The obvious draw here is the Fox Noir series, which highlights the genre-defining work that titans like Otto Preminger and Elia Kazan churned out under the same roof during the 1940s and early ’50s (I’m especially partial to Jules Dassin’s “Thieves’ Highway”). Nobody does Noirvember like the Criterion Channel, and the recent turbulence experienced at the streamer’s parent company definitely hasn’t changed that. If its diaristic, inside-out approach has the strange effect of keeping us at a distance (obscuring the details of Gomez’s distress behind whispered Malickian prayers like “Why have I become so far from the light?”), it also invites its most vulnerable young viewers to appreciate that even their favorite superstar is still fighting to be closer to herself. It’s not a movie about healing so much as a movie about learning to hurt in the healthiest way possible. Where Swift and Eilish’s excellent docs traced narratively satisfying trajectories - their stories dressing old wounds in new triumphs - Gomez’s is (elegantly) cobbled together from spare parts, its nominal tension derived from a shared fear that the center won’t hold. ![]() “My Mind & Me” ultimately didn’t become a tour doc at all, but rather an unguarded glimpse at how Gomez rebuilt herself after her breakdown. To the credit of the filmmaker and his subject alike, the project was revived once Gomez got back on her feet. That’s largely because the basic premise of the project blew up on the launchpad when the “Revival” tour that Keshishian had been hired to shoot in 2016 was canceled after 55 performances due to Gomez’s depression and its underlying causes. Selena Gomez is hardly the first pop star to appear in her own super vulnerable streaming doc (Taylor Swift, Ariana Grande, and Billie Eilish have each been the subject of films in recent years), but Alek Keshishian’s “My Mind & Me” differs from the rest of its ilk in its unresolved messiness.
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