THE IDEA

WRONG started as a desire to explore guilt, remorse and the uncomfortable space between impulse and consequence. I wanted to build a story around that moment when an action has already happened, but its meaning and weight continue to evolve afterwards. From the beginning, the intention was never to explain everything directly. I was more interested in creating a subjective experience, where the viewer gradually pieces things together through fragments, sensations and emotional clues.

THE IDEA

WRONG started as a desire to explore guilt, remorse and the uncomfortable space between impulse and consequence. I wanted to build a story around that moment when an action has already happened, but its meaning and weight continue to evolve afterwards. From the beginning, the intention was never to explain everything directly. I was more interested in creating a subjective experience, where the viewer gradually pieces things together through fragments, sensations and emotional clues.

THE IDEA

WRONG started as a desire to explore guilt, remorse and the uncomfortable space between impulse and consequence. I wanted to build a story around that moment when an action has already happened, but its meaning and weight continue to evolve afterwards. From the beginning, the intention was never to explain everything directly. I was more interested in creating a subjective experience, where the viewer gradually pieces things together through fragments, sensations and emotional clues.

A FRACTURED NARRATIVE

The film was built around a non linear structure, moving between memories, perceptions and moments that may or may not be entirely reliable. Rather than following a conventional progression, the narrative unfolds through repetition, echoes and disconnected pieces that slowly start to form a larger picture. This fragmented approach became a way to reflect the instability of memory itself, and the way certain events can keep resurfacing long after they have happened.

A FRACTURED NARRATIVE

The film was built around a non linear structure, moving between memories, perceptions and moments that may or may not be entirely reliable. Rather than following a conventional progression, the narrative unfolds through repetition, echoes and disconnected pieces that slowly start to form a larger picture. This fragmented approach became a way to reflect the instability of memory itself, and the way certain events can keep resurfacing long after they have happened.

A FRACTURED NARRATIVE

The film was built around a non linear structure, moving between memories, perceptions and moments that may or may not be entirely reliable. Rather than following a conventional progression, the narrative unfolds through repetition, echoes and disconnected pieces that slowly start to form a larger picture. This fragmented approach became a way to reflect the instability of memory itself, and the way certain events can keep resurfacing long after they have happened.

INSIDE THE MIND

As the film progresses, the distinction between the external world and the character’s inner state becomes increasingly blurred. Darkness, isolation, recurring imagery and shifts in perception gradually turn the environment into an extension of his thoughts. I wanted the visuals to carry that psychological tension, allowing mood, composition and rhythm to express what could not necessarily be said through dialogue or exposition.

INSIDE THE MIND

As the film progresses, the distinction between the external world and the character’s inner state becomes increasingly blurred. Darkness, isolation, recurring imagery and shifts in perception gradually turn the environment into an extension of his thoughts. I wanted the visuals to carry that psychological tension, allowing mood, composition and rhythm to express what could not necessarily be said through dialogue or exposition.

INSIDE THE MIND

As the film progresses, the distinction between the external world and the character’s inner state becomes increasingly blurred. Darkness, isolation, recurring imagery and shifts in perception gradually turn the environment into an extension of his thoughts. I wanted the visuals to carry that psychological tension, allowing mood, composition and rhythm to express what could not necessarily be said through dialogue or exposition.

A CINEMATIC EXPLORATION

WRONG was also a very personal filmmaking exercise, and a way for me to push my approach to cinematography, pacing and visual storytelling further. The project became an exploration of how much can be communicated through atmosphere alone: the framing of a shot, the duration of a moment, the use of silence, sound and repetition. More than telling a story in a conventional way, the goal was to create a state of mind and let the audience experience it from within.

A CINEMATIC EXPLORATION

WRONG was also a very personal filmmaking exercise, and a way for me to push my approach to cinematography, pacing and visual storytelling further. The project became an exploration of how much can be communicated through atmosphere alone: the framing of a shot, the duration of a moment, the use of silence, sound and repetition. More than telling a story in a conventional way, the goal was to create a state of mind and let the audience experience it from within.

A CINEMATIC EXPLORATION

WRONG was also a very personal filmmaking exercise, and a way for me to push my approach to cinematography, pacing and visual storytelling further. The project became an exploration of how much can be communicated through atmosphere alone: the framing of a shot, the duration of a moment, the use of silence, sound and repetition. More than telling a story in a conventional way, the goal was to create a state of mind and let the audience experience it from within.

A SECOND LIFE

A few months after the release of WRONG, I was contacted by German DJ duo Tube & Berger, who had discovered the film and fallen in love with its atmosphere and visual language. They asked if I would consider re-editing it as the official music video for their new track, Get Down. I listened to the track and connected with it immediately. I accepted, but rather than simply cutting the existing film to the music, I decided to revisit the project and create several new sequences specifically for the video. A few months later, this new version of WRONG was released as the official music video for Get Down.

A SECOND LIFE

A few months after the release of WRONG, I was contacted by German DJ duo Tube & Berger, who had discovered the film and fallen in love with its atmosphere and visual language. They asked if I would consider re-editing it as the official music video for their new track, Get Down. I listened to the track and connected with it immediately. I accepted, but rather than simply cutting the existing film to the music, I decided to revisit the project and create several new sequences specifically for the video. A few months later, this new version of WRONG was released as the official music video for Get Down.

A SECOND LIFE

A few months after the release of WRONG, I was contacted by German DJ duo Tube & Berger, who had discovered the film and fallen in love with its atmosphere and visual language. They asked if I would consider re-editing it as the official music video for their new track, Get Down. I listened to the track and connected with it immediately. I accepted, but rather than simply cutting the existing film to the music, I decided to revisit the project and create several new sequences specifically for the video. A few months later, this new version of WRONG was released as the official music video for Get Down.