Before we see her, we hear her. "I think my goal as a drag queen is to be known as an artist and not just a female impersonator," internationally acclaimed drag performer Jinkx Monsoon says as the screen fades from black. She's sitting pleasantly perched in front of a well-lit vanity mirror applying a thick contour of theatrical make-up and false lashes, covering up the 23-year-old young man known as Jerick Hoffer underneath. "Not very many 23-year-old boys make a good 40-year-old woman," she jokes, looking directly into camera is if we're perched beside her on the toilet like a younger sibling admiring her glamour routine. Jinkx is undoubtedly a star, the fifth season winner of RuPaul's Drag Race, a staple personality on the Seattle drag scene and a talented stage entertainer. She oozes confidence and charisma with each elongated movement and dramatic entrance. But underneath the makeup, wigs and layers of sequins lies Jerick, the sullen young man with a difficult upbringing, disjointed relationships and a hovering sense of displeasure, despite achieving his childhood dreams.

Drag Becomes Him intimately introduces us to both parties and the complexity of how two personas intersect throughout Alex Berry's strident film. Expanded from the acclaimed five-part web series of the same name, the 82-minute dragumentary enlists family members, co-workers and drag peers of Jerick for telling interviews in an attempt to follow the ruthless route of one ambitious creative, without diving much deeper into the culture surrounding and supporting him.

Jerick was fifteen years old when he created Jinkx, secretly sopped in his mother's foundation and lingerie, after watching the Meryl Streep-starring classic film Death Becomes Her too many times. Influenced by his grandmother's charm school refinement, he learned to fuse the delicateness of a southern belle with the sass of a CEO into a well-thought out drag queen character that soon earned a cult following within Seattle's drag circuit and later led to a crowning moment on RuPaul's reality show. "I knew he was going to be famous, but I thought it was going to be football," Jerick's mother Deanne Hoffer says ironically to the cameras. Her comment is out of touch with reality but almost fittingly so, as Deanne remained that way throughout the majority of her sons' life, according to her straightforward eldest. Fresh-faced and casual, Jerick reflects on how his unreliable father and mother's alcoholism soiled his upbringing and forced the firstborn brother to step up and take care of his siblings at a young age, while guilt and insecurity hovers over his parents like a blanket as they separately attempt to reach for pertinent memories of their son for the camera. But Alex Berry leaves the focus of their soiled relationships there, as underlying pain and overlooked traumas seem like secondary focuses in the director's quest for a great film, surpassed by entertaining drag performances and comedic altercations.

The documentary's jarring transitions between Jerick and Jinkx are the most telling part about the story. "I think with both brains," our subject says navigating between them. And through his day to day movement between personas, we learn about Jerick's drag as an art form and the paramount importance he places on performance over any visual aspect of his drag queen identity. But in many ways, Alex Berry has done the documentary a disservice by focusing solely on the theatrics of Jinkx, without exploring further the universal (and much more necessary) topics of drag culture, the goddess illusion only hinted at throughout the film and/or questions surrounding gender normality. Instead, the focus lies solely on the life and times of one entertaining personality like an E! Hollywood special. Although Jinkx Monsoon makes for an interesting and charismatic subject and has earned the accolades for her cultural innovations, Alex Berry could and should have taken after his eccentric subject and been a lot more ambitious.