Drake – In My Feelings

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Night city skyline. Tall slender lit tower left. Dark foreground. Soft red and white traffic bokeh.

Tall thin tower with a lit crown. Dark foreground. Soft traffic lights low in the frame. a white classical building fills the next still.

Warm exterior lamps. An orange streetlight flare blooms upper left. Now Drake walks the roadside in a white Rattlers 15 jersey. Black Escalade parked behind him.

Night pavement. Next, he stands behind a black spiked iron fence. Same jersey. Looking up and left. Across town, the camera pulls wide on a white columned mansion. Upper balcony. Warm yellow windows. Drake is a small figure near the gate. Now the wide holds. He moves closer to the house along the front. a bird’s-eye look down. Drake on stone paving outside the fence.

White jersey. Dark pants. White sneakers. Looking straight up at the lens.

He shifts into a light dance step from that same high angle. Still looking up. Now a woman in a red tank leans from a shuttered window. Dark ponytail.

Mouth open. Talking hard down at the yard. Warm room light behind her. And the Kiki hook is already moving — “Kiki, do you love me”. After that, she keeps the window lean for another beat.

Same red top. Same shutters. Same energy. Meanwhile, Drake comes through the open iron gate onto the walk.

Jersey bright in the porch light. Now the mansion wide returns. Drake small at the gate again. he stands on the sidewalk looking up at the house.

Fence between him and the porch. an older woman appears on the ornate iron balcony. Patterned robe. Hair pulled back.

Hand out like she is correcting him from above. Now she keeps talking down from the rail. Warm doorway light behind her. Next, high angle on the Escalade along the fence.

Drake walks left from the truck in the white jersey. bird’s-eye again. He stands on the stone court in a white and yellow Cleveland-style jersey. Looking up.

Gate shadow on the ground. Now the balcony woman is in a pink and black floral blouse. White columns. Decorative iron. She smiles and gestures down. she stays in that balcony talk for another frame. Same columns. Same rail. Across town, the Escalade returns from high under a streetlamp. Black paint. Iron fence. Now a vintage grade hits.

Orange facade. White balcony. Men in white shirts lined along the rail. Big yellow text across the middle: DRAKE. Hold this — Drake in daylight. Black tee. Eyes closed. Head back.

Hand on his chest. Singing face. And the always line sits under it — “And I’m down for you always” So two women dance in front of a glass-block wall. Pink hair.

Under that hold the lyric is blunt: “Are you riding, say you’ll never ever leave”

Rainbow stripes. Purple hair. Denim shorts. Motion blur. Now Drake stands before a huge mural of a face in sunglasses. Black Festival tee with a blue helmet graphic. Orange patterned shorts. Gold chain. Hands talking. a man in a loud patterned shirt dances inside a vintage streetcar. Wood seats. Metal poles. Over here, Drake close on the mural. Same Festival tee. Looking down. Now the streetcar again.

Woman in a denim crop and camo shorts up front. Patterned shirt dancer behind her. a long white corridor with pillars. A woman in a flowing red robe over white shorts dances in red heels.

Meanwhile, Drake sings close in front of the sunglasses mural. Chain bright. Now a group of women in floral tops dance in the street at dusk. Warm hard light.

Cut to Drake before the mural with both hands up near his face. Festival tee. Chain. two women dance hard against a big red wall. Floral leggings. Camo pants. Yellow sign edge in frame. Now a film-gate frame.

Performer in a tropical shirt inside the streetcar. Arms up on the rails. Next, a dancer in black and yellow check crop and shorts. Tall yellow building with white iron balconies behind her.

In this beat, film-gate again. Two women on a pink ornate balcony dancing and pointing. Blonde on the right. Dark hair and shades on the left.

Now a crew of women dance outdoors. Platinum blonde in a white and yellow bikini top center. Orange two-piece on the left. a blonde close points at camera in a multi-color denim jacket.

Yellow graffiti wall behind. And the special-girl read lands — “I know you special girl ’cause I know too many” So a young boy in a light blue tee. Camo shorts dances in the street. Yellow doors behind.

Other dancers soft in back. Now a man goes off on the sidewalk. Grey shirt open over a white tank. Can in one hand.

Black cap in the other. Bike and purple storefronts behind. Next, pink glitter sunglasses fill the frame. A huge white-orange flare eats most of the face.

A night garage stack. Dancers posed between pillars on three floors. Warm yellow rooms. Now film sprockets on the left. Close on long blonde-brown braids looking down. Next, Drake at an outdoor table in a black polo. Hands open mid-talk. Food and dark cups. Woman smiling left. Other patrons behind. Here, film sprockets again. Young man in a navy and white vertical stripe shirt.

Distressed jeans. Residential street. Slight Dutch tilt. Now two women on bright blue metal stairs against a blue wall.

One in a deep squat on the steps. Chain-link fence left. Drake dances in daylight in a black City of New Orleans graphic tee. Arms up.

