Video Review: Robyn “Honey”

Lit in carmine red, a young man looks up. Obscured by the light, red covers the backs and arms of people. It reaches Robyn, who lies on the floor. Fingers grace a part of another person’s body. A man jumps as he dances. Robyn, with her back to her lover, looks to her right.

The man continues to dance in the crystal white light.  As the carmine red lightens, people raise their arms in the air and continue to dance.

Back in the crystal white light, Robyn sways her arms from left to right. The red becomes a watermelon pink. In the crystal white light, a man in black mesh shirt spins around. The man hops on one leg. Two men kiss as Robyn dances. Two women kiss.

Rating: 3/5

They were all in danger of not surviving. Inside St John’s Church, a young man lies on the floor and stares at the stained glass ceiling. Robyn thinks of her favorite hymn and prays to herself. She joins in a recitation of a prayer. The embryonic images of people next to her form into full-blooded humans again a watermelon pink shines on their bodies.

People bend and stretch in their places. Robyn moves her arms from left to right. Some people move towards to each other. A young woman comes out to her and says she’s finally in a safe place again. Robyn puts her hand on her shoulder.

A crystal white light glows on Robyn as she dances by herself. A man, who once sat cross-legged in the corner, hops and jumps to the music. She sees the young woman kiss another woman on the lips. A rush surges through her body, reframing her thoughts into something positive. No longer will she be insecure and question her wants. As they dance, they are reborn into better versions of themselves, becoming the person they were afraid to be.

Director: Max Vitali Year: 2018

https://www.youtube.com/watch?v=Mru9GG3ur9U

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 poetry has been published in the White Wall Review and 45 Magazine.

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