As a rich portrait of a fascinating sub-culture, intriguing murder mystery, and penetrating character study, this is a compelling and important script with no few surprises. The world CKR and his colleagues Manny and DCON occupy is unique, subversive, and now possibly dangerous. The script deserves credit for showing us the artists behind the graffiti, in all their vulnerability and humanity. In some cases, it seems that pain itself is fuelling their art. A complex and sympathetic picture of CKR emerges. As an ethnic minority and a vandal, he is already in a vulnerable spot even before his friend’s untimely death. Rejected by his mother and feeling alone, CKR finds his outlet in street art, where catharsis and answers await. He forms his own identity, but he never forgets his roots, and the return to the Sikh temple is one of the most stirring scenes in the script, along with KT in the graveyard.


Like Spiderman with spray cans, scaling buildings and jumping trains, when a young street artist discovers his best friend has been murdered, he must battle his nemesis to solve the murder and save his hometown.