Before watching The Punk Singer (directed by Sini Anderson and on now at Hot Docs), I’d heard about the documentary via Kathleen Hanna’s interview on Q (which is boss, by the way). Otherwise, my knowledge of it, and of “the punk singer” herself, had been somewhat limited. I was a fan of Le Tigre’s self-titled LP in high school: this song especially freaked me out (in a good, new way!) with its hyper-femininity and tough-as-shit rawness. Maybe I was too young during Bikini Kills’ heyday to grasp their larger context, but I never totally latched on to their music or their message. And likewise, as a cultural entity, Kathleen Hanna has always remained just outside my periphery. Well, NO LONGER! I predicted (and hoped!) that The Punk Singer would enlighten me on Hanna, her politics, and the larger riot grrrl movement (which, by the way, I feel like I’ve always admired from afar, despite my ignorance about it. Maybe it’s those scrapbook, lace-biting rrrrrr’s…).

This is an incredibly energizing and inspiring film! But I have to admit; I’m dying to know more. Kathleen, come back to the screen (and music scene?!)! Essentially, the film does an excellent job of chronicling Hanna’s professional career, beginning with Bikini Kill, through Julie Ruin, Le Tigre, and then briefly touching on her recent struggles with lyme disease. I’m left feeling like I don’t necessarily understand the personal journey that surrounds her politics. And I think why this feels lacking is that her politics are very personal, something the film makes abundantly clear.

When The Punk Singer feels most intimate, oddly, is in the early footage of Hanna onstage. Watching her, I kept thinking over and over: this is a woman who has found her calling. She commands the room, accessing different personas at every turn (in a bizaar way she reminded me of an unpackaged, and totally genuine Nicki Manaj). She is so playful and then so serious. So spazzy, and then so still. And she somehow has this gorgeous self-assuredness and seeming inner calm; like even though she’s pissed, she has a voice, and of-fucking-course it needs to be heard, so GIRLS! IN! THE! FRONT! It’s wild to think that she was only in her early 20s, pioneering this whole movement! To say she’s inspiring is an understatement.

Other than those performances, it’s interesting that so much of what touched me about this film was her relationship with Beastie Boy Adam Horovitz. I have mixed feelings about that: about responding so instantly-positive to the romance narrative, and totally singling out and loving Horovitz in this feminist film; especially since his was one of the only male perspectives. But the story of him and Kathleen Hanna is a gorgeous one, and very moving, so I don’t know!

All in all, the film was, as I’d hoped, an inspiring and incensing (re)introduction to the original riot grrrl, Kathleen Hanna. Watching it, I was reminded how much I owe to this remarkable woman and her work for feminism and women’s rights. And bonus: I also have some incredible music to go discover. In fact, I’ma hunt down Hanna’s Julie Ruin record right now (and maybe get really into bedroom culture!?)!

Favourite Moments of the Film (Or, What I Would Tweet (WIWT)):

  • Opening line: “I’m your worst nightmare come to life… I’m not going to shut up!!!” –Kathleen Hanna. Tone set.
  • This 90s video footage?!! So antiquated technology, yet feels so familiar! I GUESS THIS IS NOSTALGIA?!
  • “I’m going to finish my fucking symphony”- Hanna recounts a friend’s goosebump-inducing response to an assault
  • Feminist gold: Kathleen Hanna and Gloria Steinem casually chatting!?!
  • Portlandia’s Carrie Brownstein was the guitarist in Sleater Kinney?! Mind blown.
  • Pocket definish of the riot grrrl movement: “Girls going back and reclaiming their girlhood, which has been taken away form them and directed down some bullshit path”
  • “I was just so totally in love with him. There was no way we weren’t going to hang out” – Hanna on Beastie Boy Adam Horovitz

Wow. Yes.

The Punk Singer, Directed by Sini Anderson, Screening as a part of Toronto’s Hot Docs Film Fest

Screening Monday, Apr. 29th at 9:30 pm at The Royal Cinema, Wednesday, May 1st at 8 pm at Hart House Theatre, and Friday, May 3rd at 6:30 pm at Scotiabank 3.

Click here for detailed showtimes and tickets.