All the Beauty and the Bloodshed.Long before Nan Goldin became a world-renowned photographer, she dreamed of making films. As a teenager growing up in 1960s Massachusetts, Goldin would go to the cinema almost every day to soak up double features. By the end of her teens she was an insatiable cinephile, fluent in the European arthouse—she loved Bertolucci, Bergman, and Fellini—intrigued by the US underground—Warhol, Waters, Jack Smith—and enchanted by classic Hollywood. Fittingly, it was Antonioni’s Blow-Up that first inspired her to pick up a camera, but although Goldin fell into photography she never shook her first love.Perhaps it is this deep-rooted cinephilia that critics sense when they describe Goldin’s photographs as “cinematic.” Goldin has dedicated her career to documenting her life, as well as the lives of her friends and chosen family. Her “subjects,” many of whom are as charismatic, stylish,...
- 4/17/2023
- MUBI
She fled rural Ireland and hit the Big Apple just in time to capture Lydia Lunch, James Chance and the post-punk scene take off. Now back in her home country, she relives those turbulent years
In 2014, the Irish Times ran a profile of the film-maker Vivienne Dick with the headline: “Stifled in Ireland, celebrated in New York.” As an encapsulation of her formative years as an artist who found her calling in exile, it was blunt but pretty accurate. “There was nothing for me in Ireland back then,” says Dick of her youth in the 1960s and early 70s. “It was not an attractive place because, as a woman, you were essentially treated as a second-class citizen. You could train as a teacher, but that was about it. I remember I bought a camera, but there was no way to even get on a course.”
Having relocated to New York by the mid-70s,...
In 2014, the Irish Times ran a profile of the film-maker Vivienne Dick with the headline: “Stifled in Ireland, celebrated in New York.” As an encapsulation of her formative years as an artist who found her calling in exile, it was blunt but pretty accurate. “There was nothing for me in Ireland back then,” says Dick of her youth in the 1960s and early 70s. “It was not an attractive place because, as a woman, you were essentially treated as a second-class citizen. You could train as a teacher, but that was about it. I remember I bought a camera, but there was no way to even get on a course.”
Having relocated to New York by the mid-70s,...
- 3/27/2023
- by Sean O’Hagan
- The Guardian - Film News
That title. Even before it screened, “All the Beauty and the Bloodshed” cast a shiver across the Venice Film Festival competition, sounding more like a line from a Yeats poem than the latest documentary from the director of “Citizenfour.” The big news: the film lives up to it. Already a robust director, Laura Poitras has leveled up with
“All the Beauty and the Bloodshed” is about the life and art of Nan Goldin and how this led her to found P.A.I.N (Prescription Addiction Intervention Now), an advocacy group targeting the Sackler Family for manufacturing and distributing OxyContin, a deeply addictive drug that has exacerbated the opioid crisis. It is about the bonds of community, the dangers of repression, and how art and politics are the same thing.
The biggest compliment is that this film is worthy of Goldin, a woman whose words are as stark as her art,...
“All the Beauty and the Bloodshed” is about the life and art of Nan Goldin and how this led her to found P.A.I.N (Prescription Addiction Intervention Now), an advocacy group targeting the Sackler Family for manufacturing and distributing OxyContin, a deeply addictive drug that has exacerbated the opioid crisis. It is about the bonds of community, the dangers of repression, and how art and politics are the same thing.
The biggest compliment is that this film is worthy of Goldin, a woman whose words are as stark as her art,...
- 9/3/2022
- by Sophie Monks Kaufman
- Indiewire
Click here to read the full article.
As a filmmaker, Laura Poitras has burnished her bona fides as an investigative journalist, notably in Citizenfour, which captured whistleblower history in the making. There are elements of you-are-there immediacy and insider access in her exquisite new film, but All the Beauty and the Bloodshed takes her work to new aesthetic heights and wrenching emotional depths. A collaboration with photographer Nan Goldin, the film chronicles Goldin’s activist mission to hold the Sacklers responsible for the opioid addiction crisis perpetrated by their company Purdue Pharma. But it’s much more than that.
