Beyoncé understands the power of visuals. In 2013, she graced the world with an entire visual album and forever changed the way that artists release music. So when she prepared Saturday, February 6, 2016, to be the day she’d return to scalp the globe with her pro-black anthem, she knew she would need a video to capture the track’s grit and gutter. It would only make sense that she’d turn to Melina Matsoukas, the woman whose directed over 10 of Bey’s visuals.

While known for her vibrant colors, vintage flair, and ingenious direction, Melina does not shy away from controversy; some of her visuals have often either been banned or come under heavy scrutiny. Bu,t that doesn’t seem to stop the NYU and AFI alumna from creating the most stunning videos, at a time when narrative music videos seem to be declining. In her latest collaboration with Queen Bey, she delves into the spirit of Southern Goth and New Orleans to bless viewers with a healthy dose of #BlackGirlMagic, #BlackExcellence, #BlackEverything.

‘Formation’ opens with Beyoncé dressed down in a red and white calico inspired fit and black boots. She is standing atop of a partially submerged New Orleans Police squad car as the late Messy Mya states “bitch, I’m back by popular demand.” Immediately you know that what you are about to witness is unlike anything you’ve ever seen from the Beyoncé and Melina catalog. Flashes of scenes from Abteen Bagheri’s (@abteen), That B.E.A.T., give you just enough time to brace yourself before being launched into a space where the past, the present, and the future intertwine at the picturesque plantation home. Inside is Beyoncé in various Southern garb as she recites her linage:

It is then that you realize Beyoncé is leading you to a place of no return. For years she has subtly distanced herself from the mainstream media that once kept her in a commercialized box. ‘Formation’ is where she breaks her silence. What we hear, and see, is a Beyoncé who is unapologetically black, who likes her “baby hair with baby hair and afros,” and her “negro nose with jackson five nostrils.” Blue Ivy Carter stands before us, her afro a glorious halo, with all of the grace and confidence that make up her celestial DNA. Melina cuts back and forth between Mother and Daughter conjuring up a spirit, a tangible feeling, so visceral and magical it belongs in a Toni Morrison novel.

Formation’ is an homage. As Beyoncé sits in a sparse room in a corset, twirling an umbrella, pictures of her ancestors behind her, Melina has expertly woven generations together illustrating the shoulders upon which Beyoncé, Blue, and all black women stand. One of the most powerful moments is the performance scene in the middle of the home’s hallway. Beyoncé and her dancers are clothed in maroon leotards with deep necklines and dancing fiercely as Bey declares:

This is for the women who once walked those halls as servants, violently stripped of the ability to work toward any dream, let alone own it. This for the women who were incapable of any agency over their own bodies and sexualities. No one captures that spirit with the same poignancy and dignity as Matsoukas, who juxtaposes southern goth with vignettes of New Orleans’ culture.

While managing to insert her signature vibrant color schemes Melina continues to push the envelope as she makes some of her boldest statements yet. As the black boy in his hoodie dances before the line of SWAT officers, and the NOLA squad car submerges, and the graffiti demanding “stop shooting us” pans across the screen, we see Melina brilliantly tackling police brutality and the incessant violent assault on black lives and bodies. This is not solely Melina’s boldest move, it is also Beyoncé’s. For a woman who is so calculated and strategic with her image, Beyoncé needed a vision she could trust to handle the most controversial moment of her career with grace. Melina is who Beyoncé trusts. Time and time again these two forces prove that when combined they are nothing short of magical.

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