A motorcycle sits outside a warehouse. Barrels and a vintage car are the few leftovers from the former thriving industry.
Nick Jonas rides the elevator as a woman can be seen through the rearview mirror of the car. On a split screen, several fans run throughout the building with a vacant conference room above it.
Jonas sits on a chair in a room filled with fans. Women in black bikini tops, hot pants and thigh high boots arch their bodies on the chairs. A woman wearing a black fur tilts the sledgehammer. The screen flashes as it shows Jonas in the chair and the women moving their bodies all over the chairs.
A split screen shows Jonas sitting on the chair by the fans. However, one is a close up while the other is only a few more feet away.
The vintage car’s headlights turn on. Women in blue bikinis tops, hot pants and thigh-high boots somewhere in another room. Empty stairs are shown. Jonas stands by the vintage car. A split screen shows several similar angles. A woman runs her fingers over her lips.
Standing on glass, with barrels underneath, he dances. White balls fall down the stairs. The woman have spikes attached to their fingers. A woman in a blue outfit dances with him on top of the barrels. Meanwhile, other women pose. One woman bites some rope between her teeth.
For some reason, a fish bowl is seen as the woman wearing the fur carries the sledgehammer.
Jonas dances on a pile of tires with women spread out on them. Back by the chair near the fans, a woman caresses Jonas’ shoulders and they dance. They land on the floor. He lies on top of her. Some women’s butts are seen.
Jonas walks backwards on the glass with the barrels underneath.
According to Collin Tilley’s rigid focus, the expansive size of the warehouse is limited to the size of the average person’s home. The fans and chairs remain in one tight space. When the other women in blue dance, the camera cuts a narrow border around them. The split screens venture only a few inches away, at most and continue to stay on Jonas. It doesn’t ever seem as though there is enough room, despite the warehouse being sparkling clean and tidy with shiny glass over barrels.
Nonetheless, the scattered objects do provide a gruff visual. The shiny glass, which Jonas and some dancers perform choreography, have been made to be discolored yet bright. The pile of sable tires with the properly positioned women seem to be from a photoshoot for a high-end fashion magazine.
However, the camera chooses the women’s butts over lingering any image. Given all the time and effort spent on arranging the tires and figuring out the positions for the women, it has at least ten seconds of time.
Director: Collin Tilley Year: 2015
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