Face-down in desert sand, ROSALÍA doesn’t search for when the Rolls-Royce seems on the horizon.
It trails mud throughout the flatlands towards her, and he or she stays precisely the place she is: not bracing, not watching, simply down.
“Sauvignon Blanc” is a track about surrendering materials wealth for love and religious readability, with ROSALÍA declaring she’ll burn her Rolls-Royce to kindle gentle, throw away the Jimmy Choos, let the porcelain fall, give the piano away.
Observe 13 on LUX (2025), it attracts partly from Santa Teresa de Jesús, the Sixteenth-century Spanish nun who renounced wealth and materials objects in pursuit of religious purification.
The video, directed by Noah Dillon and shot within the Mojave desert, exhibits ROSALÍA prostrate on the bottom as a Rolls-Royce arrives, lifted by an invisible pressure, and watching the automobile burn.
Dillon, who additionally shot the LUX album cowl, constructed it round a easy temporary: a quiet love story with an invisible associate.
The video cuts between two settings. Contained in the automobile, she’s laughing within the again seat, pearls piled at her collarbone, filmed with a looseness that reads as real fairly than staged, the intimacy of somebody pointing a telephone at an individual they love.
That individual is rarely proven. The track’s premise is based on this absence: “Your love will probably be my capital,” she sings, and the video treats them as already gone, current solely within the heat of these inside pictures earlier than chopping again to the desert.
Exterior, she’s prostrate on the bottom, nonetheless in the identical garments, nonetheless carrying the pearls.
Dillon described this recurring picture throughout the LUX visible world as a type of non secular prostration. The wealth hasn’t been stripped from her. It adopted her down.
When the Rolls lastly pulls up and parks alongside her inclined physique, she nonetheless doesn’t acknowledge it.
What ultimately lifts her isn’t the automobile’s arrival. It’s one thing else fully, and the video is deliberate about withholding what that one thing is.
She floats horizontally above the sand, suspended, physique held parallel to the bottom she wouldn’t depart when the car got here.
Chatting with Crack Journal, Dillon described it merely: “an invisible love carrying her throughout the panorama.”
Not divine intervention, not resolve. The absent associate, the one by no means proven within the automobile, is the pressure that strikes her. The Rolls couldn’t.
Requested what the automobile represents symbolically, Dillon gave a single phrase: the journey. It sits there with out elaboration. Within the lyric, the Rolls is what she’ll burn to make gentle, wealth transformed into flame.
Within the video it arrives like a risk, turns into a witness, and ultimately burns at night time, absolutely engulfed, on open floor.
For the fireplace itself Dillon drew from a number of traditions without delay: the burning bush, Pentecost, the purifying hearth of Zoroastrianism.
“A brand new starting by means of the ashes of understanding,” he stated. The automobile doesn’t explode or collapse. It simply burns, utterly, at nighttime, whereas the desert holds nonetheless round it.
“I wished the visible to reflect the vitality of the track,” Dillon stated, “by no means outshining or dwindling subsequent to the music.”
As a piano ballad that hardly clears two minutes, “Sauvignon Blanc” is the quietest factor on LUX, and the video doesn’t attempt to be greater than the track is.
For some that reads as a limitation. Given what Dillon was working towards, with restraint as a deliberate assertion, prostration as devotion, and an invisible love as the one pressure that issues, the sparseness is the purpose, not the constraint.
You may additionally like:
