Holysseus Fly - 'Arms Unfolding'
A shift from darkness to daylight, and a new start.
Directed by Claudia Lee
words by Katie Huelin
Directed by Claudia Lee, Arms Unfolding is an intimate and bold short film and the official music video for artist Holysseus Fly. Moving from shadowy, red-lit interiors to the open expanse of the countryside, the film embodies Holysseus’ own journey through illness and transformation.
Diagnosed with breast cancer in her early twenties and now recovered from a double mastectomy, Holysseus channels her story into her art.Lee translates this resilience into a visual language of tenderness and strength, infusing the piece with a genuine sense of hope for what lies ahead.
Shot on 16mm Kodak film in collaboration with cinematographer Scarlett Gardner, Arms Unfolding powerfully captures the balance between restriction and release - intimacy and freedom.
Arms Unfolding feels deeply intimate, moving from shadowy, red-lit interiors into the open expanse of the countryside. How did you approach translating Holysseus Fly’s personal story into this visual journey?
Learning about Holly’s personal journey with cancer was of course extremely moving and I was struck by how openly she channels the intimate struggles of her life into her art. Her last EP explored her experiences going through treatment for breast cancer in her early 20s, which ultimately led to her having a double mastectomy.
She told me this next record was about closing that chapter and embracing her bright future ahead. I always carried that sentiment with me as we developed the project and it felt vital that the work embodied the sense of joyful hope and freedom that sits at the core of her story. Having that emotional north star set clearly from the outset allowed me to explore creative ideas freely but remain true to the ultimate storytelling goal that Holly needed from the film.
You’ve spoken about the decision to shoot on 16mm film despite working with a tight budget. What did working with film give you in terms of texture, atmosphere, or even discipline on set that digital might not have?
Instinctively, shooting on film felt like the best possible approach we could take to capture a sense of magic and aliveness in the visual signature of the film. The texture and atmosphere that comes with shooting on film can’t really be topped, but of course it’s not always in budget.
On a practical level, half the video was going to lean heavily into using completely red light at night. This can be challenging for lower end digital cameras but isn’t such an issue when shooting on film. We didn’t have budget for a high-end digital camera, but fantastically our DP Scarlett Gardner generously suggested we could use her bolex. That too became an initial practical deciding factor in making it a priority to shoot on 16mm.
There is something unquestionably special about shooting on film in the era of limitless digital filmmaking. It requires a different discipline and clarity of decision making as a director, when you have very limited takes to capture what you really need from a shot. That kind of restriction also requires the crew to take an extremely deliberate approach to the day and collectively do our best work. It can feel super high risk when playback isn’t available, so trust in the team around you is vital.
Working to a half day / half night schedule, we had to work to an extremely tight schedule to make the day. Ultimately having limited takes available to us kept us moving and on schedule much more efficiently than can be the case when limitless takes are an option. Eventually getting the developed rushes back is equal parts terrifying and insanely exciting.
“Maturing the looks using high fashion pieces felt like an important way to move Holysseus Fly into the next chapter of her artist.”
Movement feels central to the video, as it is subtle, bodily, and symbolic. Could you talk about working with movement director Ros Bullard and how you shaped the physical language?
I wanted to create a physical language with the choreo that would unite both halves of the video, despite the act 1 and act 2 being very different tonally. Act 1’s physical language needed to communicate a sense of stifled restriction in terms of storytelling. That way act 2’s physical language would feel extremely expansive and celebratory in comparison.
To do this, I worked with Ros and Holly to create one section of choreography that would be performed with very different intonation in both acts. Crucially, I knew in the edit I wanted the choreography in act 1 played back in reverse to create a subtly uncanny feeling. Reversing the movement felt like a great way to physically depict the idea that we sometimes must take steps backwards before we can go forward. Because Ros was both movement directing and editing the video, it was brilliant to develop the physical language with her, knowing she would be able to take all those ideas with her into the edit. Holly and Ros worked incrementally blocking sections of the movement at a time, seeking what felt good and flowed most organically for Holly. I really wanted the style of movement to feel natural, flowing and spontaneous.
Holly is a natural mover so was able to adapt Ros’s ideas to what felt right to her as we worked. It was amazing to see how Ros possessed a way to talk about dance with Holly, using language that helped encourage her to embody the tone or style of a certain movement – I was so grateful to have her on the team.
The bold red motif runs throughout, from lighting to costume to the landscape contrast. What was your thinking behind anchoring the video in this striking colour?
Red was really the starting point for the video concept. Holly knew she wanted to set the piece in nature and create a sense of sky and openness to speak to the themes of the song, but otherwise she let me have incredible creative freedom to go in any direction. The song has a natural heavier tone at the start and marked moment of crescendo into a euphoric ending. I felt that leaned naturally into telling the story in two halves with a contrasting visual style in each.
The EP title of ‘The Red Sea’ acts as a metaphor for the seas parting in Holly’s life now moving forwards after cancer. Additionally, Holly had a pair of thigh-high red sequin boots that she wanted to incorporate into the video. They are shoes that perfectly represent her as an artist – joyful, disco, fun. These initial red touch points felt like a clear place to springboard off.
I loved the idea of Holly wearing the boots, not the boots wearing her – as so many people wouldn’t be able to pull them off. From there I began to develop the concept that red could act as a metaphor for the struggles and pain she has experienced with cancer – but in the first half of the film she would be inescapably bathed in red light within the darkness of the woods, representing how in the past she was defined by her illness and it was beyond her control. The second half of the video, she would burst into daylight and nature, but this time wearing red from head to toe. This signifying how she now is choosing to not be defined by her past pain but wears it with a badge of honour.
