Revoir Paris / Paris Memories

Alice Winocour: Revoir Paris / Paris Memories (FR 2022) avec Virginie Efira (Mia).

Muistan sinut, Pariisi / Minnas Paris.
    FR © 2022. PC: Dharamsala, Darius Films. Co-PC: Pathé Films. Vente internationale + distribution France: Pathé Films, Pathé International. P: Isabelle Madelaine, Emilie Tisné. Co-P: Ardavan Safaee.
    D+SC: Alice Winocour. DP: Stéphane Fontaine – 1,85 – colour. PD: Florian Sanson. AD: Margaux Remaury. Cost: Pascaline Chavanne; Caroline Spieth. Original M: Anna von Hausswolff. S: Jean-Pierre Duret, Pascal Villard, Laure-Anne Darras, Marc Doisne – 5.1. ED: Julien Lacheray. Casting: Anaïs Duran.
    C: Virginie Efira (Mia), Benoît Magimel (Thomas), Grégoire Colin (Vincent), Maya Sansa (Sara), Amadou Mbow (Assane), Nastya Golubeva Carax (Félicia), Anne-Lise Heimburger (Camille), Sokem "Kemso" Ringuet (Hakim), Sofia Lesaffre (Nour / Madeleine), Clarisse Makundul (Essé), Zakariya Gouram (médecin cicatrice), Jonathan Turnbull (restaurateur brasserie), Dolores Chaplin (Estelle, la femme de Thomas).
    M soundtrack selections: – Arvo Pärt: Fratres (1977). – Nikolai Rimsky Korsakov: La Fille de neige / The Snow Maiden / Снегурочка / Snegurochka (1880).
    Loc: Paris – Maison de Radio France (Paris 16) – Brasserie Vaudeville [L'Étoile d'Or] (Paris 2) – Arc de triomphe de l'Étoile / Avenue des Champs-Élysées (Paris 8, aerial shot) – Place de la Bourse (Paris 2) – Place de la République (Paris 3/10/11) – Opéra Bastille (Paris 12) – Musée de l'Orangerie: salles Les Nymphéas (Paris 1) – les bords de la Seine (the homeless, the illegal immigrants) – autour la Tour Eiffel, in the maze of the Champs de Mars (Paris 7). [My attempt to register them, to be verified].
    105 min
    Award: César de la meilleure actrice: Virginie Efira.
    Festival premiere: 21 May 2022 (Festival de Cannes: Quinzaine des réalisateurs)
    French premiere: 7 Sep 2022.
    Finnish premiere: 5 May 2023, released by Atlantic Film, with Finnish / Swedish subtitles by Joel Kinnunen / Michaela Palmberg.
    Viewed at Finnkino Strand 2, Iso Kristiina, Lappeenranta, 11 May 2023.

AA: Alice Winocour's film has been inspired by the November 2015 Paris attacks by the Islamic State. There were six targets. The direct reference here is the attack on the Bataclan Theatre. The movie is multi-layered, and it discusses several themes, but terrorism is not among them.

Revoir Paris is a profound study about memory loss and post-traumatic stress disorder. Mia (Virginie Efira) is a survivor of the attack on the restaurant L'Étoile d'Or. She suffers from amnesia, blackout, and loss of focus and concentration. She returns from a three month convalescence as a stranger in her own life.

The approach can be compared with Alain Resnais in Nuit et brouillard, Hiroshima mon amour and Muriel: coming to terms with a traumatic social experience that transcends the limits of understanding. The level of ambition is the same, but Winocour is not imitating anyone. She has conducted a heartfelt research gaining both human and scientific results. A key concept is the "trauma diamond": in the hard process of recovery a new insight may crystallize.

After an initial retirement, Mia returns to Paris and skeptically and reluctantly starts to approach a trauma therapy network. The debriefing findings in the post-crisis meetings seem initially banal and useless, even destructive, but little by little trivial details turn into building blocks in a meaningful jigsaw puzzle. "You need two to remember". Key sentences also include: "Someone was with me" and "I have never felt such closeness" (there was a love act between two people who were expecting to die).

I feel uneasy to discover that the main channel of communication among the survivors is Facebook, which for me is increasingly an (the) embodiment of hate speech. Today I have been reading Vanessa Barbara's essay "Brazil at the Crossroads" in The New York Review of Books. She refers to Max Fisher's book The Chaos Machine (2022) about the backlash of misogyny, antisemitism, authoritarianism and fake news, the main forum of which is social media such as Facebook. In Brazil, Facebook is widely seen as a main reason for the destruction of civil society.

