Something Beautiful: The Visual Album by Miley Cyrus
“Now I regret not listening to the album until now.”
That’s what I overheard someone say as we walked out of the screening in Warsaw, Poland — and honestly, that sums it up pretty well.
After the May release of Something Beautiful, Miley Cyrus's latest studio album, its accompanying visual project has finally made its way to European cinemas for a one-day-only screening. Let’s get one thing straight: this isn’t really a film in the traditional sense. It’s not even a music film. It’s a visual album, and should be approached as such — essentially, an extended visualisation of the music itself.
Considering how rich, diverse, and emotionally layered the album was, Cyrus’s ambition to turn it into something grander feels completely justified. At the Tribeca Festival premiere, Miley herself admitted that the visual project had a very modest budget. And frankly, you can tell. Something Beautiful ends up being either a very low-budget music film or a relatively expensive full-length visualiser — depending on how you choose to frame it.
Watching it, you quickly realise that the entire production likely cost the equivalent of two or three music videos. Miley could’ve chosen to shoot two/three polished singles with cinematic treatment — or, as she ultimately did, take the tougher, messier, and far more demanding path: stretching a budget across all thirteen tracks. And I respect that hustle and ambition, especially knowing she didn’t turn to major streamers for a pre-approved budget or production deal. Instead, she chose to do it independently.
The vision was clearly there. But what was lacking was execution. What we get is a stylish, hour-long piece with Cyrus giving a committed, star-powered performance on every track — but often stuck in minimalistic, one-location setups that begin to feel creatively drained the longer each song runs. On some of the more extended tracks, the concept seems to wear thin. You end up watching Miley walk back and forth, trying to fill time and space with her presence — and while she does have that star quality, even that sometimes isn’t enough to fully carry the visual.
Every song gets one set. And some of those sets are too tight, too closed-in to allow any real narrative or dynamic visual storytelling to emerge. A perfect example is the visual for “Golden Burning Sun”, where Miley sits on a motorcycle in front of a backdrop with a wind machine in her face, pretending to ride somewhere — but ultimately never going anywhere. That metaphor, of not quite getting where you want to go, is something that lingers throughout the viewing experience.
There are still beautiful moments, though. Everything is styled tastefully and with clear visual intent. One standout is the brief face-off with Naomi Campbell — whose presence on the album I’m still trying to fully grasp, but whose appearance adds a striking touch to the overall visual experience. The final track, “Give Me Love”, plays over the closing credits — a touching choice that gently nods to her Wrecking Ball era and adds a layer of personal closure to the project.
In the end, Something Beautiful is a bold idea — another creative swing from Miley, trying to express herself through a medium that’s increasingly overlooked. And I'm glad it exists. For me, the trip to the cinema was worth it for the chance to hear the album in Dolby Atmos — it gave me a deeper appreciation for its sonic textures and production choices. But will I return to rewatch this visual project in full? Probably not. There’s no storyline or emotional arc to pull me back in. It’s pleasant to look at — because it’s still Miley — but it doesn’t quite offer the immersive experience it seems to aspire to.
Still, it stands as a reminder of how many people are involved in making even the most stripped-back visual projects. The end credits, filled with names, even for something shot in what seems like three locations, are a quiet tribute to a dying art form: the music video. And we should cherish that.
6.5/10
