Suzerain - Good Day

Good Day is a kinetic portrait of one man’s slow unraveling  part city symphony, part psychological reflection.

Shot across London’s shifting architecture, the film follows a nameless wanderer through the chaos of urban life, capturing fragments of laughter, loneliness, and late-night euphoria.

Built around an entirely independent workflow, the project was born from trust and creative autonomy.

Richard from Suzerain  a visionary artist and long-time collaborator, gave Yohan Forbes complete freedom to design, shoot, and interpret the concept within a modest budget. That creative trust became the project’s heartbeat, allowing the film to unfold as a cinematic experiment rather than a conventional commission.

The video’s visuals were captured through a custom helmet camera rig, constructed by Forbes with Genesis Hire using a Canon 5D Mark III  a pioneering step in personal, body-mounted cinematography before it became common practice.

This innovation enabled a raw, immersive perspective: the audience sees what the filmmaker sees, feels what he feels.

The cast  Faye Mitchell, Thompson Otega Okuku, and Miftin Al Hadithai were friends and trusted collaborators, not distant hires. Their improvisation and chemistry grounded the story in genuine emotion, dissolving the line between performance and reality.

Forbes’ dual role both behind and in front of the camera  turned the process into a living study of perspective. Every shot, every stumble, every reflection became a self-portrait of an artist navigating chaos through creation.

STRATEGIC INSIGHT

Good Day isn’t just a music video,  it’s a manifesto for independent authorship under constraint.

Without the infrastructure of a large crew or external support, Kumo Films built a system of trust, collaboration, and invention.

Richard’s openness and belief in Kumo’s direction empowered Forbes to pursue instinct over instruction , using London’s real spaces, its people, and its architecture as living narrative tools.

Filming at Battersea’s fireworks, the Millennium skyline, and along London’s bridges and underpasses, the film redefined how environment and psychology could merge on screen.

WHY THIS MATTERS 

Good Day remains one of Kumo London’s most personal and technologically forward-thinking early works.

It signalled the birth of a filmmaking philosophy: use what you have, trust who you know, and let the story reveal itself through movement and emotion.

At a time when independent filmmakers were still tethered to heavy equipment, this project proved that storytelling could be liberated through ingenuity and collaboration.

It showed how creative partnerships, like the one between Suzerain and Kumo  can flourish when trust replaces control.

SERVICES DELIVERED