fleeting encounters and suspended moments that together form an intimate exploration of youth, identity and emotional vulnerability.

Set across a seemingly endless summer between friends, the film occupies the space between possibility and uncertainty. Faces and identities shift throughout. It is never entirely clear who we are watching, what connects them, or even whether some of the characters might be members of the band themselves. The
ambiguity is deliberate, allowing individual moments to become something more universal.

“Through anonymous portraits and fleeting moments, the piece explores universal emotions and struggles tied to youth, where everything still feels possible, yet the first cracks already begin to appear,” says  Uyttenhove.

The film draws on the themes and visual identity surrounding W.O.W.A - Ghinzu's first studio album in 17 years - but exists as a piece of filmmaking in its own right. Rather than illustrating individual songs, Uyttenhove translates the atmosphere and emotional undercurrents of the record into a fragmented visual world.

He continues: “For me, it is above all an ode to youth: sensitive, bruised, sometimes lost, searching for its place, loving too intensely, protecting itself poorly, and transforming its wounds into light.”

Jonas Poeckens, EP at Caviar, Brussels says: “Projects like W.O.W.A remind us why we love making films. It gave Arnaud the opportunity to create something uncompromisingly cinematic, and we're delighted to see that vision accompany Ghinzu's long-awaited return. Very proud to have helped bring Arnaud's vision to life.”

Brussels-born Uyttenhove has developed a filmmaking style rooted in striking imagery, texture and an ability to turn abstract ideas into cinematic worlds. In W.O.W.A, that visual language meets Ghinzu's own longstanding relationship with art and experimentation.

The band cite artists including Gerhard Richter and Francis Bacon among the influences surrounding the new record, alongside a desire to move away from perfectionism and embrace something rawer and more instinctive.

The result is a film that sits somewhere between music film, portraiture and short-form cinema, capturing youth not as a nostalgic ideal, but as something beautiful, uncertain, bruised and constantly in motion.