Video Review: Coldplay “A Head Full of Dreams”

In Mexico City, a mother and daughter walk across the street. A young man looks into the camera. A child’s bicycle is left on the sidewalk. An older man exhales. A young woman stares back at the camera. A dog and his owner on the far end of the street and a man shines another man’s shoes. The Mexican flag flies. A man turns his head, pausing from mopping from the floor. A woman rolls dough in her hands and a man plays guitar on the sidewalk. Over the images, Charlie Chaplin’s speech from The Great Dictator can be heard.

The band speeds through the sidewalk on their bicycles. As they bike on the road, Chris Martin is filmed through a fishbowl lens. They pass a market and a boy playing soccer. They reach Foro Sol, where fans are waiting behind barricades and then bike backstage.

The show has started. Martin leaps from one part of the stage, singing into his microphone. A man beats his arms and a couple kisses. A young woman cries as she holds a handmade sign.

Fireworks go off behind the stadium and a woman, sitting on another person’s shoulders, films it with her cell phone. People listen, with their cell phones in the air, filming.

Martin is seen through the fishbowl lens again.

On stage, he runs across the platform in the center and confetti explodes from it. He runs back to the stage and finishes the song. As the fans cheer, the band takes a bow. Martin kisses the stage.

Rating: 1/5

The rushed bike ride through Mexico City combined with Chris Martin’s fishbowl lens point of view makes Mexico irrelevant. The citizens are seen for the first minute or so but are being commented on through a voice-over from a film. Unfortunately, it seems to be aimed at European and American audiences as a lesson in fascism and  to open their eyes as to what nationalism actually means.

Martin’s fishbowl lens cuts off the scenery, showing only edges of apartment buildings and catching bits of sky. Foro Sol is the only landmark given attention. It is when the most of the country’s citizens are seen.

Mexico exists to solely serve the band’s ego and as an example for their political statement.  During the concert, when the citizens cry and applaud. In the city, they have move across and again are only seen in passing. The voice-over uses them for citing purposes only, as if to say that it can happen anywhere. Mexico, like any other political entity, has had its share of shameful history. However, it seems as though Mexico is being singled out for it and the video views the citizens as case studies rather than human.

Director: James Marcus Haney Year: 2016

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Pam Avoledo Administrator
Pam Avoledo spends her time binge-watching classic teen dramas and stands firm in her pro-Leyton stance. She also received her journalism degree in 2006 from Oakland University. Her work has been published in the White Wall Review, Sledgehammer Lit ,Greatest City Collective, 45 Magazine ,Fevers of the Mind, Daily Drunk Mag\'s Kirstofia anthology. and forthcoming in Scrawl Place

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