Otherside, by the Red Hot Chili Peppers was released in 2000. The music video was directed by Jonathan Dayton and Valerie Faris, and highly influenced by German Expressionist art. The lyrics to the song tackle the difficulties ex-drug addicts have coping with their addictions.
The video portrays a young mans dream alongside a performance by the band, whereby they are all seen to be playing obscure props as instruments. The majority of the visuals are dark and sinister, and the narrative story alongside the performance reflects the meaning of the lyrics. The lyrics are trying to convey the sense of entrapment and disorder drug addicts face and this is reflected in the dark setting. The idea of pathetic fallacy reflecting the mood of the song is used here, with a dark night appearing in the video. The trees shown in the video are black and leafless, indicating no signs of life. This takes the happiness out of the video and shows how it is dealing with a strong and controversial subject matter. The band members are seen to be playing strange instruments which are synced to the original track. For example, the guitar is played on a long rope down a corridor, the bass guitar is played on telephone cables, and a rotating clock serves as a drum kit. The band are all dressed in black clothing further representing the darkness of the song lyrics.
The video has a strong metaphorical meaning, whilst in keeping with the creative videos the band have made before. However, the usual energetic image of the band has been replaced by a more sincere performance.
There are many intertextual references with one of the strongest being the influence of 'The Cabinet of Dr Caligari', an expressionist film from the 1920's.
Below is a sample of the similar imagery found in the video to the work of M.C Escher and a still from the film 'The Cabinet of Dr Caligari' and the similar aspects seen in the video.The video illustrates a narrative but also includes a performance element to it. This is typical of the genre, whereby most rock/alternative music videos include a performance alongside a narrative.
The video begins with a zooming shot of the young man (the main character to the video) lying on the floor with what appears red wings on his back. In other rock/alternative videos, the first shot is of the band or artist as a whole, in order to establish them as the makers of the song. However, in this video, the narrative is clearly more important and the first scene gives you an introduction to the storyline.
The next sequence in the video cuts to each band member in turn, showing you who plays which instrument and who is the lead singer. Despite the fact that the majority of these shots are close ups or medium longshots, the band members are cast in the shadows, almost to take the emphasis away from the performance side of the video. They do not use the video as a means of showing their iconography.
We cut back to the young man lying on the floor, and a close up shot of his eye. A graphic match is used here to change scene, where his eye fades into an ambulance light. The narrative storyline then proceeds to work towards how the young man ended up lying on the floor at the start of the video. 
The music and lyrics coincide with the video very subtly. As the lyric 'take it on the otherside' is sung, the camera flips around to create a new scene, the first of these being how the road the ambulance was driving on is flipped to create a skyscraper, and the impossible ladder scenario the man faces later in the video is also a scene that gets flipped around. Although the band members are scene playing obscure instruments, they are synced to the music, which is interesting because of the abstract way the instruments are presented. It is not normal for a video to portray instruments in this way but still makes sense to the viewer because they can match the music with the visuals. The notion of looking is referenced in the video, but used to portray the confusion of the main character. Close ups of his eyes darting around indicate how he is unaware of his surroundings and trying to figure out where he is.
As the video leads up to the guitar solo, starting from about 3:10 in the video, the pace of the music begins to drive the editing. Quicker cuts are used to build up the viewers sense that something vital is about to happen and the quicker cuts also reflect the state of mind of the young man. The pace of the guitar solo is not as quick as the build up, but the guitar solo indicates a sign of release or understanding. This is accompanied by visuals showing the young man falling off a cliff as he is attacked by a raven, so we realise how he got to the place he was at the start of the video. The raven represents death and pain in the video to reflect the struggle of drug addicts. 
The final note in the song is played just as the man hits the ground, and the video has gone in a full circle from where it began.
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