Face-down in desert sand, ROSALÍA doesn’t lookup 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 music 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.
Monitor 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, reveals ROSALÍA prostrate on the bottom as a Rolls-Royce arrives, lifted by an invisible pressure, and watching the automotive burn.
Dillon, who additionally shot the LUX album cowl, constructed it round a easy transient: a quiet love story with an invisible accomplice.
The video cuts between two settings. Contained in the automotive, she’s laughing within the again seat, pearls piled at her collarbone, filmed with a looseness that reads as real reasonably than staged, the intimacy of somebody pointing a cellphone at an individual they love.
That individual is rarely proven. The music’s premise is based on this absence: “Your love might 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 sporting 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 susceptible physique, she nonetheless doesn’t acknowledge it.
What finally lifts her isn’t the automotive’s arrival. It’s one thing else totally, 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 accomplice, the one by no means proven within the automotive, is the pressure that strikes her. The Rolls couldn’t.
Requested what the automotive 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 menace, turns into a witness, and finally burns at evening, totally engulfed, on open floor.
For the hearth itself Dillon drew from a number of traditions without delay: the burning bush, Pentecost, the purifying hearth of Zoroastrianism.
“A brand new starting by the ashes of understanding,” he mentioned. The automotive doesn’t explode or collapse. It simply burns, fully, in the dead of night, whereas the desert holds nonetheless round it.
“I needed the visible to reflect the vitality of the music,” Dillon mentioned, “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 music 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.
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