It’s a portrait of the artist, through her images and her words, and an intimate look at grassroots political action. It’s a documentary about families — two in particular that couldn’t be more different and yet share a dark proclivity for dodging the truth: Goldin’s birth family, bent on keeping up appearances,...
As a filmmaker, Laura Poitras has burnished her bona fides as an investigative journalist, notably in Citizenfour, which captured whistleblower history in the making. There are elements of you-are-there immediacy and insider access in her exquisite new film, but All the Beauty and the Bloodshed takes her work to new aesthetic heights and wrenching emotional depths. A collaboration with photographer Nan Goldin, the film chronicles Goldin’s activist mission to hold the Sacklers responsible for the opioid addiction crisis perpetrated by their company Purdue Pharma. But it’s much more than that.
It’s a portrait of the artist, through her images and her words, and an intimate look at grassroots political action. It’s a documentary about families — two in particular that couldn’t be more different and yet share a dark proclivity for dodging the truth: Goldin’s birth family, bent on keeping up appearances,...
- 9/3/2022
- by Sheri Linden
- The Hollywood Reporter - Movie News
Opening four years ago in the Lower East Side of Manhattan, Metrograph has been a bastion for cinephiles. Since the pandemic hit in mid-March, causing all movie theaters in the city and beyond to shut down and rethink their plans, this specific theater had been relatively quiet in what lies on the road ahead. Well, it turns out they were planning something quite exciting.
Metrograph has now launched Metrograph Digital, premiering this Friday, July 24. Available nationwide, it’s a membership-based program for $5 a month or $50 annually, with previous NYC-based members already included at no cost. The first initiative is Metrograph Live Screenings, “a celebration of communal movie watching” which features a specific time where films will screen digitally, and also include intros, pre-show material, and Q&As. These presentations will be available on a live stream player, watchable on any computer and mobile device, and connectable to TVs. If you miss the initial broadcast,...
Metrograph has now launched Metrograph Digital, premiering this Friday, July 24. Available nationwide, it’s a membership-based program for $5 a month or $50 annually, with previous NYC-based members already included at no cost. The first initiative is Metrograph Live Screenings, “a celebration of communal movie watching” which features a specific time where films will screen digitally, and also include intros, pre-show material, and Q&As. These presentations will be available on a live stream player, watchable on any computer and mobile device, and connectable to TVs. If you miss the initial broadcast,...
- 7/21/2020
- by Jordan Raup
- The Film Stage
The Metrograph, the four-year old New York City arthouse that established itself as a tastemaking film venue before being knocked sideways by Covid-19, has launched an ambitious online expansion.
Metrograph Digital will debut on Friday and will be available to anyone nationwide through an online membership program. For existing Metrograph members, there is no extra charge. New members will pay $5 a month or $50 a year. Viewers can access the streaming player through laptops or mobile devices and can “cast” the films to TV sets.
The first Metrograph Digital offering is Metrograph Live Screenings, a lineup developed and curated by the theater’s programming team. An official announcement promises “a celebration of communal movie watching,” with a rotating selection of new releases and repertory titles each week, opening at set showtimes. As is the case at the Ludlow Street location, the screenings will be accompanied by introductions, pre-show material and Q&As.
Metrograph Digital will debut on Friday and will be available to anyone nationwide through an online membership program. For existing Metrograph members, there is no extra charge. New members will pay $5 a month or $50 a year. Viewers can access the streaming player through laptops or mobile devices and can “cast” the films to TV sets.
The first Metrograph Digital offering is Metrograph Live Screenings, a lineup developed and curated by the theater’s programming team. An official announcement promises “a celebration of communal movie watching,” with a rotating selection of new releases and repertory titles each week, opening at set showtimes. As is the case at the Ludlow Street location, the screenings will be accompanied by introductions, pre-show material and Q&As.
- 7/20/2020
- by Dade Hayes
- Deadline Film + TV
As a “normal” moviegoing world continues remains uncertain, quick-thinking adaptation has become the name of the name. New York City’s Metrograph, both a beloved boutique theater and growing distribution label, is leaning into that ethos with the July 24 launch of its Metrograph Digital, a platform that seeks to combine the joy of in-person moviegoing with the safety of at-home viewing.
