As part of an expansive and buzzy career retrospective at 180 Studios in London this past summer, filmmaker and artist Gabriel Moses created The Last Hour, the first narrative-led project of his already decade-long career.
Moses is only 27 but is widely regarded as one of the UK’s most prolific and skilled contemporary filmmakers. This evening, The Last Hour will receive its debut U.S. screening at Metrograph in New York City. Moses, who has acquired a cult following with his visual work for brands like Louis Vuitton, Burberry, Dior, and artists such as Pharrell Williams, Travis Scott, and Skepta, says the 32-minute project serves as an introduction to his ultimate leap into feature-length filmmaking.
“I’m entering this space where I want people to understand that I’m going to make amazing features,” Moses tells us ahead of Monday’s screening, “so this is about giving people a taste of that world.”
Directed by Moses from a screenplay he co-wrote with Federico Sargentone and Katja Horvat, the film follows protagonist Ham, who wakes up with a time bomb on his chest. The official synopsis reads: First grappled by panic, Ham starts to unravel. Emotions are completely overwhelming, head and heart disagreeing, reflected in a conflict between emotional intuition and logical reasoning. Oftentimes, the thing that is going to be the end of us, essentially ends up being the thing that saves us—or is it?
The film was executive produced by the creative studios DIVISION and GOAT. Xiaolong Liu served as the Director of Photography, Joseph Taylor was the Editor, Katja Horvat was the Creative Consultant, and Sound Design was by George Castle and James Benn. Below, Moses shares some further insights about how he aims to transition into feature filmmaking, his recent collaboration with legendary New York filmmaker Spike Lee, and shooting The Last Hour across three days in Atlanta.
The Last Hour screens this evening at Metrograph.
DEADLINE: Gabriel, what’s your origin story? How did you get started?
GABRIEL MOSES: I was around 17, and I started making videos with my friends who played football. I was obsessed with football growing up. Nike picked one of the videos up, and from there, I did some work with them. That was my first professional gig.
DEADLINE: Were those videos just posted on YouTube?
MOSES: Yeah, it was about the Nike Tiempo. And after that, I worked a lot with different athletes. In that time, I was also able to understand what I liked and didn’t like. I was also able to understand the commercial world, including the importance of meeting specific targets, because, at the end of the day, you’re selling a product. That time helped me understand where I wanted to take things creatively.
DEADLINE: On commercials, I saw your piece with Spike Lee for Timberland. That was such a great idea.
MOSES: Yeah, I don’t think he’s ever done anything like that before. Timberland approached us with the concept of icons. I was quick to say that Spike would be a great addition to the casting. I’ve always liked the idea of breaking that fourth wall within Spike’s films. And he’s really just someone I look to as an icon who made the space for people like me. It was a nice moment, and he was super down and very supportive.
DEADLINE: Who would you say has been an important artistic inspiration for you?
MOSES: Malick Sidibé was really big for me. So many people would come through his studio from the community. I love the idea of so many different characters passing through a space, but all still feeling like the same world. I also love being able to recognize an artist’s imagery without their name being mentioned. Then there are people like Jean-Paul Goude. He was able to create worlds using very imaginative cinematic spaces.
DEADLINE: Where did the idea for The Last Hour come from?
MOSES: I’ve always been intrigued by the fact that we don’t know when our last hour is. That’s one of the big mysteries of life. We can make plans, but we don’t know when we’re going to die. And if we did know that, how would we live our lives? It’s something that has been on my mind, and I felt like this was the right moment to explore that feeling with a film that could make you feel on edge, but also shared a lesson about life. And I’m entering this space where I want people to understand that I’m going to make amazing features, so this is about giving people a taste of that world.
DEADLINE: I think that’s the question on everyone’s mind: Are you working on feature-length work?
MOSES: Yeah, we’re working towards it every day. It’s really just about understanding what the right moment is and what the right story is to tell. That’s where we’re currently at. There are a lot of opportunities, but it’s important to understand what the right ones are. I want to create something powerful. I’m in no rush to make something just for the sake of it. It has to be intentional.
DEADLINE: Why did you say yes to the career retrospective at 180? You’re still so young.
MOSES: I loved the irony of that. An exhibition like that is usually for an OG. I wanted something right now to be celebrated. Yes, I’m 27, but I started at the age of 18. And there’s been so much work that’s been done, so I think it’s right to celebrate that now, because that inspires a new generation of artists. The exhibition was three years after my first one, so time has passed and there’s been an elevation. I think it could be good to do something similar in three or four years, because London needs that inspiration and energy. Young people are doing big things right now, and I don’t think we need to wait anymore.
DEADLINE: What do you think is the best environment or structure for you to make feature work?
MOSES: I started from humble beginnings when it comes to filmmaking, so I know what to do with just a tripod and a camera. Even The Last Hour was made in like three days, so I’m open. I think the work I’ve been doing will set up the right conditions for me to make that feature film.
DEADLINE: The Last Hour is screening at Metrograph next and has had bespoke screenings in London and Milan. Where do you want the film to end up? Are you talking to distributors?
MOSES: I believe conversations are being had, but I want young people to visit the cinema and get used to seeing my work physically and creating that appreciation for my work. I love that way of presenting my work, so the only way to see it right now is physically. I enjoy that experience of actually being there and meeting the people and seeing their reactions. It also informs my future work.
The post Gabriel Moses On His Narrative Debut ‘The Last Hour’, Collaborating With Spike Lee & Working Towards His First Feature: “I Want To Create Something Powerful” appeared first on Deadline.
