Rather than illustrating a single track, the Caviar Brussels director builds the film from fragments: anonymous portraits, fleeting encounters and moments from a seemingly endless summer between friends. Faces and identities shift, connections remain deliberately unclear, and the film moves between intimacy and observation.
Created around Ghinzu’s first studio album in 17 years, W.O.W.A. takes the record’s atmosphere as its starting point rather than following the conventions of a traditional music video.
“For me, it is above all an ode to youth,” says Arnaud Uyttenhove, “sensitive, bruised, sometimes lost, searching for its place, loving too intensely, protecting itself poorly, and transforming its wounds into light.”
