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Relentless/Lives of the Artists

06 Jan 2010

'Art should be aggressive, it should be intelligent, it should be interesting and it should cause a stir in the emotions, you know? And if it doesn't, then what's the point?'

So opens the new documentary Lives of the Artists for Relentless. The quote comes from Frank Carter, uncomprimising lead singer of London post-punk band Gallows, part of a trio of artists filmed for the Coca-Cola owned energy drink.

The Ross Cairns-directed film tracks the band, freeride snowboard philosopher Xavier de la Rue and surfers Tom Lowe, Fergal Smith and Mickey Smith for a year-long study of commitment to artistry.

Branded films, hosted at destination sites are undergoing something of a renaissance (witness DC Shoes' thrilling Ken Block Gymkhana series and Gatorade's 'Replay' film and MissionG.com site), and this production lives up to those high standards.

Greenland's stark, sombre snowlands frame de la Rue's zen-like calm in the face of avalanche fears and tearing high-speed descents. Tahitian sun glistens on waves and faces through the surf sections, before footage of the band Gallows disrupts the movie with its contrastingly agressive approach.

Super slow-mo and an eye for local detailing ground the documentary, and James Edward Barker's orchestral soundtrack lends an epic feel. Like Gatorade, Relentless secured TV backing, for an edited version screened on Channel 4 a week before Christmas.

The presence of Coca-Cola looming behind this project at first seems incongrous to the extreme ethos of those who feature in it, but the production from Erasmus, London and Between the Eyes is uncompromising and pulls no punches.

It is credit to the selection of such intriguing characters, credible in their field, without star names and living life on their own terms, that branding is quickly forgotten. Stunning cinematography, respect for the surroundings and the film's subjects, as well as a welcome lack of Relentless imagery show content can be king in the pursuit of a brand experience.

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