[4] The film finds Knowles's deeply introspective vision of a spiritual expedition reckoning with the question "Where is home?".
It taps into imagery of her hometown's [Houston] culture with surrealism that spotlights Black cowboys, space, futurist worlds, and ritualistic movements characterizing evolution as a recurring presence.
[7] Her inspiration on working with fellow members in her country helped her forming a renaissance of surreal and experimental work from black artists which reframes and challenges the age-old traditions outsiders associate, calling it as "one of the most exciting things, to be able to connect and hone in with Texas artists and filmmakers who are really shifting the nature of how we’re experiencing these things.
"[7] She further recalled that, a year-and-a-half ago, she wanted to tell a story about black cowboys as she felt "really important to herself", as she did a Calvin Klein campaign that centered around Americana and met several of the black cowboys and "hear their stories and see them pray before they go in the bull ring and see what they’re willing to do to their bodies for the sake of entertainment" which she felt something she could relate to.
He recalled the need for animation as the conclusion, lives under the guise of afrofuturism—which is according to Satterwhite, is like "entering a futuristic unreal space as a form of escapism".
Trina was involved in the animated version, as Satterwhite was working with the rapper on his unfinished film, who felt that "her footage really aligned with what I was trying to gain from the "Sound of Rain" project, even with her gesticulations in relationship to the lyrics" and the references to Miami on the album, felt great to conceptually have her on the video.
[21] Commenting on the film treatment of the album, Spin writer Israel Daramola admitted that "the perfect, elaborate choreography and curated visual set pieces make you feel less inspiration than respect for Solange’s talent, professionalism and workmanship.