In a rare occurrence, a documentary feature has been deemed the Centerpiece selection at the New York Film Festival, with Laura Poitras’s All the Beauty and the Bloodshed having been selected in the slot for this fall’s 60th edition of the festival. Set for a premiere on October 7, the festival also revealed that subject Nan Goldin will design their official poster.
In her essential, urgent, and arrestingly structured new documentary from Participant, Academy Award®–winning filmmaker Laura Poitras weaves two narratives: the fabled life and career of era-defining artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty Goldin personally took on in her fight to hold accountable those responsible for the deadly opioid epidemic. Following her own personal struggle with opioid addiction, Goldin, who rose from the New York “No Wave” underground to become one of the great photographers of the late 20th century,...
In her essential, urgent, and arrestingly structured new documentary from Participant, Academy Award®–winning filmmaker Laura Poitras weaves two narratives: the fabled life and career of era-defining artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty Goldin personally took on in her fight to hold accountable those responsible for the deadly opioid epidemic. Following her own personal struggle with opioid addiction, Goldin, who rose from the New York “No Wave” underground to become one of the great photographers of the late 20th century,...
- 8/4/2022
- by Leonard Pearce
- The Film Stage
Click here to read the full article.
Laura Poitras’ opioid epidemic documentary All the Beauty and the Bloodshed is set to screen as the centerpiece movie at the 2022 NY Film Festival.
The film from Participant weaves together two narratives: the life and career of artist Nan Goldin and the downfall of the Sackler family, which Goldin personally took on to hold them responsible for the deadly opioid epidemic. After her own struggle with addiction, Goldin put herself at the forefront of the battle against the Sacklers, both as an activist at art institutions that accepted money from the family and an advocate for the destigmatization of drug addition.
All the Beauty and the Bloodshed is illustrated with photographs by Goldin, who narrates the documentary and will design the poster for the 60th edition of the NY Film Festival. The movie will screen at Alice Tully Hall on Oct. 7 during the annual fall event,...
Laura Poitras’ opioid epidemic documentary All the Beauty and the Bloodshed is set to screen as the centerpiece movie at the 2022 NY Film Festival.
The film from Participant weaves together two narratives: the life and career of artist Nan Goldin and the downfall of the Sackler family, which Goldin personally took on to hold them responsible for the deadly opioid epidemic. After her own struggle with addiction, Goldin put herself at the forefront of the battle against the Sacklers, both as an activist at art institutions that accepted money from the family and an advocate for the destigmatization of drug addition.
All the Beauty and the Bloodshed is illustrated with photographs by Goldin, who narrates the documentary and will design the poster for the 60th edition of the NY Film Festival. The movie will screen at Alice Tully Hall on Oct. 7 during the annual fall event,...
- 8/4/2022
- by Hilary Lewis
- The Hollywood Reporter - Movie News
Laura Poitras’s “All the Beauty and the Bloodshed” has been tapped as the Centerpiece selection for the 60th New York Film Festival. The documentary about the opioid epidemic will screen at Alice Tully Hall on Oct. 7.
“All the Beauty and the Bloodshed” looks at two interconnected stories, recounting both the life and career of artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty Goldin personally took on in her fight to hold accountable those responsible for the spread of opioids and the addiction that has followed in their wake.
Following her own personal struggle with opioids, Goldin worked as an activist at art institutions around the world that had accepted millions from the Sacklers and as an advocate seeking to remove the stigma from addiction. The film is illustrated with a trove of photographs by Goldin, who also narrates her own story.
In addition, the...
“All the Beauty and the Bloodshed” looks at two interconnected stories, recounting both the life and career of artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty Goldin personally took on in her fight to hold accountable those responsible for the spread of opioids and the addiction that has followed in their wake.
Following her own personal struggle with opioids, Goldin worked as an activist at art institutions around the world that had accepted millions from the Sacklers and as an advocate seeking to remove the stigma from addiction. The film is illustrated with a trove of photographs by Goldin, who also narrates her own story.
In addition, the...
