This THE PLUS Exclusive Video Premiere Takes Aim at your Dairy and Your Ego

MILK is an arch and visually thumping art video, a terse monologue delivering a dry exploration of consumer culture and the battles of the ego and freedom. Ambitious it may sound, but the knowing self-awareness of production studio Arrival Film‘s most recent offering is playfully delivered. It’s a look at the modern world taken to the point of cutting-edge incision by a compellingly minimalist aesthetic. Watch MILK below, premiered exclusively on THE PLUS.

The film is the brain child of Arrival Studio’s Àlex Nicolau and Albert Capó, and was shot on a single night in Barcelona. A wryly critical monologue accompanies the model as she frolics and flirts in an empty studio. From milk to cake ingredients, ‘matter’ is smeared over, drips out of, or bubbles up from, the model: “most of the substances you could ingest, so we did,” Albert shares.

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It’s a juggling of two perspectives: uninhibited action as willingness to by hook or by crook get what the ego wants, and the re-casting of this in the more flattering light of ‘not caring what people think’. “Criticism is in the eye of the viewer, we’ll never change that,” Albert muses – and never was this more pertinent a subject than in today’s social media maelstrom.

THE PLUS: MILK is distinctive – and fairly violent. What was your inspiration?
Albert Capó:
It was our own experience, about what the prize is in life, about where “all” artists want to be. So the question was: “what are we willing to do to get there?”. But this question threw up these “two-dimensional” answers: ‘I don’t care about the consequences’ or ‘fuck what people think. I just do whatever I want’.   

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TP: When’s the last time you did something because you cared about what people thought?
AC:
Do you know what? Sometimes we get likes on our video, and in the end it’s good to hear things like:”I like what you’re doing, whatever you are doing I like”. It’s like, I appreciate your work, slap on the back.

TP: What were your considerations about the way women and femininity are presented in the piece? 
AC:
The piece tries to discuss femininity and the role of women in film-making projects, like how in fashion, or beauty, sometimes it is ‘sold’ like an object. We’re in a society in which brands use women just so that they can have something attractive about them.

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TP: So it touches on female commodification?
AC:
We used it like that, like she was a product, like we were selling ‘Milk’, but showing how corrupt not just the fashion world can be, but also each person. In this case, both the model and the director: just looking out for his own ego.

TP: How do you see Arrival Films fitting into the artistic landscape at the moment?
AC:
We’re actually rolling in an artistic world in which the epicenter is the internet; we can’t and we don’t want to go away from that. But we need a reputation in the field in order to make what we really want to make, and not what the people want to watch. But if these things converge: big party.

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TP: Arrival Films is about letting the imagination fly – tell us about the most recent flight of fancy that you had…
AC:
That was a three dimensional flight of my brain, two weeks ago. I just went to pick up my dog called Animic and bring back to my city, Barcelona. Now we’re living happily together again, trying to enjoy every moment like it was our first ball throw.

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TP: What are three tools essential to your creative process? 
AC:
Pen, paper and a cigarette.

TP: And why milk, specifically?
AC:
This is the best question. The best answer I can give: why not? 

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