“All the Beauty and the Bloodshed,” Laura Poitras’s excellent, wrenching documentary about Nan Goldin, explores the power of the now 69-year-old photographer’s vision.
In the late nineties, I had in my possession a copy of the photographer Nan Goldin’s monograph, “,” which was published in concordance with her 1996 Whitney Museum mid-career survey of the same name. I no longer have the book , but I can still vividly recall most of the photographs in its pages.
What Goldin has seen—and the power of her vision—is explored with great skill and care in “All the Beauty and the Bloodshed,”’s excellent, wrenching documentary about the now sixty-nine-year-old photographer. Poitras’s aim in the film is twofold.
Following an operation in 2014, Goldin was prescribed the opioid OxyContin as a painkiller. Although she took it as directed, she “got addicted overnight,” she, in what amounted to P.A.I.N.’s founding manifesto. Her life quickly turned into one that “revolved entirely around getting and using Oxy.
“All the Beauty and the Bloodshed” opens with footage from the first direct action that P.A.I.N. took, in March of 2018, beside the Temple of Dendur in the Met’s Sackler Wing—possibly the crown jewel of the Sacklers’ philanthropy. “I’m really nervous,” Goldin mutters. Dressed in black, with her curly ginger hair pulled back and her lips slicked in red, she huddles with fellow-activists before breaking into a full-throated mike check.
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