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JENNIE.

Black. Then a child who looks like a young JENNIE at a window ledge — long dark hair, rosy cheeks, red-and-black checkered shirt with a white lace collar, holding a white stuffed goose with an orange beak. Outside: surreal pink towers with human eyes built into them, white mist, pink serif caption text at the bottom. She grows into a lopsided pink house with an attic eye. Distorted buildings that watch. Dark skyscraper skyline with yellow lights.

Then it is her for sure. Waist-up in a glowing pink house window, long dark middle-part hair, white top with red accents, calm gaze to camera. Houses warp magenta, purple, teal. Glowing almond eyes on the walls. White mist. Needle skyscrapers. Wave cutouts. Fisheye. Night. She stares out of a dollhouse while a city of eyes stares back.

Black again. Close on dark purple rippling water. A flock of swan silhouettes swimming toward a bright white-pink horizon through magenta haze. Then a figure who looks like JENNIE floating horizontally above a misty lake in a light flowing gown, dark swan-like birds on the water, tree silhouettes at the sides. The gown goes voluminous pink and translucent. Soft backlight. Soft-focus painterly grain. A white swan close-up. Then her face: head tilted far back, eyes closed, lips slightly parted, thin translucent fabric at the neck, lavender mist, soft halo. Soft-focus sheer layers. A second figure looks barely there through deeper purple fabric. She freefalls through a purple-magenta void in a white multilayer gown, luminous white-pink feather and petal shapes falling with her. Dewy skin. Sheer Grecian drape. Large white bokeh.

She kneels in a shallow pond looking over her shoulder through dense purple haze — wet skirt, reed silhouettes, glowing white orbs on the surface. Damp hair. Sheer white cape. Rim light. Sitting in water in a sheer one-shoulder garment. Head tilted back at a bright light. Fingertips on dark reflective purple water. Arms outstretched cruciform against backlight, translucent wispy material that looks like wings, teal fog, sparkling ripples. Rain. Drenched. Walking away into thick fog in a sheer flowing gown. Then underwater: eyes closed, hair floating, voluminous sheer white and pink fabric, caustic shimmer, air bubbles, warm orange glow.

The grade snaps to deep red. She reclines on a bed in a red satin thin-strap slip. A stylized flame rises from her raised palm and lights her face. Cream-and-red striped lamp. Ornate gold butterfly frame. White tea cup. Red roses. Dark velvet pillows. Bold red lipstick. Thin red scarf.

Empty cluttered red room, fisheye: vines and roses, patterned sofa, vintage TV with grainy black-and-white static, silver IV pole with a fluid bag. No people. Then she walks that room from behind in a floor-length backless red satin dress, dark hair in a high messy bun. Vaulted ceiling with a Renaissance fresco of angels and cherubs on pink clouds. Ornate gold chandelier with roses. Green velvet wingback. Checkered carpet. From behind again: short sleeveless red dress, long thin red ribbons from the shoulders, forest mural, silver IV stand with bright blue liquid bags, CRT television, halo glow behind her head. Hard warm light across her face. Wide-eyed. Thick red halter collar. Intense.

She finds a jagged hole in the pink-red wall. Through it: bright green meadow, misty forested hills. Thorny vines. Floating red petals. Then she is out in tall wild grass and white flowers — vibrant red silk slip, matching choker, arm raised, dark green mountain under overcast sky, fluttering shapes that look like butterflies. Smiling in a misty meadow of white wildflowers, short bright red lace dress, thick red fabric choker, swirling red petals, thick low fog. A hand that looks like hers reaches into daisy-like flowers; bright red butterflies near the fingertips; golden-hour light.

Both arms reach toward a large floral stained-glass window in red, yellow, and green. Motion blur. Long thin red ribbons. Floating pink-red petals. Dark butterflies between her and the glass. She stands center, head tilted back, arms outstretched, form-fitting sleeveless red dress, classical cloudy ceiling mural, gold-crystal chandelier, dozens of bright red butterflies, fisheye.

