As Dua Lipa continues to build the anticipation for her long-awaited third album, Radical Optimism, she’s already brought us a third single in the wake of “Houdini” and “Training Season.” The theme of “Illusion,” as it’s called (and in keeping with a title like “Houdini”), is more closely aligned to the one in “Training Season,” with Lipa telling off any man trying to spin some false yarn. In order to help convey that message in visual form is the always impressive Tanu Muino, who has increasingly branched out into collaborating with American musicians in lieu of the Ukrainian ones she started out working for. In fact, it was, of all things, a Katy Perry video (2019’s “Small Talk”) that signaled her transition to working with some of the biggest names in American pop and hip hop/R&B music (including Cardi B [“Up”], Normani [“Wild Side”], Lil Nas X [“Montero”] and Doja Cat [“Attention”]).
Dua Lipa only adds to that growing list and, together, her and Muino bring one of their most elaborate music video concepts yet—one that relies on the sumptuous, intoxicating backdrop of Barcelona. Indeed, it’s as though Lipa is beckoning us to join her in “summer mode” despite many locations still being hopelessly trapped in winter mode (spring season or not). And yes, it’s apparent that Radical Optimism is vying for “album of the summer” status, not just with its release date (May 3rd), but its water-filled album cover (featuring Lipa casually swimming near/toward a shark, presented in the Jaws manner of protruding fin only). “Illusion,” too, is water-filled, thanks to being filmed at the Piscina Municipal de Montjuïc. Known for hosting major sporting events, including the 1992 Olympics, the pool’s location on the Montjuïc hill is what affords it such a glorious panoramic view of the city, complete with Gaudí’s Sagrada Família in the background. A feature that Kylie Minogue opted to exclude from her 2003 “Slow” video, during which she also relished the cinematic potential of the location, albeit solely with overhead shots of her writhing seductively around in an orgiastic heap with all the other poolside loungers on towels. Lipa, in this way, makes her first homage to a pop girl—except that she chooses to maximize the location much more than Minogue did.
This commences with Muino’s establishing shot of Lipa perched on the network of uniquely structured diving boards amid a sea of muscular men in matching attire (short blue shorts and white tank tops). As the men do various exercise-y poses, Lipa ascends one of the ladders while informing us, “I’ve been known to miss a red flag/I’ve been known to put my lover on a pedestal/In the end, those things just don’t last/And it’s time I take my rose-colored glasses off.” And yet, even if she’s taken them off with regard to her perception of her lover, the city of Barcelona can still be seen through rose-colored glasses even without any on. Drenched in that indelible Spanish sunlight, the cityscape steals the show almost as much as Lipa’s seemingly “Express Yourself”-inspired backup dancers. That’s right, it appears Lipa gives a stylistic nod to Madonna yet again (as she did in the “Houdini” video) with a setup that very much reminds of what M did in her David Fincher-directed masterpiece from 1989. Not to mention the scaffolding-style backdrop of Paula Abdul’s “Cold Hearted,” itself a recent inspiration for Ariana Grande’s “yes, and?” video. The aesthetic relationship between “Express Yourself” (which came out a month before Abdul’s single) isn’t a coincidence, what with Fincher having directed both.
Accordingly, each of those videos has plenty of mounting of/gyrating on industrial-looking “rigs” to help highlight the choreo. Of a nature that channels the exuberance Lipa is going for with the record as a whole, stating that she wanted to “capture the essence of youth and freedom and having fun.” The video does achieve that, even if the lyrics are indicative of someone who has been jaded by enough experience with relationships past. In fact, there is even an aura of the “Express Yourself” mantra in Lipa’s coming-of-age tone as she sings the defiant chorus, “Ooh, what you doin’?/Don’t know who you think that you’re confusin’/I be like, ooh, it’s amusin’/You think I’m gonna fall for an illusion.” This leads into her talking about how, at this juncture, she knows exactly what she wants, declaring, “Was a time when that shit might’ve worked/Was a time when I just threw a match and let it burn/Now I’m grown, I know what I deserve/I still like dancin’ with the lessons I already learned.” In other words, “Don’t go for second best, baby/Put your love to the test/You know, you know you’ve got to…”
But M isn’t the only pop girl Lipa conjures in “Illusion.” There’s also a clear-cut Britney Spears moment when Muino gives us an overhead shot of Lipa in the pool while lying on a floating circular object as she moves her arms up and down—in clear “Oops!…I Did It Again” fashion. For never was there a more iconic overhead shot of a pop princess lying on a circular ditty and moving her arms around than that. Spears might not have had a slew of synchronized swimmers around her while doing it, but the connection is still there. Plus, Muino is no stranger to orbiting Spears’ world, for she directed 2022’s “Hold Me Closer” (which shares many qualities with “Illusion” in that it wields a city’s—Mexico City’s—backdrop as a key character). Maybe that’s why there’s also echoes of the pool scenes from “Work Bitch,” wherein Britney stands on a circular platform in the center of the water as hammerhead sharks swim around her (this, too, perhaps some unwitting inspo for the Radical Optimism cover).
Talking of connections, there’s even one to Miley Cyrus when Lipa is lifted out of the water by the very “O” ring that previously encircled her, giving an immediate flash to the cover of Cyrus’ Endless Summer Vacation album. As the video starts to wrap up, a choreography breakdown in the 00s spirit of what someone like Lindsay Lohan did on the rooftop in the “Rumors” video occurs, with Lipa repeating, “I’d rather dance with the illusion”—than actually invest time in a full-blown, off-the-dancefloor relationship with the real, unvarnished version. Which always turns out to be so disappointing.
For one of her big finishes, Lipa mounts a “tower of men” (with some women peppered in between), making her way to the top for another overhead shot where she’s “chillin’ on a circle.” Obviously, it’s a metaphor for how she’s overcome all the necessary emotional obstacles to become secure and confident in knowing exactly what she wants—and what she doesn’t. As for the former, it definitely includes taking dips in Barcelona and repeating the mantra, “Dance all night, dance all night” (not so different from what she said in “Dance the Night”).
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