Larger than life, wild, scary and androgynous – Grace Jones plays all these parts. Yet here we discover her as lover, daughter, mother, sister and even grandmother, as she submits herself to our gaze and allows us to understand what constitutes her mask.

The&nbspstage&nbspis where Grace Jones’ most extreme embodiments are realised and her theatrical imagination lets loose:&nbspthis is&nbspwhere the musical of her life is played out. The film&nbspincludes unique&nbspperformances&nbspof her iconic hits Slave To The Rhythm and Pull Up To The Bumper&nbspas well as more recent autobiographical&nbsptracks, Williams' Blood, This Is and Hurricane. These personal songs link to the film’s narrative that follows Grace on a holiday road trip across her native Jamaica, with her son Paulo and niece Chantal. Here the family’s roots and the story of her traumatic childhood are uncovered.

Grace and her brothers Chris and Noel, raised for several years by their violent, disciplinarian step grandfather Mas P, now attempt to understand and exorcise this formative experience. Meanwhile the sensuality of the island and its tropical splendours resonate a pleasure principal that has equally shaped Grace Jones’ appetite for life.

In Jamaican patois, ‘Bloodlight’ is the red light that illuminates when an artist is recording and ‘Bami’ means bread,&nbspthe substance of daily life. The film cuts between Jamaica and Jones’ public and professional life. Here we see her as a gypsy moving between Tokyo, Paris, Moscow, London and New York, an artist in the recording studio with Jamaican drum and bass duo Sly and Robbie (musical collaborators across her career) or recounting to some backstage groupies her infamous Russell Harty TV appearance, from her side of the story. Warm and funny, she is both Bacchus – the wild partying hedonist – and a fierce and tenacious businesswoman. 

Her stage is the fixed point to which the film returns, with Love Is The Drug&nbspacting like an aria, bringing the film to its final and most touching scenes including an encounter with French photographer Jean Paul Goude, father of Jones’ son Paulo and creator of her iconic album covers. This is a Grace we have not seen before, someone who reminds us of what it is to dare to be truly alive. In all her apparent contradictions, Grace Jones may appear an exception, but she is also a point of identification: she is the exception that proves the rule.

Extra Features

  • None


  • Grace Jones
  • Jean-Paul Goude
  • Sly & Robbie


  • Sophie Fiennes
  • No. discs 1
  • Running time 120 min
  • Audio format 5.1
  • Region 4
  • Format NTSC
  • Color COLOUR
  • Language English
  • Catalogue No. DAVID3846
  • Aspect ratio 16:9
  • Subtitles None
  • M

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