Tall bright red double doors swing open onto night. A large white-silver starburst firework trails sparks. She stands in the arched doorway in a short form-fitting red dress and high-heeled sandals, ivy and small red roses framing the arch, candelabra with three lit candles, metallic winged-bird statue. Through the central arch her arms raise against radiant white firework bursts.

Underwater again: eyes closed, arms outstretched, dark spaghetti-strap camisole, long thin vibrant red ribbon swirling around neck and head, magenta with teal reflections, bokeh, tiny bubbles. Hands reaching toward the surface. Dense silvery bubble cluster over her face. Then grainy black-and-white: a silhouette that looks like her reaching up through swirling bubbles.

Noir gallery. Left wall: clustered frames — a large Old-Master-style portrait of a bearded man in a dark beret, landscapes, a butterfly or moth specimen grid. Right: near-black void cut by a sharp white light beam. She stands in deep silhouette before it, voluminous dark wavy hair, dark coat, arms wrapped around herself. In one beat she looks embraced by a second figure lost in shadow. Sunglasses. Large bouquet of light roses. Classic car chrome that looks like a luxury sedan. A man in silhouette holds the rose bouquet. Her arm drapes out a car window.

Film-noir room. Floor-length sleeveless sequined shimmer gown. Venetian blinds cast diagonal slat stripes across floor, wall, and body. A large dark dog at her feet that looks like a Doberman, studded collar catching light. A seated man in silhouette. She toasts with a small glass. Two large dogs that look like pit bulls, spiked collars glinting. Calm half-smile from near-black void: dark rounded vintage cloche, heavily embellished beaded garment, bookshelf spines behind her. Short vintage bob under a feathered cloche. Multi-strand pearl choker. Spines that read FUL SYMMETRY and ST LAID PLANS. Hands crossed at wrists in front of her face, palms out like wings, one eye sharp through the gap, metallic silver satin opera-length gloves.

Color returns. Wide smile. Densely beaded high-neck dress over pale yellowish-green fabric. Layered white pearls. Long white opera gloves. Then a room of large glowing rectangular ice blocks, many with dark blue flowers frozen inside. Thick knee-high white dry-ice fog. From behind: cream backless evening gown, long white gloves, ice blocks with vibrant blue roses, night cityscape through the opening. Blue roses that look like they grow from her lower back. Classic updo with delicate black mesh. Multi-strand pearl choker. Dark blue headband. Full dark silhouette facing a building facade of warm golden windows under painterly white stage-set clouds.

Cobalt-blue textured headpiece covering her hair. Dual portraits in low light: her in silver sequins, pearls, and white opera gloves; another woman in a bright blue pillbox or turban-style wrap. A small candle flame between them. She holds a tall white lit candle. An intimate two-shot without her: a young woman in a cream ruffled blouse and dark pinafore, a young man leaning on her shoulder, tall white candle between them.

Extreme close-up: fingertips gripping a wooden match, teardrop flame, wispy smoke, black void. Tiny golden speck. Solid black.

Then she faces camera holding a tall white lit candle against total black. Face in stark warm red glow. Light white pleated garment. Small feathery off-white wings behind the shoulders. A young child figure who looks like a cherub stand-in: white gown, sheer vibrant red veil, small white feathered angel wings, candle in both hands. High angle: white gown stained dark red that looks like blood, red veil, white wings, candle, dark soil. Then it is her looking straight up through the red veil, white long-sleeve garment with thick red cuffs, white feathered wings, tall candle in a gold holder.

Night field. She walks toward a large bright orange-red bonfire in a white lace-detailed dress, small white feathered angel wings, long vibrant dark-red hair. Dozens of figures around the fire in white robes with red hoods, each holding a warm candle point. Large white-feathered wings. Translucent red veils. A structure fully ablaze. She faces camera under a vibrant red hood, candle at her chest. Kneeling toward a wooden shed fully engulfed. The shed alone: white-hot cores, thick smoke, glowing embers on weathered double doors.

