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Rikke Brewer and Aiden Knox struggle with the death of their best friend Nye Newman, and subsequent mental health issues, in very different ways, that threaten to tear them apart. In pursuit of 15million clicks of fame and money, and a career as a youtuber, outgoing Rikke seeks the dangerous thrill of UrbEx stunts as a way to numb his loss and pain. Aiden, more introverted, seeks solace in Parkour, while working menial jobs to pay for his increasing reliance on alcohol. As they process Nye's tragic death, deeper scars from difficult childhoods emerge. Exclusive rights to 10 years of their self-shot archive reveal a rich story of their formative years. As we watch the stunts with sweaty palms and open mouths, we ultimately engage with the warmth and humanity of these two extraordinary young men.—Thessaloniki Documentary Festival

Rikke Brewer and Aiden Knox struggle with the death of their best friend Nye Newman, and subsequent mental health issues, in very different ways, that threaten to tear them apart. In pursuit of 15million clicks of fame and money, and a career as a youtuber, outgoing Rikke seeks the dangerous thrill of UrbEx stunts as a way to numb his loss and pain. Aiden, more introverted, seeks solace in Parkour, while working menial jobs to pay for his increasing reliance on alcohol. As they process Nye's tragic death, deeper scars from difficult childhoods emerge. Conversing in casual street-slang throughout, the protagonists evince zero interest in orthodox channels of education and employment, and seemingly devote every waking hour to planning, executing and filming parkour and higher-octane escapades. The latter includes the illegal scaling of vertigo-inducingly high structures such as the Severn Bridge and Berlin's TV Tower, as well as train-surfing - riding along the tops of subway trains - in London, Berlin and Paris. All of these stunts are captured by the team's cameras, including some skilful deployment of drones by tech-savvy cohorts, the resulting footage integrated smoothly into Day's fly-on-the-wall documentary material by editor Rob Alexander. Exclusive rights to 10 years of their self-shot archive reveal a rich story of their formative years. As we watch the stunts with sweaty palms and open mouths, we ultimately engage with the warmth and humanity of these two extraordinary young men. Having previously chronicled the exploits of four-person collective Brewman via 2018's 28-minute Parkour Changed Our Lives for the BBC, longtime UK-based Peter Day (originally from New Zealand) now expands his canvas to feature length. It is a belated big-screen debut for Day, who has extensive experience as a producer and director for television, mainly in current affairs and politics-related programmes.