“Renaissance”: Unmasking Bastién’s Piss Poor Misinterpretation
Angelica Jade Bastién’s review of “Renaissance: A Film by Beyoncé” in Vulture is not just a misreading of the film; it’s a glaring oversight of its cultural significance and artistic depth. Her critique, which contributed to an unjustified drop in the film’s Rotten Tomatoes score, fundamentally misunderstands the essence of Beyoncé’s vision and message.
Bastién’s claim that the film lacks social and political depth is an unfounded criticism that ignores the core of “Renaissance.” The film is a vibrant celebration of Black and queer joy, a deliberate artistic choice by Beyoncé to uplift marginalized voices within these communities. It’s baffling how Bastién overlooks this critical aspect, reducing the film to a superficial level far removed from its intended purpose. Using the film to platform other social issues without any knowledge of Beyonce’s stance or influences on global social issues. She’s intentionally obtuse and disingenuous.
Her critique fails to grasp the significance of the film’s portrayal of Black children’s resilience, mainly through Blue Ivy. This isn’t just a narrative choice but a poignant reflection on the struggles and triumphs within the Black community, seen through the eyes of its youngest members. Even the most priviledged of Black children, a child born of two global powerhouses, still deals with insecurities, cyberbulllying, etc. And her mother, Bey, cannot shield her from that no matter her money, power, or affluence. Bastién’s inability to see the value in this representation is a major flaw in her analysis.
Additionally, Bastién misses the film’s emphasis on community and unity. “Renaissance” is more than a concert film; it’s a communal experience where the audience is integral to the narrative. Beyoncé’s statement, “You are the Visual,” speaks volumes about the shared experience of art, a concept Bastién’s review fails to acknowledge. Yes, Beyoncé is center stage, but the whole point of Renaissnace is that everyone else is just as much a part of the show as the celebrity herself. That everyone matters, even the least of us, the most marginalized of us are capable of adding to the artistic tapestry. She made her audience part of the process like no other celebrity has done before.
The review also neglects the film’s critical focus on the Black LGBT ballroom scene. This is not merely an inclusion for diversity’s sake but a powerful statement on the role this community plays in shaping cultural narratives. This is the largest platform that one of the longest running underground art collectives have been privy to sence Madonna’s Vogue. And for the hundred of thousands of us that have participated in ballroom over the last 7+ decades, it’s the best feeling to be seen. To know that our contribution to the world of entertainment thru music, art, fashion, and dance doesn’t go unnoticed. In fact, it’s recognized by arguably one of the biggest entertainers to ever walk earth. This is a tribute to the art forms that have emerged as a voice for the marginalized, a point Bastién seems to dismiss entirely.
Furthermore, Bastién’s critique does not do justice to the film’s portrayal of Black collective motherhood, as seen through dancer Amari Marshall. This portrayal is a revolutionary statement on body positivity and celebrating Black women’s diversity, far from the shallow interpretation presented in Bastién’s review.
In her review, Bastién misses the broader cultural impact of “Renaissance” and undermines Beyoncé’s role as an artist who uses her platform for representation and empowerment. The film celebrates resilience, unity, and the creative spirit of marginalized communities, a message lost in Bastién’s surface-level critique.
Bastién’s review of “Renaissance: A Film by Beyoncé” is not just an underestimation of the film’s artistic value; it’s a failure to recognize its importance as a cultural statement. The review overlooks the nuanced ways Beyoncé’s artistry is a powerful voice for Black culture, addressing themes of joy, resilience, and representation. Beyoncé’s “Renaissance” is more than a performance; it’s a movement, a celebration of identity, and a testament to the voices often unheard in mainstream media. Bastién’s oversight is not just a misreading; it’s a dismissal of the profound messages Beyoncé conveys through her art.
Bastién’s review gets a 1 out of 10. At least she can spell and form sentences, so okay, a 2 out of 10, because unlike Bastién’s, I won’t use my platform to bring down a Black woman.
