(Ultimately, it received just one nomination, for pop vocal album, but lost to Ariana Grande’s “Sweetener.”). Please visit your profile to fill out the required details. You wouldn’t call it unfiltered by a long shot. There’s a scene early on in “Taylor Swift: Miss Americana” that shows this won’t be another movie-length home video of a pampered pop star. Any items in your cart will be returned. It’s designed to look less like a comeback victory lap than a coming out of sorts, a behind-the-scenes psychodrama that ends with an empowered phoenix rising from the ashes. London. Jack Antonoff and Brendan Urie drop by; the two share exasperation over rabid fans and stalkers. It ends with T-Swift back onstage, looking like “a melted-down disco ball” but still beyond fabulous, ready to show the world her straight-outta-the-cocoon butterfly wings. © Copyright 2020 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. Free to not be “Taylor Swift,” a persona of both the industry’s and her own making, but just be Taylor Swift, the singer-songwriter-insanely-famous-person who occasionally likes to lounge in her pajamas, play with her cats, and drink white wine with ice cubes. Showcasing Swift’s trademark vulnerability and her fierce intelligence and wit, Wilson captures moments both tender and exhilarating as the superstar embarks on the latest chapter of her already extraordinary career. Sundance Film Festival, Taylor Swift. Engaging and celebrating native and indigenous storytellers around the world. Taylor Swift Doc ‘Miss Americana’ Opens Sundance 2020 With Cheers, Tears, T-Swift Swift’s politicized, curated pop-star-confidential portrait … Miss Americana may not be anywhere as open and gut-spilling as Swift’s duly celebrated lyrics (writing-wise, she’s a strong candidate for the second coming of Joni Mitchell). And access is what Miss Americana gives you, even if you’re steered away from some of the narratives she’d like you to be excluded from. Director Lana Wilson ( After Tiller, 2013 Sundance Film Festival) offers a multifaceted window into Swift, her creative … This leads into Miss Americana‘s superior last third, in which Swift becomes radicalized and you feel like you really are watching somebody go through a chrysalis moment. She talks candidly about how female recording artists have to reinvent themselves constantly, more so than their male counterparts, but have to do it within confined parameters — edgy but not too edgy, challenging but not to where the audience is uncomfortable. Providing year-round support to a next generation of filmmakers. It starts with her showing up in court and winning a lawsuit case against the Colorado DJ who blatantly groped her in 2013. Lana Wilson is an Emmy-winning director. In interviews with Wilson, Swift talks honestly about an entertainer’s need for approval — and how constant criticism, from the media and herself, led to a bout with an eating disorder. Advancing the work of risk-taking theatre artists throughout their careers. Director Lana Wilson (After Tiller, 2013 Sundance Film Festival) offers a multifaceted window into Swift, her creative process, and her singular experience of being one of the brightest lights on the world’s global stage. document.write(new Date().getFullYear()); [[ (item.title || item.description) | stripTags ]], [[ item.price != 0 ? Advising and nurturing independent film's creative producers. It’s a peek behind the curtains that knows when to subtly, slyly slip the blinders on. This is the takeaway from Miss Americana, Lana Wilson’s chronicle of a particularly tumultuous period in T-Swift’s life, and there’s the sense that you’re watching someone finally get to the point where she can, to quote the woman herself, “take the muzzle off.” Consequences be damned. Sign up for our newsletter. Send us a tip using our anonymous form. (Sundance Institute via AP) A scene from "Taylor Swift: Miss Americana," an official selection of the Documentary Premieres program at the 2020 Sundance Film Festival. You get to see her on planes, in living rooms, giving manicures (“Give me a good review on Yelp,” she says while painting a friend’s nails). There’s the paradox. Swift replies, “This is good, this is fine,” but it’s obvious that it isn’t. Terms, Conditions, & Privacy Policy • Her second feature film, The Departure, was nominated for the Film Independent Spirit Award for Best Documentary. Closed captioning, audio description, and enhanced audio for assistive listening are available for this film. Connecting composers and directors to nurture the development of music in film. Supporting nonfiction filmmakers world wide. Empowering filmmakers navigating the changing business of independent film. All rights reserved. EMAIL sundance2020requests@netflix.com. Offering resources for writers developing episodic content. Through the film, Wilson (who directed the 2013 abortion documentary “After Tiller”) also shows Swift deciding to make a political endorsement for the first time in her career. It happened in a single tweet, but Wilson’s camera captures the hard thinking Swift did, and the pushback she got from her family and management, before pushing “send.”