Multi-colored waves streak across the screen.
In navy blue light, a baby boy sucks his thumb.
Under an indigo sky, a full, white moon rests on the horizon.
A door remains ajar.
From a sky blue rooftop, Big Sean looks at the city skyline. The multi-colored waves streak across the screen again. He looks at the violet sky, hearing the lightning.
In a cobalt blue room with lavender highlights, a man, resembling God, reaches out his arms. In a citrus orange room, a woman turns around, wearing a fuchsia veil. Another woman looks up to the sky.
Meanwhile, in an azure room, a woman touches her breasts and shakes her butt.
The world has been turned upside down. The ocean is now the earth while the buildings are sky-level. In a mustard yellow room, his image blurs and stretches. He raps on the rooftop.
The sky clears to glistening white. He stands on the mountain. The waves rush above him. Sheets hang on a clothesline by apartment buildings.
In azure light, a wolf yawns.
Two men in yellow coats, with their hoods over their heads, watch the neighborhood.
The ceramic figure of God is lit up, his halo blinding. The woman in the veil sits on the carpet of flowers.
A ceramic heart beats with unrelenting white light. A man looks out his window.
Three men in the yellow coats stand with their backs toward the camera by a teal wall. Posts of God are set up on a front lawn. A teal tear rolls down a statue of the Virgin Mary.
Two teenage girls, dressed in private Catholic school uniforms, hold hands as they walk on the sand.
His image blurs and stretches against a lavender background.
He folds his hands in prayer under the now hot pink sky.
The girls walk towards a tree, where three hanging yellow coats hang.
A saint, draped in flourescent pink light, opens her eyes.
In cobalt blue light, an older man wails into a microphone. Three altar boys, dressed in yellow robes, pray under the chartreuse light.
Three butterflies fly off the saint’s head.
In cobalt light, an apple dangles from a tree. A woman, as Eve, circles it. After caressing it, she bites into the apple. A young man stands on the sidewalk in his neighborhood, noticing the mahogany red of the leaves strewn everywhere. The wolf licks it lips.
The enlarged moon continues to rest on the horizon. He walks towards the moon.
A dazed man, wearing a gas mask, nearly passes out from the multi-colored waves streaking past him. He moves his head back and forth.
A woman is on fire, her body in flames.
The world continues to be upside down, with the ocean as the sky.
In a chaotic world, people will have to rely on their faith. For Big Sean, it was God. He had to rethink what his purpose was and revitalize himself. He found the passages of the Bible to be inspiring and moving. Religious figures as The Virgin Mary and multiple saints gave him the strength needed to correct his path.
Evil can be found in the most innocent of things: in a decent neighborhood where safety is taken for granted. When the wolf licks its lips, it’s ready to prey on those who believe in fear.
However, there seems to be some significance to the number three: three young men in the hood, three altar boys and three butterflies, representing the Father, the Son and the Holy Ghost. The young men in the coats are hung, killed by those believing they are doing God’s work. The two Catholic school girls visit and take in the warning that they be next. The altar boys are learning to be faithful to God while the three butterflies materialize from the saint, bringing hope.
Out of place, though, is the woman shaking her butt at the camera. It seems to be shoehorned in to appease those who would find the symbolism mundane.
Directors: Glenn Michael & Christo Anesti Year: 2016