The video balances surreal, dreamlike editing with grounded, almost ritualistic imagery. How did you and editor Ros Bullard develop the rhythm and atmosphere of the final cut?
I’d be working with Ros in rehearsals on the movement piece and she was with us at the shoot too, so we were able to have an ongoing dialogue as we shot everything about how we could then approach the edit. When she showed me V1 of the cut, she had created some beautiful moments using double exposure to layer and build Holly’s movement performance. These felt instantly like the visual signature of the piece for me, so it felt important to slow down the pace of act 1 to create build and contrast to the gorgeous kaleidoscope feel of act 2.We aimed for less cuts and longer shots in act 1, still incorporating some moments of double exposure to maintain a consistent feel to the piece’s editorial style. But we needed to allow for act 2 to build with the song, layering more shots and playing more with frame rate to drive home a sense of dreamlike joy.
There was limited footage as we could only budget for a small amount of filmstock, which offered up challenges and benefits in the edit. We had to make it work with limited alternates, but this ultimately made the editing process faster. We remote edited the entire thing and only had about 3 days to lock the cut, so I tried to be as clear as possible with my notes for Ros. It all came together extremely quickly, and I was so happy with what we were able to achieve.
Fashion plays a strong role in storytelling, from the statement hat design to the red costume elements. How did you and stylist Samantha Lange ensure the clothing carried emotional weight?
The concept for the video was always going to hinge on the success of the styling. The costumes played both a key aesthetic and symbolic role within the film. We needed the costumes to act almost as characters in the story. Holly had always used costume in her performances to build her character and come into her stage self but wanted to elevate her looks even further in our video. Maturing the looks using high fashion pieces felt like an important way to move Holysseus Fly into the next chapter of her artistry.
When working with Samatha, we agreed we needed looks that offered major contrast to the natural landscape of the location. The first look was representative of Holly’s past self, so we sought out something that had a silhouette reminiscent of Holly’s previous costumes, but elevated. Samantha sourced an unbelievable white corseted gown with red orchid’s printed onto the fabric - a lovely nod to the person that Holly blooms into in act 2. The white fabric was going to be lit with dense red light so she would appear very red but also stand out brightly in the darkness.
The daytime red look needed to communicate a feeling of empowerment and joy, while allowing Holly to move freely for the choreography. Holly’s mum made a true showstopper hat that lined with red and black feathers, which the rest of the look was built around, so we wanted something bright and bold but that didn’t clash. Samantha sourced a two piece which was both tight but also flowing in block red fabric, and the more adult, sleek silhouette felt like a natural next step for the Holysseus Fly character. She felt really confident and comfortable in the look, which meant she could perform at her best. The intense contrast of the look with the gorgeous natural scene around her made sure the shots felt intentional yet dreamlike.
In your previous work, such as Bodily Renaissance, you’ve explored themes of the body and female experience. Do you see Arms Unfolding as a continuation of that exploration?
Absolutely. We all exist within a society that demands we find fault in our bodies and especially as women draw constant comparison with others to our detriment and suffering. Despite her body changing through surgery, in the face of societal pressures Holly carries herself with a powerful confidence and lightness which I’ve always found to be truly inspirational and life affirming. I wanted to try and do justice to that energy within the video and shine light on that in this moment when so many girls and women are struggling more than ever to accept and embrace their bodies just as they are.
As a director, you’ve said you’re drawn to maximalist, highly visual storytelling. Looking back at this project, is there anything you feel you discovered about your own style or voice?
On reflection after the video came out, I was able to see where I’ve tapped into camera and editing techniques that I return to often in my work, even without doing so consciously. I find myself drawn to creating contrast and surprise for the viewer, be it visually or emotionally. It’s all part of the desire to tell a story, even within a music video that doesn’t have a traditional ‘narrative’ but still takes you on an emotional journey through the look and feel of the scenes. I have discovered from the last few projects I’ve made, this one included, that music is a core inspiration to me in filmmaking and a springboard for so many ideas. That is something I’m actively exploring in the next projects I’m working on.
What can we expect next from you?
In reference to my answer to your last question, I’m currently writing a musical short film that I hope can eventually go on to be a feature. Musicals have always been something that sparked massive joy and creative inspiration for me and I decided it was time to make one. I’m extremely excited about it and can’t wait to bring it to life.
Production Company: @teepeefilms
Director: @claudiaalicelee
Executive Producer: @tomprecey
Producer: @ceilimcgeever
DOP: @scarlettgardner_
Production Manager: @alexashaw_
Artist: @holysseusfly
Artist Management: @turbo_mgmt
Artist Manager: @terry_turbo_ferguson
Gaffer: Gianni Morreale
Movement Director: @rosamund_bullard
Stylist: @samanthalange__
MUA: @okigaljuju
Shadow PA / Runner: @bedave5
Production Assistant: @jamesovine
Editor: @rosamund_bullard
Post Producer: @alexashaw_
Grade House: @bubble.tv_
Colourist: @nicholas_paul_dalby
Grade Producer: Leanne Phinikas
Milliner (Statement Hat Design & Creation): @fionamyne
Costume Contribution:@sophb_bee from @bristolcostumeservices
Funding Support from @bristol_beacon
Music Written by: @holysseusfly @tlkvox
Music Produced by: @jamesovine @holysseusfly
Music Mixed by: @iainberryman
Music Mastered by: @shawn_optimum at @optimummastering
Label: @severn_songs
With very special thanks to:
Jane White: @jw_collective @janemurchwhite
Charlie Relph
Cinelab & Aarti Mahtani: @cinelabuk @aarti_mahtani
Simon Chippendale for support with locations support