Synopsis
Following the life of artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty who was greatly responsible for the opioid epidemic's unfathomable death toll.
2022 Directed by Laura Poitras
Following the life of artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty who was greatly responsible for the opioid epidemic's unfathomable death toll.
Nan Goldin Marina Berio David Wojnarowicz Cookie Mueller Noemi Bonazzi Harry Cullen Megan Kapler Annatina Miescher Mike Quinn Patrick Radden Keefe Darryl Pinckney Maggie Smith David Velasco Alexis Pleus Robert Suarez David Armstrong Barbara Goldin Sharon Niesp Arthur Sackler John Waters David Sackler Theresa Sackler Richard Sackler Leonard Bernstein
Laura Poitras Candida Richardson Éponine Momenceau Zelmira Gainza Sylvia Calle Alexander W. Lewis Robert Kolodny Sean Vegezzi Clare Carter Etienne Baussan Nick Kraus Shaun Clarke Thom Pavia Jack Gordon Ryan Scarfuro
所有的美麗與血淚, Toute la beauté et le sang versé, 所有的美丽与血泪, La Belleza y el Dolor, La belleza y el dolor, Tutta la bellezza e il dolore - All the Beauty and the Bloodshed, 낸 골딘, 모든 아름다움과 유혈사태, Całe to piękno i krew, Вся красота и кровопролитие, แนน โกลดิน ภาพถ่าย ความงาม ความตาย, Вся краса і кровопролиття
life-affirming as in "life goes on." more than a document or a portrait, this film is a guidebook on how a certain kind of person should live. "a certain kind of person"...goldin is the mold, she broke it–whatever. goldin made art out of her life decades before the internet disciplined a generation to make product out of ours. goldin wore her traumas like so many buttons and badges before it was fashionable, or terribly profitable. she ratified–ratifies–the beauty of transsexuals, junkies, whores, fags, and dykes because she saw it–sees it–not because she thought it or thinks it. we know this song: one moves to new york, renames herself, puts some funky chemicals in her body, chooses a new family, starts…
The political act of making private life and pain into a public, visual work of persuasion and rebellion as documented in the life of legendary photographer Nan Goldin, whose own life experience as an addict and queer feminist outsider artist has given her a front-row seat to beautiful, defiant people from all walks of life in deliberately horrible, destitute circumstances that the powerful have yet to answer for. Obviously you go into something like this hoping to see a wonderful old woman look into the camera and say “when we eventually abolish the prison system the Sackler family should be the last ones out” (and the documentation in here of the activism itself appropriately alternates between cathartic and gut-wrenching), but there’s…
“She sees the future and all the beauty and the bloodshed”
Mic drop best “movie title in a movie” moment of 2022.
started crying at the film’s introduction of David Wojnarowicz and then just never stopped basically
The rare occasion in which the words “brave” and “fearless” are appropriate on this site.
Anyone who says this lacks focus because it should've been about Nan Goldin's artwork or her activism vs the Sacklers in the art world doesn't understand the through line. And the through line is something that Covid shattered for many people. That is a sense of community. Her artwork captures her community of artists and counterculture misfits of queers, punks, and sex workers. Her activism captures her new community of organizers against opiods and blind greed. It is a beautiful shift. And its something I've personally been struggling with—not opiods—but this looking back at the community I'd been in in my youth through the local music scene and the beautiful and rambunctious artists that moved through it. Then my community…
I cried for two hours straight: for how inspiring she is as a complex and whole human being, for the transcendent moments of activism, for the beauty of her art, for the pain that she's experienced, for her sister, for all the beautiful lives lost to senseless greed and stigma, for the bereaved parents, for the many victims, beauty beauty beauty, blood.
For the people I've lost. For the things we can't talk about but should.
This does a stellar job of interweaving multiple stories — it’s both a Nan Goldin origin and a present day activism procedural — and of telling both in a way that honors and illuminates the style and philosophy of its subject. It all plays seamlessly, but that must have been so incredibly difficult to pull off.
None of this will be erased. You can’t refuse to believe something that’s impossible to ignore. What’s private and wrong will come to light. In these photos survives a search for what’s right and what’s true, and a celebration of what those above us tried to destroy. Our bodies are so fragile. These fatally dependent lovers will live forever.