The first Metrograph Digital initiative set to roll out is Metrograph Live Screenings, which will unspool this week with “a rotating selection of new releases and repertory titles, opening at set showtimes, with introductions, pre-show material, and Q&As specific to every show.” The program will include works by Claire Denis, Éric Rohmer, St. Clair Bourne, Ulrike Ottinger, Alain Resnais, Djibril Diop Mambéty, Satoshi Kon, Laurie Anderson, and Manfred Kirchheimer. Starting July 31, photographer and activist Nan Goldin will become the first guest programmer with a new series crafted to accompany her latest film,...
The first Metrograph Digital initiative set to roll out is Metrograph Live Screenings, which will unspool this week with “a rotating selection of new releases and repertory titles, opening at set showtimes, with introductions, pre-show material, and Q&As specific to every show.” The program will include works by Claire Denis, Éric Rohmer, St. Clair Bourne, Ulrike Ottinger, Alain Resnais, Djibril Diop Mambéty, Satoshi Kon, Laurie Anderson, and Manfred Kirchheimer. Starting July 31, photographer and activist Nan Goldin will become the first guest programmer with a new series crafted to accompany her latest film,...
- 7/20/2020
- by Kate Erbland
- Indiewire
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
HBO Max
The latest streaming service has arrived with HBO Max, which pulls together what was offered on the HBO platform with quite an expanded library. While the WarnerMedia platform is certainly the most scattered of its competitors in terms of the range of content, if you dig deeper, there’s plenty of worthwhile offerings. Led by the Studio Ghibli catalog, they also have a Turner Classic Movies channel, featuring Criterion Collection classics, a Charlie Chaplin collection, landmark westerns, all of the A Star is Borns, Citizen Kane, Casablanca, The Abyss, and more. Happy watching.
Where to Stream: HBO Max
End of Sentence (Elfar Adalsteins)
To...
HBO Max
The latest streaming service has arrived with HBO Max, which pulls together what was offered on the HBO platform with quite an expanded library. While the WarnerMedia platform is certainly the most scattered of its competitors in terms of the range of content, if you dig deeper, there’s plenty of worthwhile offerings. Led by the Studio Ghibli catalog, they also have a Turner Classic Movies channel, featuring Criterion Collection classics, a Charlie Chaplin collection, landmark westerns, all of the A Star is Borns, Citizen Kane, Casablanca, The Abyss, and more. Happy watching.
Where to Stream: HBO Max
End of Sentence (Elfar Adalsteins)
To...
- 5/29/2020
- by Jordan Raup
- The Film Stage
Celine Danhier with Joel Coen and Ethan Coen at the table behind us at The Odeon on the evolution of Blank City: "James Nares said 'Let me call Jim Jarmusch.' It was really like that. And then at the same time I had the music scenes and I interviewed Pat Place." Photo: Anne-Katrin Titze
Celine Danhier's all-hands-on-deck Blank City, edited to perfection by Vanessa Roworth, enters the world of the No Wave and Cinema of Transgression. We see and hear about the work of Bette Gordon, Casandra Stark Mele, Charlie Ahearn, Michael Oblowitz, Nick Zedd, Sara Driver, Susan Seidelman, Maripol, Patti Astor, Eric Mitchell, Beth B, Vivienne Dick, Vincent Gallo, John Lurie, Steve Buscemi, Jean-Michel Basquiat, Lizzie Borden, Amos Poe, John Waters, James Nares, Jim Jarmusch, Anders Grafstrom, Richard Kern, Ann Magnuson, James Chance, Lydia Lunch, Pat Place, Becky Johnston, Adele Bertei, Scott B, Tommy Turner, Tessa Hughes-Freeland, Kemra Pfahler,...
