In a different moment, Nas picks Manuel’s brain instead. He tries to stop his lead choreographer and tour director, Sean Bankhead, from answering one of Manuel’s questions on Montero’s potential (maybe the director means the tour, maybe he means the man). Nas, born Montero Hill, is hyper-aware of co-director Zac Manuel and his camera, looking at both of them frequently, sometimes in quick glimpses, silly faces, and with darting eyes. It then moves through opening night in Detroit and highlights stops in New York, his hometown of Atlanta, his new home Los Angeles, and San Francisco, the end of the U.S. 27, it follows the young, Grammy-winning firestarter from the summer of 2022, when he says he has just a month to put together his debut world tour of the same name. This clear and limited objective seems fitting for Lil Nas X, who looks a bit uncomfortable with the premise at points in his first feature-length doc, Lil Nas X: Long Live Montero. As a subgenre of music film, tour documentaries naturally have a solid boundary – the tour.
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