‘All the Beauty and the Bloodshed’ Review: Laura Poitras’ Film About How Nan Goldin Changed Her Guilt Against the Sackler Family

Like post-punk’s Diane Arbus aesthetic, it delves into how Goldin’s activism is rooted in trauma.



“All the Beauty and the Bloodshed” takes two elements, Nan Goldin’s art and her work, and shows how they fit together in a thought-provoking way.


In All Beauty and Blood, photographer Nan Goldin tells a harrowing, blatant, and in some ways rather funny anecdote of her first collection of photographs in the 1980s. She was often a drag queen and junkie, and would try shopping in galleries and museums with shots of the various people and situations she experienced as part of the humming subculture of her Village in East New York. was rejected outright. Her preferred arbiter, inevitably male, favored black and white, elegant and meticulously composed photography.


Goldin’s pictures were in gaudy verite colors and set in very shabby environments (cluttered bohemian apartments, ordinary people just hanging out), so the gallery experts had a visual organization. It didn’t seem like it. art.


This is speaking with hindsight 40 years later. Because what you’re seeing now is Goldin’s none other than post-punk’s Diane her arbus, and the deceptive “randomness” of her image pulsed to life and was the key to its power and power. Because. mysterious. In fact, she had an extraordinary eye for composition. Her photos, which she put together in a slideshow like “The Ballad of Sexual Addiction,” seemed captured on the spot, PortraitThey told the stories of the people in it, so the more I looked, the more I learned.


‘All the Beauty and the Bloodshed’, director Laura Poitras’ fifth documentary feature film ‘(Citizenfour’, ‘Risk’), is not a traditional biography, but a portrait of Goldin, an artful and satisfying film. There are many. Half of it is about Goldin’s life and work, and the other half is about Purdue, the drug company that sparked the opioid crisis, against the Sackler family, owners of her Pharma, which she launched in 2018. About the campaign.


“Made” is the required word. Watch Alex Gibney’s 4 hours of his HBO documentary “The Crime of the Century” or Patrick Ludden Keefe’s “Empire of Pain: The Secret History of the Sackler Dynasty” (Keefe is interviewed in Poitras’ film ), you will be able to understand everything. overprescription of opioids, intentionality Poisoning people with them was the cornerstone of the Sackler family’s business plan.


The Sacklers have effectively become drug lords under the guise of medical legality. Her half-million deaths in the United States are due to opioid addiction, but it wasn’t until Goldin herself became addicted to OxyContin in 2017 that she realized the dangers and pursued Perdue’s multi-layered pharma-planned I learned about computational methods in Crisis for profit.


This infuriated Goldin. But what she learned was that the Sacklers were among the most respected art donors of the past half-century, donating millions of dollars to the world’s most famous museums to promote their work. that they tried to divert attention in no small part from their business practices by cultivating and cultivating Image as a philanthropist. Many of these institutions had Sackler her wing, like the Metropolitan Museum of Art in New York. And since the art world was Goldin’s, she personally disliked the Sackler family’s image-laundering hypocrisy. As she says in the film, “They washed blood money through museums and college halls around the world.” She started a protest to bring the Sacklers’ guilt to light. decided to kick the family out of the art world. At the time, this seemed like the definition of a punkish David challenging corporate Goliath. She was right to fight the Sacklers, but she was an artist, not a lawyer or a politician. How much could she really do?


As one who has been trapped and resentful by Sackler’s story (i.e., the story behind the story of the opioid crisis, a catastrophe that continues to this day), I thought for a while that “all beauty and bloodshed” It was a movie by Nan Goldin that I really wanted to see. I have long found her photographs to be extraordinary and have wanted to know more about her. Kind of, but probably not to this extent.


But “All the Beauty and the Bloodshed” takes two elements—Nan Goldin’s art and her work—and shows in a thought-provoking way how they actually fit together. The film pays tribute to her activism and not only presents it as a living tale of a whistleblower, but also uses it to reveal her art.


What’s profound and inflammatory about All the Beauty and the Bloodshed is how Laura Poitras digs up the story of how Nan Goldin’s photography is deeply rooted in trauma. Photos have always had a life force. She began incorporating them in her 1973 Boston. There she first connected with what was then considered a gay subculture, drag her queen Demond (where she could be arrested for just walking down the street) and cut her bones. established a deep understanding. The humanity she captured in her photos was tonic. But the film returns to the story of Goldin’s ignorant, domineering, and oppressive parents and her older sister Barbara, a free spirit who came to the suburbs too early in the 1960s. We now consider ourselves healthy. She committed suicide in 1964 (when Nan was 11) when she was 18 by lying on a railroad track.


The whole picture of this tragedy haunted Nan Goldin. We see an excerpt from a psychiatrist’s report suggesting that the girls’ mother needed far more mental health treatment than Barbara. She was locked up for no good reason. It feels like Goldin viewed her sister’s death as a de facto murder (although the documentary never mentions this). And she was drawn to, first in Boston, then in New York, in the grimy world of the Bowery, people with external damage: clothes (torn, frayed; S&M leather), use drag. And the abandonment of the exhibitionist, the atheistic and perhaps charming hunger look in their eyes.She was filming her own version of Andy Warhol’s factory, but without her factory. did.


Lurking behind Goldin’s work is the sense that life itself is a predator. Her mother was a predator (to her), and that’s what struck her deep down about Sackler, and they were unjust authority to recreate that oppression. We see how the currents of pain became apparent during the AIDS crisis that devastated the community in which she lived, and she recorded with unrelenting enthusiasm and humanity.


Goldin herself is often depicted in her photographs, where she looks like a post-punk pixie with the light on her eyes. She worked at a strip club in New Jersey and revealed for the first time in the film that she became a sex worker at a brothel in New York. That’s how she funded the purchase of raw film. She’s bisexual, has starred in playfully subversive films with Bette Gordon and Vivian Dick, befriended incumbent scene star and former John Waters star Cookie Mueller, and starred in Tin Pan Alley. I worked behind bars. They refused to have a male bouncer), and it became a night owl community of dispossessed people.


But Goldin, now 68, has also become an unlikely and exciting figure. artist of activism. You can see the events she organized to spotlight Sackler’s pedestal in the art world. Some of them are ingenious, such as dropping hundreds of opioid prescriptions as confetti during the opening of the Guggenheim Museum. They don’t want to risk losing their funds. But she kept the drum beat and the dominoes began to fall when the National Her Portrait Gallery in London agreed to turn down her $1 million donation from the Sackler family after a protest. follow. Goldin’s goal was to remove Sackler’s name from the museum’s galleries. And by the end of the documentary, the Met sets the earthquake precedent and does just that. The true subject of “All the Beauty and the Bloodshed,” and in some ways Goldin’s art, is the triumphant moment, even though it remains the tearing price of trauma.





The post ‘All the Beauty and the Bloodshed’ review: Laura Poitras’ film about how Nan Goldin changed her guilt toward the Sackler family first appeared in The Media Pub News it was done.

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