It’s enough to just train a camera on the towering Grace Jones and the glam, glitter, and inimitable fierceness will quickly follow. Sophie Fiennes (The Pervert’s Guide to Ideology) begins her biographical performance doc Grace Jones: Bloodlight and Bami by seamlessly intercutting two separate performances of the same song from a 2016 concert. In the first, Jones prowls the stage catlike, purring from behind an Eiko Ishioka-designed death mask. In the second, she croons the same lyrics while effortlessly, endlessly twirling a hula hoop. The message is clear: Jones is both these people, and more. She walks on some kind of undefinable razor’s edge, reinventing herself as whim and circumstance dictates, and Fiennes’s film follows that lead.