Paris Hilton's 'Infinite Icon' Documentary Faces Scrutiny as Superficial Self-Promotion
Paris Hilton has unveiled her latest cinematic venture, Infinite Icon: A Visual Memoir, a documentary that purports to offer a behind-the-scenes glimpse into the creation of her second studio album. However, critics are labelling it as an arduous and self-indulgent exercise that fails to deliver any substantive insight into the star's life or artistry.
A Film That Reveals Little Beyond the Surface
Positioned as an intimate exploration of Hilton's journey as a musician, survivor, and mother, the documentary instead presents what reviewers describe as an unbearable act of docu-self-love. The film, for which Hilton serves as executive producer, is criticised for its lack of curation, descending into what some call a non-stop parade of Instagram-style exhibitionism, empty phrases, and superficial showmanship.
At a runtime of approximately two hours, viewers have reported it feeling interminable, culminating in what is described as uninteresting and unedited concert footage. This lengthy presentation has led to accusations that the documentary prioritises style over substance, with little to offer beyond what is already visible in Hilton's public persona.
Missed Opportunities for Depth and Analysis
The film does make a brief, noteworthy attempt to address the duplicitous and misogynist media coverage Hilton has endured throughout her career. It features an interview with Sarah Ditum, author of Toxic: Women, Fame and the Noughties, who discusses the exploitation Hilton faced at the hands of tabloid paparazzi. However, this analytical thread is quickly abandoned, leaving a sense of unfulfilled potential.
Similarly, the documentary touches on Hilton's personal struggles, including the emotional and sexual abuse she suffered as a teenager at the Provo Canyon School in Utah, as well as her experiences with ADHD. In one candid moment, Hilton exclaims, "I have ADHD, don't tell me to pause!" Yet, these serious issues are presented in a manner that some critics argue reduces them to mere brand accessories, lacking the depth and reflection they deserve.
Omissions and Comparisons to Past Work
Notably, the film omits any detailed discussion of Hilton's enormously wealthy family background, a topic that was more prominently featured in her 2020 documentary, This Is Paris. Hilton has since indicated that she considers herself to have outgrown the reality-TV persona associated with that earlier project, but this omission in Infinite Icon leaves gaps in the narrative of her evolution.
While Hilton's second album, Infinite Icon, may have its admirers and detractors among fans, the documentary is seen by some as failing to enhance or contextualise the music. Instead, it is viewed as a torpid display of self-importance that adds little to the public's understanding of Hilton as an artist or individual.
Release and Reception
Infinite Icon: A Visual Memoir is scheduled for release in cinemas from 30 January. As it debuts, it sparks conversations about the nature of celebrity documentaries and the fine line between self-expression and narcissism in the digital age.