Mia's relationship to her partner Vincent (Grégoire Colin) disintegrates because Vincent cannot connect with the trauma which has become the central experience in Mia's existence. Instead, Mia comes closer to Thomas (Benoît Magimel), a convalescing invalid with severe leg damage, in addition to which he now suffers from claustrophobia.

Thomas is a fighter, refusing to act victimized during the painful treatment in which the bones of his legs are reconstructed bit by bit. The closeness of Mia and Thomas leads to a night of love, made special by the attention needed for the scars of both and the metal prostheses of Thomas. The tender sequence is far from Cronenberg land.

The saga of recovery is psychologically genuine, and more than that, it has philosophical depth: this is a film about memory and identity. Revoir Paris is a film about dialogue, about a meeting of the minds. We are who we are in dialogue with the other. Mia wins back her identity via memory flashes. Little memories build to a bigger picture.

The journey on the memory lane includes a visit to the Orangerie to the rooms displaying Monet's Water Lilies. Mia takes an orphan girl there because that painting was the last thing her parents saw before they died. In her press notes, Winocour says:

" What I didn’t know was that Monet had given this picture to France after the horrors of the First World War so people could meditate on a scene empty of human presence. He said that visitors should stand in silence before the painting, the better to contemplate the beauty of the world. Since it was sheer intuition that had led me to chose the museum, I was very touched to learn that. "

Besides being a psychological, medical and philosophical movie, Revoir Paris is also a sociological survey. Mia's memory flashes include a tattooed arm and holding hands. She draws the conclusion that the person must have been kitchen staff and launches a quest to find him.

Winocour's approach evokes classics of neorealism (chasing a single person can lead to revelations about society). Mia finds out that many have vanished from the scene of the massacre. There were a lot of paperless, illegal immigrants among the restaurant staff.

We are led to the revelation that there is an undocumented shadow existence, a secret society among us. More than that, we hear as an aside that the presence of illegal restaurant staff from Senegal, Mali and Sri Lanka is so overwhelming that if they would go on strike, Paris would not eat.

In my Sight & Sound 2022 Top Ten list I included Charles Chaplin's City Lights and commented that the movie is getting increasingly topical due to the global refugee crisis. I am moved by Winocour's direct reference to City Lights in the final sequence. As well as the presence of Charlie's granddaughter Dolores among the cast.

After many false starts and dead ends, the tireless Mia finds the man who goes under different names and changes location constantly. This is not a love story, but it is about something equally grand: affirming and celebrating our mutual humanity. Finding ourselves we find the other.

I keep registering a peculiar pandemic / post-pandemic phlegmatic syndrome in recent movies. Revoir Paris has many strengths. It is a character-driven movie in which Virginie Efira gives an outstanding performance in an exceptionally difficult role. It is thematically strong and complex but never confused.

I was thinking about The Beatles, why they disintegrated. They needed to play together in live performances to keep the band spirit. There was nothing wrong, but they missed the greatest joy of the play, and so they quit as a band and continued on their different paths.

In the fragmented circumstances of remote work crews may have lost something of the irresistible, infectious joy and team spirit of film-making. I may be wrong about Revoir Paris. I think that powerfully story-driven films may be easier to accomplish in exceptional circumstances than character-driven ones, visionary films, or any kinds of films that are based on the power of presence, the sense of being or a revelation or epiphany (the Chekhov school of fiction).

Revoir Paris is an exceptional and highly distinguished film, and it could be a great film if there were a sense of irresistible energy and drive.

BEYOND THE JUMP BREAK: REVOIR PARIS PRESS BOOK:BEYOND THE JUMP BREAK: REVOIR PARIS PRESS BOOK:

SYNOPSIS

One Saturday evening in autumn, Mia is caught in a terrorist attack on a Parisian bistro. Three months later, still unable to pick her life back up and remembering only fragments of that night, Mia decides to investigate her memories to find a way back to happiness.

INTERVIEW ALICE WINOCOUR

WHAT ARE THE DIFFERENT MEANINGS OF THE TITLE PARIS MEMORIES?

