“Want to go again?” a choreographer asks Charli XCX at the start of the mockumentary The Moment. It’s the latest entry in the pop star’s rapidly expanding cinematic empire, propelled by the stratospheric cultural impact of her 2024 album, Brat.He is asking if she’s ready to practise a gyrating, strobe-heavy routine one more time. But this question also gestures towards the central conceit of the film: what if “Brat summer” was pushed beyond its natural expiry date? Not to explore “the tension of staying too long”, as Charli has described it, but in a cynical attempt to further monetise this fleeting moment of pop cultural hype.Conceived by Charli, The Moment offers a semi-fictionalised mockumentary account of the post Brat summer comedown. It positions her at the centre of several cynical attempts to extend its lifespan through questionable endorsement deals, social media posts and an ill-fated concert film. The film’s events map eerily onto the real post-Brat timeline, inviting knowing audiences to question the boundary between fiction and reality.Charli’s uncertain response to the choreographer’s question − “Err … yeah?” – from the floor of her rehearsal space (in that starriest of destinations, Dagenham) crystallises the film’s knowing subversion of dominant trends in the female-oriented pop star documentary. The trailer for The Moment. As cultural theorist Annelot Prins has outlined in a paper, pop star documentaries like Lady Gaga’s Five Foot Two (2017), Kesha’s Rainbow (2020) and Taylor’s Swift’s Miss Americana (2020) tend to present “empowering narratives of talented and hardworking women who used to be constrained by different factors but overcame them with resilience […] and are now self-determined agents”. This approach to female celebrity has continued in a recent glut of arena concert films released by stars including Swift, Beyoncé and Olivia Rodrigo. These arena spectaculars combine polished tour footage with backstage glimpses into the creative process. It’s a combination of intimacy and polish engineered to confirm their authentic talent in the face of the relentless commercial demands of the pop world. Read more: A swift history of the concert film, from The Last Waltz to the Eras Tour The “resilient pop documentary” is part of a wider trend identified by feminist media scholars: representations of celebrity women overcoming setbacks such as sexual assault (Kesha), addiction (Demi Lovato) or illness (Lady Gaga). Feminist sociologist Angela McRobbie’s work shows how these images of “resilient” female celebrities block collective resistance to misogyny, racism and classism, by making women believe they can overcome oppression through “self-management and care”. This is a pattern that these documentaries repeat with their emphasis on the creative survival of the damaged female pop star. The Moment invokes and satirises these narrative templates by showing Charli’s fictionalised self’s inability to control the runaway momentum of her own stardom.Resilience to reflexivityWhile The Moment has been positioned as Charli’s pivot from pop to the silver screen, it extends the subversions of her oft-forgotten first cinematic venture: 2022’s Charli XCX: Alone Together. Inverting The Moment’s narrative structure, Alone Together opens with Charli’s preparations for her first arena tour, charting the effects of its abrupt cancellation in the wake of COVID. The remainder of the film depicts Charli’s production of her fourth studio album over the course of a whirlwind six-weeks of the first lockdown.This ambitious undertaking could have provided the perfect opportunity to emphasise Charli’s resilience, but Alone Together takes a difference tack. It focuses on the emotional toll the album’s production took on Charli and emphasises the digital spaces of care and community that enabled her and her fans to survive the pandemic.While The Moment and Alone Together approach subversion differently, both knowingly undermine the resilience typically celebrated in pop star documentaries, exposing the endless performance of “overcoming” on which female pop stardom relies. The ending of Alone Together positions Charli as the unmoved consumer of the final album. A post-credit sequence shows her immediately at another loose end. “I just feel a bit, like, bored … What am I going to do now?” she says to camera, laughing. The trailer for Alone Together. The Moment’s closing scenes echo Alone Together’s feeling of anti-climax by ending with the trailer for the Brat concert film and its invitation to “be a 365 Party Girl from the comfort of your own home”. Hilariously, this is soundtracked by the Verve’s Bitter Sweet Symphony – an overplayed Britpop anthem that confirms the fictional XCX’s fall from cool in pursuit of mass appeal. The film’s quasi-documentary style compounds its challenge to the forms of authenticity upon which resilient pop stardom relies. In a voice note to her team, Charli explains that she is completing the film to “kill Brat” and free herself to pursue other creative endeavours. Here, the film uses the intimate framing used to convey authentic agency in the conventional pop documentary. This serves to blur the paper-thin line between the “real” post-Brat hype engineered by Charli and the trite, opportunistic spectacle she embraces in The Moment. That we are left with no clear sense of what the difference truly is signals that, far from being a “shallow” take on pop celebrity, The Moment turns the conventions of the pop star documentary against themselves. In doing so, the film cleverly exposes the artificiality inherent in even the most seemingly authentic of pop performances. Taken together, these two films cement Charli XCX’s status as our best chronicler of contemporary female pop stardom and the role of her film texts in exposing the artifice at play in supposedly “authentic” resilient pop cultural performance. Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here.Alice Pember does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.