Beyoncé Paints a Powerful Self-Portrait in Renaissance: A Film by Beyoncé: Review
The post Beyoncé Paints a Powerful Self-Portrait in Renaissance: A Film by Beyoncé: Review appeared first on Consequence.
One of the most revelatory sequences in Renaissance: A Film by Beyoncé features writer/director/artist Beyoncé telling people they’re wrong. In a series of clips from behind the scenes of the tour, we see the icon in conversation with a bevy of unnamed support staff, as she offers up notes on their work — things she wants to adjust, elements she thinks could be improved. She’s not mean, but she is firm, because she knows exactly what she wants.
At one point in that montage, she tells someone that a specific kind of fisheye lens that they told her didn’t exist does exist — she’s looked it up. Later in the film, we see that fisheye lens in action, and it’s clear why Beyoncé wanted it to capture more of the stage, including the backing screens — the effect created on screen is dazzling, a trio of Beyoncés coming towards the camera, larger than life, in full command.
It’s just one of many elements in Renaissance: A Film by Beyoncé that contribute to a striking self-portrait of an auteur, an artist working at the peak of her game. While, yes, Taylor Swift’s concert film arrived in theaters first this year, that movie proved to be much more of a straight-up document of The Eras Tour, as experienced by the fans in the audience. Beyoncé, meanwhile, uses this as an opportunity to not just give audiences a taste of what they missed by not making it to a stadium in 2023, but craft a portrait of who she is at this moment. It’s confessional at some points, illuminating at others. And always, always, always a good time.
The balance between documentary and actual concert footage feels pretty close to fifty-fifty, and the documentary sections, as fascinating as they can be, don’t detract from some genuine bootylicious-ness. (Certainly heads were bopping and booties were shaking in the seats at the AMC on Thursday night, though very few people actually got up and danced in my theater.)
Rather than lean into the illusion that the footage we see was shot on just one night, Bey embraces the artifice, using footage from multiple performances to create one singular experience. You know there are multiple performances being used, because from shot to shot the costumes Beyoncé and the dancers are wearing will change; the editing used to blend these moments together is nearly flawless. It also makes it nigh impossible to count just how many different costumes appear on screen, especially since you’re distracted by the dancing on display.
Yes, it’s not quite the same as being there in person, but in person you can’t see the letters spelled out on the underside of her fingernails. And the sections where the music takes center stage deliver the giddy joy you’d hope for — one stellar early run, featuring Renaissance tracks like “Cuff It” and “Energy,” is just an appetizer for a later section that showcases the ballroom culture which was such an inspiration for the album. (GLAAD released a statement on Friday morning praising the film as it “further exemplifies Beyoncé’s commitment to use her global platform to spotlight, uplift and pay tribute to the Black LGBTQ community.”)
This section includes a tribute to Kevin JZ Prodigy, a ballroom legend who provides the commentary heard throughout the show, who brings such joy to the screen. “She’s so little!” he says after hugging Beyoncé behind the scenes. It’s such a funny comment, because thinking of Beyoncé as a physically small person breaks the brain a little bit.
Within the context of the film, Beyoncé pays tribute to everyone who’s come before her and everyone who has worked hard to make the Renaissance Tour possible. However, she also makes it clear that this is what it is because of the attention she’s given to every single detail, from the lights to the music to the costumes. The building of the stage is given an extended tribute, as well as the hard work of the dance team.
Renaissance: A Film by Beyoncé doesn’t just highlight Beyoncé’s artistry, though — her playful side emerges, both in her behind-the-scenes interactions with her crew and her family, as well as on stage. Paying literal tribute to the Beyhive by wearing a full-scale bee costume? Just magnificent.
Behind the scenes, we also get intimate moments with the Knowles-Carter clan, including a sequence focusing on 11-year-old Blue Ivy Carter, eager to follow her mother onto the stage as a dancer, despite her mother making it clear just how much hard work is involved. The tension over her taking the stage for the first time is real, if only because Beyoncé herself says she’s nervous about it. Spoiler alert: Blue Ivy’s a pro in the making. A chip off the ol’ block, as they used to say.
Going back to that earlier montage: It shouldn’t feel so revolutionary, to watch Beyoncé speak up for herself on numerous occasions. And yet, well, it does. At any point in history, but especially right now, it’s truly powerful to see a Black female artist talk openly, without apology, about how she’s striving for greatness. And not just that, but make it clear that when she does achieve greatness, it isn’t just because of her talent as a singer or her ability to look up camera lenses — it’s because of everything that’s come before now. Her family, her friends, her history… All of those things are a part of Beyoncé, and thus all of those things are a part of her art. And she knows exactly what she’s saying with it.
At two hours and 48 minutes, Renaissance: A Film by Beyoncé is a true odyssey, a maximalist explosion of sparkles and beats and visuals and insight. If there’s one critique to make, it’s that there are perhaps a few too many cuts to the audience, especially early on. Honestly, it’s unnecessary to include so much footage of people gazing with adoration at Bey. Look away from the screen, and you’ll see a theater full of people, doing the same thing.
Renaissance: A Film by Beyoncé is in theaters now.
Beyoncé Paints a Powerful Self-Portrait in Renaissance: A Film by Beyoncé: Review
Liz Shannon Miller
Popular Posts
Roger Waters Fired His Son from His Band, And Now He's Playing Gigs with a Pink Floyd Tribute Act
Dave Grohl Needs "No Cursing" Sign To Remind Himself Not to Curse in Abu Dhabi
The Rolling Stones Announce 2024 North American Stadium Tour [Updated]
Dolly Parton's Sister Defends Singer's Thanksgiving Halftime Show
Tom Waits Pays Tribute to Shane MacGowan in Rare Public Statement
