Miley Cyrus celebrates her sexual self

It is the rare pop star that does not use his sexuality in one way or another. But the current moment, characterized by stars like Chappell Roan, Sabrina Carpenter and Charli XCX, tends to present her sexuality ironically, or with an acidic casing, or from behind a mask, or with a certain fresh position of meta-control.

Miley Cyrus I never got this memo. In “Something Beautiful”, a 55 -minute visual album composed of clips, codirigated by Cyrus (with Jacob Bixenman and Brendan Walter), 13 titles of her Album just releasedCyrus struts and the flies and lets out everything, she throws her body like a gymnastics weapon, and in a way, she throws her beauty, as if she tried to grasp the power of her erotic presence in our souls.

At Tribeca FestivalWhere the visual album “Something beautiful” was created this evening, the public applauded all the female fatal, each lightning of twisting flesh, each piece of punk slinky punk clothes. It was clear that Cyrus had staged videos not only as an orgy of love of self rock star, but as a tribute to a time when the line of sexuality was something that people felt less cautious. She wants to bring us back to the age of letting him tear up.

Miley Cyrus is pre-ironiki, just like his music, which is catchy in a great highly produced way which begins to ring also in the era another than Springsteen. (For me, it is not an insult.) In the videos “something beautiful”, you feel it try to raise its erotic maximalism in a kind of mythology. In “Easy Lover”, she undresses towards her underwear in a wardrobe on the sound scene, then walks on an empty Hollywood field carrying guys with light blue ruffled and a winged jacket, strolling in this country to make belief as if to say: “What you see is fair … an image!” (Well, yes.) In “Golden Burning Sun”, one of the most catchy songs of the album, she photographed in profile, wearing giant sunglasses while she rides a helicopter against a singing orange sky, “you are the only one, under the golden sun.” For the whole independent spirit that defined the “flowers”, and at a time when the “Manchild” of Sabrina Carpenter is presented as a potential summer hit, the array of Miley Cyrus can seem as devotional of the old school as something of the 1980s.

And, in fact, there is a nostalgia from the 80s that weighs all over the visual album. It is very “flashdance” meets Lita Ford. There is a lot of wind hair, and the video of “Walk of Fame” opens onto a piece of rhythm that very well recalls the “Smalltown Boy” by Bronski Beat, as we see Miley, in a little silver dress, strutting in the middle of the night along the abandoned but very lit Bounard. You expect Mia Goth to introduce himself with a knife, but Cyrus is the only one there, and she never works, leaning and twisting on these stars during the fame of renown. Here, as in many of the other videos, I felt like one of these shot-fashioned fashion photographers had to hover outside the camera saying: “Yes, that’s it! Show me what you have!”

And then we arrive at “Every Girl that you have never loved”, which looks like the peak of the visual album. It takes place in an empty warehouse loft, with a light shot through fans of the propeller (very Adrian Lyne), and with Miley, in his primitive affirmation of female Dominion, joined by Naomi Campbell, the two erase the need for anyone. (The only one dude In these videos is someone who presents himself in the last one, resembling a Calvin Klein model as turned by Kenneth Anger.)

During the first, a journalist sitting next to me said: “There is not at all here.” Since “something beautiful” was presented as a Tribeca festival eventI think what she hoped to see was a visual album that tried something in the sense of “Lemonade” by Beyoncé. “Something beautiful” is not that. However, if the videos, with their nod to the eros of celebrity, have no semblance of narration through the line, I would not say that it means that they have no story. They tell the story of Miley Cyrus’ relationship with sexuality and fame.

As an adult pop star, she always has a striking resemblance to the Faye Dunaway in the early 1970s, but she is like Faye Dunaway without the mystery. However, in “Something Beautiful”, with the songs used as hymns of parade power, you see how Miley Cyrus, by raising his erotic aura, tries to be An interpreter of Mystery – to let her beauty sing our eyeballs, to let him vibrate in the cosmos. However, everything is a bit island. The final song, whose video plays on the end credits, is called “Give Me Love”, and it seems that the whole film could have been called thus. We are the audience of Miley Cyrus’ sexual power removal. But we are also the mirror she looks at.