Background and development The music video for "All Is Full of Love" was directed by
Chris Cunningham. Björk was impressed by Cunningham's original music videos for IDM musicians
Autechre,
Squarepusher, and
Aphex Twin, and by his clear lines,
science fiction inclinations, and discordant imagery. This resulted in Björk contacting him to meet at his London office; she brought a Chinese
Kama Sutra as a guide to what she wanted. Cunningham had also associated the track with sex upon hearing it, but could not figure out how to make the video explicit yet broadcastable. by
Chris Cunningham. Initially, the two protagonist robots would unfold like a flower as they mated, but the team could not manage to materialise this thought. When Cunningham first heard the track, he wrote down the words "milk", "sexual", "surgery", and "white porcelain"; they outline what would become the music video. Concerning this, Cunningham added that it was like
Kama Sutra meeting
industrial robotics and that because of the
surreal nature of the images, they could be "sexually suggestive" as they liked. Initially, it was planned that during the visual's ending, the robots would unfold like a flower as they mated, revealing an abstract life form made from the two artificial forms. using the software programs
Softimage and
Flame. Cunningham said that every shot in the clip had four layers. He reportedly first shot the set and the props doing nothing for about 21 seconds, and then removed the robot and replaced it with Björk, who had her face painted white and wore a blue suit. Using a mix of the
master shot and a live feed of Björk in frame, the production team tried to match up her face and the robot body as much as possible. The camera follows these cables to an ethereal, white room where a robot with Björk's features lies in a fetal position. As the room becomes illuminated by fluorescent lights flickering on, two mechanical arms begin to assemble the robot, which opens its eyes and begins to sing the song. Pistons pumping white fluids, as well as drilling and penetrative motions are seen, featuring a "clear" sexual subtext. Now sitting upright, the robot looks up to see another robotic Björk as the machines stop the assembly. It smiles and extends its hand to the sitting robot, joining in the song. In the
climax of the video, the robots passionately kiss and embrace while the machines assemble their backs and light comes and goes. The images of the kissing robots are interposed with shots of white fluid washing over robotic parts and the mechanical arms assembling them. According to the Institute for the Unstable Media, "as the music fades and the pulsating beat becomes more dominant, we are once again drawn in the womb-like dark space, making it clear to us that we sampled a glimpse of a black-boxed kingdom".
MusicRadar considered the music video to be "one of the most visually striking promos of Björk's career."
NME also praised the "All Is Full of Love" clip as one of Björk's best, and particularly commended the wide angle shot of the cyborgs kissing as the chorus kicks in. Eric Henderson of
Slant Magazine dubbed it "the perfect pre-millennial precursor to our current gadget-assisted culture of self-love" and also wrote, "When it was released, I thought it looked cool and stressed the importance of loving yourself. Now I think it's a terrifying and sealed-off nightmare wherein you find out that you are the only person who will ever love you." Writing for
Pitchfork Media, Scott Plagenhoef considered that "the strongest single images from any video of the 1990s come from [the clip]", also calling it "strange and moving".
CMJ New Music Monthly's Douglas Wolk called the video "magnificent" and praised it for "[bringing] out the beauty of the song".
Recognition and legacy at
MoMA, New York City. The music video has won various awards and accolades. It won the Jury Prize at
ArtFutura Festival of 1999, Best Video in the 2000
Fantasporto, Best Video at the 2000
Australian Effects and Animation Festival and Best Art Direction in a Video and Best Special Effects in a Video at the Music Week Awards. and the music video award at the London Effects and Animation Festival. Furthermore, at the MVPA Awards, Cunningham received the award for Best Direction of a Female Artist in a Music Video. Björk won two awards at the
MTV Video Music Awards in 2000:
Breakthrough Video and
Best Special Effects in a Video. The music video also received the Best Special Effects in a Music Video and Best 3D Animation Music Video during the 2000 International Monitor Awards. and Best Alternative Video, Best Cinematography, and Best Editing in a Video at the 2000 Music Week Awards. In 2011, "All Is Full of Love" was placed at number 14 in
MusicRadar's list of the 30 best music videos of all time, the
49th Venice Biennale,
While Interwoven Echoes Drip into a Hybrid Body – an Exhibition about Sound, Performance and Sculpture in the
Migros Museum für Gegenwartskunst in
Zürich, and
This Is Not a Love Song in La Virreina Centre de la Imatge in Barcelona. The music video was also on permanent exhibition at the
Museum of Modern Art in New York City. Chris Cunningham served as a model for a character in the novel
Pattern Recognition (2003) by
William Gibson, in which a fictitious music video director who puts "robot girls in his video" makes a clip characterised by the following words: "No sci-fi
kitsch for Damien. Dreamlike things in the dawn half-light, their small breasts gleaming, white plastic shining faint as old marble", as a reference to "All Is Full of Love". In 2004, similarities were noted between the design of the robots in the music video and those in the film
I, Robot, raising accusations of
plagiarism by fans.
E! News contacted Cunningham and
20th Century Fox—the studio behind the film—but neither of them returned calls for comment. It also was an inspiration for the opening title sequence of the television series
Westworld. == Live performances ==