The Nowhere Inn, St. Vincent’s game to make us believe what it is not


The movie hits theaters The Nowhere Inn, the movie starring St. Vincent that plays on musical documentaries.

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The Nowhere Inn, St. Vincent's game hits theaters.  (Photo: The Nowhere Inn)
The Nowhere Inn, St. Vincent’s game hits theaters. (Photo: The Nowhere Inn)

During the closing of this 2021, music takes over the cinemas through the films that reach the billboards. From the exhibition of mythical concerts on the big screen, as was the case with The Doors Live At The Bowl ‘68, even musicals like Annette, of Léos Carax, Dear Evan Hansen, by Stephen Chbosky, and soon the new version of West Side Story by Steven Spielberg, the musical plots manage to sneak in as premieres at a time of year where commercial chains are committed to exhibiting the contents that are shaping up to the Oscar, as well as large industrial productions whose intention is to attract a mass audience .

Under that context comes The Nowhere Inn by St. Vincent: Identity is a work of art, by Bill Benz. Unlike the titles mentioned above, this film is a break, that is, it goes out of the way about what it tackles and the way it tackles it. It can well be said that it is about the singer-songwriter and multi-instrumentalist Annie Clark, better known as St. Vincent, but at the same time that simple appearance of the story is a trap.

We see that Annie hires Carrie Brownstein, who is her friend on film and in real life, to direct a documentary of her tour. As time goes by, Carrie runs into a problem in her vision of film work: Annie is a boring, no-joke woman offstage. For this reason he asks him to be as extravagant in his private life as he is when he transforms into St. Vincent. Then conflicts arise that lead to a fracture in their relationship; the scenes with Dakota Johnson (for some allusive to the relationship that the artist had with actress Kristen Stewart) are the high point of their division.

So far nothing seems out of the ordinary, if it weren’t for the fact that Bill Benz immerses us in a mockumentary, or in a fiction that looks like a documentary. The complicity between director and artist make this work also a game on the part of St. Vincent. She amuses herself, she entertains herself by making the viewer believe what she is not.

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This exercise is not just Annie Clark’s leisure, either. In some way, his game is a criticism and frontal questioning of the documentaries that are made in relation to music stars (mainly rock) and that tend to resort to more fictitious than real data in the construction of the characters, The same ones that in turn tend to be exploited more for their profile as a public figure than for their artistic value. In other words, the preference of the pose over the essence.

If at the beginning it is possible to believe that the film takes on the tints of a biography, which is confused with St. Vincent performing some of his songs, The Nowhere Inn by St. Vincent: Identity is a work of art It reverts to that perception when the spectator himself detects that it is the last thing he wants to do. Nothing is what it seems.

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