“Don’t put a camera in front of me if you don’t want me to say what I feel,” he says kanye-west in some of his already countless massive public appearances, events that, in addition to his hyper-audience in the present –award ceremonies, variety shows, the most famous reality show in the world–, generate reproducible material ad infinitum. But in Jeen-Yuhs: A Kanye West Trilogy, the almost five-hour portrait available on Netflix since February, his most emblematic extra-musical moments –”A Bush he doesn’t care about blacks”, “Taylor, I’m going to let you finish”, “I’m going to be a candidate for president” – are mere filler: the documentary is made up of hours and hours of filming that most of the world that claims to know kanye-west I didn’t know they existed.
The premiere coincides with other newsworthy events in his artistic-personal life: his new album, donda 2and family separation, which for a year has been generating content worthy of protagonists like him and kim kardashian. In the middle of postcards like romance for photographers with the actress Julie Fox, the protest against the use of TikTok by the eight-year-old daughter, the jealousy of Kim’s new boyfriend, this film that shows her beginnings like never before, her struggle, her bond with her mother, is not a typical behind-the-scenes . In this case, the public figure has reached such an exorbitant level –with the presidential candidacy, the reconversion to Christianity, the diagnosis of bipolarity– and the documentary returns so much to page zero, that a strange synchrony is produced by which kanye-west he is today the most talked about icon of global pop culture, and once again that simple producer with a performer’s vision who, before fulfilling his goal, got someone’s attention with a camera.
