Pallenberg fell for Brian Jones first, she calls him her “doppelganger” in Anita; but her presence—stylish, sophisticated, continental, and free—affected the whole band. Years on Pallenberg would say, “I feel as though I’m rather like the sixth Rolling Stone.” For many, a woman connected with a band is by definition a groupie. Bloom and Zill strongly oppose this point of view.
“They approached this film as an act of historical reclamation: putting the female perspective back in the official narrative of rock ‘n’ roll, making what’s so often invisible, visible again,” is how the press release spins it. The point was not to impose a feminist agenda, however. “I think our collaboration has felt very empowering, said Zill on a call. “It’s not like we had rules, [like] ‘we’re only gonna have like an all women crew’… we didn’t really think of it that way. But I do think the two of us as individuals brought a kind of compassion and a sense of wanting to lead with that compassion and lead with love and also embrace complication along the way. Anita was a very dynamic and complicated person who was flawed like any other human, like we all are, and I think we just tried to lead with a sense of humanity and embracing those complications and trying to portray them in a way that felt real and honest and true to her story.”
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