Last year Fiestar shed everybody’s favorite member Cheska (she left amiably for solo stuff, so it is said), but returned with the sexy and visually sophisticated video for “One More”. It may be the best video of last year, notwithstanding its rather decadent underpinnings, but it did them little commercial good, in large part because the double entendre nature of the lyrics got them swiftly yanked from broadcast promotions.
I’ve long meant to write at length about the “One More” video, which really is about as endlessly fascinating to me as any three or four minutes of film. But now that Fiestar have released their latest video some three hours ago, I will take advantage of very fresh impressions after two viewings and say the following:
It’s a swanky-looking video, and shows that Fiestar looks to move on in the K-pop hierarchy. This Shinsadong Tiger-produced ballad jam sounds good and will probably get a healthy dose of listens from me in the weeks ahead. But where is this video coming from?
I detect three major streams of K-pop videography meeting and unhappily melding here. The disgustingly raw meat and overripe fruit scream Digipedi, with their penchant for flashcut surreal sexual metaphors. The softly, lovingly lit shots of individual members striking melancholy postures in their chic outfits in front of mirrors (ah, Linzy!) look like outtakes from whoever made the last Juniel, Girl’s Day, and Laboum videos, an ad hoc trilogy I’ve written about before (Lovelyz’ “Hi” looks to be from the same creators, but carries motifs over from the Digipedi-directed “Candy Jelly Love” MV). And then there’s the whole SM Ent “dancing in a box” effect with the ensemble choreography. These elements, in isolation, are interesting (though only the second set really appeals to me), but in this sort of haphazard conjunction, they make the video a mess.
And the editing! My goodness, we have Yezi in tight leather pants and we only get to check her out for one shot. And actually, we can’t check her out at all, because the shot is gone in the flick of a lash. This is awful. Instead, we get protracted shots of– was it Jei?– leaning over to peer through that peephole in her grey sweatpants. Checking out a standing Yezi in leather pants is less pervy than sticking the camera on Jei’s butt.
And– not that I’m complaining, but– peepholes have become a huge motif. “One More” had them; the (good) video for Rainbow’s new (great) song “Black Swan” has them.
As for the presumptive love interest: this douche has tattoos on his hands. Disgusting. And some scribbly-scrawly clavicle tattoo like a low-rent catwalk model. Destroying expensive flasks of spirits does not further endear him.
This video has so many poet, antique details: the travel trunks, the dust, the mirror, the sumptuous sofas, the furs. I would have loved to see the video built around all that. The intimate shots are beautifully wan and sleekly textured, but the chorus line dancework is as neon-gaudy as any crap f(X) video. Such a waste.
It’s like watching a Bertolucci movie reedited by a hack with crap outtakes from some Girls Aloud video.
Well, not the girls fault. I’m sure I’ll enjoy the album. But this video is a loss.
–Oh, and the CAR! Where did that come from?