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Borrowing visual notes from Larry Clark’s Kids and Andrea Arnold’s American Honey, in Catel’s world we meet Imán Kaumann Madelaire, headbanging in an aqua tiled bathroom, Lazar and Yuki van Gog painting their nails in the kitchen, and further bored-but-living-their-best-summer-lives vibes that generally look good on film. Brian Alarcon opens the short, reciting a poem of his own over Salem’s 2020 track "Starfall" as rusty cars that almost glow orange and lime coloured motorbikes become photo opps for the cast, enveloped again by that vibrant blue sky. “I like myself most in a rush,” says Alarcon, “but even the future comes anyway. How often do you get to live like this?"
Borrowing visual notes from Larry Clark’s Kids and Andrea Arnold’s American Honey, in Catel’s world we meet Imán Kaumann Madelaire, headbanging in an aqua tiled bathroom, Lazar and Yuki van Gog painting their nails in the kitchen, and further bored-but-living-their-best-summer-lives vibes that generally look good on film. Brian Alarcon opens the short, reciting a poem of his own over Salem’s 2020 track "Starfall" as rusty cars that almost glow orange and lime coloured motorbikes become photo opps for the cast, enveloped again by that vibrant blue sky. “I like myself most in a rush,” says Alarcon, “but even the future comes anyway. How often do you get to live like this?"