- 8/4/2022
- by Brent Lang
- Variety Film + TV
Laura Poitras’s documentary All the Beauty and the Bloodshed about photographer Nan Goldin and the downfall of the Sackler family pharmaceutical dynasty, will be the Centerpiece selection at the 60th New York Film Festival at Alice Tully Hall on Oct. 7.
The NYFF runs from Sept. 30 to Oct 16.
In addition Goldin will design the fest’s 60th poster, which will be unveiled at a later date.
Before NYFF, All the Beauty and the Bloodshed will make its world premiere at the Venice Film Festival.
In the documentary from Participant, Poitras profiles how Goldin took on the Sacklers, holding them accountable for the deadly opioid epidemic, her crusade following her own struggle with opioid addiction. She rose from the New York “No Wave” underground to become one of the great photographers of the late 20th century. Goldin put herself at the forefront of the battle against the Sacklers, both as an...
The NYFF runs from Sept. 30 to Oct 16.
In addition Goldin will design the fest’s 60th poster, which will be unveiled at a later date.
Before NYFF, All the Beauty and the Bloodshed will make its world premiere at the Venice Film Festival.
In the documentary from Participant, Poitras profiles how Goldin took on the Sacklers, holding them accountable for the deadly opioid epidemic, her crusade following her own struggle with opioid addiction. She rose from the New York “No Wave” underground to become one of the great photographers of the late 20th century. Goldin put herself at the forefront of the battle against the Sacklers, both as an...
- 8/4/2022
- by Anthony D'Alessandro
- Deadline Film + TV
Film at Lincoln Center has announced that Oscar-winning “Citizenfour” director Laura Poitras’s “All the Beauty and the Bloodshed” will be the Centerpiece selection for the 60th New York Film Festival at Alice Tully Hall on October 7. Photographer and documentary subject Nan Goldin will design the 60th New York Film Festival poster, which will be revealed at a later date.
The film will weave two narratives, per the synopsis: the fabled life and career of era-defining artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty Goldin personally took on in her fight to hold accountable those responsible for the deadly opioid epidemic. Following her own personal struggle with opioid addiction, Goldin, who rose from the New York “No Wave” underground to become one of the great photographers of the late 20th century, put herself at the forefront of the battle against the Sacklers, both as an...
The film will weave two narratives, per the synopsis: the fabled life and career of era-defining artist Nan Goldin and the downfall of the Sackler family, the pharmaceutical dynasty Goldin personally took on in her fight to hold accountable those responsible for the deadly opioid epidemic. Following her own personal struggle with opioid addiction, Goldin, who rose from the New York “No Wave” underground to become one of the great photographers of the late 20th century, put herself at the forefront of the battle against the Sacklers, both as an...
- 8/4/2022
- by Ryan Lattanzio
- Indiewire
At 87, Mel Brooks has lost none of his edge.
The legendary comic provocateur has phoned me from his Los Angeles office to promote the just-released 40th anniversary Blu-ray of his magnum opus, "Blazing Saddles," but before he submits to an interview, he quizzes me about Moviefone's unique pageviews and other Web traffic statistics, about which he knows more than I do. Having concluded that Moviefone is well-trafficked enough for him to talk to, he says, "Ask away, Susman!"
"Blazing Saddles," which made serious satirical points about racism while also making cinema safe for fart jokes, is certainly one of the most influential comedies ever made. Brooks believes it's the funniest film of all time (followed closely by his own "Young Frankenstein"), and he's still upset with the American Film Institute for disagreeing with him. He's making his case for the film with the Blu-ray (which contains a new making-of documentary,...
The legendary comic provocateur has phoned me from his Los Angeles office to promote the just-released 40th anniversary Blu-ray of his magnum opus, "Blazing Saddles," but before he submits to an interview, he quizzes me about Moviefone's unique pageviews and other Web traffic statistics, about which he knows more than I do. Having concluded that Moviefone is well-trafficked enough for him to talk to, he says, "Ask away, Susman!"
"Blazing Saddles," which made serious satirical points about racism while also making cinema safe for fart jokes, is certainly one of the most influential comedies ever made. Brooks believes it's the funniest film of all time (followed closely by his own "Young Frankenstein"), and he's still upset with the American Film Institute for disagreeing with him. He's making his case for the film with the Blu-ray (which contains a new making-of documentary,...
