Directing the Absurd: Car-Jitsu Takes Centre Stage in Fontaines D.C.’s Most Unhinged Video Yet
Irish post-punk band, Fontaines D.C., have been going through a restless evolution. Pushing beyond their post-punk roots, their latest album, Romance, leaves behind the stark poetry of earlier albums like Dogrel and Skinty Fia – embracing instead more complex and unsettling themes. It’s a natural progression for a band that refuses to sit still.
The album swirls through everything from synth rock to chamber pop, while lead singer Grian Chatten’s lyrics remain sharp as ever, dissecting urban throuples, grim romances, and kink, with a knowing, deadpan edge. There’s something about the album that feels contradictingly-nostalgic given the fact it is brand new.
Amid this shift comes their music video for ‘In the Modern World’ – a surreal, car-jitsu-themed spectacle that matches the album’s experimental spirit. Directed by Luna Carmoon and starring House of the Dragon’s Ewan Mitchell, the video captures the absurdity of the modern world, mixing gritty realism with grim humour which is central to the band’s artistic direction.
I had the chance to chat to Luna herself and producer, Chris Murdoch, about the wild ride involved in creating the video.
LBB> Car-Jitsu is such a unique and niche sport — what initially drew you to explore it as the central concept for this video? How did it resonate with the themes of the song?
Luna> I had become quite fascinated with car-jitsu a couple of months ago, when I realised that this tour de force of flesh was just contained within this mundane space. I thought it was hilarious but sexy; it felt quite dark quite fast. So this story began to swirl — a darkened town, and the origin so far from the real tale of car-jitsu — a town where people don’t leave, dead or alive. But at night, this tournament takes place, where lonely people come to gather or stumble upon our lead, Martin.
LBB> The video blends the mundane with the absurd, creating a surreal yet raw visual experience. What were some of the creative inspirations behind this juxtaposition?
Luna> I had the story swirling around in my head, and then, when I got the track, this kind of bittersweet symphony feeling ran underneath it for me. One stark character and the people he encounters — or should I say, who encounter him. Also the neighbourhood where I live endlessly inspires me. The steak bake stalker line was based on a story from a friend of my sister’s. Just the idea of working with Ewan and what this world could look like with this unearthly song and him centre stage. I also wanted it to feel like the brother music video to Fontaines D.C.’s song, ‘Here's the Thing’. Martin could be Grace’s brother in the room next door, blaring heavy music while painting his model figurines. The album feels tonally a sibling to the 90s — falling in love with yourself, finding what makes you love yourself — it’s romantic, ain’t it?
LBB> The confined setting of a car is both intimate and claustrophobic. How did you approach the choreography to capture that intensity within such a limited space?
Luna> I mean, it was such a tight turnaround. I basically had four days to write the idea, flesh it out, cast, rehearse, and shoot — all in one night. So it was incredibly brain-drilling. Luckily, I worked with choreographer Lewis Walker, and all the men in the car, apart from Ewan, are jiu-jitsu professionals. They really helped fabricate this world with us, so it was real trial and error, bruising, and laughing continuously together while rehearsing.
LBB> You worked with real Car-Jitsu competitors for the video. What was that collaboration like, and how did their authenticity influence the overall feel of the video?
Luna> Like I said above, the guys who compete in the car — without them, God knows where we would have been. They really helped translate the rules of jiu-jitsu, and with the research I had done on how each match works in the tournaments, we mapped it out. It worked perfectly for the story. Martin has gotten so good at this game, he's almost bored — until he faces Paul, his last opponent, and it’s finally a real competition. When Paul's ass broke the glass shield of the window, it was tremendous — luckily, we shot him first, haha.
LBB> The use of lighting and the South London car park as the primary location created a gritty, immersive atmosphere. What was your vision for the setting, and how did it enhance the story you wanted to tell?
Luna> The story was rattling around for a couple of weeks in my head. Like all my stories, they’re often influenced by people in my life, individuals I’ve met in these liminal spaces where I live. It’s always set where I grew up — South East London. It doesn’t feel gritty, just human. The rain helped; I didn’t realise until I saw the rushes how much ‘The Crow’ influenced this video, as well as the last one. Grace’s mirror scene is like Brandon Lee smearing his battle mask on — Proyas’ version is just floating in my brain lately. I adore it.
LBB> The dark humour and physicality are core elements of the video. How did you strike a balance between the violent, almost primal energy of the sport and the satirical undertones of modern life?
Luna> I think I’m just naturally good at that, really. Life’s a little traumatic, but in those darkest moments, I manage with my macabre humour, like a lot of us. My ma always says sadness and joy are neighbours, so they get mixed up a lot. Tragedy and comedy dip and dive regularly in my head, haha. The band’s music has that quality — there’s not an air of self-seriousness in this album, but equally, there’s an utter love for life and all that’s in its web. The hilarity of it all is so present in the album — I really think it’s something fresh, familiar, but special.
LBB> Ewan Mitchell is a prominent actor, and his presence adds weight to the protagonist’s journey. How did you work with him to bring the character’s struggle and exhaustion to life?
Luna> Ewan is very cool. I basically said I wouldn’t do the video unless I had him because the turnaround was so tight, haha — bratty, but I hadn’t seen him how I wanted to yet. I like character actors, and he’s definitely a polymorphic shapeshifter. He has a strong sense of identity outside of his work, and that excites me. He adores genre, horror, the absurd — we got on like a house on fire. He understood it and made it easy, fun, and hilarious. We just played, pulling from our own lives to understand Martin and his journey. I can’t wait to work with him again — he’s a real one!
LBB> The final scene feels like a dramatic crescendo that collapses back into everyday mundanity. What message or feeling did you want to leave the audience with in that moment?
Luna> Whatever they fancy, really. I know the feeling, and so do you — that moment after a night like that. It’s romantic ;)
LBB> This project involves a lot of logistical challenges, from filming inside a car to coordinating real athletes. How did you navigate the technical and practical aspects of producing such a physically demanding video?
Chris> We collaborated with movement director Lewis Walker and fight coordinator Ian Kay. We had one rehearsal ahead of the shoot, during which Lewis and Luna mapped out a journey for each fight. We rehearsed first in a studio, then inside a vehicle with the DOP, Jack Hamilton. Ewan and the jiu-jitsu competitors brought an incredible amount of energy and endurance, keeping the intensity high and allowing us to power through the shoot without losing momentum.
LBB> Music videos often require balancing creative freedom with budget and time constraints. How did you support Luna’s vision while keeping the production on track, especially with the complex choreography and night time shoot?
Chris> With a tight budget and just one day to shoot, we knew every second would count. We chose locations that were literally next door to each other to eliminate transit time and maximise time on camera. Luna needed complete control of the environment, free from distractions and noise limitations, so having the right space was crucial. Her directing approach blends meticulous planning with heartfelt direction, so ensuring that the cast had the space to deliver authentic performances was a top priority.
The crew was phenomenal, pushing through a tough overnight schedule and racing against the sunrise to get every shot we needed. Luna’s attention to detail and ability to articulate her ideas, along with inspiring visual references, were key in energising every department. Everyone knew exactly what we were building, and it created this incredible momentum. There’s a shared thrill when every piece falls into place to create something magical.
