To analyze the whole videoclip production of Björk could be a hard task, we should remark the work of the director Michel Gondry, who has directed most of all Björk’s videoclips. This fact means that Björk’s videoclips have a proper style, based in the use of 3D and digital effects.

However, I think there is a Björk videoclip that deserves a special attention far from the production of Gondry, it´s All is full of love, taken from Homogenic album and directed by possibly the most creative videoclip director in the international arena: the British Chris Cunningham.

Cunningham became famous in 1997 with Come to Daddy videoclip from  Aphex Twin, and he have directed so spectacular clips for bands as Portishead, Autechre or the most famous Frozen of Madonna. He is also TV ads producer and has created visual effects in some films.

It´s curious to find, just nowadays, texts from Art Historians related to this videoclip. They has written interesting texts and I´ll comment some of their observations.

First of all, I must say that the success of this videoclip is not only by Chris Cunningham because he doesn´t take a song from an album and work from it on creating images, here there is a concurrence, a feedback between Cunningham and Björk. There is a basic song, the version from Homogenic, but Björk variates the scheme of it by adding more electronics and a new atmosphere, a version more beautiful and suggestive. There is a convergence between music and images.

The story line of the videoclip is apparently simple, there is almost no action, but the quantity of meanings convert it in a symbolic universe. The protagonists are two female twin robots, both with the face of Björk, inside a white stage which means a total purity environment, but it’s the stage of a high technology factory. The two robots are also white with black joints, in an aesthetics that remembers me the stormtroopers of Star Wars, though their value, far from aggressiveness, means calm and peace. Both rombots are incompleted and during the clip, the machines work on them soldering their different parts.

In the middle of the clip, the light dims and white fluids appear as milk, and they expand over the white surfaces in an antigravitational way, as a scene far from the earth.

As I mentioned, the Art Historians who talk about this clip mention Olympia, the female robot of The sandman from E.T.A. Hoffmann, though I´m not agree with this comparison because I think there is no sinister elements in the two twin robots. Others talks about sadomasochist elements and fetishism, with a sexual component, most of all in the moment the two robots kiss each other. So, I disagree again with this interpretation. It´s true thar Cunningham videoclips have sinister elements as it happens in Come to daddy but I think that All is full of love is a clip full of calm, peace and tenderness, just the feelings the song shows: all is full of love.


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