The Moment, 2026.
Directed by Aidan Zamiri.
Starring Charli XCX, Alexander Skarsgård, Rosanna Arquette, Hailey Benton Gates, Jamie Demetriou, Rachel Sennott, Kate Berlant, Rish Shah, Kylie Jenner, Isaac Powell, Arielle Dombasle, Trew Mullen, Mel Ottenberg, Tish Weinstock, Julia Fox, Michael Workéyè, Shygirl, A. G. Cook, Francesca Faridany, Errol Barnett, Ben Castle-Gibb, Richard Perez, Riana Duce, James Bayes, Ethan Moorhouse, Phillipa Dunne, Alex Macqueen, Matthew Jacobs Morgan, Raymond Anum, Stephen Colbert, Zachary Hourihane, Anthony Fantano, Sarah Beck Mather, Diana Bovio, Alex Blake, Esh Alladi, and Simon Thorp.
SYNOPSIS:
A rising pop star navigates the complexities of fame and industry pressure while preparing for her arena tour debut.
Every once in a while, a celebrity will blow up to the point that their persona and art reach people entirely outside their target demographic. This critic didn’t know who Charli XCX necessarily was before coming into co-writer/director Aidan Zamiri’s split-down-the-middle between drama and satire mockumentary, The Moment (with Bertie Brandes collaborating on that screenplay, all based on an original idea by Charli XCX) or what she was about (other than expressing a passion for movies and a desire to break into that industry whether it be acting, novel projects like this, or providing soundtracks), but 2024’s lime-green logoed “brat summer” party branding felt inescapable, especially considering the dance-pop singer-songwriter’s enthusiasm toward highlighting filmmaking auteurs on that ensuing tour that one can only presume the majority of her fan base would have never thought twice about researching and consuming.
There is also no telling how long that popularity boost and thrust into the spotlight will last, and presumably, no guide on how to ride that wave, maintain that level of fame, let it die out naturally, or what to do afterward. When the film is about those artistic pressures, The Moment works, so it’s a shame that little else does, and no one who knew anything about the musician coming in will come away with anything more insightful, personally or professionally, other than that she loves the party 24/7 and occasionally writes songs about cocaine.
That’s also not a plea that the filmmakers should have fully leaned into comedy, although the scenes between Charli XCX as herself butting creative differences with fictional director Johannes (a very funny Alexander Skarsgård as a clueless prude who just doesn’t get her music, presentation, and branding), is in charge of a concert film that is bursting with energy and fun. He wants to turn the show into something family-friendly, with appropriate outfits, no more flashing rave lighting (side note: it is hilariously demented that this film gives an epilepsy warning while such visuals already assault the viewer’s senses in the opening music video), and seems to have no idea what her music is about. That is when Charli’s good friend and assistantt Celeste (Hailey Benton Gates), in disbelief, chimes in asking if he is aware that these songs are about cocaine.
Part of the reason this entire conversation is so funny is that it is also communicating something to newcomers about Charli XCX. However, too often, the movie separates her from Johannes so she can retreat to luxury resorts to decompress and contemplate her skyrocketing fame and how to handle this tour with artistic truthfulness. On one hand, that celebrity conflict is compelling. However, the film drones on and fails to communicate who Charli XCX is or why viewers should invest in this beyond the surface. There has to be more to her than partying and drugs, but other than that, fame has stressed her out, and she has put a lot of thought into curating her brand; that’s all there is to take away.
What makes this more frustrating is that Charli XCX is a serviceable actor and has surrounded herself with talent (the supporting cast is filled with recognizable names and cameos that pop in and out, though they rarely add anything substantial to the experience). The Moment isn’t a tedious watch by any stretch, but one that, coincidentally, fails to capitalize on the moment and its rising star. If her music is about excessive partying and drugs, why does this film not match that energy (which doesn’t mean it has to be about those two things)?
There is a brief stretch in the third act that shows how quickly the media’s perception of a celebrity can shift over a single mistake, which cleverly ties into a humorous scandal. It’s not necessarily a groundbreaking observation, but it is a scenario where the drama and satire coalesce into something satisfying. Too much of The Moment goes to waste and is often far too passive and bland in its focus on artistic struggles.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder
