Movement Language
The body as emotional interior - choreography by Becca Francis
Why must grace always belong to the one who was wronged?
The Bigger Guy opens with a question that rarely gets asked aloud: why is the expectation of grace always placed on the person who was hurt?
The film follows that question through the body, through sacred space, and through the oldest story of someone asked to carry more than their share. Choreographed contemporary dance and the intimacy of a single voice move through a church interior — holding the fragile hope of faith against the quiet weight of injustice.
This is screendance as music video: Rebekka Louise's song provides the emotional architecture, Becca Francis's movement the physical language, and the camera a third collaborator — finding in the choreography and the space what neither could express alone.
The church asks you to be graceful. The body asks you to be honest. This film lives in that contradiction.
— Director's Note, Cyramatique
The song is a devastating realisation that you are the second choice to the people you have always put first — or not even a priority to them at all. It's about navigating a world where your struggles are diminished in favour of someone else, while questioning why they cannot love you the same way you loved them.
Recorded in Rebekka's living room, Bigger Guy is a raw confession of unrequited love.
"They are your first choice, you're not even on the list."
— Rebekka Louise, on the thematic thread of her next project"'the bigger guy' is a masterclass in emotional storytelling."
— FLEX Music Blog"The therapeutic aspects of her work ring out loud and clear, allowing her music to take on a cathartic quality."
— CLASH"Rebekka Louise has a gift for turning quiet heartbreak into something utterly arresting."
— Rotate MagazineCandlelight and stained glass. The body as a site of grace - of endless, expected giving. Slow dissolves. Long lenses. The stillness before the question.
Harsh shadows against stone walls. Movement that breaks and refuses to resolve neatly. The singer walking the nave alone. The body as protest. The voice refusing to be still.
A first look at the movement exploration of The Bigger Guy
The Bigger Guy — Directed by Cyramatique
The body as emotional interior - choreography by Becca Francis
Visual references - texture, light, architecture, movement
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The church is not chosen for reverence but rather the tension it carries. It is the most loaded space in Western culture for questions of forgiveness, suffering, expectation and guilt.
Its architecture - the arches, carved wood, light through high stained-glass windows - gives the film a natural visual language of grandeur and stoicism against vulnerability and longing. The nave, as the representation of the congregation, becomes the world that asks too much. The altar becomes the question itself.
This setting already carries centuries of stories about sacrifice and grace, which in turn makes it the perfect place to ask: "Who decided that was ever fair?"
We are living through a cultural moment in which questions of responsibility, forgiveness, and moral expectations are being re-examined. Across public discourse and private life, the pressure historically placed on the wronged to move forward quietly — to just forget, to be gracious, to be the bigger person — is being increasingly questioned. The Bigger Guy approaches this through an intimate artistic language: framed as a love song, it offers a quiet reflection on what it means to be asked, again and again, to be the bigger person.
The wider world is shaped by conflicts, displacement, and contested narratives of guilt and responsibility. In many cases, the burden of understanding and reconciliation is placed not on those who hold power, but on those who carry the consequences. These tensions echo far beyond politics, shaping personal relationships, cultural narratives, and the emotional landscapes people inhabit.
Working within the language of screendance, the project sits at the intersection of music video, short film, and contemporary choreography — a growing artistic space with dedicated festival audiences and increasing critical attention. This interdisciplinary form allows movement, sound, and image to operate together, translating emotional tension into physical and visual expression.
This film is created by a collective of young women working across music, dance, and film. The team represents the new generation of emerging creatives using interdisciplinary storytelling to explore complex emotional and cultural questions — aiming to amplify and connect with young female creators engaging with themes that resonate far beyond the personal story at the centre of the film.
The Bigger Guy is a collaborative music video project bringing together emerging London-based creatives across music, dance, and film. Directed by Elina Walton, with Julianna Rogala as producer and assistant director, the film features an original song written and performed by Rebekka Louise, alongside a contemporary dance performance choreographed and performed by Becca Francis.
A collaboration between Cyramatique, Julianna Rogala, Rebekka Louise, and Becca Francis
Cyramatique
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