I actually felt a bit bewildered by The Maids. It's about two maids who are obsessed with their employer to the extent that they will dress up in her clothes and pretend to be her, but also hate her so much that they want to poison her tea. I will no longer be drinking any more tea made for me by my co-workers.
This week came the news that the filmmakers behind Amy - the UK's highest-grossing documentary ever - would be turning their attention next to the story of Oasis. Focusing on their early years (Noel joining his brother's band in 1991 is the starting point), it promises to be an intriguing flip of the Winehouse narrative - swapping desperate descent for unstoppable rise.
The story Kapadia tells is a synthesis of fascinating materials. How would Winehouse feel about the film? In it she visits her incarcerated husband and arrives to a swarm of paps at the jail gate. She stands, quietly astounded, frozen, hopeless in the glare. The film screams that Winehouse had suffered a dozen cameras too many. Kapadia's becomes another.
She was there all along, she just got lost. Amy has really made me understand that. She was coming back to us, she was back on her feet and there were plans for new music and babies right before she died. Kapadia said "once people see the film they realise she was amazing and special and we should have looked after her." We really should have.