Released December 15, 2025, director Stillz builds “La Perla” around a simple visual strategy: ROSALÍA wears excessive protective gear for activities that require none.
She straps on full hockey equipment to ice skate alone. She suits up in dog attack protection to play with friendly pets. She fences against no opponent.
She drives a white convertible Lamborghini with the top up. She wears a chastity belt on an empty street.
The contrast does the work. Stillz frames each scenario wide enough to show the absurdity, then cuts closer to capture ROSALÍA’s face through the protective equipment.
The hockey mask, the bite suit padding, the fencing helmet, the Lamborghini’s windscreen, the metal chastity belt all create literal barriers between her and the camera.
The lighting shifts from the ice rink’s harsh fluorescents to warmer outdoor tones in the Lamborghini and park scenes, but ROSALÍA’s expression remains guarded throughout.
Each scene keeps ROSALÍA isolated. The ice rink stretches empty behind her. The dogs play around her padded suit in a park thick with trees.
The fencing area contains no second fighter. She sits alone on a bench outside the skate rental. The white Lamborghini appears with its top up despite being a convertible.
She moves through these spaces slowly, deliberately. The editing slows as the video progresses. Early cuts jump between scenarios quickly. Later shots linger.
You might also like:
- ROSALÍA LUX Album Review: A Daring Orchestral Gamble
- ROSALÍA “Dios Es Un Stalker” Review: Tango Meets Divine Obsession
- ROSALÍA ‘Berghain’ Lyrics Meaning: Love, Death, and Devotion
- Charli XCX “Chains of Love” Review: Gothic Pop Perfection
- The Neighbourhood’s “Hula Girl” Review
- Lana Del Rey’s Chemtrails Over the Country Club: Lyrics, Meaning, and Analysis
The chastity belt moment arrives without preamble. ROSALÍA walks down an ordinary street wearing visible medieval-style metal protection designed to prevent sexual access.
Stillz doesn’t cut away or soften the image. The camera stays on her, framed against residential buildings and parked cars.
“La Perla” opens with ROSALÍA calling someone a “peace thief” and “emotional terrorist” over a waltz. She sings about an “Olympic gold medal for the biggest bastard,” a “monument to dishonesty,” and declares “his masterpiece, his collection of bras.”
Yahritza y Su Esencia harmonises through verses about walking red flags and doppelgänger excuses. The video doesn’t illustrate these accusations. Stillz takes a different approach: show the protective aftermath instead of the attack itself.
The video ends on the ice rink in full hockey gear, ROSALÍA standing on the ice itself. She faces the camera directly, helmet in hand, surrounded by empty rink space.
The journey moves from fencing with no opponent to skating with no game. The gear changes but the defensive posture doesn’t.
Where most breakup videos close with a smile or a new beginning, “La Perla” ends with ROSALÍA exactly where the song leaves her: armoured, alone, and still standing.