Celine Danhier's all-hands-on-deck Blank City, edited to perfection by Vanessa Roworth, enters the world of the No Wave and Cinema of Transgression. We see and hear about the work of Bette Gordon, Casandra Stark Mele, Charlie Ahearn, Michael Oblowitz, Nick Zedd, Sara Driver, Susan Seidelman, Maripol, Patti Astor, Eric Mitchell, Beth B, Vivienne Dick, Vincent Gallo, John Lurie, Steve Buscemi, Jean-Michel Basquiat, Lizzie Borden, Amos Poe, John Waters, James Nares, Jim Jarmusch, Anders Grafstrom, Richard Kern, Ann Magnuson, James Chance, Lydia Lunch, Pat Place, Becky Johnston, Adele Bertei, Scott B, Tommy Turner, Tessa Hughes-Freeland, Kemra Pfahler,...
- 4/24/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
She Had Her Gun All Ready By Vivienne Dick (1978).
This is the second film by Vivienne Dick and the first one that included a plot and actresses playing roles. Her first film was Guerillere Talks (1978), a collection of filmed portraits of female punk musicians, including Lydia Lunch and Pat Place, both of whom star in She Had Her Gun All Ready.
The film was shot on Super 8mm and screened at the New Cinema, a short-lived storefront theater on St. Mark’s Place in New York City’s Lower East Side. The film is considered part of the “No Wave” film movement that included Eric Mitchell, James Nares, Amos Poe and Beth and Scott B. “No Wave” was the cinematic extension of NYC’s downtown punk music scene.
Although the official title appears to be She Had Her Gun All Ready, the title in the actual film — handwritten in a...
This is the second film by Vivienne Dick and the first one that included a plot and actresses playing roles. Her first film was Guerillere Talks (1978), a collection of filmed portraits of female punk musicians, including Lydia Lunch and Pat Place, both of whom star in She Had Her Gun All Ready.
The film was shot on Super 8mm and screened at the New Cinema, a short-lived storefront theater on St. Mark’s Place in New York City’s Lower East Side. The film is considered part of the “No Wave” film movement that included Eric Mitchell, James Nares, Amos Poe and Beth and Scott B. “No Wave” was the cinematic extension of NYC’s downtown punk music scene.
Although the official title appears to be She Had Her Gun All Ready, the title in the actual film — handwritten in a...
- 12/26/2017
- by Mike Everleth
- Underground Film Journal
The 59Th BFI London Film Festival Announces Full 2015 Programme
You can peruse the programme at your leisure here.
The programme for the 59th BFI London Film Festival in partnership launched today, with Festival Director Clare Stewart presenting this year’s rich and diverse selection of films and events. BFI London Film Festival is Britain’s leading film event and one of the world’s oldest film festivals. It introduces the finest new British and international films to an expanding London and UK-wide audience. The Festival provides an essential platform for films seeking global success; and promotes the careers of British and international filmmakers through its industry and awards programmes. With this year’s industry programme stronger than ever, offering international filmmakers and leaders a programme of insightful events covering every area of the film industry Lff positions London as the world’s leading creative city.
The Festival will screen a...
You can peruse the programme at your leisure here.
The programme for the 59th BFI London Film Festival in partnership launched today, with Festival Director Clare Stewart presenting this year’s rich and diverse selection of films and events. BFI London Film Festival is Britain’s leading film event and one of the world’s oldest film festivals. It introduces the finest new British and international films to an expanding London and UK-wide audience. The Festival provides an essential platform for films seeking global success; and promotes the careers of British and international filmmakers through its industry and awards programmes. With this year’s industry programme stronger than ever, offering international filmmakers and leaders a programme of insightful events covering every area of the film industry Lff positions London as the world’s leading creative city.
The Festival will screen a...
- 9/1/2015
- by John
- SoundOnSight
Post-Nearly Press has released two book-length interviews with Iain Sinclair and Chris Petit. Also in today's roundup of news and views: A review of and two excerpts from Alejandro Jodorowsky’s fantasmagorical memoir, Where the Bird Sings Best; the Quietus on Wojciech Has's The Saragossa Manuscript; an oral history of Susan Seidelman's Desperately Seeking Susan at 30; Paul Thomas Anderson's conversation with Jonathan Demme; more interviews with feminist filmmaker Vivienne Dick, Wim Wenders, Errol Morris, Noah Baumbach and David Zellner; the New York Times on cinematographer Gabriel Figueroa—and more. » - David Hudson...