Over here, a crowded street dance. White roll-up storefront door behind. Bright clothes everywhere. Now more dancers before blue and white garage doors. Red and black patterned leggings up front. Someone carried mid-ground. Next, a child holds a giant light-blue cotton candy. Soft background. Eyes on camera. two boys sit on a sidewalk drumming white plastic buckets. Now night. A man in a silver washboard vest outside neon.

The track answers without a subtitle: “Look the new me is really still the real me”

Sign bits read Electric Tattoo and The Lady Jane. warm orange indoor light. Men dancing. Center black shirt. Gold chain. Yellow head wrap. a shirtless young man stands inside a streetcar looking down. Wood seats.

Ceiling straps. Now Drake on a blue velvet couch in a green yellow black track jacket. Beside him a man who will read clearer in leopard next. White roses on the table.

Drake talks with his hands. Meanwhile, both hands go to his head. After that, the backstage room holds. Blue velvet. Vanity lights. Red roses. Drake keeps gesturing at a man in a white tee with dreads. Here, shot reverse shot. Drake leans in. Palms out. Explaining. Now a close on the leopard-print zip jacket and black headset mic.

Smile first. wide eyes. Drake on the couch with a skeptical look toward that headset energy. And the feelings tag is honest — “This shit got me in my feelings” So over Drake’s shoulder in the green black jacket.

Someone in light clothes stands in a kitchen space behind. Now the headset man talks at a white doorframe. Different glances. Same leopard jacket. Elsewhere, Drake in profile. Dense beard. Dark green collar. Serious listen.

A short interior cut. White walls. Darker room beyond. Now the leopard jacket man stands in a doorway with a big orange and black toy blaster.

White fire extinguisher on the wall. Looking out. Drake is suddenly in the leopard jacket himself. Big black headphones. At a white glass door. Looking out. turning away. Switches and intercom on the wall.

Across town, split screen. Left: shirtless man in blue floral trunks dances by a pool with palms. Right: Drake in a light beige tracksuit walks pavement. Yellow text: A Film By KARENA EVANS.

Now split continues. Pool dancer. Drake from the waist down in black shirt and white pants stepping out of a grey car. Next, triple split.

Pool dancer. Drake in beige tracksuit dancing on a night street. Man in black tee and blue red cap on a hillside road over a valley. Here, triple with white credits.

Beach dancer in pink bikini top and red shorts. Man in black tank by rock. Woman in leopard top indoors. Director and producer lines.

Now more credits over triple dance plates. White crop and denim shorts in a driveway. Three men dancing in a driveway. Black crop and shorts on a city sidewalk.

Elsewhere, the close. Drake in a black tracksuit on a dusk rooftop makes the heart hands over a skyline. Other split dancers fill the sides. And the last always line stays simple — “And I’m down for you always” So final rooftop family.

Drake full black tracksuit. White sneakers. White modern roof. River and older city architecture in dusk light.

You can hear it sitting on the cut: “Gotta be real with it, yup”

Couch skit. Credit splits. Rooftop heart. Next, Drake moves from Rattlers jersey to Festival tee to New Orleans tee to track jacket to leopard to beige suit to black tracksuit.

Wardrobe is the chapter list. Here, the city stays New Orleans in the daylight half. Balconies. Streetcars. Roll-up doors. Bucket drums. Cotton candy. Neon tattoo signs. Now the mansion night is its own short film at the top. Gate. Escalade. Window. Balcony. High angles. the mural block is Drake alone with the sunglasses face behind him. Hands.

Chain. Festival tee. the dance packs are groups and solos and kids and a washboard vest at night. Now the couch scene flips the tone. Blue velvet. Roses. Headset. Toy blaster.

Doorway. Karena Evans gets the yellow film credit as the split montages start. the end is rooftops and pools and driveways and hillside roads. Multiple cities.

Iron rails. Mural. Streetcar poles. Blue stairs. Cotton candy. Credits. that is In My Feelings on screen. Night house. Day streets. Skit. Montage. Done.

Next: the Escalade chrome catches streetlamp in the high angles. Fence spikes stay sharp. the mansion columns read Greek Revival even in the wide night plates. Now the window shutters are dark louvers.

Red tank straps thin. Mouth open mid-call. Next, the balcony iron scrolls catch porch light. Patterned robe.

Hand out. the yellow DRAKE title card sits on the vintage orange facade plate. Now the Festival tee helmet graphic is blue on black. Gold chain mid-length.

Across the cut, night city skyline. Tall slender lit tower left. Dark foreground. Soft red/white traffic bokeh. Hold this — large multi-story white classical building. Warm exterior lights. Streetlamp orange flare upper left. drake waist-up walking roadside night. White basketball jersey `RATTLERS` + `15` red/black. Black Cadillac Escalade parked behind. Next, medium Drake same jersey looking up-left. Behind black spiked wrought-iron fence.

