Aniel Karia directs this challenging short film, based on a concept by Kano, in which a promising teenager is stabbed. The London MC searches for sense and reason in this conversation with his neighbourhood.

We meet the teenager (Nat) and his family in a warm, naturalistic vignette, loosely scored by the calm gospel lilt of Trouble. Karia lets us bask in this domestic calm just long enough to lull us into a sense of security. Which he interrupts with a tragic two minutes of iPhone footage, captured by friends and a bystander. On the way to buy rice for his mother, Nat gets caught in the middle of a violent conflict. The moment, over which we can hear a woman describing the event to the police, bears a troubling resemblance to real videos captured by witnesses and shared on the news.

There’s a pause for the funeral. And then a raucous wake, guest starring Ghetts, at which Kano is cheerfully hounded into performing his new track Class of Deja.

The film sees a heartbreaking funeral wake roll into a passionate, celebratory moment which highlights music’s ability to offer escapism, consolation and hope.

Karia (previously of the series Top Boy and Pure) presents the aftermath of violence with a light, even-handed touch. He and Kano address the cycle of knife crime, but avoid moralistic sensationalism: “I ain’t trying to be no preacher man” says boy’s uncle, speaking at his funeral. A pensive optimism courses through the film, but quiet details - Nat’s sister, bedroom and keyboard - remind us what is at stake. This is a powerful, timely piece of work, and a defining opus for Kano.

The film stands alone as a special hybrid of live performance and docu-reality filmmaking. Released as part of Kano's anticipated 'Hoody's All Summer' album, the success of the film has been widespread.

This is a special project and one which was celebrated by the community it was made for. Amassing over 597,419 views, the film has had a huge cultural impact.