A drifting orbital station, the cosmonaut panics; red lights flash in the thinning air, its pipe spits out thick smoke, it disappears into the astral void. “Cut! Hey big, you fell too well! ” The cosmonaut gets up from the skateboard which aimed to simulate weightlessness, he takes off his repainted motorcycle helmet, LEDs are adjusted to his diver’s outfit, he has old MP3 players hanging on his chest to make it technological, he sweating as it freezes outside: “You are torturing me guys!”
It’s a music video shoot, it’s almost midnight, we’ll continue until dawn if necessary. Emral, the youngest of the Kadriov brothers, 20, in jeans jacket, grabs the camera from the hands of his brother Birdjan, the big of the Kadriov brothers, 23, in jeans jacket. He walks towards the round table, full of crisps, where he connects his computer, directly inserts the shot that has just been shot in the machine, colors the colors and textures, to reassure himself: “We check everything. continuation if it fits with what we have already boxed. We advance like that, hard, from scene to scene. “
We wanted to be clear about it. One or two years since the videos signed by the company Exit Void, the Kadriov brothers in particular, marked the hip-hop landscape in Romandie. At Makala, they shape Californian gangsterisms, with blurs on the sides (Hitman go), photographic frames, a false simplicity with betrayed lights (Sergei Diop); the company also works for Rounhaa (R without R), in intense circular sequence shots. Basically, Exit Void carved out a reputation for itself as a lover of murky colors, outrageous postproduction, and betrayed a tendency to put cinema at the heart of music videos.
And then, at the end of January, arrived Head shot from Geneva rapper Slimka. A step far above, from the foreground to the sulphide fog. A yellow film noir aesthetic, martial arts, Japanese subtitles, giant hologram female inlays, warm lights, flowing movements, swords, references to Korean films and David Fincher, we see in Inside Slimka’s bust like in x-rays, it’s so beautiful and so controlled that we don’t know who else is capable of doing that on this side of the world.
We already imagined that Exit Void was a big thing with lots of money and material. And then we arrive, one pandemic winter evening, in the greenhouses of the Nature and Environment Vocational Training Center in Lullier, in front of a bunch of childhood friends who have as argument only a few camera cases and lenses, an old spinning computer, a semi-professional tracking track. And above all a thousand ideas per second that they apply without ever arguing or knowing who, in this adventure, will have the last word.
The cosmonaut reconnects the construction vacuum cleaner he carries on his back and which is a convincing replica, in the twilight, of a space respirator. The cosmonaut’s name is Dyno 274, he’s a rapper from Lausanne who loves old sound and has a patina of his lyrics since the age of 14; he won the springboard of the Transforme festival which therefore produces his video clip. The only constraint, since Transforme is an event which seeks in particular to promote professional training: to shoot in this eccentric space, a horticulture school, whose glass walls and brutalist piping have generated in the directors fantasies of cosmic tragedy.
“It’s a really good day, guys. The smoke machine, it does not piss off. ” Dyno 274 did not discuss the script that Exit Void brought to it: “I had seen the clips of Makala and Slimka, I trust them.” It is the story of a cosmonaut who floats above Mars, not much to do with the song, which mainly speaks of a love lost on an almost swaying rhythm. Emral Kadriov: “In fact, there is still one thing in common, it is a metaphor for loneliness. We always work like that for our clips. We are heading towards universes that fascinate and inspire us. Here we thought of films Interstellar or Alone on Mars.
Dyno must suspend himself from a ladder, itself stretched out between tables stacked two by two, then move his feet in the air at the cost of suffering that he is silent: “Guys, I’m screwing them. hands.” They film the bottom and then the top, and glue the two parts of the body back together in post-production. “It should be an illusion.” Everyone gets involved, Allison Lugon, long model of Jamaican origin, places the camera. Alessandro Bucolo worries about the lights, then the picnic, then the acting: “We work like this, without a predetermined role.”
From Hitchcock to Fincher
They have always known each other. Alessandro, still a teenager, wanted to become Tom Cruise. He invited his friends, the Kadriov brothers, to shoot short films in the Geneva district of Flour Mills. “I did all the stunts, I tried to reproduce the kicks of Asian films, we put a mattress to avoid killing me. I still dislocated my shoulder by missing a perilous back, I tore the ligaments of the wrist or crushed the pads of my heels. Yes, apparently we have pads in the heels. “
Birjan is a cinephile, he gives films to his band to see: Death on the hunt, Fight Club, Irreversible, then they try together to reproduce shots, without ever having studied more than film tutorials. The only one who is training is Alessandro, who is learning comedy at the Conservatory. The others graduate with use. They are the graceful incarnation of a generation that benefits from the democratization of technology and a certain entrepreneurial spirit. Thus, they learn to mount tracking shots on a washing machine and more than six years later, they have kept this spirit exactly.
The Kadriov brothers were born in North Macedonia: “Yes that’s why we look like characters from Kusturica.” Their mother, who is essential in this odyssey, agreed to finance a camera for them, to let them stop school, then to feed all the passers-by in the ecstatic hive which serves as their apartment. There is always a rapper sleeping on the floor, like Makala, a faithful who hired them for his Radio Suicide Show at the beginning of 2020, and who does not let them go when it comes to finishing an edit.
They baptized their company Exit Void, “because we come from nothing, we started from nothing”, explains Emra, no one was waiting for us in the cinema, we don’t know anyone there, and we are gradually building ourselves ” . They make music videos because musicians, for the moment mainly from the hip-hop scene, have noticed them and, for a few thousand francs, they can make an impression. But we feel, in each of their plans, that they are ultimately targeting the cinema. For now, they are not refusing anything: “We are ecumenical.” They accept contracts from Red Bull, Schweppes or Smirnoff, between two clips.
Inspire people here
Morgan Nkule arrives with an anti-fog spray for the cosmonaut’s visor. He is one of the permanent members of the collective – there are seven or eight in total. They have become accustomed to working all night, in their studio in La Praille or at Mother Kadriov’s. “Especially, when we finished the clip for Slimka,” says Birdjan, I think we worked tons of sleepless nights in a row. ” They put a lot of money on this clip which they wanted to serve as a business card: “We had in mind a good work», Laughs Emran, we worked so hard on the special effects, it was almost a production line. When we see the result, we are too proud. “
The numbers and comments on YouTube speak for themselves. Exit Void receives from the exit of Head shot a whole bunch of proposals from France or Switzerland. They made more than 80 video projects last year, they want to double the amount this year and soon make their 18th music video. “We were told that we had to move in France. We want to be pioneers in Geneva and that Parisians must come to Switzerland so that we clip them. We would like to inspire people from here. The ability to do things without waiting for someone to let us do it. “