Written, directed, and edited by George Gallardo Kattah for Continente; end cards name Manuel Del Cristo Caicedo, Bogotá and Los Angeles crews, stylist Angela Trivino, Fearless Records.
Written, directed, and edited by George Gallardo Kattah for Continente; end cards name Manuel Del Cristo Caicedo, Bogotá and Los Angeles crews, stylist Angela Trivino, Fearless Records. Shot Bogotá Colombia and Los Angeles California. Https://www.youtube.com/watch?v=z0q7V9AasBI
The vocal cuts through the cut: “In the shade under the evergreen”
The room grows its own floor.
Soft green moss and grass carpet every indoor inch while a man who looks like Sameer Gadhia stands with his back to us — dark cropped hair, dark blue collared shirt, facing a vintage Sony Trinitron CRT on a dark wood mesh-grille console. Rabbit-ear antennas aim at the cream wall. The screen blooms bright outdoor blur: forest green, brown earth, something living the tube cannot hold. Boxing memory lines the plaster — framed fighter in yellow trunks, wide black-and-white outdoor arena crowd, smiling-face poster reading IF THE ECLIPSE LOOKS LIKE THIS. To the right a tall narrow mirror leans against stained off-white wall and reflects what the room already owns — a small thin-trunk citrus tree heavy with round orange fruit rising from a bright moss mound.
He watches. The camera settles over his shoulder so set and screen share one breath. Grainy forest crawls the Trinitron; a dark figure moves through foliage with a cyan flash near the head. SONY on the bottom bezel, TRINITRON and RGB dots up left, channel keypad and green power LED right. Nature stays locked inside glass while real moss pushes at the edge of frame.
After that the mirror takes the cut — citrus filling the reflection, roughly ten or twelve oranges on a slender trunk, moss glowing underneath, eclipse poster still nagging. Macro jumps to a single yellow-orange fruit hanging a thin twig among dark elliptical leaves, looking like kumquat or calamansi, soft orchard bokeh behind. Nature is inside the room and on the tube at once, evergreen against the indoor TV world.
Two padlocks hold a dark forest-green wood door shut against a tan frame — upper round black lock on a sliding latch, lower rectangular silver-and-black lock on a decorative hasp, teal shadow soft on the wall. The door does not open yet. Back to Sameer at the console. On the curved screen a tiny moss-and-lichen nest cups a twig among green leaves, hummingbird-scale, grainy analog sun through canopy. Next the Trinitron alone again: soft tropical bloom with red and yellow pointed bracts that looks like heliconia in jungle green.
The band arrives as if the set itself sang them in.
Sameer Gadhia stands center in a bright white studio and sings into a silver vintage capsule mic, eyes partly shut, right arm raised mid-gesture. Paint spatters his white sleeveless muscle tee — green, yellow, red — geometric tattoos on both upper arms, thin gold bracelet left. A guitarist who looks like Jacob Tilley works a gold-natural semi-hollow electric in thin-rim glasses and a full brown beard, tan short-sleeve button-down with green paint at the shoulder. Francois Comtois hits from the right in light denim overalls over a white tee. Underneath the moss room still hums: an orange tropical bird that looks like a cock-of-the-rock flares in dense foliage while a dark silhouette of a viewer’s head frames the glass from the right.
Drums own the next breath. Francois mid-hit, right stick raised above a gold cymbal, oyster-marble pearl wrap on snare and floor tom, dual gold cymbals, blue-and-white pinstripe bib overalls heavy with orange yellow green paint over a light tee. A fretting hand works a dark electric neck soft left. Later the bald guitarist who looks like Eric Cannata leans over a sunburst offset Firebird-look electric in a cream textured long-sleeve button-down splashed green and pink, while Payam Doostzadeh stands right with long dark wavy hair and full beard, plucking a white Jazz-Bass-look bass in an off-white paint-splattered button-down, dark-grey trousers, charcoal beanie.
The vocal cuts through the cut: “Hope you’ll remember me”
Another life shares the moss.
An older Black man sits soft-focus, stoic, black eyepatch on a thin strap, open dark blue teal work shirt over a white cream ribbed tank, gold chain at the throat — not in the band. Sameer sings intense into a vintage black round mic, paint-splattered sleeveless tee, left hand near the chest, guitarist and Francois in overalls behind him on the white seamless. On the Trinitron a hummingbird perches a thin branch, iridescent green-blue wings slightly flared, Sony logo clear, rabbit-ears up, three-panel mesh grille below, dark shoulder silhouette still watching from the room.
