“We wanted to avoid the trope of telling iconoclastic women’s stories through a tragic heroine lens, because I as a woman, and a lover of documentaries and musicians, particularly female musician, didn’t want to see another one. I wanted a very different approach. And I wanted viewers to be furious like I am, but I wanted them to be galvanised – particularly young women. That was key. And that seems to have been the response so far.” Filmmaker Kathryn Ferguson in conversation with Roe McDermott (10/13/2022)

I remember watching the infamous 1992 “Saturday Night Live” episode that featured Irish singer Sinead O’Connor. When she ripped up a photo of Pope John Paul II at the end of her performance, the audience sat in stunned silence. O’Connor was subsequently the object of a massive backlash and hate campaign, what we would now refer to as cancellation.

As illustrated in the 2022 documentary “Nothing Compares”, directed by Kathryn Ferguson, what was missing from the media coverage was any sort of context. No one seemed interested in why O’Connor was infuriated with the Church. When one interviewer raised the issue of child abuse, conservative social critic Camille Paglia viciously said if anyone deserved to be abused as a child, it was Sinead O’Connor. Even supposedly progressive Madonna mocked O’Connor at the time.

“Nothing Compares” traces O’Connor’s trajectory from promising young artist in 1987 to her marginalization in 1993. The subjects interviewed for the documentary, including O’Connor herself, remain off-camera. Their voices are heard commentating while the footage of O’Connor’s career is displayed. O’Connor’s story is intertwined with the state of women’s rights in her native Ireland and the revelations of child sex abuse within the Catholic Church. While I felt O’Connor’s talent as a singer is overly praised in the film, “Nothing Compares” provides a long overdue restoration of her status in music and women’s history.


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Kompromat (2022) Film Review
The story line of "Kompromat", an innocent man falsely accused who then effectuates an extraordinary escape, makes the film something of a darker, European version of "The Fugitive" (1993).

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