Cameras are not neutral – they change the subject. But while everyone lies in front of the camera, some live in camera. Throughout the film, West is often most concerned with how history might treat him, fueled by the feeling that in a room full of people, the most important connection he can make. is with Simmons lenses. (Watch the scene in it him and Mos Def rapping “Two Words,” and West seems to be staring through the camera’s aperture somewhere in the future.)
Simmons provides much of the space-filling voiceover throughout the film, not being an unreliable narrator to the point of uncertainty. There’s just too much or not enough about him, most likely the former: The segments where he associates West’s story with his own feel particularly bad, a distraction that offers no context. scene on the main topic. And a number of narrative choices were made: Too much time was spent with West looking forward to appearing in an MTV News segment introducing new artists. (It so happens that MTV is where Simmons and Ozah met.)
The success Simmons hoped for was ultimately his termination notice – once West’s career was finally running under its own steam, he left Simmons (and the footage his) stayed. That alone makes for a compelling movie. But the third segment, which is much more scattered, consists largely of the scraps that Simmons amassed over the next few decades, an era in which the West became something of a foreigner to him. ta: a world-building superstar.
This episode is less satisfying and coherent than the first two, but Simmons’ disinterested gaze and his already existing comfort with West end up becoming an asset. In the early 2000s, Simmons aspired to be his subject, now he’s a person who exists between superhero and autocrat, a character who doesn’t simply perform for a camera but for both the camera world and the observer.
There’s a nasty scene in which West is talking to potential real estate partners, a crowd of older white men, and telling them, “I took bipolar last night to have a chat. converse normally and become alienated from English.” He likens his treatment of the public to being pulled and divided.
Simmons lingers for a while – this is who his audience becomes, and it’s important to watch any clip from when he was just a beginner. But the reality is, this is not the West that Simmons knows, or can take for granted. Something tickled during filming, and in the end Simmons did the seemingly unnatural thing: He turned off the camera.
https://www.nytimes.com/2022/02/17/arts/music/kanye-west-jeen-yuhs-documentary.html Kanye West always wants you to watch