It’s the idea of looking at the city in a different way. After the attack, Mia is in limbo. She is no longer herself, and the city is no longer hers. She’s starting to take stock of her life, and she senses that she needs to reconfigure it, that something needs to change. Of course, there’s also a more direct meaning : Mia is “seeing Paris again” after the black hole of the attack. She’s seeing Paris through new eyes as a first step on her road to recovery, though she doesn’t really know this yet.

PARIS MEMORIES IS FICTIONAL, BUT OBVIOUSLY IT BRINGS TO MIND THE ATTACKS OF JANUARY 2015 AND PARTICULARLY THOSE OF NOVEMBER 13TH. HOW DID YOU YOURSELF EXPERIENCE THESE EVENTS?

My brother was at the Bataclan on November 13th. While he was hiding, I stayed in contact with him by text for part of the night. The film was inspired by my own memories of the trauma and by the account my brother gave in the days after the attack. I experienced for myself how events are deconstructed, and often reconstructed, by memory.
 
MIA ALSO CONNECTS WITH OTHERS, THROUGH PEOPLE SHE MEETS IN A SURVIVORS’ ASSOCIATION. WHERE DID YOU GET THIS IDEA?

In the weeks that followed, I began to go on forums for victims who had regrouped by sector, and it was very moving to see hundreds of people looking for each other, trying to find each other, trying to find possessions they had lost during the attacks. They were all looking for news of the people they had been with, who they exchanged a look with, who they spoke to, maybe just a few words of encouragement… I met a group of people trying to rebuild their lives by occasionally returning to the scene together. I was very struck by the idea that you can’t reconstruct yourself on your own. There have to be at least two of you, it’s a communal thing. That’s why I wanted to make a choral film with a lot of characters from different backgrounds.

THE FILM SEEMS TO BE VERY WELL RESEARCHED…

The psychiatrists I met talked about the idea of a diamond at the heart of a trauma, the positive things that come out of a traumatic event, such as friendships, love affairs, strong bonds which would not have formed if the event had not taken place.

They also explained the phenomenon of the flashback, or involuntary recurrent memory, which is very different from conscious memory and from the classic cinematographic flashback. Here it means that mental images suddenly and involuntarily surge up and invade your consciousness, dazzling your mind like a kind of psychic break-in, and causing you to relive a past traumatic experience.

IS THE FILM A CONTINUATION OF AUGUSTINE AND DISORDER, GIVEN THAT YOU’RE WORKING WITH THE IDEA OF TRAUMA AND POSTTRAUMATIC STRESS?

In AUGUSTINE the body talks when you have no words to express your suffering. DISORDER is really a self-portrait, in the sense that I projected all my own fears and anguish into the character of a soldier returning from the field of battle. The notion of post-traumatic stress is deeply anchored in me as a result of my own family history. There’s nothing I can do about it, but I’m trying gradually to get past it.

PARIS MEMORIES FOCUSES ON HOW THE VICTIMS OF AN ATTACK ARE AFFECTED, BUT NOT AT ALL ON THE TERRORISTS AND THEIR MOTIVATIONS. WAS THAT YOUR CHOICE FROM THE OUTSET?

I was less interested by the attack itself than by the traces it leaves on the victims. None of them have a global view of the attack, only fragments, snatches, random images, like the splinters of a smashed mirror. My personal experience led me to concentrate on the survivors, with the idea of having Mia probe her own memory. That’s the focus of the film. What struck me when I met the victims was that every one of them was determined to rebuild themselves and find happiness again. The film was intended to convey this desire for recovery.

AS YOU SAY, MEMORY IS UNRELIABLE. THERE’S A WOMAN WHO ACCUSES MIA OF HAVING SELFISHLY SHUT HERSELF UP IN THE TOILETS DURING THE SHOOTING, WHILE IN REALITY IT WAS THIS WOMAN WHO SHUT HERSELF UP. WAS THIS ACCUSATION VOLUNTARY, OR WAS THE WOMAN UNAWARE SHE WAS DOING IT?

According to psychiatrists, memory plays tricks with traumatic events and it’s very difficult for survivors to put things back together. This was something I was anxious to convey in the film. I wanted the memory flashes, the false memories, the amnesia to feel real… Mia herself thinks she remembers locking herself in the toilets. We worked a lot with sounds, which are fundamental to the processes of memory.

