There’s mayhem at the circus in Great Guns director Ilya Naishuller’s latest music video for the popular Russian artist Leningrad.

Feb 17 2017

Following the success of POV masterclasses ‘Hardcore Henry’ and The Weeknd’s ‘False Alarm’ music video, Great Guns director Ilya Naishuller switches to third person perspective with equally stunning results in the insane music video for massively popular Russian artist Leningrad’s latest track ‘Kolshik’.

The music video shows a chain of events that escalate to bloody mayhem in a circus, switching between multiple storylines all taking place within the big top’s enclosure. The twist being that the whole film is told in reverse, so the initial action that sparks all this craziness is not revealed until the film’s final moment.

Customary for Naishuller, the director also responsible for the viral sensation and multiple award-winning ‘Bad Motherfucker’ (128 million views and counting), are the film’s arresting visuals – a tiger gnawing on a dismembered, high-heel adorned leg, a couple being electrified whilst ‘making love’ – that manage to keep the film hurtling along at a breathless intensity, despite being told entirely in slow motion.

I wanted to create a film that you could appreciate in one viewing but needed to watch again to fully pick up on everything that’s going on,” states Naishuller. “Playing the multiple storylines out simultaneously, with each one affecting the other, and in reverse, was definitely a tricky balancing act. There’s a lot going on so hopefully there’s a lot to pick up on on repeat viewings that will be rewarding for the viewer.”

Whilst it might switch out his trademark POV perspective exhiibited in ‘Bad Motherfucker’, ‘Hardcore Henry’ and ‘False Alarm’, to a more traditional third person perspective, the film is still laced with the unmistakable core DNA of a Naishuller film, none more so than in its grand scale balletic violence.

“The script is definitely pretty violent but I was clear with my team from the outset that we were aiming for something more overtly comedic in tone, albeit darkly so,” adds Naishuller. “I really wanted this to be an enjoyable, fun, chaotic ride with so much to see and link together that, once it was over, you wanted to hop straight back on for another go round. It’s so easy to slip into a harsh, real world aesthetic when you’re depicting violence on screen, so you have to work doubly hard to make sure it remains outlandish enough to stay humorous in tone. In my mind I was shooting for low grade, violent and fun Fellini. Hopefully the final film reflects that and people have a great time watching it.”

You can watch the music video here.

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