dir. Timur Skripnik

We're showing Klava in an unfamiliar role to the audience, who have seen her many times in gold, diamonds, prestigious things, statuses, and so on. Klava and her like-minded girlfriends work regular night shifts at a small American store, and during the day, they hang out in their garage workshop, drive around the city in an '84 car, and sometimes make extra money by fixing and washing old vintage cars. The main idea of the song unites them - "No guy, no problem." All these girls fully understand how cool it is to be free, independent, and carefree, regardless of your job or what you do. The entire video conveys a positive, light, summery, and playful vibe that is often lacking for ordinary people. The girls in the video are carefree. They do what they want, fool around, and find joy in any work or activity because nothing bothers them, as they know - no guy, no problem. Throughout the video, we'll show several stories from the girls' memories related to the bad deeds of guys, which will have distinctive memorable images so the audience can recognize them at the end of the video. Some stories will be left off-screen. In the final moments of the video, there will be a twist - the guys who committed the bad deeds, whom we saw in three storylines, turn out to be tied up in the girls' garage.

''SETTING

The main idea is to create an authentic, upscale visual that is not only commercial but also image-oriented, attracting a "sophisticated" audience for Klava Koka. Additionally, to establish strong associations of the artist with fashion, innovation, niche appeal, and depth. Emphasize Klava Koka's identity to further distinguish her from competitors in the CIS. Set a worldwide vibe for the music video to make it competitive globally, as this is extremely relevant in today's world. In the Western music industry, it's not enough for big artists to simply produce a beautiful video. The project must deeply develop the artist's image. The visual should be enriched with authenticity, texture, and incorporate unusual, innovative approaches that contribute to the musician's placement among industry trendsetters. This visual approach used by The Weeknd, ASAP Rocky, Tyler The Creator, FKA Twigs, and other exemplary Western artists, making them simultaneously commercial and mainstream, yet profound due to their complex visuals.

treatment by Timur Skripnik

CASTING/STYLE

LOCATIONS

LIGHT/COLOR/TEXTURE

The lighting, color palette, and texture are set to medium and low key. The time depicted in the video is night. Filmic, soft colors dominate, with a plethora of details, props, and well-lived-in, natural locations, all assembled to fit the aesthetic of the 2000s.

Klava's main crew consists of her four friends. They work together at the night shop and hang out in the workshop. The girls predominantly wear uniforms or work attire, but their hairstyles, accessories, and grunge-inspired makeup reveal them as stylish, liberated individuals. The casting is multinational to ensure the video is perceived as trendy worldwide.

All the locations will fully reflect the vibe and lifestyle of the girls, as if we are watching a movie. Through "alive" textured locations, the audience will be immersed in the girls' story and fully feel the ideology they convey ("No boyfriend - no problems") and how cool it is to be independent.

''STORY

Night. The song hasn't started yet. Sounds of Hong Kong. From a distance, we see an emotional argument between a girl and a guy on the street, but we can't hear the dialogue. The guy is wearing a bright, memorable moto-jacket. He's clearly arguing with the girl, pushing her, shouting, etc. It's clear to us that the guy is clearly in the wrong here. The girl can't take it anymore, she throws the flowers on the ground and walks away from him with tears in her eyes. Then we pick her up from a medium shot and see her walking tearfully along the avenue of the atmospheric night city. An old American Chevy pulls up to the curb where the girl is walking and stops. The windows roll down and we see Klava and her friends in the car, who saw that the guy offended the girl and decided to take her with them. Klava nods her head, offering the tearful girl to get in, she changes her expression and climbs into the car with them. The girls drive away.

INTRO.

1 SCENE. 1 Куплет.

We showcase the interior of the shop. The girls are lazily and blissfully going about their business—someone is sitting behind the counter counting money, another is flipping channels on the decrepit television in the corner, Klava is dusting off shelves and arranging merchandise, while a couple of other girls are chatting with each other. Klava bursts in with lip-syncing at the start of the first verse. Unique compositions with Klava's lip-syncing are emphasized.

