SXSW London 2025 – Stans ★★★★

Released: TBC (SXSW London 2025)

Director: Steven Leckart

As the opening night film of the inaugural SXSW London 2025, Stans was bound to be an evocative film. Based around Eminem’s iconic track Stan, about an obsessed fan, this reflective and meditative, heartfelt documentary was produced by Eminem’s production company and renders homage to his fandom, for good or bad, whilst exploring the blurring of distinctions in these days of ‘always on’ social media which provides unprecedented levels of instant access to celebrities.

Eminem, as the lyrical wordsmith that he is, entered the rapping game from competing in rap battles. Rapping was a survival tool for him rather than a marketing tool. However, the cultural imprint of his rap legacy can be acutely felt within an onscreen reference to the entry of the noun ‘stan’ within the Oxford Dictionary in 2017. Now, 25 years later after Stan was released at the peak of the noughties, and the crisis faced by many in that era, some of those self-declared stans are given their moment in the spotlight within this documentary.

Eminem burst in to mainstream consciousness in 1998 carrying several alter egos on his back, which were game changing for the rap genre, which was perceived negatively and known solely for its partying and violent lyrics. Yes, he still courted controversy but his zany Slim Shady alongside his Marshall Mathers and Eminem personas alongside his ability to ‘out-diss’ anyone opened up the world of rap to a new spectrum of fans. Eminem was not just another white rapper following in the footsteps of the Beastie Boys and Vanilla Ice seeking refuge on the musical stage. He was a rapper from the wrong side of the tracks in Chicago and his lived experiences shaped the words that translated within his rap tracks, presumably as an outlet. Directed by Steven Leckart, a self-proclaimed rap fan, the appreciation for this musical genre seeps through every pore of this film.

Yet, Stans does not glorify Eminem’s past nor provide excuses for some of his misguided decisions during those times when burning CDs through Napster was de rigueur. Whilst there is that coverage of his discovery by Dr Dre and Eminem’s catapult into stardom, the documentary shies away from having Eminem as the focal point which provides a rich experience for those outside his fanbase. The film also unearths the depths of Eminem’s admiration of LL Cool J, who represents the softer, loving side of rap, and the pair had collaborated together for the track Murdergram Deux.

Some of these fans may seem slightly delusional with their Slim Shady cosplays and multiple Eminem tattoos over every inch of their body. Yet, there is an earnestness resounding their experiences. These fans have reached out for Eminem tracks during their traumatic moments in life with many describing receiving hope through his lyrics whilst encountering adversity. Eminem’s difficult childhood is reflective of many similar encounters these stans describe from their lives, adding several poignant layers to this documentary.

Zolt, from Paris, particularly stands out as one of the stans. From a distance, he resembles Eminem, wears similar clothing and has attended more than 30 of his concerts. Stans takes the opportunity to demonstrate that Eminem’s pain was also Zolt’s pain when mourned losses that occurred within his hero’s life.

Various Eminem tracks interspersing the commentary provide added meaning and a contextual weight as significant phrases appear highlighting just how much his belief was that ‘I Am Just Like You.’ Here, lies an artist having to evolve in the public eye and his discography emphasises that maturity and authenticity, over the years, whilst Eminem hit rock bottom and went into recovery.

One of his later albums bears the title ‘Recovery’ which may be that necessary catharsis but there was a degree of suffering and mental anguish equally being experienced by his fans which continues to keep Eminem in a prominent position. The question is posed – could Eminem be cancelled due to social media’s instant cancel culture? Despite such profound lyrics he continues to court controversy via satire. His fans think that cancellation for Eminem is impossible, but it is clear from the opening credits and the resounding themes throughout the film that mental health has been an important consideration for fans and Eminem as an artist alike.

Whilst this film’s format may not be revolutionary as it adopts a talking heads style of interviews with the superfans, Eminem obviously had sought to withdraw from the limelight with the levels of overwhelming stardom he amassed. There are cameos from film stars describing the dizzying levels of fandom that occurred when the film ‘8 Mile’, resembling Eminem’s life trajectory, came out and described Eminem as a ‘movie star’ too. Even superfan Zolt describes how he too had to tell the hoards of fans to step back and let him have his moment when he has been recognised.

The film therefore portrays that juxtaposition within Eminem’s character and the duality of fandom that underpins the film. Effectively, it is in these moments of inner turmoil that Stans truly excels with testimony from a 14-year-old girl’s struggles being bound to tug at the heartstrings.

Stans could easily be dismissed as a heavily curated documentary to present the chosen narrative from a living artist’s perspective, as Eminem is a co-producer, but it is striking to witness Eminem’s consideration of his fans and the impact of his words on them.

Entertaining and poignant in equal measure, Stans provides a rarely seen glimpse in to the effect of super fandom behind the scenes. Leckart’s authentic filming style has provided a fresh perspective by raising its head above the parapet in refusing to conform to standard biopic fare. 25 years later and the track ‘Stan’ continues to impress and be impactful for many.

Love him or loathe him, there’s no denying that Eminem changed the rap game’s narrative and its approach to mental health for the better which is emphasised well in Stans.