WHAT COMES OUT CLEARLY IN THE PART BEFORE THE ATTACK IS THE NUMBER OF CHANCE EVENTS WHICH LEAD SOMEONE TO FIND THEMSELVES IN THE WRONG PLACE AT THE WRONG TIME. LOGICALLY, MIA SHOULD NEVER HAVE BEEN IN THAT BRASSERIE…

Yes, it was a random stacking up of chance events and circumstances. It’s through chance that Mia finds herself plunged into this horror, but it’s also sheer chance that enables her to survive. When I was making this film I thought a lot about CLÉO DE 5 À 7, and the woman lost amid the uproar of the city. Mia’s aims are very concrete : she wants to understand, she wants to find the hand which saved her. That’s what she’s looking for in Paris. The victims say that sometimes a mere nothing can save you. A simple act is all it takes to bring you back to the human race. It was a hand holding hers that kept Mia in the world of the living.

At the end of The Plague, Camus writes that the plague is always there, hiding, ready to rise up again, but that there are also beautiful things to love about mankind.

IN THE GROUP OF VICTIMS, MIA MEETS THOMAS.

They’re both alone, both damaged people, who heal themselves together. Love stories often begin this way, by the unconscious acknowledgement of shared wounds. I loved working with Virginie and Benoît : both actors provoke an almost immediate empathy. Benoît’s character, who is physically damaged, has a lightness and humour that I find very attractive. As for Mia, she doesn’t complain, she grits her teeth, she does what she has to do, like many of the female characters I create.

THE HAND THAT MIA IS LOOKING FOR BELONGS TO A BLACK COOK. WHY THIS CHOICE?

Paris is a cosmopolitan city. In the film we meet Spaniards, Australians, Germans, Japanese, Senegalese… There’s a line in the film that says, “If the Senegalese, the Malians and the Sri-Lankans went on strike, there’d be nowhere to eat in Paris.” You only have to look in the back kitchens of Parisian restaurants to see this is true. I wanted to show how people can live invisibly in Paris. Mia sees ghosts, but there are other ghosts in the film too. People without papers, living here illegally, street vendors at the foot of the Eiffel Tower. I wanted to film different sides of Paris : the world of tourist monuments, and the world of Stalingrad or the Porte de la Chapelle. The two worlds briefly intersect at the foot of the Eiffel Tower. Watching them cross paths without seeing each other can be quite a violent sensation. A lot of the Eiffel Tower vendors come from Senegal and are completely destitute.

My character is played by Amadou Mbow, who appeared in ATLANTIQUE by Mati Diop. The character comes from another place, and I wanted him to be played by a Senegalese actor from Dakar, not just a French actor of Senegalese origin.
 
YOU OPTED TO FILM THE ATTACK SCENES SHOWING ONLY THE TERRORISTS’ FEET, AND HEARING MAINLY THE SOUND OF THE MACHINE GUNS.

I decided to show everything from Mia’s point of view, who is flat on her stomach and sees only the assaillants’ feet. That’s all she remembers clearly. In any case, how do you film a terrorist attack? My brother says it can’t be done. An attack is something beyond belief, it’s impossible for the human mind to grasp. He advised me to go for a hallucinatory, phantasmic feel. Mia’s memories are not coherent, but she’s living with ghosts, and the victims are still there in her head.

PARIS MEMORIES IS ALSO A MAGNIFICENT FILM ABOUT PARIS. HOW DID THE FILMING GO?

It was the first time I had worked in Paris. I wanted to shoot the real city, but I also wanted to integrate it into my fiction. I wanted something both raw and hypnotic. There’s a high-angle shot of Paris where the boulevards seem like wounds on fire. Paris is also a character in the film because the city was wounded in the flesh, we all felt that. We began shooting just after the November 13th trial opened, and it was sometimes very weird. When we filmed scenes like the one with the flowers honouring the victims, the reactions of passers-by were so intense that we had to put up large signs saying “Filming,” to avoid confusion. In my head, reality and fiction were deeply intertwined while I was shooting this movie.

IN CONTRAST TO THE SCENE OF THE ATTACK, THERE’S A SCENE AT THE ORANGERIE WITH MONET’S WATER-LILIES.
 
What I didn’t know was that Monet had given this picture to France after the horrors of the First World War so people could meditate on a scene empty of human presence. He said that visitors should stand in silence before the painting, the better to contemplate the beauty of the world. Since it was sheer intuition that had led me to chose the museum, I was very touched to learn that.

