Synopsis The video begins with a journey through a dark environment wrought with cables and a faint pulsating light. The sequence has been described as "womb-like, voyeuristic, as if the black box of technology is about to open up". The camera follows these cables to an ethereal, white room where a robot with Björk's features lies in a fetal position. As the room becomes illuminated by fluorescent lights flickering on, two mechanical arms begin to assemble the robot, which opens its eyes and begins to sing the song. Pistons pumping white fluids, as well as drilling and penetrative motions are seen, featuring a "clear" sexual subtext. Now sitting upright, the robot looks up to see another robotic Björk as the machines stop the assembly. It smiles and extends its hand to the sitting robot, joining in the song. In the climax of the video, the robots passionately kiss and embrace while the machines assemble their backs and light comes and goes. The images of the kissing robots are interposed with shots of white fluid washing over robotic parts and the mechanical arms assembling them. According to the Institute for the Unstable Media, "as the music fades and the pulsating beat becomes more dominant, we are once again drawn in the womb-like dark space, making it clear to us that we sampled a glimpse of a black-boxed kingdom". Reception The music video was greeted with widespread critical acclaim. Music journalist Mark Pytlik wrote the visual "marked an unquestionable creative apex for Björk's visual work, a perfect synthesis of form and content". IGN gave the video a score of 9/10, writing it is an "utterly gorgeous sight to behold" and "just about perfect". Times Craig Duff called it a milestone in computer animation and stated that "no robot had expressed the sensuality that director Chris Cunningham imbues in a Björk-bot in the video". MusicRadar considered the music video to be "one of the most visually striking promos of Björk's career." NME also praised the "All Is Full of Love" clip as one of Björk's best, and particularly commended the wide angle shot of the cyborgs kissing as the chorus kicks in. Eric Henderson of Slant Magazine dubbed it "the perfect pre-millennial precursor to our current gadget-assisted culture of self-love" and also wrote, "When it was released, I thought it looked cool and stressed the importance of loving yourself. Now I think it's