Beyond the Lights shows the whole picture of the violence of commodification

I recently had the opportunity to finally watch Beyond the Lights (Thanks Netflix!).  I was excited to watch another film starring Gugu Mbatha-Raw (from Belle) and also Minnie Driver (who rocks), and by a female writer-director (Gina Prince-Bythewood), but I sadly missed it in theatres.

In brief:  Beyond the Lights follows the struggles of a young pop star, Noni, on the verge of superstardom.  The film opens as she is heading towards her chance at making it big, but as just one young woman against the "intimate psychic violence of racism and sexism" (as A.O. Scott describes it so well) that the music industry inflicts upon her, Noni finds herself standing on a balcony considering suicide.  It is only through the intervention of a young police officer that Noni decides to try to live.


The film at its simplest is a love story between Noni and Kaz (the police officer)--- and this story is frequently rather contrived and fantastical.  A.O. Scott describes it as silly in an affectionate way, but also argues that the fantasy of Noni and Kaz's relationship is part of the central project and purpose of the film.  (Read his review for more.)   However, it is important to note that while Kaz sparks Noni's move towards freedom and wholeness, as Minnie Driver explains in an interview: "Kaz saves her physically, but Noni saves herself."

Putting the romantic storyline aside what I found most moving, terrifying, powerful about the film was it's perspective on the music industry (the film arguably focuses more on the hip-hop/R&B industry in which Noni seems to operate, but I'm sure the criticism can apply to other genres as well).  First, the film forces us to witness the overpowering, in-your-face objectification that female artists are subjected to through the music videos Noni has recently released and the photoshoots she endures.  By contrasting this with the first impression we get of Noni (a talented little girl, sensitive, vulnerable and a beautiful soul with a moving voice, who loves singing and wants to make her mother proud) we get to really understand just how reductive, humiliating, sad, and violent these conditions are.  These forces are so powerful in their obliteration of the artist's self and disrespectful of their talents, it is abundantly clear how Noni is so easily chewed up and destroyed by the industry that at the same time it promises to give her everything, strips her of any dignity, safety, or support.

**SPOILERS AHEAD** 

Women are rockstars too!

I'm coming off my high of seeing Sleater-Kinney completely blow away Terminal 5 in NYC last weekend and thinking a lot about this article I read earlier this week about the lack of female musicians booked for festivals in the UK. Definitely read it, even though it's about UK festivals it completely carries over to festivals in the United States and is also very telling of the music business overall. It's worth noting how the line-up images look when they only include acts that include a female musician in the band.

They're practically empty!

When was the last time a band led by a female (or even including a female musician) headlined a major music festival? Obviously there may be exceptions but I have found them to be very rare.

As a lover of music, I am beyond frustrated that others actually believe that female musicians are not as talented as their male counterparts. Obviously music preferences is all based on individual tastes but there is no argument to be had for talent.

This article hits the nail on the head: