Livingston first encountered vogueing – the highly stylized, modern house dance performed by participants in New York City's balls – in Washington Square Park, piquing her curiosity to attend the ballroom scene. Spending years observing the competitions, she chose to capture these extravagant occasions that were public yet private at the same time. The documentary features the prominent figures in the queer community embracing this drag subculture in the 1980s. Less known at the time, the ball subculture had elaborate performances that Livingston wanted to capture on film to enlighten the masses.
As a film student, she spent most of the 1980s interviewing these figures within the black and Hispanic communities. While learning the ballroom culture and vogueing, Livingston explored the history and literature of black people. She incorporates issues of race, gender, and class to offer a full scope of larger social problems in America. Furthermore, the documentary highlights the AIDS epidemic that was ravaging the gay and queer communities in New York City. As a cisgender white filmmaker addressing the issues of marginalized groups, she gives the film a larger context beyond pure voyeurism.
During the production process, Livingston leaned toward the influences of directors such as Werner Herzog and Errol Morris, known for depicting the extraordinary lives of unique individuals. The film played a significant role in popularizing vogueing and the independent film movement.