The verse concludes with a shot "through the shelf," Klava removes a box from the rows and do lipsing into the camera, dusting off the shelf. On the words "и кстати ты тут не кстати" (meaning "by the way, you're not needed here"), she once again covers the camera lens, putting the box of product back in place.

2 SCENE. Пред-припев.

We see a girl sitting at the cash register, lost in thought. The camera zooms in on her face, and through her eyes (CG), we delve into her memories to find out what her boyfriend did. In her memories, we see lively, dynamic, chaotic shots on dirty film (possibly black and white) depicting the situation with her boyfriend. We show the story: the girl and her boyfriend were walking arm in arm in a Hong Kong alley when they were targeted by robbers. Instead of standing up for her, the boyfriend got scared, started making excuses, and ran away, leaving the girl with the robber. At the peak approaching the chorus, the music abruptly stops, and Klava, snapping her fingers in front of the girl, snaps her out of the unwanted memories. At that moment, the chorus dynamically bursts in. This is how we witness the first bad situation with a guy for the girls.

3 SCENE. Припев.

The main focus in the choruses will be on the viral head-bobbing motion, emphasizing the infectious rhythm of the song. The girls dynamically drive the car in a time-lapse, drifting and head-bobbing to the chorus.
During lip-syncing in the parking lot near the night shop, they head-bob in sync.
There's a shot of the TV inside the shop, broadcasting news featuring Klava Koka, dressed in a suit, hosting a show and singing "No boyfriend - no problems". Graphics show a character on a cereal box singing the phrase. Shots from security cameras, etc., add to the scene.

4 SCENE. 2 куплет.

We introduce a new location—a large garage workshop where the girls hang out.

There's a shot with a camera gripped on the ceiling fan. One of the girls lounges on the couch, reading magazines, another records everything on a VHS camera (with VHS inserts in the video), while someone else tinkers with an old bike using a wrench.

Klava bursts into her lip-sync for the second verse amid dynamic windshield wiping, as the girls wash their old Buick.

We show beautiful angles of Klava's lip-syncing, close-ups of the girls, and their actions. On the phrase "А ты где малыш? Приём, как слышно?" (which translates to "Where are you, baby? Reception, do you copy?"), Klava lazily talks into an old-style antenna telephone, not even bringing it close to her face.

Wide shot of the night store with a parking lot. The first notes of the track start playing. Klava and the girls pull up to the night store where they work in their car. At this moment, a worker is taking out the trash from the back exit. The girls get out of the car and head towards the entrance.

This time, we'll watch a situation from Klava's own memories. Sitting on her car in her workshop, she notices a CCTV camera and recalls what moments from her life this camera has witnessed. The camera zooms in on the surveillance camera, and we enter the "memory" of the camera's footage. We see a situation where Klava's boyfriend constantly played underground poker in this workshop, losing all their money. He was reckless and paid no attention to her. He pawned off watches, gave away all the money, and even asked her to take off the necklace he gave her, which he then lost again. For Klava, this was the last straw. From these memories, we exit through the loud roar of the oil car's engine, on the hood of which Klava was sitting. (The girl behind the wheel stepped on the gas, Klava snapped out of her reverie abruptly.) After a moment of silence, the chorus bursts in!

5 SCENE. Пред-припев.

The peak of the video's dynamics. The girls dance in the rain in the parking lot of the shop, with the camera dynamic. Klava lies in the rain on the roof of a vintage car, singing. The girls dance in their garage, Klava's words from the chorus are broadcast on the news on the television, the girls sing while driving the car, and they sing in the shop. All the shots are dynamically mixed.

6 SCENE. Припев.

At the end of the song, we see our final twist. Klava and all the girls turn on the lights in the storage room of their workshop, revealing four tied-up guys, some of whom we recognize from the clothes and faces in the girls' memories. We show a shot of the tied-up guys, and then a final shot of all the girls looking at the dudes and joking among themselves about what to do with them next. We'll end the video on a humorous, positive note, presenting the tied-up guys as a joke, so as not to overdo it.

7 SCENE. Outro