He is a co-founder of Kourtrajmé, an elite graphic and filmmaking group that utilize hip-hop culture and disciplines in often socially conscious documentaries, short films and music videos.
His music videos for artists like Simian Mobile Disco, and DJ Mehdi show a taste for aggression and loneliness, industrial landscapes and burdened personas.
The film that propelled him out most, was his most recent music video for Justice’s “Stress” – a very Clockwork Orange-esque piece of work, although personally it’s themes reminded me more of Mathieu Kassovitz’s La Haine (who himself is involved in Kourtrajmé), revolving mainly around the lifestyles of Morrocan-Parisian hoodlums living on the outskirts or “banlieues” of Paris. It was gritty, violent and very shocking which when mixed with it’s mindlessness created a large stir of controversy, similar to Prodigy’s “Smack my Bitch up” video.
Dj Mehdi
“Signatune”
Directed by Romain Gavras
http://www.youtube.com/watch?v=5sbTmLvL7fQ
This video was directed by Gavras in 2007 fore the electronica/hip hop artist, DJ Mehdi. It has a shallow and naïve approach making it seem immature in it’s design but when analysed it seems far deeper. It takes on the seemingly typical Kourtrajmé motto of simplistic comedy blended into humourless sincerity – demonstrating the French, working class youth’s idea of fun and respect.
The story (if there is much of one) appears to be about a late teenage boy in France going to an unofficial street racer gathering, were everyone there shows of his/her tuned up cars in order to gain respect from their peers as well as outsiders. He turns up meeting his friends but is quickly threatened by a rival. They challenge each other to a duel, whereby they have to see who can pass 150db with their sound-system. The boy reigns triumphant, claiming his respect and putting his rival to shame, returning home happy knowing he’s the best. You could call this a feel-good music video, but it’s bleakness makes it a gaze into reality.
Simian Mobile Disco
“I Beleive”
Directed by Romain Gavras
http://www.youtube.com/watch?v=lwnhICmxzcw
This intriguing video is shot in a manner reminiscent of Grant Wood’s famous American Gothic painting in the sense of the camera’s very “full on” approach to characters featured. It rarely pans or tilts to emote or even connote, instead it zooms – sometimes giving it an even more effective feel, making these characters seem even more two-dimensional, adding to it’s blunt and very realistic “Gavras” approach. Typical rapid cuts and motion common in music videos don’t exist as much in this – it is pretty much all filmed in slow-motion, although when the camera tracks across the place or zooms it happens in a more real time, adding an interesting time dynamic which makes you realize the camera in real life must have been moving fairly fast. This effect was interesting to ponder over during the video as the concept of speed put into slow motion was reminiscent of, The Matrix’s use of “bullet time” or overcranking/time stretching.
Justice
“Stress”
Directed by Romain Gavras
http://www.youtube.com/watch?v=h9NvJfwF9bI
The projects or “banlieues” of Paris are mainly on it’s outskirts – their crime rates are sky-high and currently being kept there by the practically feral youths who reside there. In this video, Gavras has captured the chaotic craziness of these kids in a documentary-esque short film set throughout a day in their lives. It’s kinetic feel propelling it along is all bought across by Gavras’ ways with the camera – the handheld edge, the choppy zooms and the compact framing (reminiscent of Kourtrajmé’s signature fisheye usage). I feel his editing skills are pretty present here too – he has a great gift were he seems to be able visualise sounds, appropriately using the perfect imagery and cuts for the track, making and even more enjoyable (although terrifying) experience. I presume like many music video directors, he probably composed a timeline where spikes and plateaus in the song’s intensity were highlighted for a harmonically fitting piece of footage to go alongside them.
I feel Gavras chose a mindless and impromptu plot as it’s open ends could allow for many variables in the attempts of imagining a story – I personally feel as though it could be moralistic in some way, maybe to do with boredom creating inner-turmoil that is expelled by releasing it on the world. A common problem with unimaginative or run down estates/parts of town.
The Last Shadow Puppets
“The Age of the Understatement”
Directed by Romain Gavras
http://www.youtube.com/watch?v=XGV8xCkpXjEThe video
“The Age of the Understatement” was shot in Moscow and features Alex Turner and Miles Kane walking through the Russian capital. This one stands out a lot for me – even though Gavras has taken a step away from electronica and hip-hop to work on this alternative rock song – the influences still remain, in camera work, editing and theme.
I noticed Gavras’ political input that he’s often known for as soon as the tanks appeared in what looks like some sort of Russian tundra. He captures the mood of some sort of Post-revolt dystopia as if it’s some kind of recollection of the soviet era. I realized similarities in the shot styling where Gavras’ “American Gothic” framed zooms on characters were used, similar to “I Believe” and “Signatune”. It is again similar with his pleasantly placed slow motion use.
Gavras’ hip-hop roots show through when the low angle footage of what appears to be a low riding limo passes by, illuminated by neon casino signs – it’s very bling, somehow like a gansta rap video or even the mock OTT style of Ali G: In da House’s introductory scene.
The sweeping shots of Moscow’s snow covered square, towering iconic onion-domed Russian architecture, ice-rinks, Orthodox priests and a rousing chorus of Russian soldiers all somehow gives yet another spontaneous music video without much of a foundation, seemingly revolving more around aesthetics just like most of Gavras’ other videos but yet again, one way or another a moralistic message can be interpreted.
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