. Want more Rolling Stone? Access is, of course, what you come to these movies for — who wouldn’t want to be a fly on the wall of the 24/7 Taylor Express? Be thankful you got her Truth or Dare. Showcasing the creativity of short films, and supporting those who make them. [[ screening.startDate | amDateFormat: "dddd, MMMM Do" ]], [[ screening.startDate | amDateFormat: "h:mm A" ]]. (Sundance Institute via AP) A scene from "Taylor Swift: Miss Americana," an official selection of the Documentary Premieres program at the 2020 Sundance Film Festival. An argument with her team peaks when someone mentions she stayed silent during the 2016 election. Apple's Latest Announcement: New MacBooks With Up to 20 Hours of Battery Life, Mike Pompeo: ‘There Will Be a Smooth Transition to a Second Trump Administration’, Bootleg ‘Four Seasons Total Landscaping’ Merch Hits the Internet; 2020 Memes Win Again, No Votes Which the White Man Was Bound To Respect, Hear Neil Young’s Previously Unreleased Version of ‘The Losing End (When You’re On)’, Flashback: Neil Diamond Gets Patriotic With ‘America’, ‘Jungleland’: Two Brothers, A Woman, One Last Fight — You Know the Drill, Thom Zimny: How I Made ‘Bruce Springsteen’s Letter to You’, Alec Baldwin on Sean Connery: ‘No One Was Cooler’, against the Colorado DJ who blatantly groped her in 2013. But even then there’s a message: “I want to wear pink and let you know I know about politics.” “Miss Americana” shows Swift as an artist and activist just warming up for the next act. Your account is missing details required to buy tickets. “How can I stand onstage and say, ‘Happy Pride Month, everybody!’ and not do anything as people literally come for [the LGBTQ community’s] necks?” she wonders, then puts her platform to use. The movie’s aiming for raw, intimate, authentic — all words Swift used after she walked out onstage at the film’s Sundance opening-night premiere to a standing ovation. “I’m sad I didn’t come out against Trump, but I can’t do anything about that now,” she admits. (See also: Katy Perry: Part of Me; Gaga: Five Foot Two; Beyoncé: Life Is But a Dream.) Miss Americana will hit Netflix on Jan. 31. The big talking point will be Swift opening up about an eating disorder, a genuine confession to the camera that plays against a flipbook of her red-carpet appearances. Free to stand up for causes she believes in, like gay rights. Few have achieved as much as Swift, or have had their personal lives open to such public scrutiny, but in Miss Americana, she finds herself at a watershed moment in her career, using her platform not only as a singer-songwriter, but as a woman fearlessly harnessing the full power of her voice. Don’t expect her Dont Look Back. It climaxes with her sending an Instagram supporting Democratic candidates in Nashville during the 2018 midterms — another you-are-there moment that justifies some of the more slogan-heavy recitations about not taking it any longer, etc. [Read more: Taylor Swift wows Sundance with intimate documentary ‘Miss Americana’]. Taylor Swift is a global icon who repeatedly tops the charts, fills stadium tours with rapturous fans, and continues to challenge herself both professionally and personally while remaining steadfast in her vision as an artist. In this intimate and eye-opening documentary — which begins streaming Friday on Netflix — director Lana Wilson catches Swift as she’s changing her game and rethinking what it means to be a world-famous music icon in this part of the 21st century. In the first half of the documentary, Wilson compiles a breezy history of Swift’s rise, from 13-year-old country singer to teenage crossover star, through the embarrassment of having her 2009 MTV Video Music Award victory hijacked by Kanye West’s “I’mma let you finish” tirade. In This Article: Few have achieved as much as Swift, or have had their personal lives open to such public scrutiny, but in Miss Americana, she finds herself at a watershed moment in her career, using her platform not only as a singer-songwriter, but as a woman fearlessly harnessing the full power of her voice. So, in the next scene, she’s back in the studio, working out the sound for what would become the title track of her next album, “Lover.” That album, by the way, is nominated in the same Grammy category — but everything else shown in “Miss Americana” would lead a viewer to think Swift isn’t as hung up about what Grammy voters think this time. sltrib.com © 1996-2020 The Salt Lake Tribune. (Especially the president.) But as an extremely curated time capsule of a transition, it gets the job done. Free to no longer be the 13-year-old with the Disney-princess blond curls living for applause, or the 19-year-old who made sure she didn’t rock country music’s boat, or the twentysomething who felt she had to smile for the camera when she didn’t feel like it. Sundance Institute, All Right Reserved. You may not purchase more tickets at this time. It happens on the day in 2018 when the Grammy nominations are announced. But she seems less upset at the Grammy voters than at herself for making an album that wasn’t up to her standards. You hang out with her in the studio, recording Lover and sharing burritos with producer Joel Little, and watch her creative process happen in real time. You don’t need to be a genius or, God help you, a film critic to see the connection between the expectations thrust upon her as a female performer (and a female in general) and the pressure to live up to impossible expectations at the risk of health and sanity.
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