If watching more documentaries this year has taught me anything, it is that, due to the lack of a script, these filmmakers have to wade into the unknown much more often than narrative filmmakers. This is exciting, as a viewer, because we feel like we are along for a journey of discovery rather than the preconceived notion of a story. Earlier this year, we were treated to There Was, There Was Not, which allowed a story to unfold that was wholly unexpected. When choosing a documentary, it seems that the most important piece is the subject, who may (or may not) allow you in completely, letting a genuine experience unfold.
It is easy to understand why director Marie Losier wanted to create a documentary about musician/performance artist Peaches. As a person who was in their early 20s when the iconic album, “The Teaches of Peaches” was released, this writer can vouch for the importance of her as an artist. She continuously broke boundaries and, as a listener, you constantly felt like you were hearing something that had never been approached before. But, as she refers to in Peaches Goes Bananas, the real Peaches is basically unknown. Because of the fact that her lyrics constantly focus on sex and sexuality, it is easy to see her as simply present for shock value. Even her name evokes sexual matters, even if, as she says in the film, it is actually a reference to a Nina Simone song, “Four Women.”
And this documentary, like that Nina Simone track, seems to tell many different stories while attempting to weave its own narrative. It is not nearly as successful as that song, but it does manage to not only hold our attention but also make us demand more at every turn. Running a brief 73 minutes, there is little hope of delving, which is a shame because it feels like her life and career provide enough material for at least triple that. This film is about the body, aging, parenting, art, disease, and expression, all at once. And this is where the mild frustration arrives; just as we feel we are about to learn something actually forbidden, actually deeply personal, the film must move to other topics.
And to be fair, Losier has an arduous task. When dealing with a celebrity (and Peaches very much is, in certain communities), there must be pressure to focus on her career and veer away from the personal. It should be noted, as well, that a documentarian can only push their subject so far before they either decide not to continue with the interview or they remove any genuineness to their answers. When the film focuses on Peaches’ creative process, her sister Suri’s struggles with Multiple Sclerosis, and her quite charming relationship with her parents, the film becomes something truly fascinating. But these are momentary distractions from the journey of Peaches as a performer.
Yes, these segments are well-shot and energetic to the point that they are tremendously fun to watch. But, even though we know at some level that this is connected to her family life and her growth as a vocal artist (even moving her to become an operatic performer), the connective tissue never, well, connects. The film, captured over 17 years, never manages to tell an actual story. It instead remains distant from Peaches, the human being, and Peaches, the artist. The viewer can almost feel the frustration as the film veers away from this connection.
In the opening moments of the film, Peaches not only discusses her changing body, but also the way she is seen by fans. There is a sadness briefly shown at being known for being shocking and raw. There is a real person underneath all of that, and even though she has inspired countless people, especially queer folks, she is never really seen. Peaches Goes Bananas was a real opportunity for the genuine woman to be allowed to be viewed. Sadly, there are no guarantees in documentaries. Losier cannot simply write an arc for real people, no matter how much we wish it were so.
Peaches Goes Bananas is now playing in select theaters courtesy of Film Movement.
Peaches Goes Bananas was a real opportunity for the genuine woman to be allowed to be viewed. Sadly, there are no guarantees in documentaries. Losier cannot simply write an arc for real people, no matter how much we wish it were so.
Dave is a lifelong film fan who really got his start in the independent film heyday of the 90’s. Since then, he has tried to branch out into arthouse, international, and avant garde film. Despite that, he still enjoys a good romcom or action movie. His goal is to always expand his horizons, through writing and watching new movies.
