The key visual of the videos of Lady Gaga and Ariana Grande, Tulsa, Harry Styles, Woodkid and Khruangbin –


Lady Gaga and Ariana Grande dancing in the rain, Tulsa living with images of the classic film, the taste of the watermelon of Harry Styles, the fight against the Goliath of Woodkid, and the emotional story about the loss of Khruangbin. Desconfinamos the images of the video clips highlights of the last few weeks and we get to the sun their referents, aesthetic and narrative.

Rain On Me (Lady Gaga, Ariana Grande)

Lady Gaga leaves the desert “chromatico” of ‘Stupid Love’ and appears on the ground of a great metropolis that could be based in any city in cyberpunk where it rains a lot: the Los Angeles of ‘Blade Runner’ to the New York of ‘Black Rain’. The difference is that in this city, in addition to drops of water, raining down daggers like to convert to Gaga at Our Lady of Sorrows. Like the previous video, ‘Rain On Me’ is articulated by means of several choreographies. The director Robert Rodriguez, with whom Gaga had worked in ‘sin City: A dame for which to kill’ (2014) and ‘Machete Kills’ (2013), disappears like tears in the rain and left in place the automatic pilot: dances as sophisticated as that of a group of teenagers in the park, inserts with close-ups also of the aesthetics of cyberpunk (with a long cable to the ‘Ghost in the Shell’), and an embrace of end-where the two divas seem to celebrate that it has finally escampado.

I was not born this way (Tulsa)

In the recommendable documentary ‘Malpartida Fluxus Village’ (2015), the filmmaker María Pérez Sanz sets up a stimulating dialogue between tradition and avant-garde, between the inhabitants of the extremaduran village of Malpartida, and the heirs of the fluxus movement who settled there in the mid-seventies. In the clip ‘I was not born this way’ uses a narrative strategy similar. The director intertwines reality and fiction in a dialectic game that refers -albeit unintentionally – to our new reality postcovid-19. For this purpose, it uses several fragments of emblematic film: Tulsa lee in bed with Dan Duryea in ‘Perversity’ (1945), sleep -do you dream of?- with the pesadillescas images of ‘Häxan: witchcraft through the ages’ (1922), prays at the altar of ‘The passion of Joan of Arc’ (1928) with Maria Falconetti, and breakfast with Laurence Olivier in ‘The divorce of lady X ” (1938). At the end, in a pirouette metalinguistics, the singer sees his own video clip sitting on the couch with the official uniform of the landfill.

Watermelon Sugar (Harry Styles)

In ‘the taste of watermelon’ (2005), the director Tsai Ming-liang made full use of the metaphorical possibilities of the water melon: of allegory sexual symbol of the barriers-physical and emotional of the contemporary world. The new video clip of Harry Styles continued taking slices metaphorical to the melon open by the director-malay (the plane of the open legs is very similar to the famous sequence of the film). As the madeleine of Proust, the watermelon of Styles works as a catalyst of evocations, as a lubricant for the memory. The singer bites the watermelon, causing a waterfall of sensations dionisiacas framed in a light fantasy summer. A dream summer in times of confinement (hence the dedication to the “sobeteo”), filmed with reminiscent style of the 70: split-screens, plans to imitate the format super-8, aesthetic hippie…

Goliath (Woodkid)

The nightmare of Greta Thunberg. The last video clip of Woodkid, directed as usual by the Yoann Lemoine, is a reinterpretation in key dystopian and ecological fable of David and Goliath. David is the worker who, grieved and confused, arrives at a gigantic open-pit mine. Goliath is the monster that feeds on fossil fuels, a leviathan in the greenhouse that opens its jaws as a metaphor for the greed of the industrial machinery. However, in this reinterpretation there is no clashing stones with slings. There is only the realization on the part of David in his helplessness and offal to the giant chasm opened in the world by Goliath. To emphasize this insignificance, Yoann Lemoine used many planes, aerial mining, and a visual style that recalls the cinema of science fiction posapocalíptico.

So We Won’t Forget (Khruangbin)

The first sequence of ‘So We Won’t Forget’ seems to mix two referents of japanese cinema: Hayao Miyazaki, with that big stuffed animal that reminds the fantastic character of ‘My neighbor Totoro’ (1988), and the humor is gentle and eccentric, with touches of violence dry, the Takeshi Kitano’s ‘Kikujiro’ (1999). The director of advertising Scott Dungate combines these two creative universes give way to an emotional story about loss and remembrance. And he does so with great skill: pedaling subtly by the comedy, braking on dry in the drama, and hurtling downhill towards a lyrical magic what more poignant. All this in a pastoral setting, with a few cherry blossoms, which resemble those found in your ad for Honda, ‘Feeling’, which contrasts with the background enormously tragic part of the story.