‘Nothing Compares’: Film Review | Sundance 2022

Youthful daring fueled that outrage, but its roots were the wounds of a difficult childhood. She was trying to start a conversation about the things she believed unjust, some of them horrors she knew firsthand. But the Irish singer-songwriter’s protests against the Gulf War, racism and the Catholic Church’s abuse of women and children enraged a lot of people, from flag-waving “patriots” to a pissed-off Frank Sinatra and a hate-spewing Camille Paglia.

O’Connor had her baby. And she took her music-biz defiance further, shaving her head and following her own, gender-fluid sartorial preferences — making her compelling and confusing at a time when female performers were expected to conform to a girlie aesthetic. . O’Connor came to be known as fierce, uncompromising and confrontational, but the film reminds us, through some of her early TV appearances, how polite and soft-spoken she was when she wasn’t letting that big voice roar in song.

, evoking a sense of the Ireland of O’Connor’s formative years. Tellingly, that highly regarded film by Peter Lennon, with its critique of a repressive, Church-dominated society, was essentially banned in the country for many years. Beyond the traumas she faced at home, O’Connor spent some time in a residential training center that was connected to one of the infamous Magdalene laundries, where she saw firsthand the way “fallen” women were thrown away.

'gender-fluid sartorial preferences' lol no. gender-fluid hadn't been invented yet.

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