Director
In December of 1991, the USSR started to slowly dissolve and a wave of Western influences flooded the former Soviet states. Seemingly all at once, western consumerism arrived in Russia along with the hope that western prosperity would soon follow.'3OHA' examines the explosive changes in the cultural landscape of the region, from the last days of the Soviet Union to the modern feudalism of now. Via interviews with cultural luminaries like Artemy Troitsky, Igor Shulinsky, the recently incarcerated rapper, Husky, and 4 current day portraits of youth in Russia and Ukraine, a variety of refracted angles come into focus through fake nikes, clubs, drugs, instagram live, and the ghost-like echo of Swan Lake.
Screenplay
A day in the life of three friends as they rap, sing and vogue their way around Staten Island.
Director
A day in the life of three friends as they rap, sing and vogue their way around Staten Island.
Executive Producer
Throughout Pai Nosso (“Our Father”), an emotive short documentary directed by Clayton Vomero and produced in collaboration with The FADER, 23-year-old DJ and producer Firmeza grapples with questions of loneliness and faith. He says, unequivocally, he is not religious; but he laughs off the idea that heaven doesn’t exist. For him the truth is something unknowable, something in between. The intimate film follows him not only as he tackles these big topics, but as he eats in his kitchen, creates music in his studio, and walks around his neighborhood, Quinto Do Mocho in Lisbon, shooting the shit with his friends about dating girls. Simmering beneath these domestic scenes, darkly omnipresent, are two intertwined things: the tight, dense percussion of Firmeza’s music, and the subject of his father, who passed away in 2015.
Director
Throughout Pai Nosso (“Our Father”), an emotive short documentary directed by Clayton Vomero and produced in collaboration with The FADER, 23-year-old DJ and producer Firmeza grapples with questions of loneliness and faith. He says, unequivocally, he is not religious; but he laughs off the idea that heaven doesn’t exist. For him the truth is something unknowable, something in between. The intimate film follows him not only as he tackles these big topics, but as he eats in his kitchen, creates music in his studio, and walks around his neighborhood, Quinto Do Mocho in Lisbon, shooting the shit with his friends about dating girls. Simmering beneath these domestic scenes, darkly omnipresent, are two intertwined things: the tight, dense percussion of Firmeza’s music, and the subject of his father, who passed away in 2015.
