KWON EUNBI “DEJAVU” MV Review: There is something very oddly unique about Kwon Eun-bi’s “DEJAVU” MV that feels like you found it on an old camera roll; not because it is old or is trying hard to look old, but because there is a softness to it.
KWON EUNBI “DEJAVU” MV Review
There is a sense that makes everything feel a little less immediate, a little hazier, like the memory of a summer afternoon you cannot really place anymore, and that is where Kwon Eun-bi’s “DEJAVU” lives.
Released as her new digital single album and her first musical release under RBW, DEJAVU arrives with a breezy disco-pop sound and a visual world that seems determined not to take itself too seriously, and that works beautifully for Kwon Eun-bi.
The music video feels dreamy, cute and slightly nostalgic without becoming aggressively retro on the face. There are lights, playful movements, soft colours and moments where the footage slows down and loses some of the smoothness. It gives the entire thing an almost “VHS-like” quality as if we are watching something that happened once upon a time, somewhere and are now trying to remember what and how it felt.
The Dream Comes Before the Story
The easiest thing to do with DEJAVU would have been to give it a big visual concept, but the MV lets the atmosphere do the job in most parts.
There is a dreaminess in the way Eunbi is filmed, particularly in the way light becomes part of the performance rather than simply being there. Brightness suddenly floods a frame; shadows take over another; then she is moving again, and the whole thing feels like slipping into another little jar of memory.
DEJAVU at its core is about familiarity; the strange sensation of encountering something for the first time and somehow feeling like you have already been there. The MV recreates that feeling not through a literal narrative, but through repetitions, fragments and visual deja vu.
The Lights Talk a Lot
One of my favourite parts of the MV is how much personality the lighting gives it. The lights do not simply sit in the background waiting for Eun-bi to do the performance and carry the MV; they become a part of the performance like a performer.
There are moments of brightness that make the frame feel wonderfully artificial, followed by darker sequences that pull everything back into something closely intimate. There is a push and pull between stage and dream: between something constructed and something that somehow feels personal.
And Then The Video Starts Playing With Time
There are moments where the footage appears to drop into a lower frame rate rhythm. The decision might seem like a very small one that people might even miss, but it changes the feeling of the scene.
The movement is not as fluid suddenly, and Eun-bi’s image starts feeling less like a contemporary HD K-pop choreography and more like something recorded on handycam. It is a very “cute” effect, but more importantly, it fits the title because DEJAVU is not supposed to feel completely smooth but like your brain has skipped a frame somewhere; like you have walked into a room and for a second you already know what is going to happen.
The slight visual interruptions give the MV that exact quality.
The Choreography Keeps Everything Light
Kwon Eun-bi’s movement is another reason why the MV is dramatic but not overly dramatic. There is precision here, but it does not feel like screaming at me. It moves with the song.
There is very little to no pressure to make every second a dramatic killer move: sometimes Eun-bi simply moves with the music; sometimes she pauses; sometimes the movement feels caught rather than performed. All of it together makes the MV feel breezy.
It Feels Like Finding an Old Video of Yourself
Do you remember the little videos our parents shot on handycam of us as little kids? That is probably the closest description I can get to describing DEJAVU.
It feels like finding an old video of yourself that you did not know existed and living the moment again, though you do not remember the exact day or why you were there, and absolutely have no memory of what happened before or after, but you enjoy watching it and remember the warmth.
The VHS-like softness, the slight changes in motion, the lighting and Eun-bi’s relaxed performance all contribute to that particular sensation. It is nostalgic without being bottled in nostalgia.
DEJAVU in no way seems to recreate a decade but is recreating the very feeling of “remembering”.
Final Thought
Kwon Eun-bi’s “DEJAVU” MV is cute without being childish, dreamy without disappearing into abstraction and nostalgic without brushing the old videos into our face. It knows that sometimes a music video does not need a huge narrative to leave an impression.
Sometimes all you need is good lighting, a song with a little bounce, choreography that knows when to hold back and a few frames that make you wonder if time just moved differently for a second.
DEJAVU feels the sme: a tiny memory, a pretty little glitch and something you do not entirely remember but strangely miss. Overall, the moodboard of DEJAVU MV surely feels like my Pinterest explore page.
Watch Kwon Eun-bi’s “DEJAVU” MV on YouTube.
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