By billing itself as a “spiritual sequel” to the landmark documentary Paris is Burning, the Swiss-American co-production Kiki smartly brought a lot of attention to itself & its political cause in an overcrowded media market where most low budget documentaries slip by without notice. It also set the expectation of what it can deliver to an impossibly high standard. Kiki is not as significant of a work as Paris is Burning. It’s not even close. Not only has the initial wow factor of what Paris is Burning managed to unearth faded with time, but the switch from celluloid film to digital media has significantly hindered the quality of imagery in this distant echo of an unofficial sequel. Still, as a modern check-in on the state of the NYC ballroom and voguing scene decades after that landmark work and a document of the heights of visual art being achieved within that subculture today, it’s a worthwhile addition to the classic doc’s legacy.
Paris is Burning documented the well-established “houses” & long term history of ballroom culture in NYC, a pocket of queer society fiercely dedicated both to artistic expression (mostly through fashion & dance) and self-preserving loyalty. Kiki focuses on a much more specific subset within that larger scene. Its title not only refers to the communal act of partying or hanging out, but also defines a subset of ball culture participants who are remarkably young and, unlike the older houses profiled in the previous film, unestablished. A large population of the Kiki world are underage PoC, abused or abandoned by their parents for being homosexual or trans. The “house mothers” who take them under their wing and help them prepare for ballroom & voguing competition are barely older than them, mostly in their early 20s, and that age range is largely what separates the “Kiki” scene from traditional ballroom culture.
What’s most exciting about Kiki as a film is in knowing that the ballroom scene does have this young blood flowing through its veins, keeping it alive. In a world where there aren’t many true countercultures left untouched by homogenized pop culture at large, it’s reassuring to know that the NYC ballroom scene is still as vibrantly punk as ever. You can see reflections of what Paris is Burning first documented in mainstream outlets like Ru Paul’s Drag Race today, but for the most part the culture had been left untouched & far from normalized. The aggressively defiant fashion, death drops, and openly expressed sexuality documented in Kiki is still punk as fuck and still a wonder to behold. The best moments of the film are when it merely documents & broadcasts the fine art achievement of the in-their-infancy houses like House P.U.C.C.I., House Juicy Culture, House Unbound Cartier, etc.
Although a respectable ambition, it’s the film’s overt attempts at political statement that drag down its overall value as an art piece. Kiki rightfully has a lot to say about queer and trans identity in modern America. Since it follows a younger set of subjects, it even has terms like “triggered” and “gender fluidity” in its arsenal to discuss these issues effectively. When it dares to flash back to images pulled directly directly from Paris is Burning, however, you get the sense that these politics might have been better served if they were allowed to crop up naturally while focusing on what makes this community’s highly specific POV special in the first place: ballroom culture. The issues discussed in the film are damn important, but by splitting its time between the less visually compelling political maneuvers that take place between the ballroom competitions and actually documenting the competitions themselves, the film ultimately feels a little weak and diluted, especially when compared to its spiritual predecessor.
Kiki makes some admirable maneuvers to improve on the Paris is Burning formula. It updates the soundtrack to a modern pop aggression provided by Qween Beat, deliberately puts its LGBTQ politics in the foreground of its subject, and goes as far as to include one of its interviewees in the production of the doc, correcting what many perceive as an exploitative element of Paris is Burning. Even with these positive alterations and additions, however, Kiki can never shake the feeling of being little more than an addendum or an epilogue to that superior work. It shines when it focus on the priceless visual art being produced in the ballroom subculture (sometimes even playing like a voguing-themed version of Girl Walk // All Day), allowing its politics to be passionately expressed in that display. When it strays from that task, however, it starts to feel a lot more like countless works we’ve already seen before. It’s horrifically upsetting that statements like “I am a person” should feel overtly political in a 2010s context, but I can’t shake the feeling that there are more interesting ways to say it than the way it’s handled in Kiki. Take, for instance, the way it’s expressed in the film it openly pays homage to at every turn.