WILD LOVE

FILM

WILD LOVE is a campaign film created for the ISNOTDEAD SS15 collection, shot in a wild estate near Berlin, between a lake, open fields, a sand quarry and the atmosphere of an improvised summer gathering.

The film brings together a community of young Berliners, invited to inhabit the collection as one would inhabit a moment of life. The clothes are not simply worn: they move through bodies, gestures, encounters, glances, games, embraces and dances. The collection — at once rock, techno, instinctive and free — becomes the visible sign of a generation suspended between abandon, desire, nocturnal energy and an almost adolescent tenderness.

Around designer Margaux Lonnberg, who also appears in the film, WILD LOVE unfolds as a series of lived situations: fleeting loves, friendships, wanderings through nature, bodies lying in the sand, tender gestures and collective celebration. Rather than following a linear narrative, the film seeks to capture a state of being: an electric summer, a moving youth, a temporary community forming before the camera.

Between fashion film, generational portrait and cinema of the real, WILD LOVE inaugurates an approach that would become central to Alexandre Carril’s work: filming fashion not as a fixed image, but as a lived experience.

PROCESS

For WILD LOVE, the shooting method was deliberately open, close to cinéma-vérité and cinema-eye (Dziga Vertov), and a form of documentary fiction. Rather than defining every shot in advance, the film was built from situations, presences and real energies.

Numerous figures from the Berlin scene were invited to take part in the shoot. Dressed in the collection, they were placed within simple situations — encounters, parties, moments of waiting, gestures of love, movements through the landscape — and filmed with a multi-camera setup, with at least four cameras shooting simultaneously around them.

This process allowed the film to preserve a strong sense of unpredictability: a glance escaping the frame, a dance beginning unexpectedly, a sudden closeness between two bodies, a movement that breaks the composition, a scene taking life beyond what had been imagined. The edit does not simply assemble pre-planned shots; it composes with the material of reality, its accidents, rhythms and sudden appearances.

Inspired by the spirit of Dziga Vertov, by the freedom of certain moments in Godard, and by the raw energy of Berlin’s alternative scenes, this method established a singular way of filming fashion: creating a frame, dressing the bodies, setting a situation in motion, then allowing life to enter the image.

WILD LOVE thus marks the beginning of a more organic campaign language, where staging and improvisation coexist, where the collection becomes the starting point for a world, and where the camera seeks less to control reality than to capture its vibrant truth.