‘Queens of Drama’ Review: Queer French Musical Serves a Fabulous, Glittery Extravaganza

by

I’ve moved far enough away from the glossy pop music scene of the early 2000s that its sweet, bubblegum vibe now symbolizes the post-Y2K era as powerfully as low-rise jeans and highlights did. Alexis Langlois’ musical “Queens of Drama” seems to have been born in a Claire’s store where Britney Spears’ “…Baby One More Time” is constantly playing. Yet, this heartbreaking love story between a pop star and a punk rocker doesn’t let the nostalgic haze that surrounds it overshadow the complex thoughts about queerness, performance, feminism, and femininity that Langlois embeds within his wildly eccentric period piece.

The disturbance is instantly noticeable. At the outset, Langlois’ presentation transforms spectators into viewers, much like those tuning in to the latest video from an elderly YouTube content creator. Steevy Shady, portrayed by Bilal Hassani who gained fame through Eurovision and YouTube, dons pink-tinted wraparound sunglasses, a bizarre hairstyle with blond streaks, and has prominent cheekbones presumably enhanced by surgery. Surrounded by posters and memorabilia of the pop icon they idolize, Mimi Madamour, Steevy aims to clarify what led to her career’s downfall in earlier years. The setting is 2055, a time when Steevy, once considered the most skilled Botox user (similar to Perez Hilton), has softened enough to reveal the truth behind Mimi’s career collapse.

Langlois’ decision to structure the story around the passionate love affair between teen pop star Mimi (Louiza Aura) and punk icon Billie Kohler (Gio Ventura) sets the stage for a sparkling, over-the-top film. This style is intended to immerse us in the world of 2000s pop music fandom, a realm that both elevated and ultimately brought down stars like Britney Spears, who serves as a clear inspiration for “Queens of Drama.” The movie showers us with extravagant details, depicting Mimi’s rise to fame from a TV talent competition, transforming her into a belly-baring pop sensation reminiscent of coy Britney. However, it also draws comparisons to French singers like Lorie and Ophélie Winter.

Despite Steevy’s disappointment, it’s impossible to chart Mimi’s fame without also examining her early beginnings with a young artist resembling Kristen Stewart during her “Twilight” era. Since Mimi is reserved and compliant, music executives can easily mold her. On the other hand, Billie is an unruly natural phenomenon. She was expelled from her audition for “Green Sprouts” after criticizing the judges for being tools of patriarchy.

Billie’s performance is raw, sensual, and revolutionary. She sings about the allure of tough working-class women. During her act, she often removes her chest binders and passionately sings about biker girls. As a surprise for Mimi (who is captivated), she pulls out a butt plug from herself and presents it to her. Despite their contrasting personas – one as a pop star and the other as a punk icon – they find themselves drawn to each other.

Mimi’s romantic involvement with Billie is thriving simultaneously with her burgeoning career. However, she eventually has to ask Billie not to attend her music video sets due to their secret relationship. This hidden romance could potentially jeopardize the growing global fanbase she’s earned by styling her hair, dyeing it, and maintaining a wholesome image in front of the cameras.

The initial heartache and split serve as a prelude for the movie’s second act. Time passes, and the ex-lovers encounter each other once more under the public eye. Years later, a refreshed (new hairstyle, new appearance), though still resentful, Billie resurfaces to gain worldwide fame and apparently intends to address some past issues.

Langlois perceives Billie and Mimi’s relationship as a poignant tragedy, with Steevy serving as a recurring commentator akin to an ancient Greek chorus. However, the movie’s unique style, blending elements of Fassbinder, Minnelli, Waters, and MTV’s “TRL,” consistently roots its musical emotional drama in something more unconventional and scarce. The film indeed lives up to its name, as it offers ample drama for all – particularly when gossipy talk show hosts, malicious vloggers, and even flamboyant drag queens become involved, tearing apart the central dramatic figures. In doing so, “Queens of Drama” serves as a stark reminder of how during the dawn of the new millennium, girl-power feminism was often accompanied by a disturbing form of homophobia.

Inside the movie’s dazzling eccentricity, Langlois illustrates how quickly the beast of fame and fandom can prey upon women like Mimi and Billie. Both discover authenticity and liberation through their music, but they each grapple with maintaining the public personas (through wigs and singles, music videos and live shows) they’ve constructed for themselves. The intersection of fame and secretive relationships is a central theme in the film. The selection of Asia Argento, portraying a pop diva past her peak who may have rejected a female lover who was once a punk icon, demonstrates this French musical’s witty self-awareness.

If you prefer a calm and understated story without intense drama, passionate emotions, overt romanticism, teary makeup, and heartbreaking ballads, then the tale of Mimi and Billie, as presented in “Queens of Drama”, may not be for you. To truly appreciate this series, one must embrace its exaggerations. This is why it excels as a daring lesbian melodrama that is most effectively conveyed through pop and punk music. Even though Pierre Desprat’s songs may lack radio-friendly titles or lyrics, they make “Queens of Drama” feel like a unified musical production on its own.

Just as a skillfully orchestrated drag performance that combines mockery with affection and understands that more is always merrier when it comes to glitter, “Queens of Drama” offers a playful, entertaining experience. Indeed, it’s hard not to be captivated by a film that transforms its main romantic theme (“Fistée jusqu’au coeur”) into a heartfelt and passionate anthem for fisting as well.

Read More

2025-04-25 21:49