The video tells the story of a little disjointed puppet which a puppeteer (Frédéric Lagache, who will turn in the 1992 video for " Beyond My Control ") is attached. They are chased out of a... See full summary »
Farmer appears in the movie in two images: as a woman of high society, and as a street prostitute. The partner of the singer in the video was an American TV actor Giancarlo Esposito, who ... See full summary »
In the video, we see a woman, played by Farmer, in a cemetery pushing a pram who comes to meditate at her own grave. Then, in a house full of spiders' webs, a girl on her bed, also played ... See full summary »
Grand-scale concert performance of French pop diva Mylène Farmer took place in Paris at the Stade de France stadium. Two final concert tour and 160 thousand people who came to see the show ... See full summary »
The longest and certainly most ambitious music video Mylene Farmer created with Laurent Boutonnat, this one is a direct sequel to the video to "Libertine" (1986), which marked the first highly celebrated collaboration of the two. While that video broke new ground with its unprecedented sex and violence (specifically the full frontal nudity of the lead singer!), this is like any sequel: More of the same (well, almost, this time another girl goes full frontal), but bigger and bolder. So instead of nine minutes, this is almost twice as long, has longer dialogue scenes in the beginning and the end and features higher production values. This video looks like it took the budget of what most french art-house movies used at around the time. The results are undeniably impressive: The battle scenes at the end are fabulously staged, rather graphic and look like straight out of a feature film. The song itself, like its predecessor, is somewhat of a scandal to conservative ears, it's basically an ode to butt cheeks with the implied notion of eroticism revolving around them, either through caning (like in the video) or anal sex, as implied in the video as well. As usual, Farmer does bare her behind, too. But don't let the R-rated sex and violence scare you off, this is the most persuasive argument for music video as an art form, not merely a ploy to sell product. Like all her collaborations with Boutonnat until 1990, including "Tristana" and "Désenchantée", this is highly recommended for the way it promoted what music videos could do.
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