Headlights blink and Nelly Furtado steps out of a car with slim polka-dotted stilettos. In a parking lot full of cars, she walks. Her friends stand by the other cars and wait. An aerial shot shows rows and rows of cars.
Standing along a chain link fence, she holds onto to some it and the screen begins to divide of Furtado, in the backseat of a car, fuchsia lights hitting her face. It begins as a sliver and then is split into three shots and finally becomes one. Stuffed bears line the dashboard. A Hawaiian girl in a hula hoop bobs back and forth.
In front of the parking lot, she and her friends begin to dance. A computerized marquee has a sports car speeding by. It also reads out the lyrics of the song. Music notes bounce along and a star is shown in the center.
The screen splits into three again. The headlights border her as she sits on top of a car and people dance around her. The center image switches back to her at the chain-link fence and people dancing. It changes back to her sitting on top of the car again before then back again to her at the chain-link fence. In between, the electronic marquee breaks up the changes, showing music notes on the board.
Another screen split. Again, she’s in the parking lot dancing. However, the borders are her close-ups. The center screen splits, at one time, into five images going on around the parking lot. On the electronic marquee, a car speeds by.
The electronic marquee reads in PARKING LOT and NELLY FURTADO and then she is dancing again. The screen splits the image into three. The borders are the same as the center image.
Returning to the backseat of the car, Furtado is watching a figurine move. Her image is split into three. She holds onto the backseat.
Back at the parking lot, she dances. However, the images of her sitting in the backseat are the border.
Then, it’s back to the original sequence of her sitting on top of the car with the headlights as the border. It returns to her sitting in the backseat again, her image split. Her friends are dancing at the chain-link fence. One of them does a kick.
She dances one more time at the parking lot and smiles.
Even though there is only dancing, the split screens break it up, giving the illusion of a wider scope. The borders around the center image are a genius idea. It frames the center image, letting it become a moving photograph. It creates striking images while also turning the sequences on its head. Usually, sequences are shown at various times. However, Ray Kay blends them. With it, the mood is instantly celebratory and there seems to be so much to take in, that the camera isn’t catching it.
Director: Ray Kay Year: 2012
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