Low on the grass: bare tanned calves, worn dark navy lace-up boots with light orange-tan laces, white ribbed crew socks bunched above the tops. The eyepatch man looks down somber in the cream ribbed tank and thin flat-link silver chain. Cut to the indoor gym that grows moss like a lawn — mid-air jump-rope in white hand wraps, white ribbed tank, tan athletic shorts with side stripes, dark sneakers, dark sunglasses, black teardrop bag and brown heavy bag hanging right, small wood-cased TV and dark leather armchair behind, floor-to-ceiling windows fogged bright. He shadowboxes — knees bent, left hand forward, motion blur, off-white tank, tan gold satin athletic shorts, white wraps, dark-rim sunglasses — brown leather bag left, black speed bag on a cord, mustard weight bench far right.
The Trinitron answers with a dark bird hanging upside-down from a thick branch, pale long beak, yellow-red-brown rump that looks like oropendola. Sameer sings mouth wide into a chunky vintage handheld mic; Eric Cannata plays gold-finish ES-style semi-hollow on a brown leather strap; Francois strokes a silver-blue-stripe shell behind the kit. Sameer’s raw-hem sleeveless tee carries yellow green pink paint, dark pants, mandala shoulder tattoo, gold bracelet. An older brown-skinned man who is not clearly a band member lifts black goggles onto his forehead, thick white gauze from knuckles to wrist, white ribbed tank, thin beaded necklace. Legs stride patchy grass in tan athletic shorts with three dark side stripes, white mid-calf crew socks, dark high-tops with thick cream laces.
Sameer tilts his head back and sings; Francois owns the kit in hickory-stripe bib overalls heavy with multicolor paint. The older muscular Black man stands shirtless on the real grass floor, white athletic tape on the wrists, silver chain with a small horseshoe pendant, tan patterned bottoms. He punches the brown heavy bag — motion-blur fist, jaw set, leafy plants and multi-pane fog glass. Overhead into a dark circular puddle: blurry reflection of someone leaning in. Across the frame, kneeling at the murky pool — white-taped right hand dips, holds a dark wet clump that looks like feathers or debris, charcoal sneakers with thick tan laces.
The eyepatch man returns high-key against a washed window halo, white ribbed tank, thin silver chain, short textured dark hair greying at the edges. Dark-skinned hands wrap white athletic bandage around a left palm against green grass bokeh, then hold a small ripe orange on a leafy branch. Extreme close: two hands squeeze a dark-green lime and a fine backlit mist of juice and oil bursts between the thumbs in golden particles. On the CRT two small brownish-white birds perch a branch. Extreme close on the older man’s lower face — mouth open on glistening yellow citrus pulp, eyepatch edge over the left eye. Hummingbird again on the Trinitron, second dark bird blur mid-flight. He stares direct into the lens, stoic and intense, black circular eyepatch, white ribbed tank, silver chain, salt-pepper hair. Tighter still, unwavering. Hands peel a bright orange; oil mist sprays glittering into warm side light.
From there, Young the Giant appears inside the television the moss room has been watching.
Five-piece on the Sony Trinitron — white studio, circular artificial grass patch, red and orange flowers, scattered small oranges. Sameer center leans into a vintage chrome wired mic in a white sleeveless ribbed tee, dark brown trousers, white sneakers. Jacob Tilley lookalike left on dark sunburst semi-hollow in light beige short-sleeve button-down and brown trousers. Francois in light blue denim overalls over a light tee. Eric lookalike right on light long-sleeve solid-body. Payam far right, long dark hair and beard, dark bass, light overshirt and dark trousers. Wider: the CRT sits on its three-panel wood console in the moss room while a dark silhouette watches the band on green grass dotted with red flowers against a bright hazy void. Closer CRT fill — curved glass vignette, Sameer singing direct-cam, blue-sparkle floor tom, turf with poppy-like flowers and small orange fruits, mossy log inside the dark bezel.
The vocal cuts through the cut: “Call it a victory”
A dark-skinned right hand presses firmly over the left chest on a white fine-mesh perforated tank, thick gold mariner chain across the collarbone. Static: the small indoor citrus tree rises from dark soil on the moss floor, tall dirty mirror leaning left against stained yellowish wall. The older Black man cries — clear tear tracks on the right cheek, right eye shut, brow tight, black circular eyepatch on the left, faint gold glitter at temple and cheek, white ribbed tank, thin gold chain.
Sameer takes the void.
