How to film Taylor Swift for three hours and see nothing

I'm aware of We live in the era of Taylor Swift and that the objections that may be raised The Eras Tour They will be carried away by the wind and the adoration of the swifties. But I want to clarify that I don't have the problem so much with Swift's music as with the film's unwillingness to reveal something about an artist with a political, economic and media influence without equivalents on the current scene. Proof of this is that the British newspaper Guardian has started dedicating a weekly newsletter just to her. None of this can be deduced by seeing The Eras Tour, which shows simply like a star that fills stadiums.

Well, this is not entirely true, since the duration of the film (more than three hours) and the structure of the show that it is recording does indicate the ambition of the singer-songwriter, which establishes the legacy of the songs that the industry record company has tried to take him away and, in the process, demands for pop shows the extension and collective epic that seemed reserved for Bruce Springsteen. But if the best concert films arise from the tension or complicity between whoever is on stage and the filmmaker behind the camera (we have an unbeatable example in the recently re-released Stop making without), in The Eras Tour It seems like Swift and filmmaker Sam Wrench have never even been in the same room. Perhaps that is why the editing, expeditious and frustrating, is unable to keep its eyes on the protagonist, filming her from a sterile multiplicity of angles, which reduces the film to being the consolation prize for fans who have not been able to obtain (or pay) a ticket for the tour.