Owen Gleiberman Chief Film CriticJust before the Cannes Film Festival midnight-show premiere of the David Bowie documentary “Moonage Daydream,” the film’s writer, director, and editor, Brett Morgen, didn’t simply stroll down the red carpet.
As Bowie’s “Let’s Dance” blared from the promenade speakers, Morgen danced — and pranced and pogo-ed, and flashed a cheeky madman grin, and by the time he entered the theater, the crowd, taking all this in on a giant video screen, gave him an even more rapturous than usual Cannes ovation.
Morgen had the right look for these antics. He started off his career as a documentary geek, but around the time of “Montage of Heck,” his 2015 film about Kurt Cobain, he began to style his hair in a fashionably disheveled wet-look mane.
Tall and aggressive, he entered the Lumière like a would-be rock star. The reason I bring this up is that I think it’s relevant to the aesthetics of “Moonage Daydream,” which is Morgen’s third pop-music documentary — but, more than “Montage of Heck” or the 2012 Rolling Stones film “Crossfire Hurricane,” it’s a decidedly unconventional one.
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