Low angle against pure black, knees bent, fists clenched near the face in a shadowbox look, white ribbed tank, yellow gold vintage athletic shorts, warm top-front key and heavy chiaroscuro. He pumps mid-dance — light beige tan shorts mid-thigh, thin gold-silver chain. Right after, he reclines a black leather executive armchair tipped steeply back on dark moss and grass, right fist near the chest, left hand raised, legs splayed, small dark reflective pool hollow behind the chair, metallic leafless plant with glitter tips, beige retro shorts with brown side stripes, white crew socks, dark sneakers. He lounges deeper in a studded leather armchair, eyes closed, head back on moss against damp concrete, spindly silver plant behind, light tan orange short trunks. Night asphalt: he jumps rope mid-air, long sharp shadow of body and rope stretching far right, dark green grass strip and tiny distant lights on a black horizon — tan khaki shorts, white mid-calf crew socks, dark athletic sneakers.
The eyepatch man leans back solemn, head against a dark textured surface that looks like leather, off-white ribbed tank, silver flat mariner chain, cool green-blue bokeh. A thin dark branch with sparse oval leaves holds low light like an evergreen shrub. On the Trinitron Sameer paints a thick translucent green border on the glass between him and the camera, mouth open singing, white sleeveless tee heavy with multicolor paint, Francois in light-blue denim overalls behind the kit on the turf of oranges and red flowers. Soft-focus return of the eyepatch man. Sameer smears vibrant green paint on the CRT glass looking up, reddish-pink chest splatters on a white long-sleeve button-up, bearded guitarist and long-hair guitarist behind on the artificial grass mound.
Dark-skinned hands adjust a thin dark thorny metallic-look branch, filament at a junction, hint of dark sleeve only. Boxing memorabilia corner: wood coat rack holds a dark flat newsboy cap, beige long jacket, charcoal navy trousers; faded blue-gray wall carries a large JEFFRIES vs JOHNSON heavyweight poster for July 4th 1910 INNER CIRCLE NORTH GATE, a SAN FRANCISCO CHRONICLE sparring clipping, torn bare-chest boxer gloves poster, three medals on white red green ribbons. An unidentified Black man — shirtless, thin gold chain, tan beige athletic shorts with dual dark side stripes — whips a white towel in heavy motion blur through that poster wall. A dark ridged metal padlock hangs from the hasp of an ajar charcoal door, pale olive-yellow wall through the gap.
An older South Asian man stares stoic with a black eyepatch over the right eye, dark flat newsboy cap, sleeveless light grey-green olive mandarin-collar vest with white embroidery along the placket, speed bag soft left. Soft gym blur — punching bag, red strap, brown leather strap, boxer poster. On the vintage Sony CRT Sameer looks down solemn in light denim overalls over a light tee while two bandmates sit or kneel in the bright white studio, a thick painterly glowing green circular portal framing the TV image, rabbit-ears extended, SONY on the bottom bezel.
A figure who looks like Sameer stands rear mid facing a pitch-black open doorway in a mustard-ochre wall — light blue-grey sleeveless collared shirt, dark charcoal thin-pinstripe trousers, dark flat cap — peering into the void while heavy latch, short chains, and two black padlocks hang on the right wall. Abstract plate: irregular charred jagged hole through mottled blue-teal-white painterly cloudy sky, burnt edges, thin radiating cracks. Outside Sameer shields his face from overhead sun with both palms, black eyepatch over the left eye, dark flat newsboy cap, light grey beige sleeveless mandarin-collar button vest, clear blue sky. Through the CRT’s circular green-paint aperture he stares intense; a bandmate reaches the green paint tunnel in overalls over a white tee.
He walks away across a vast gridded tarmac under golden-hour light, long dark shadow stretching, off-white light-blue sleeveless shirt, dark slim trousers. On the black CRT a foreground member swirls thick vibrant green paint clockwise framing a tunnel while Sameer shouts through the clear center, white tees and white painter overalls heavily splattered yellow blue green. Another high-angle walk across dark paved lot, right arm raised high overhead fingers spread, light grey white sleeveless vest, dark loose trousers, cold blue-green grade. Studio duo: Sameer and the bald bearded bandmate who looks like Payam mid-shout mouths wide — Sameer in white sleeveless tank with green red yellow paint and a right-arm tattoo, Payam in white textured corduroy collared button-down with the same spatters. Sameer later in white crew tee under blue-white vertical-stripe denim overalls paint-splattered green yellow red. A left hand with dark sponge wipes a circular porthole through thick bright-green paint on the CRT; Sameer peers through the clear circle. Eyes stare through a jagged star-shaped puncture in painted blue cloudy sky — looks like Sameer. Trio close: Eric Cannata lookalike in thin gold-rim aviators and cream button-up with pink and green paint; Jacob Tilley lookalike with long dark hair and dark beanie over the shoulder. Thick bright-green paint nearly covers the CRT; Sameer peers through an irregular clear gap in a simple white crew tee. Duo with Francois in cream button-downs heavy with green yellow paint, Sameer’s blue-white overalls strap and gold buckle over the shoulder. Nose and wide smile teeth flash through a jagged hole in pale blue-white surface that looks like torn painted sky.