- 5/20/2014
- by Gary Susman
- Moviefone
If you thought that Robert De Niro had mellowed in his old age, think again. His new film with Luc Besson is feistily violent and he still hankers after making a sequel to Taxi Driver
To misquote Bananarama, Robert De Niro is waiting inside the hotel room, talking on his phone, though probably not in Italian. I'm outside with the PR, who keeps easing open the door to check if he's done. The publicist is starstruck; he doesn't want to intrude. He explains that he grew up watching De Niro movies and that Taxi Driver is basically the reason he got into this business to begin with. We agree that it's wise to make no mention of this. He might shut the door and lock us out altogether.
De Niro is in town to discuss his new role as an ageing bull in a witness protection programme, and this seems fitting.
To misquote Bananarama, Robert De Niro is waiting inside the hotel room, talking on his phone, though probably not in Italian. I'm outside with the PR, who keeps easing open the door to check if he's done. The publicist is starstruck; he doesn't want to intrude. He explains that he grew up watching De Niro movies and that Taxi Driver is basically the reason he got into this business to begin with. We agree that it's wise to make no mention of this. He might shut the door and lock us out altogether.
De Niro is in town to discuss his new role as an ageing bull in a witness protection programme, and this seems fitting.
- 11/15/2013
- by Xan Brooks
- The Guardian - Film News
Bradley Rubenstein: Can you give me a little of your backstory? I know you went to Yale for painting, but you have also been a sign painter and worked in movies and TV, and you are also a musician. How has all of that informed your work?
John Paul: In St. Louis I had solid training, and at Yale exposure to cutting-edge thinking.
The St. Louis years were dominated by the importance of Max Beckmann, who taught there after the war until the Fifties. His canvases were a part of a student's daily diet, lining a corridor between the schools of art and architecture.
In New Haven the lesson given was freedom! -- through hard work within the canons of modern art. Jack Tworkov and Al Held were the proponents -- and Knox Martin, a dynamic mind in the unlocking of intuitive power.
After a brief stint in teaching in New England,...
John Paul: In St. Louis I had solid training, and at Yale exposure to cutting-edge thinking.
The St. Louis years were dominated by the importance of Max Beckmann, who taught there after the war until the Fifties. His canvases were a part of a student's daily diet, lining a corridor between the schools of art and architecture.
In New Haven the lesson given was freedom! -- through hard work within the canons of modern art. Jack Tworkov and Al Held were the proponents -- and Knox Martin, a dynamic mind in the unlocking of intuitive power.
After a brief stint in teaching in New England,...
- 4/14/2013
- by bradleyrubenstein
- www.culturecatch.com
It's no surprise that the film adaptation of Kerouac's book is rocky: the Beats have rarely fared well on the big screen
The Beat generation was vibrant for just a short cultural moment, proclaiming a loud "no way" to the great American "yes sir" sighed by fat, complacent Eisenhower-era America. The Beats sought escape in jazz, marijuana and heroin; in racial and sexual transgression and spiritual questing; in language still deemed obscene (Ginsberg: "America, go fuck yourself with your atom bomb"); and with a determination to live free of ambitions and schedules. Their exploits unfolded in a world now vanished, where racial segregation was the norm, and jazz was still a living music, not a museum art; before Eisenhower shrank America with the transcontinental highways, and the road was still The Road. They're people in history now, the Beats.
It's taken 55 years for Kerouac's On The Road, the movement's signature novel,...
The Beat generation was vibrant for just a short cultural moment, proclaiming a loud "no way" to the great American "yes sir" sighed by fat, complacent Eisenhower-era America. The Beats sought escape in jazz, marijuana and heroin; in racial and sexual transgression and spiritual questing; in language still deemed obscene (Ginsberg: "America, go fuck yourself with your atom bomb"); and with a determination to live free of ambitions and schedules. Their exploits unfolded in a world now vanished, where racial segregation was the norm, and jazz was still a living music, not a museum art; before Eisenhower shrank America with the transcontinental highways, and the road was still The Road. They're people in history now, the Beats.