Inside the inferno: a massive spherical cage of black thorny vines. She sits inside it in a sleeveless floor-length vibrant red dress, arms wrapped protectively around a young girl in a matching red dress. Circular nest of dry branches. Intense orange flames. Eyes closed, arms folded, deep red voluminous ruffled tulle, thick braids wound with thin white vine that looks like barbed wire or glowing thorns. The young girl looks at camera melancholic. Embers in the thicket. Pink stylized subtitle text sits at the bottom in some of these nest frames; the words stay off this page.

Symmetrical ritual chamber. She stands center in a short form-fitting red satin slip with lace trim and a matching red fabric choker, long straight dark middle-part hair, somber. Flanked by figures in floor-length white robes with lace cuffs and sheer red face-covering veils, white feathered wings on some, tall lit white candles in dark holders. Walls and ceiling dense with tangled vines and dry branches. Warm fairy lights in the greenery. Looks like a vaulted dilapidated chapel. Low angle. Intense gaze. Arm extended toward camera. Then solid black.

Centered pale pink glowing credit: Directed by SUNBURNKIDS. Then a neon pink calligraphic title card: Fallen Angel, ornate cursive with thorn-like protrusions on the letters.

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FAQ

What is Fallen Angel about on screen?

JENNIE’s surreal cut: pink house of eyes, swans on purple water, freefall gowns, red silk rooms, stained glass and butterflies, noir pearls and ice roses, then candle/wings/bonfire and a thorn nest — directed by SUNBURNKIDS per the end card.

How does it open?

A child who looks like young JENNIE at a window ledge holding a white stuffed goose — surreal pink towers with human eyes, mist, then a lopsided pink house with an attic eye.

What is the swan / water stretch?

Dark purple rippling water, swan silhouettes toward a bright horizon, her floating above a misty lake in flowing gowns, freefall through purple-magenta void with feather/petal shapes, underwater caustics and bubbles.

When does the grade go red?

She reclines on a bed in a red satin slip; a stylized flame rises from her raised palm. Cream-and-red lamp, gold butterfly frame, red roses, dark velvet pillows.

What is in the cluttered red room?

Fisheye empty room with vines and roses, vintage TV static, silver IV pole. She walks it in backless red satin under a Renaissance fresco ceiling and ornate gold chandelier; later short red dress with ribbons and blue IV bags.

What happens after the wall hole?

Through a jagged hole: bright green meadow. Then tall wild grass and white flowers in vibrant red silk, butterflies, stained-glass reach, red double doors opening onto night fireworks.

What is the noir gallery beat?

Clustered Old-Master-style frames, white light beam, silhouette coat, sunglasses, rose bouquet, classic car chrome; later Venetian blinds, dogs that look like a Doberman and pit bulls, cloche and pearls.

What are the ice blocks?

A room of large glowing rectangular ice blocks with dark blue flowers frozen inside, thick white dry-ice fog, cream backless gown and white opera gloves.

How does the bonfire / nest end?

Night field walk toward orange-red bonfire with white-robed red-hooded figures holding candles; then a spherical cage of black thorny vines where she holds a young girl in matching red; ritual chamber with white robes and red veils; black. Credit: Directed by SUNBURNKIDS. Title card Fallen Angel.

Who directed Fallen Angel?

End card: Directed by SUNBURNKIDS. Then a neon pink calligraphic title card reading Fallen Angel with thorn-like letter protrusions.

What is inside the thorn cage?

A massive spherical cage of black thorny vines. She sits in a sleeveless floor-length red dress holding a young girl in matching red — circular nest of dry branches, orange flames, then a ritual chamber with white robes and red veils.

What dogs appear in the noir room?

A large dark dog that looks like a Doberman with a studded collar at her feet; later two large dogs that look like pit bulls with spiked collars glinting under Venetian-blind stripes.

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