A beat later, 0005–0006 (~24–30s). Wide two-story white Southern mansion night. Columned porch + upper balcony. Warm yellow windows. Drake small near front gate walking in. After that, 0007–0008 (~36–42s). High bird’s-eye. Drake on stone walk outside iron fence looking up at camera.

White jersey, dark pants, white sneakers. Slight dance motion on 0008. Next, 0009–0011 (~48–60s). Woman dark ponytail in red tank leaning from window with dark louvered shutters.

Animated shout/talk down. Warm interior. drake through open ornate black iron gate onto paved walk. Jersey visible (sheet read varies Rattlers/Warriors 15 — letters small; white + red/black numerals clear).

Looking toward house. After that, drake on sidewalk outside fence looking up at house. Next, 0015–0016 (~84–90s). Older woman on ornate black iron balcony. Dark patterned robe/dress. Hair back. Gesturing down while speaking. Warm doorway light. Elsewhere, high angle. Black Escalade by iron fence. Drake white jersey walking left from vehicle. bird’s-eye Drake on stone court/drive.

White/yellow `Cleveland`-style jersey + black pants. Looking up. Gate shadow on pavement. 0019–0020 (~108–114s). Same balcony woman (pink/black floral blouse). White columns + decorative iron rail. Smiling/gesturing down. vintage grade. Orange/red facade building + white balcony. Men in white shirts/dark pants along balcony. Bold yellow serif overlay: `DRAKE`. Film grain + vertical light leak left.

Cut to day close Drake black tee. Eyes closed head tilted back. Right hand on chest. Singing affect.

Right after, two women dancing before glass-block wall day. Bright pink hair + rainbow stripe top; purple/blue hair + rainbow crop + denim shorts. Motion blur. drake before large mural (sunglasses portrait).

Black graphic tee blue helmet art + `FESTIVAL` text. Orange/yellow patterned shorts. Gold chain. Hand gestures.

Right after, man in vivid multi-color patterned shirt dancing inside vintage streetcar. Wood slat seats. Vertical metal handrails. Next, drake close same Festival tee looking down.

Mural soft behind. Next, streetcar dance. Woman short hair denim crop + camo shorts foreground. Patterned-shirt man behind.

The frame finds long white corridor arcade pillars left. Woman dancing in flowing red robe over white shorts + red heels. group women floral tops/shorts dancing street dusk/night. Warm directional light.

Across the cut, drake before mural hands up near face. Festival tee + chain. two women dance sidewalk before large red wall. Floral B/W leggings; camo pants.

Yellow street sign partial right. Next, film-gate frame. Performer in tropical shirt inside vintage streetcar arms up on overhead rails (Big Freedia look; unlabeled on-frame). After that, woman dance street.

Black/yellow check crop + matching shorts. Tall yellow historic building elaborate white iron balconies. After that, film-gate. Two women on balcony ornate reddish-pink rails dancing/gesturing (City Girls look; unlabeled).

Blonde right; dark hair + shades left. Next, group women outdoor dance. Center long platinum blonde white/yellow bikini-style top. Left bright orange two-piece. Elsewhere, close blonde pointing at camera. Multi-color denim jacket. Bright yellow graffiti wall. Next, young boy light blue tee + camo shorts dancing street. Yellow door building behind. Other dancers soft. Next, man energetic sidewalk dance. Grey button-down open over white tank.

Can in one hand, black cap in other. Bike + purple/yellow storefronts. close pink-glitter square sunglasses. Huge white/orange circular flare swallowing face. Dark ground. night multi-level concrete structure (garage/apartments). Dancers posed between pillars on three floors. Warm yellow interiors. From here, film sprocket left. Close woman long thick blonde/brown braids looking down. Grain. After that, drake outdoor dining.

Black polo. Hand gestures. Food + dark cups on table. Patrons behind; woman smiling left. Hold this — film sprocket. Young man navy/white vertical stripe short sleeve + distressed jeans. Residential street. Slight Dutch.

Hold this — two women athletic wear on bright blue metal stairs vs matching blue wall. One deep squat on steps. Chain-link left. Next, drake day outdoor dance.

Black tee colorful `City of New Orleans` graphic. Arms raised. Next, crowded street dance. White corrugated roll-up storefront door behind. Bright color. Next, group dance before blue/white roll-up garage doors. Woman red/black patterned leggings foreground. Man carrying someone mid-ground.

What sticks when the credits end is the walk through drake-in-my-feelings — rooms, faces, props, and text the camera actually held.

Nobody needs a fake backstory glued on. The edit already argues in chronological order.

If one exact line rides the whole cut home, take this one: “Gotta be real with it, yup”

Earlier the song already said the quiet part: “This shit got me in my feelings”

Replay it and the structure stays honest: enter, move, spend the runtime on what the lens can prove. Drake doesn’t lecture the plan. The pictures spend it.

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