
What We Started
2018
No Poster Available
2013
Director
Max Joseph
Runtime
14 minutes
Average Rating
No ratings yetSynopsis
In the latest film from Red Bull Music Academy, we turn our attention to DFA: the iconic NYC record label that got the indie kids to dance. Narrated by Marc Maron, it features music and appearances from James Murphy, LCD Soundsystem, The Rapture, Holy Ghost!, The Juan MacLean, Shit Robot, Sinkane, YACHT and many more! - Written by Anonymous
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film captures the social fabric of the NYC dance community, which historically includes significant queer presence. However, it lacks explicit, centralized LGBTQ+ storytelling or specific queer character arcs.
Gender Representation
The narrative focuses on the technical and creative output of the DFA label. Representation leans toward male-dominated leadership roles and traditional industry norms without clear evidence of female-led agency.
Racial & Ethnic Diversity
The documentary explores a multicultural artistic ecosystem within New York City. The inclusion of artists like Sinkane suggests a narrative that extends beyond standard Anglo-Saxon indie tropes.
Religious & Cultural Diversity
The film celebrates a DIY ethos and artistic autonomy over mainstream commercial structures. It prioritizes niche, community-driven expressions and the unique identity of the indie music scene.
Disability Representation
There is no discernible information regarding the portrayal of individuals with physical or neurodivergent disabilities within the film.
Strengths
Areas for Improvement
AI Analysis
This documentary serves as a specialized cultural archive for the NYC indie-dance movement. It succeeds in documenting a non-conformist, multicultural artistic ecosystem that rejects mainstream capitalist music structures. However, the film's primary objective is historical and musical rather than an exploration of intersectional identity. The narrative architecture remains centered on the technical evolution of the DFA label, which results in a lack of explicit representation for marginalized groups. While the film captures the spirit of a diverse subculture, it lacks the structured storytelling required to highlight specific queer, female, or disabled narratives.

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