The movie opens with Lo, Tove Lo, standing alone in a dim motel corridor, her voice slipping into a weary confession as she questions how seen she really is. The moment carries a raw, intimate honesty: everyone around is watching me, or are they just looking when I look at them? I can't tell. My head and my ego are the same now. Everything is so beautiful but so cold. Where did the fire go?
> Everyone around is watching me or are they just looking when I look at them? I can't tell. My head and my ego are the same now. Everything is so beautiful but so cold. Where did the fire go?
As the scene settles, the mood shifts with the pulse of music. The track Don't Talk About It fills the hallway as Lo moves with a hesitant grace, dancing through the space with a vulnerability that feels almost documentary in its precision. The dance stiffens, falters, and then collapses into a breathless moment where she declares a vow to avoid marriage, a thread of truth pulled taut in the quiet between notes. Her struggle becomes a flight: she drags herself toward a delicate butterfly resting on the edge of the room, finally catching it and turning her secrets over to the fluttering captive audience of wings. The confession is intimate, almost whispered, shared with a creature that cannot judge.
With the next track, Imaginary Friend, the butterfly escapes the palm of her hand, and she climbs the walls in a desperate, almost trance-like pursuit, chasing something she can’t quite grasp. The music shifts again to a childhood memory as she taps out the game My name is X baby, a Malaysian/Swedish clapping game she may have played as a child, and the moment tightens into a ritual of memory and need. She catches the butterfly a second time, only to crush it in a sudden burst of emotion, and she screams on the balcony, a raw release that feels like a last attempt to seize control of the moment.
The mood pivots once more with Keep It Simple, a sequence that cuts between close-ups and wide angles as she crawls and clings to the walls, the image of a body trying to navigate a world too loud for comfort. By the end of the montage, she finds herself crying on the ceiling, voice thinning as she sings the chorus of Flashes in an empty closet, her voice echoing back at her until the music carries on again. She exits the room and returns to the corridor, collapsing into a secluded corner, where the space feels almost like a stage for her unraveling.
Three handsome men enter the room, and the track WTF Love Is swells around them, pulling Lo to choose a dangerous, intimate path. The room becomes a charged arena as she contemplates joining the three men in a moment of shared desire, a decision that threads through the narrative with a mix of defiance and vulnerability. In the space that follows, the film delves into the dark corners of her past, pushing into flashbacks to Fairy Dust, a memory that resurfaces with a sting of recognition and remorse.
In brief, the trio of visitors marks a turning point: Lo steps toward a confrontation with the shadows of who she has been, with a gaze that refuses to pretend the past isn’t a weight she carries. The sequence—part memory, part present-tense impulse—drives her to seek some form of absolution or release, even as the room stays thick with unanswered questions and uncertain promises.
The film closes on a quiet, almost domestic note: Lo emerges from the shower and sinks into a chair, slipping into a robe as the room’s tension dissipates into a stillness that feels earned, if uneasy. The ending lingers on a moment of tired resilience, a small defiance of whatever the night had demanded, and a suggestion that the journey beyond this motel corridor is only beginning.
