Certainly not in the pop star’s best interests, this disturbing film gives redemption stories to controversial figures from Britney’s past. Nothing about this feels right

What is in Britney Spears’ best interests? It’s a question that has been discussed and dissected by those around the pop star for 13 years, often abstractly, or with feigned concern, in the press or in court documents. It has been that way since she was placed in a controversial conservatorship, presided over by her father, Jamie, in 2008. It’s a question also posed by film-makers, whose narrative arcs often involve picking at the scabs before reaching for the plasters. In February, the New York Times documentary Framing Britney Spears recast her career through a post-#MeToo lens, via familiar shots of Spears shaving her head and distressing images from 2008 of her in the back of an ambulance prior to being involuntarily committed to a psychiatric ward. A month after it aired, Spears said on Instagram that she was “embarrassed by the light they put me in” and that “she cried for two weeks”. In May, Spears called the BBC documentary The Battle for Britney: Fans, Cash and a Conservatorship hypocritical. “I think the world is more interested in the negative !!!!” she said.

In this context, Netflix’s Britney vs Spears – directed and narrated by fan and film-maker Erin Lee Carr – feels uncomfortable. Conceived two and half years ago as an insight into “[Spears’] artistry and her media portrayal”, the film was hastily retooled after Framing Britney Spears and Spears’ explosive testimony at a conservatorship hearing in July. Oddly, the documentary chooses not to place Spears’ own words – a rarity for so long – at the start of the film. Rather it follows a standard chronological narrative, zipping through the successes of the early years before homing in on troubled times. It pores over Spears’ divorce from Kevin Federline in a way that feels tabloid-y, while dramatic instrumental music hums underneath. It often has the feel of a schlocky true crime documentary, with Carr and the journalist Jenny Eliscu shown riffling through papers, or sticking name tags on pictures showing the main protagonists. Anytime Jamie Spears is mentioned we get a slow zooming shot of his face.