- 3/29/2015
- Fandor: Keyframe
Post-Nearly Press has released two book-length interviews with Iain Sinclair and Chris Petit. Also in today's roundup of news and views: A review of and two excerpts from Alejandro Jodorowsky’s fantasmagorical memoir, Where the Bird Sings Best; the Quietus on Wojciech Has's The Saragossa Manuscript; an oral history of Susan Seidelman's Desperately Seeking Susan at 30; Paul Thomas Anderson's conversation with Jonathan Demme; more interviews with feminist filmmaker Vivienne Dick, Wim Wenders, Errol Morris, Noah Baumbach and David Zellner; the New York Times on cinematographer Gabriel Figueroa—and more. » - David Hudson...
- 3/29/2015
- Keyframe
Although it's an unfortunate turn of phrase given the era, the best way to describe the documentary "Blank City" is still as something of a gateway drug when it comes to the late '70s, early '80s underground film scene in New York. It's easy to tell this since it's obvious French director Celine Danhier recreates her own experience of discovering the no-budget avant garde movement known as "No Wave" cinema in her documentary, presenting one snippet of rare footage after another, teasing the audience with clips of Michael Holman's self-descriptive "Vincent Gallo as Flying Christ" and Charlie Ahearn's groundbreaking hip-hop flick "Wild Style" and having such personalities as Deborah Harry and Steve Buscemi talk about what a wild and crazy time it was.
It's the shortcoming of "Blank City" that it isn't as adventurous in mirroring the era the film documents, settling into a style where...
It's the shortcoming of "Blank City" that it isn't as adventurous in mirroring the era the film documents, settling into a style where...
- 4/8/2011
- by Stephen Saito
- ifc.com
Here’s a brand new clip from Celine Danhier’s essential documentary on the wildly creative New York No Wave film scene of the early 1980s, Blank City. Appearing here are Steve Buscemi, Amos Poe, Vivienne Dick, and others, and clips feature the Talking Heads, Eric Mitchell’s The Way it Is, and more. The movie opens April 6; for more visit the website. And watch this space for an interview with Danhier.
And here’s the trailer, which features shots from my favorite movie of this era, Underground USA
Blank City Official Trailer from Celine Danhier on Vimeo.
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And here’s the trailer, which features shots from my favorite movie of this era, Underground USA
Blank City Official Trailer from Celine Danhier on Vimeo.
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- 3/30/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Feb. 3
6:00 p.m.
Gene Siskel Film Center
164 N. State St.
Chicago, Il 60601
Hosted by: Conversations at the Edge
Chicago’s Conversations at the Edge hosts a night of classic movies by Vivienne Dick, one of the leading figures of NYC’s No Wave scene. The screening will last about 80 minutes and featuring short films from the late ’70s, including her most notable films She Had Her Gun All Ready (1978) and Beauty Becomes the Beast (1979).
Born in Ireland and studying and living in places such as London, France and Germany, Dick eventually wound up in Manhattan’s Lower East Side in the mid-’70s. Although No Wave would never consolidate into a movement like the Cinema of Transgression that followed it, there was a loose coalition of low-budget filmmakers, such as Dick, Amos Poe, James Nares and more, screening films in unconventional places such as Max’s Kansas City and the New Cinema storefront theater.
6:00 p.m.
Gene Siskel Film Center
164 N. State St.
Chicago, Il 60601
Hosted by: Conversations at the Edge
Chicago’s Conversations at the Edge hosts a night of classic movies by Vivienne Dick, one of the leading figures of NYC’s No Wave scene. The screening will last about 80 minutes and featuring short films from the late ’70s, including her most notable films She Had Her Gun All Ready (1978) and Beauty Becomes the Beast (1979).
Born in Ireland and studying and living in places such as London, France and Germany, Dick eventually wound up in Manhattan’s Lower East Side in the mid-’70s. Although No Wave would never consolidate into a movement like the Cinema of Transgression that followed it, there was a loose coalition of low-budget filmmakers, such as Dick, Amos Poe, James Nares and more, screening films in unconventional places such as Max’s Kansas City and the New Cinema storefront theater.
- 1/31/2011
- by screenings
- Underground Film Journal
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