The Howl & The Hum – Hostages

Der dynamische und opulent arrangierte Trennungssong zählt zu den Highlights des heute erscheinenden Debüts und besitzt einen der berührendsten Texte aus der Feder des Frontmanns Sam Griffiths, der darin die ambivalenten Gefühle gegenüber einem Ex-Partner enorm nahbar zum Ausdruck bringt. Bei dem dazugehörigen Video, in dem ein frisch getrenntes Pärchen die letzten Sachen übergibt und dabei von Erinnerungen an die gemeinsame Vergangenheit eingeholt wird, führten die beiden belgischen Brüder Jan und Raf Roosens Regie. Mit ihrem Kurzfilm “ Copain“ waren sie in dieser Kategorie für eine Goldene Palme bei den 68. Filmfestspielen von Cannes nominiert. Über das Video hat Sam Griffiths folgendes zu sagen: “ This song felt very visual to us: the handing back of possessions after a breakup, the detachment from objects. Luckily, The Roosens had the idea to combine the ideas of social distancing with the breakup within the song. It was filmed in Belgium as the lockdown eased, but shows the attachment to objects in the lyrics, and the splitting of a whole into separate parts, and has two beautiful performances at its heart.

Auch die beiden Regisseure  Jan und Raf Roosens haben sich ausführlich zum Video und dessen Dreh während des Corona-bedingten Lockdowns in ihrer belgischen Heimat geäußert:  “We knew while writing the treatment that cast and crew would have to keep a distance due to the coronavirus, that’s why the break-up takes place in current times, so the actors could keep distance. We didn’t view this as a restriction but as an advantage. The ex-couple wants to end their relationship and are looking for a way where both parties can do so amicably. The record is the thing that bounds them without a physical touch.
We wanted to translate the corona restriction within the visual language of the film. That’s why we always have a lot of ‘wall’ in the frame. Also, we never show the couple together in the same frame. The wall, the coronavirus, is literally between them.
What we are missing in current times is some physicality, that’s why our shots of the hands are so important for the story. At the climax, we see a long shot of the hands. These hands aim to translate the feelings between our characters.
On set, we couldn’t actually capture the shot on the ‚touching‘ hands with the two actors and maintain social distancing, because they weren’t in the same ‚bubble‘. To get around this, the scene is shot with our male actor and his real-life girlfriend, who is part of his ‚bubble