Wildflowers take the outdoor dusk — white daisy yellow centers, deep red pink ruffled blooms, pale yellow, purple, dandelion seed clocks on dark earth, solitary figure soft under pale-to-deep blue sky and hill silhouette. Top-down: asphalt crack packed with white purple magenta yellow blooms and two tall white dandelion clocks. Francois leans over the kit mid-stroke in blue-white pinstripe denim overalls over a light tee multicolor paint; white sleeveless paint tank with large dark deltoid tattoo enters right. Sameer stands low-angle against a deep blue gradient sky looking slightly down-cam solemn in a dark structured flat newsboy cap. Studio return: Sameer head tilted face shadowed beside a glasses guitarist on olive gold semi-hollow; Payam lookalike strums black electric with white pickguard mouth wide while Jacob lookalike plays white cream Jazz-style bass on bright seamless floor.
Hard not to hear it over the image: “Once in a century”
Heavy outdoor twilight: a man who looks like Sameer bows his head, hand at a hat brim, deep blue sky into warm pink lavender horizon, thin faint crescent moon upper left. High-angle rear: he crouches over a jagged asphalt crack observing dense pink yellow white purple wildflowers blooming from the fissure. The older Black man grimaces — eye squeezed shut, brow furrowed, black eyepatch left, warm golden key on the right face. Soft wildflowers in front; behind, Sameer lookalike lies on his back under dusk hills. A single dense green citrus evergreen tree stands center spotlighted against pitch-black void, many small round orange fruits in the canopy, bright green grass at the base, heavy radial zoom-blur streaks outward — the title image pulsing before it is named.
Top-down: Sameer lies supine on dark teal-green granular ground, head tilted back, eyes closed, dark tear-shaped patch over the right eye area. White line-art doodles ride thick saturated green paint — abstract faces, city skyline, hearts, butterflies, daisies, crescent moon, lightbulb, music note, stars. The older dark-skinned man lies motionless bird’s-eye in dense green grass and white clover, black circular eyepatch left. A man stands rear facing a luminous orange-fruit tree in a night grassy field while heavy radial blur streaks from the glowing canopy against pitch-black sky. Sameer lies on rough grey concrete eyes shut strained, head near a dense flower trail of white yellow red purple blooms, black eyepatch left, radial blur at the edges. White line-art house on dark forest-green brushstroke — peaked roof, square four-pane window, wavy path, grass ticks.
Hands pull apart peeled citrus segments outdoors under harsh sun, heavy radial zoom-blur on the fruit, grass behind, beige off-white ribbed tank at the torso, looks like Sameer. Close face: intense wide-eyed toothy grin, skin glistening sweat, white ribbed tank, thin silver chain, night field grass at the corners. He stands center in a dark doorway facing camera as silhouette, black blindfold heavy over the eyes, bright moss-floor room and hanging brown punching bag behind him, light beige off-white sleeveless button vest, dark loose trousers. Extreme close profile: Sameer bites peeled tangerine with both hands gripping, teeth into juicy flesh, light white collared shirt, light beaded pearl necklace. Lone small citrus tree again on a grass patch versus solid black. Meanwhile, the canopy shapes itself into a heart — lush green orange-fruit tree, thin pale trunk, grass patch, black void, heavy radial motion blur that looks like a pulsing heart-tree.
End cards hold that heart. Dense green evergreen needle mass soft-lit against black, bold white EVERGREEN left with smaller CONTINENTE seashell logo, white credits — Manuel Del Cristo Caicedo; written directed edited George Gallardo Kattah; Bogotá and Los Angeles crews; stylist Angela Trivino; Fearless Records; shot Bogotá Colombia and Los Angeles California. Sharper still: heart-shaped evergreen moss plant center, same title lockup. Elsewhere, solid black. Black again. Black.
Moss floor. Rabbit-ear nature. Padlocked door. Heart evergreen in the void.
What sticks when the picture dies is the loop the camera already built — same rooms, same wardrobe returns, same motions it would not drop.
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