Very few artists could get away with describing themselves as an “alien superstar” without devolving into self-parody. But when Beyoncé Knowles-Carter declares that “I'm the bar,” it’s hard to argue with her.
The famed singer conquered the music world long ago while also expanding her horizons to include other creative pursuits. Cinephiles who came of age in the 2000s might remember her acting work in 2002’s “Austin Powers in Goldmember,” 2006’s “Dreamgirls,” 2008’s “Cadillac Records” and 2009’s “Obsessed.”
Beyoncé has also amassed quite a few directorial credits over the last 15-plus years on music videos and feature-length projects like the 2019 documentary “Homecoming: A Film by Beyoncé” about her headlining 2018 Coachella performance.
She put all that experience to the test with “Renaissance: A Film by Beyoncé,” a sweeping concert film that she wrote, produced and directed chronicling just about every element of her recently completed Renaissance World Tour.
It began its theatrical run Thursday, and this critic made a point to be at an opening-night Imax screening at AMC Waterfront 22. I left in awe of what Beyoncé accomplished and genuinely pondering whether she could be our next great music documentarian if she devoted herself solely to the art of filmmaking.
For the uninitiated, “Renaissance: A Film by Beyoncé” immerses moviegoers in Beyoncé’s most recent world tour tied to her 2022 album “Renaissance.” This film may be of particular interest to Western Pennsylvanians considering that Beyoncé ended up canceling the Pittsburgh leg of the tour due to what Acrisure Stadium officials called “production logistics and scheduling issues.”
Any movie with “a film by [insert subject here]” in its title is probably going to be a tightly curated portrait of its central figure. “Renaissance” certainly contains moments of self-indulgence, but there are more than enough breathtaking images and fascinating revelations about the tour and the realities of megastardom to leave room for some well-deserved vanity.
Though I didn’t get to catch the Renaissance World Tour live, I have seen Beyoncé’ in concert before and thus was already familiar with the grandiosity she infuses into her vocal arrangements, choreography and all the pre-recorded content displayed on the giant video screen behind her. Nothing can fully replicate an in-person show, but it felt similar enough to me and a few other people who I heard declare the same thing on our way out of the theater.
We didn’t need more evidence of what a performing prodigy Beyoncé is, but “Renaissance” still goes a long way toward illuminating the high degree of difficulty that goes into her extremely precise movements and on-stage choices. Who knows what this would have looked like if it was directed by anyone else, but “Renaissance” makes a strong case that there’s no one better at showcasing Beyoncé than, well, Beyoncé.
This is one of the most well-edited films you’ll ever see. Editor Jason Lansing expertly spliced together each song in a way that shows both their relative uniformity and minor differences across various Renaissance World Tour stops. Even his transitions from the songs to more standard documentary trappings are wonders to behold and sometimes provide unexpected jolts of humor.
“Renaissance” makes a point to shout out pretty much every party involved in constructing a tour of this magnitude happen. Choreographer Amari Marshall and her gaggle of insanely talented backup dancers are wisely spotlighted, and there’s a whole section devoted to the hard work Blue Ivy Carter — the eldest daughter of Beyoncé and her husband, rapper Jay-Z — put in that ultimately convinced her mother she was ready to be a recurring part of her tour.
While the nearly three-hour film is well-paced, some non-tour segments may prove to be a tad too slow for some. They’re all still worthy of inclusion though, especially the ones in which Beyoncé visits her hometown of Houston, lovingly pays tribute to her late Uncle Johnny, and discusses how much “Renaissance” the album was inspired by house music and New York City ballroom culture.
There are going to be many folks whose natural inclination will be to pit “Renaissance” against “Taylor Swift: The Eras Tour,” but that would be unfair to both artists. Swift’s film is almost entirely snapshots recorded during a single concert, while “Renaissance” spans multiple performances and includes way more behind-the-scenes material. The only thing they really have in common is that they’re both technically concert films.
One can reasonably compare, though, the fanfare surrounding their releases. Once again, AMC had “Renaissance” posters, cups and popcorn buckets ready for every Beyhive member in attendance. They also set up a well-trafficked photo-op area featuring a balloon arch and framed poster underneath.
The Dolby sound system made it impossible to hear anything beyond the movie during my “Eras Tour” screening, but Thursday night’s “Renaissance” audience seemed like a livelier bunch. No one got noticeably rowdy, but there was near-constant light dancing in the seats and almost everyone was mouthing song lyrics.
There was also audible applause following almost every song and during multiple Beyoncé interviews in which she dispensed wisdom that clearly resonated with this group of fans.
“Renaissance: A Film by Beyoncé” is a dazzling feat of filmmaking bolstered by compelling supplementary footage that enriches everything captured on stage while also shedding light on its subject’s mindset, work ethic, influences, family life and more.
Diehard Beyoncé fans will obviously be drunk (or crazy) in love with this film, while more casual concert film enthusiasts will likely walk away marveling at her directorial prowess.
Simply put, Beyoncé made a concert film fit for a Queen Bey.
Joshua Axelrod: jaxelrod@post-gazette.com and Twitter @jaxelburgh.
First Published: December 1, 2023, 5:45 p.m.
Updated: December 2, 2023, 8:03 p.m.
