In the second half of the film, the visual aspect of the film grows more significant. These visual sequences become more complex, with an entire supplemental cast of background dancers who perform lyrical interpretations or ensemble dance numbers to the songs that Cudi is discussing. As Cudi narrates his relationship with the ominous nature of the solar system, psychedelic imagery of astronauts and planets cloud the screen, or when he describes his personal mission to continue “stepping out of his box,” we watch as a dancer contorts herself gracefully inside a glass box. Though Cudi’s self-reflection and self-criticism define the genuine tone upheld throughout the film, the most fascinating part of the film, however, is the visual element everything that is explained through narration, song lyrics, or talking heads is also expressed through captivating visual sequences as well. To hear him reflect on his own work and creative process in such an authentic way was what Cudi fans were missing all along. In the second half, Cudi sits in an empty, white-walled room, wearing all black, his silhouette constantly mingling with the shadows behind him.Īnd Cudi is honest with us, explaining even the darkest of lyrics ( “I was close to go and trying some coke, And a happy ending would be slitting my throat”). In the first half, Cudi, wearing designer clothes from head to toe, sits in an elaborately-decorated room, adorned with gold accessories.
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The second half of the film follows Cudi through his global success and stardom, as he made album after album, each with more groundbreaking production techniques than the last … yet his external professional peak simultaneously aligns with his internal rock bottom. You may have to select a menu option or click a button.The first half of the film follows Cudi’s 2008 skyrocket to fame with the success of his first mixtape, A Kid Named Cudi, the viral single “Day n’ Nite,” and his heavily-anticipated first album: Man on the Moon: The End of the Day.
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