It's taken 55 years for Kerouac's On The Road, the movement's signature novel,...
- 10/5/2012
- by John Patterson
- The Guardian - Film News
Above: Larry Rivers’ poster for the first New York Film Festival.
With the New York Film Festival celebrating its 50th edition next week I thought I’d look back on the very first festival, 49 years ago, in 1963. Whereas this year’s festival has a main slate of 33 films (as well as abundant sidebars) the inaugural event, programmed by Richard Roud and Amos Vogel, had only 21 features and a selection of shorts. The festival opened—on a Tuesday evening, September 10th, 1963—with a now-classic but then ill-received Buñuel, The Extermining Angel, and closed with a film and a director that have been all but forgotten: Dragées au poivre (Sweet and Sour), a French-Italian comedy with an all-star cast, directed by one Jacques Baratier.
Of the 21 selections—handpicked by Roud and Vogel as the year’s best—only six (masterpieces by Buñuel, Ozu, Olmi, Kobayashi, Polanski and Resnais) are currently available on DVD in the Us,...
With the New York Film Festival celebrating its 50th edition next week I thought I’d look back on the very first festival, 49 years ago, in 1963. Whereas this year’s festival has a main slate of 33 films (as well as abundant sidebars) the inaugural event, programmed by Richard Roud and Amos Vogel, had only 21 features and a selection of shorts. The festival opened—on a Tuesday evening, September 10th, 1963—with a now-classic but then ill-received Buñuel, The Extermining Angel, and closed with a film and a director that have been all but forgotten: Dragées au poivre (Sweet and Sour), a French-Italian comedy with an all-star cast, directed by one Jacques Baratier.
Of the 21 selections—handpicked by Roud and Vogel as the year’s best—only six (masterpieces by Buñuel, Ozu, Olmi, Kobayashi, Polanski and Resnais) are currently available on DVD in the Us,...
- 9/21/2012
- MUBI
For the first 16 years of her life, Marina Lutz's every moment was filmed, even the most intimate. What was her father's motive – and when does art become exploitation?
When Marina Lutz, then aged 37, lost her mother to dementia 10 years after losing her father, she began the slow process of going through their storage. There she found box after box of reel-to-reel audio tape, Super-8 films and more than 10,000 photographs. They were all of her, each one taken or shot by her father, Abbot Lutz, microscopically documenting the first 16 years of her life through the prism of his lens. There were pictures of her on the lavatory, pictures of her naked as a pre-verbal child, some in which her hand was innocently holding her genitals; pictures of her in her underwear as a pubescent girl and footage of her asleep with her teddies, tossing and turning while having a dream.
When Marina Lutz, then aged 37, lost her mother to dementia 10 years after losing her father, she began the slow process of going through their storage. There she found box after box of reel-to-reel audio tape, Super-8 films and more than 10,000 photographs. They were all of her, each one taken or shot by her father, Abbot Lutz, microscopically documenting the first 16 years of her life through the prism of his lens. There were pictures of her on the lavatory, pictures of her naked as a pre-verbal child, some in which her hand was innocently holding her genitals; pictures of her in her underwear as a pubescent girl and footage of her asleep with her teddies, tossing and turning while having a dream.
- 4/16/2011
- by Louise Carpenter
- The Guardian - Film News
The Jewish Museum, one of the first major New York museums to celebrate -- and acknowledge -- Andy Warhol's Pop Art and Larry Rivers' pre-Pop, or bridge to Pop, is the perfect setting for this stunning major retrospective of Man Ray (curated by Mason Klein), in all his multiple phases and innovations. Man Ray, born Emmanuel Radnitzky to Russian Jewish immigrants in Philadelphia in 1890, who went from this to that, from New York Dada, to Parisian Surrealism, to compelling works of photography, was an artist, filmmaker, writer, sculptor, object maker and a fashion photographer. In order to grasp Man Ray's vision in its entirety, multimedia is an absolute must, and the special gift this show offers is its breadth: it is the first multimedia show of the artist in New York since 1974. Two...
- 11/17/2009
- by Barbara Probst Solomon
- Huffington Post
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.