We filmed exterior scenes as if we were making a documentary, that is, without blocking streets or traffic. It was stressful for the film unit, but for me it was essential. I wanted to show all the colour and chaos of Paris, its vitality, its haunting qualities, everything the terrorists were trying to destroy.

ANNA VON HAUSSWOLFF’S MUSIC CONTRIBUTES TO THE UNEASY, HAUNTING ATMOSPHERE OF THE FILM.

Dark romanticism is the world I live in. Literature, cinema, music, it’s all the same. I discovered this Swedish musician thanks to my film editor, who gave me Dead Magic, one of her albums, to listen to. She plays in churches, organ music accompanied by a drone and powerful basses. Her music is a mix of Gothic ballads, post-metal, and punk, but it also has a luminous, sacred side. It went well with the idea of communicating with the world of the dead. Anna von Hausswolff’s work isn’t church music, it’s very convoluted, very contemporary. When I asked for a title, she would have to book a church, and it wasn’t always easy ! It was a long process, but it was what the film needed.

VIRGINIE EFIRA IS FLAWLESS, AS ALWAYS …

Virginie is an actor I’ve admired for a long time and I found in her what I wanted for the character of Mia : freedom. She isn’t constrained by her suffering, she’s on a quest, she’s open to other people. Virginie is a free spirit, and that fitted the idea I had of the character. We worked hard to get the expression of her eyes right. I showed her films like DEAD ZONE, where Christopher Walken seems to be the spectator of his own memory. Virginie had to alternate between moments of connection and disconnection, which is what happens to people in a post-traumatic state. They become depersonalized, they feel detached from their bodies. Mia is someone who is coming out of limbo and returning gradually to life.

WAS BENOÎT MAGIMEL AN OBVIOUS CHOICE FOR THE ROLE OF A SEDUCTIVE BUT DAMAGED MAN?

I like this kind of character, like Matt Dillon in PROXIMA, Vincent Lindon in AUGUSTINE, or Matthias Schoenaerts in DISORDER. I like filming fragility hidden behind physical, even animal, virility. It’s very seductive. You can sense both depth and humanity in Benoît.

GRÉGOIRE COLIN IS ANOTHER ATTRACTIVE MAN, BUT COLDER AND MORE MYSTERIOUS.

I’d already worked with him, and I wanted to take it further. In the film, he’s a slightly disturbing character. He would like to get back together with Mia, but feels deeply guilty about leaving her alone on the night of the attack. I thought it was natural that he would be angry, especially at himself. He’s full of contradictions, and that’s very affecting.

AMADOU MBOW DOESN’T APPEAR IN MANY SCENES BUT HIS ROLE IS ESSENTIAL AND UNFORGETTABLE.

For the closing scene, I thought of the last scene of CITY LIGHTS. It’s inspiring when different worlds come together. Everyone is a prisoner of their class, and it’s rare to get the chance to escape. Traumatic experiences flatten the barriers of social class and make us realize that we belong to something bigger than ourselves. Faced with death, we are all equal. Amadou’s character says he didn’t want to die in that cupboard. It’s marvellous to avoid a rendez-vous with death.

WHAT CAN YOU SAY ABOUT NASTIA GOLUBEVA, WHO PLAYS FÉLICIA ?

Félicia is trying to find out how her parents died during the attack. For this character I drew on testimony I read. It’s important for those close to the victims to know what happened to them. Mia has not had a child herself, and she forms a semi-maternal bond with Félicia. Félicia channels a touching purity and innocence.

TO WRAP UP, I’D LIKE TO RETURN TO YOUR CLOSING SCENE, WHICH EVOKES THE END OF CITY LIGHTS, AND HAS TREMENDOUS EMOTIONAL FORCE. WHERE DID YOU GET THE IDEA FOR THIS?

Holding hands was something I did myself. When my brother was hidden in the Bataclan, he asked me to stop calling him so I wouldn’t give him away. So my friend and I turned off the television and the radio, lit a candle, and held hands. My editor, who lives near the Bataclan, and who could hear the shots and the cries, lay down with his girlfriend and they held hands too. On survivor forums, a great many messages refer to hand-holding. A psychiatrist explained to me that holding someone’s hand releases ocytocin, a comfort hormone which is similar what a baby feels at his mother’s breast. Holding hands is connection and comfort. It’s a sort of social reflex in situations of extreme distress. That’s why I filmed hands a lot, and why I end on that image.
 
