‘Monk In Pieces’ review: Kaleidoscopic portrait of US musician Meredith Monk

Dir: Billy Shebar, David C Roberts. US/Germany/France. 2025. 94mins

“What do you even name this?” asks one educational on this documentary, referring to the exceptional musical and efficiency work of Meredith Monk which, 60 years after she started her profession, continues to defy straightforward classification. Reasonably than reply that query instantly, administrators Billy Shebar and David C Roberts current the wealthy tapestry of her music, which is incessantly primarily based round hovering vocalisations that swoop and loop throughout her three-octave vary, typically sounding primal, typically futuristic and every part in between.

An accessible introduction for newcomers to Monk 

The administrators watch Monk work, alone and in collaboration. Additionally they garner contributions from those that admire or have labored together with her, together with Speaking Heads star David Byrne, Icelandic singer Bjork and fellow composer Philip Glass, who describes her as “uniquely gifted”.  Their largest asset is, nevertheless, Monk herself, who permits the filmmakers to shoot her within the loft in New York’s Tribeca the place she lives and works, and opens her journals to them. Though significantly much less avant garde than the composer, the movie takes a kaleidoscopic fairly than chronological strategy whereas letting her voice actually sing out over a lot of it.

Monk In Items is continuous its competition run at Thessaloniki Documentary Movie Pageant after its world premiere in Berlin. Whereas there are factors at which you would like the administrators would dig a bit of deeper of their questioning of Monk, or linger a bit of longer, followers will welcome this up-close take a look at her. Their strategy additionally makes it an accessible introduction for newcomers to Monk’s oeuvre and will assist it entice consideration past the competition circuit. 

As promised, the movie arrives in items which might be cut up by intertitle playing cards, some taking their label from her work, together with ‘Juice’ and ’Gotham Lullaby’, others playfully referencing themes, comparable to ’The place’s the rating?’. That query precedes a piece in regards to the rising consternation of organisers as she wrote her 1991 opera Atlas; paperwork learn out on display screen reveal that her want for perfection cause them to tear their hair out.

In addition to presenting a collage of the artist via her profession – at one level exhibiting in split-screen how she has repeated sure statements about her work down the years – the documentary additionally touches on her private relationships. Key amongst these is the tough one  she had together with her mom Audrey Marsh, a jingle singer whose work incessantly took her away from house. Monk additionally talks about her relationship together with her Dutch life accomplice, choreographer Mieke van Hoek, whose premature dying in 2002 on the age of 56 led Monk to write down the melancholic ’Impermanence’. Sometimes these items are frustratingly fragmented, however the strategy does assist Roberts and Shebar cowl lots of floor.

Provided that the administrators beforehand created Trump Bites, a satirical net sequence animated by Invoice Plympton, it’s maybe no shock that in addition they incorporate animation right here (this time created by Paul Barritt),  in sequences that emphasise the sexism Monk encountered throughout her early years. Animation can be used for example segments wherein Monk talks about her goals, that includes 2D characters together with her beloved tortoise Neutron. The fashion remembers decoupage, which is suitable because it remembers the layering that’s current in Monk’s compositions.

The 2D rendering additionally looks like a nod to the strabismus which Monk was born with, an eye fixed situation that stops her seeing in 3D.  In a bid to enhance her daughter’s co-ordination, Monk’s mom enrolled her in Dalcroze Eurhythmics, which teaches musical expression via motion. This connection of bodily expression with vocalisations is a big a part of what makes Monk’s work so particular. 

Talking about grief, the now 82-year-old Monk says, “You by no means have closure… and also you shouldn’t”. It’s a thought that might additionally sum up her work, which is as a lot about continuances as endings. It’s heartening to see her passing the baton – or no less than the cadences – of her music to subsequent technology performer Joanna Lynn-Jacobs, whose voice is completely different however equally as distinctive.