She seeks to define herself beyond her immediate beauty. On the other hand, Nico-described as a “blonde iceberg amongst figures dressed in all black”-is cast as a wanderer.
Viewers see how Reed speaks his fame into existence, describing he wanted “ultimately to become a rockstar” in high school. Notably, Haynes chooses to interview Reed's sister, who provides an alternate perspective on his stormy mental health struggles. Haynes’ priorities lie in creating a nuanced account of Lou Reed’s life and character. Through second–hand accounts of the band members, Haynes builds a sparkling profile of The Velvet Underground, Warhol, and the power dynamics between them. Haynes’ account of The Velvet Underground weaves together art and politics. Flashing jewel–toned lights are displayed while recordings of cheering crowds draw viewers in-and eventually consume the audience. While watching Haynes’ film, one can consider how the immersive nature of the documentary mimics that of a concert. Similarly to the band’s early live shows, the film overlaps sounds, vivid visuals, and grainy video snippets. Archival footage paired with interview clips constructs a kaleidoscopic narrative. The medium of the documentary itself mirrors the multimedia lens of Warhol. This mesmerizing visual illustrates the same quality as the music-to immerse the listener within the band’s rhythmic entropy. The viewers’ imagination is intertwined with the sounds of the radio. This can be observed at the very opening of the documentary: The animated letters of "The Velvet Underground" flash across the screen while the beat of “Venus in Furs” drones in the background. Much like the band, Haynes invites the audience to escape themselves.
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