In front of a movie theater screen, Ellie Goulding stands in silhouette as the film reel counts down to one and then it fades to black.
After a short pause, she is standing with her head tilted towards her shoulder with rows of white lights lined up behind her. Then, lit in a crimson red in a pitch black background, she is facing left as she sings the lyrics.
On the movie screen, a car drives down a street, leading to a hillside.
Lit in a hunter green against a pitch black background, she faces the right of the screen.
Continuing on the screen, the doors open inside a church. The crowd stands up as the bride is ready to walk down the aisle. A forest of icy blue trees follows, changing to a light lavender.
Laptop beside her, Bridget Jones (Renee Zellweger) looks out the window, trying to think of the next sentence to write. She reads a note and smiles.
Capri blue waves flow behind Goulding.
Jones walks down the street, enjoying her day. She meets Shazza (Sally Phillips) at the airport and greets her with a hug.
The white light twists and turns around Goulding. She watches at Bridget opens a book.
On the screen, a stream of petals gather in a bundle and form a pattern. Meanwhile, several crimson lit versions of her stand in various poses.
Jack (Patrick Dempsey) turns around and smiles. At work, Bridget nods. Then, she and Jack share a kiss. Jack takes off his motorcycle helmet. In another shot, he gives her a kiss on the cheek. Bridget runs into a room, little kids racing ahead of her. At the church, Mark Darcy (Colin Firth) stands in the back. They take a walk.
The icy blue forest turns into mountains
With angel wings on, Bridget is unprepared to feel Mark’s breath on her cheek. Sally and Bridget hang out at the park on a rainy day.
At the end, a star shines behind Goulding. Rain clouds form over her.
At Christmas, Bridget shows off her baby bump to her dad. Her dad beams proudly. Her grandmother can’t believe it. Meanwhile, Goulding stands behind the lasers, her hair a soft green.
The clouds turn hot pink and green. While on the screen, Bridget sees Mark and tries to make awkward small talk.
The lasers have become boxes, getting tinier and tinier until the last one is microscopic.
Jack comes over Bridget’s house with a bouquet of flowers and he gives her a kiss. In bed, Jack nods as Bridget freaks out.
Waiting by the gazebo, she smiles as Mark arrives. At the airport, she sees her two suitors waiting. From across the room, Mark and Bridget stare at each other as people dance.
Bridget grimaces, knowing she is in a jam. Her friends look around, pretending they don’t know her. Jack confronts Mark, pushing him. Bridget, in flannel pajamas, flops backwards on her bed.
The lasers have become triangles and then squares again.
Mark visits an empty bedroom.
On the screen, a three-dimensional square appears. Then, Goulding levitates in the air. Goulding falls among jagged violet lines.
Mark and Bridget hug.
The white lines are in straight, perfect rows behind her and she falls further into the violet outlines of squares.
In the hospital, Bridget smiles. Jack opens his door to see Bridget. Bridget cries and sniffles.
The petals spread out, separating from the pattern as Goulding looks down.
Emil Nava is able to find the correct balance of promoting Ellie Goulding and Bridget Jones’s Baby. It stops it from being two separate ideas competing for time.
There are enough clips of the movie to get an idea of what is going on: Mark comes back into Bridget’s life. She is at first unsure but finds she still loves him. However, she has found a new love in Jack. Mark views Jack as encroaching on his territory. Will they get back together? Will they marry?
However, there is one misstep. It hints at the Bridget’s bump but keep the baby a secret, despite it being in the title. Newborn babies look alike, anyhow. It wouldn’t be giving anything away.
Nava makes the movie theater screen functional, letting it become a part of the background and allowing for other visuals of clouds and forests in between clips. It creates a soothing atmosphere and focuses solely on Goulding, putting her right in the middle of the action. It’s as though she is sailing above the clouds and flying over the forest.
The blocks of white light have a futuristic feel, setting in motion a series of creative patterns keeps the attention. The blinking night time star draws away from Goulding briefly but it’s such a perfect image of hope and love, which are the themes for a romantic comedy.
Director: Emil Nava Year: 2016