CAST

MIA / VIRGINIE EFIRA
THOMAS / BENOÎT MAGIMEL
VINCENT / GRÉGOIRE COLIN
SARA / MAYA SANSA
ASSANE / AMADOU MBOW
 
CREW

DIRECTOR / ALICE WINOCOUR
SCREENPLAY / ALICE WINOCOUR
IN COLLABORATION WITH / MARCIA ROMANO & JEAN-STÉPHANE BRON
PRODUCTION / DHARAMSALA - ISABELLE MADELAINE & DARIUS FILMS - EMILIE TISNÉ
CINEMATOGRAPHY / STÉPHANE FONTAINE
EDITING / JULIEN LACHERAY
SOUND / JEAN-PIERRE DURET & PASCAL VILLARD & MARC DOISNE
ORIGINAL MUSIC / ANNA VON HAUSSWOLFF
PRODUCTION DESIGN / FLORIAN SANSON
ART DIRECTOR / MARGAUX REMAURY
COSTUME DESIGNER / PASCALINE CHAVANNE
COSTUME SUPERVISOR / CAROLINE SPIETH
CASTING / ANAÏS DURAN
FRENCH DISTRIBUTOR / PATHÉ
INTERNATIONAL SALES / PATHÉ INTERNATIONAL
COPRODUCERS / PATHÉ

Wikipédia: Synopsis

Mia est interprète de russe, son compagnon chef de service à l'hôpital. À Paris, un soir au restaurant avec son compagnon, le repas est interrompu par une « urgence ». Sur le chemin du retour chez elle, l'orage surprend Mia à moto. Elle se réfugie au hasard dans un restaurant, L'Étoile d'or. Mia attend seule, en prenant un verre. Quelques instants plus tard, le destin bascule. Rien ne le présageait. Le restaurant est attaqué par des terroristes, qui mitraillent la clientèle et achèvent tout ce qui bouge ; Mia, sous la table, demeure face à l'atroce.

Traumatisée, Mia passe les trois mois suivants à la campagne chez sa mère. Désireuse de guérir et de comprendre ce qui s'est passé, Mia, partiellement amnésique, décide de retourner à Paris. Elle ne se souvient plus de la plus grande partie des événements. Elle rejoint une association de victimes qui s'entraident, rencontre une adolescente en deuil de ses parents, se fait insulter par une femme qui l'accuse de s'être enfermée dans les toilettes sans laisser entrer d'autres personnes. Elle rencontre aussi Thomas, qui fêtait ce soir-là son anniversaire avec des collègues. Il est grièvement blessé aux jambes, mais a conservé toute sa mémoire.

Peu à peu, Mia retrouve des bribes de souvenir. Elle se rend compte qu'elle a passé un long moment dans une cachette en compagnie d'un employé de cuisine du restaurant qui lui a tenu la main. Elle veut le retrouver, être sûre qu'il a survécu, mais sa recherche est compliquée par le fait qu'il s'agit d'un immigré sans papiers. Elle s'éloigne de son compagnon Vincent, qui n'arrive pas à comprendre ce qu'elle traverse, pour se rapprocher de Thomas. Elle découvre que ce n'est pas elle qui s'était enfermée dans les toilettes, mais la femme qui l'en avait accusée. Elle retrouve finalement Assane, le cuisinier qui lui avait tenu la main pendant qu'ils attendaient la police, et peut enfin l'enlacer.

...

Titres préexistants
"La Fille de neige" - Nikolai Rimsky Korsakov (scène à l'opéra)
"Fratres" - Arvo Part
"I Got You" - Paul Joseph Smith
"Beat Beat Heat" - Andrew Michael Britton
"Don't mind at all" - Chris Penny, Skinny Williams
"Dance Train" - Jean-François Berger & Cécile Perfetti
"Chiara" - Marie Catherine Ciuppa, Vinchenzo Orru
"Roses" (Imanbek Remix) - Saint Jhn  (scène de danse en club)
"Balkan Business" - Keiran Merrick, Marcel Bolano & Merrick Day
"Outside the gate" - Anna Von Hausswolff
"Ugly and Vengeful" - Anna Von Hausswolff