Tires squeal and Tamia parks her sports car outside her boyfriend’s apartment building. She walks out and locks the car, her image fading as she heads towards the entrance. Standing in a gold column in the lobby, the camera pauses at every move, capturing at least six angles.
The elevator door opens and she’s in the hallway, looking for his apartment. The camera takes quick cuts, making her seem paranoid and unsure of where she is. His office is only a few doors away, neat and clean. She climbs the white aluminum stairs to enter his office. Her image, fading, is multiplied by her every step to the window.
At her home, there is a fire burning and the television is on, showing surveillance footage of her. She lifts her head up from her dance move and faded dancers show up in the background. As she looks from side to side, the camera twitches. The dancers are now fully formed.
On her bed, she stares at the ceiling and she throws a flower at the camera. She gets up and then she gets up again. She looks from side to side, the camera twitches again. Hey, there’s a fish tank! So that’s what that thing was. Back in the family room, the dancers surround her now. Then she’s back on her bed again, staring at the ceiling. The last sequence repeats again. Now, she joins in on the dancing.
She walks down the hallway but then the sequence (made even shorter by the camera angles) repeats again and again and again.
Finally, on the pier, Tamia stands up front while the dancers remain on the sides for a literal second. Then, it’s back to another room in the house, with the dancers. She stands at the window (a very brief pause) and looks outside. With every step, her image fades while she leaves the apartment.
The dance sequence in the other room of the house repeats again. Then, there are literally two seconds of the pier shown again. Then, it’s back to the former dance sequence. Two more literal seconds of the pier, with one second of her lying on her back on the bed. A second and a half actually happens on the pier and then it’s back in the family. Fire is shown in the background in the pier. Then, it returns to the family room and there is some more dancing. She looks outside the window, her image fading again.
The constant twitchy camera angles make Tamia appear unhinged and paranoid. It is all too much and difficult to tell what is going on. The pier, which looks like a beautiful location, only gets a few precious seconds dedicated to it. Why waste all the time and energy for choreographing a routine and looking for a location not to even to show 10 seconds of it? Tamia has a wonderful voice and deserves better.
Director: Chris Hafner Year: 2000
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