{"id":15055,"date":"2023-02-13T23:11:03","date_gmt":"2023-02-14T04:11:03","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=15055"},"modified":"2023-02-13T23:39:38","modified_gmt":"2023-02-14T04:39:38","slug":"all-the-beauty-and-the-bloodshed-qa-with-director-laura-poitras","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=15055","title":{"rendered":"All the Beauty and the Bloodshed : Q&#038;A with Director Laura Poitras"},"content":{"rendered":"<div id=\"movieSynopsis\" class=\"movie_synopsis clamp clamp-6 js-clamp\" data-qa=\"movie-info-synopsis\"><strong>Synopsis<\/strong> : Directed by Academy Award\u00ae-winning filmmaker Laura Poitras, All the Beauty and the Bloodshed is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin told through her slideshows, intimate interviews, ground-breaking photography, and rare footage of her personal fight to hold the Sackler family accountable for the overdose crisis.<\/div>\n<div data-qa=\"movie-info-item-label\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Genre<\/strong>:\u00a0Documentary, Biography<\/div>\n<div data-qa=\"movie-info-item-label\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Original Language<\/strong>:\u00a0English<\/div>\n<div data-qa=\"movie-info-item-label\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Director<\/strong>:Laura Poitras<\/div>\n<div data-qa=\"movie-info-item-value\"><\/div>\n<div class=\"meta-value\" data-qa=\"movie-info-item-value\"><strong>Producer<\/strong>:Nan Golden, Howard Gertler, John S. Lyons, Yoni Golijov, Laura Poitras<\/div>\n<div class=\"meta-value\" data-qa=\"movie-info-item-value\"><\/div>\n<div data-qa=\"movie-info-item-value\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Writer<\/strong>: Laura Potras<\/div>\n<div class=\"meta-value\" data-qa=\"movie-info-item-value\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Release Date (Theaters)<\/strong>:\u00a0<time datetime=\"Nov 23, 2022\">Nov 23, 2022<\/time> \u00a0Limited<\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Box Office (Gross USA)<\/strong>:\u00a0$431.6K<\/div>\n<div data-qa=\"movie-info-item-label\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Runtime<\/strong>:\u00a0<time datetime=\"P1h 57mM\">1h 57m<\/time><\/div>\n<div data-qa=\"movie-info-item-label\"><\/div>\n<div class=\"meta-label subtle\" data-qa=\"movie-info-item-label\"><strong>Distributor<\/strong>:\u00a0NEON<\/div>\n<div data-qa=\"movie-info-item-label\"><\/div>\n<div style=\"text-align: center;\" data-qa=\"movie-info-item-label\"><strong>Q&amp;A with Director Laura Poitras<\/strong><\/div>\n<p>&nbsp;<\/p>\n<p><strong>Q: Working with Nan Goldin, telling this story with her, seems to have been a totally new and different type of challenge for you. Where did you start with Nan? What was the entry point?<span class=\"Apple-converted-space\">\u00a0<\/span><\/strong><\/p>\n<p>LP: First of all, Nan sends her regrets. She would have loved to have been here, but she had a conflict.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Every film is a collaboration and the director is often alone even in situations like this. But you&#8217;re right, this film was unique for a number of reasons. First, some of the news about Nan&#8217;s work, and she was a clever collaborator in the telling of that and her personal experience. And secondly, she inspired the film. At the end of 2017, Nan read Patrick Radden Keefe&#8217;s article in <i>The New Yorker<\/i> [&#8220;The Family That Built an Empire of Pain&#8221;, October\u00a030, 2017 issue] that was about the Sackler family. It was a shorter version that he expanded into book form, &#8220;Empire of Pain&#8221;.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>She had just come out of her own OxyContin addiction, as you see in the film, and she created this organization [seen] in the film [P.A.I.N. (Prescription Addiction Intervention Now)]. We met for another reason, and she told me she was looking for additional producers and was trying to talk to them. So that&#8217;s how I got in. I felt she entrusted it to me. Originally, she had been thinking about the focus for her pain and that&#8217;s what I thought as well. It kindof stayed within my previous works about contemporary stories of people confronting power. Then as I began working on it, it became really apparent how important it was to talk about her, to do a portrait of Nan.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><strong>Q: So in creating this new documentary portrait of her weird life as an artist and as a woman, you have this process of re-documentation and re-textualization, finding new truths in both her work and what her work and life has led to in her activism. It seems like a bit of a miracle that you were able to do that with her. Can you talk a bit about approaching that?<span class=\"Apple-converted-space\">\u00a0<\/span><\/strong><\/p>\n<p>LP: Yeah. Oftentimes I come into a screening at the end just to acknowledge the emotion of the film and how it matches herself. It&#8217;s incredibly moving how she does it in her own work and how she did it with me, and with the editors and producers on the film. It&#8217;s quite extraordinary how much she shared about herself. The experience of making it was also incredibly emotional, to sit with her and do these extensive audio interviews.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>And then somewhat gradually over time, I knew that the Sackler throughline was essential. Then quickly I learned about the activism she did during the AIDS crisis and I knew immediately that those two things had to converge in the film, that that was the convergence moment. I wanted to put them in dialogue for a number of reasons, one being the historical amnesia we have in this country. We forget, and we need to remember AIDS, we need to remember those we lost, we need to remember those who struggled, and to keep their memories alive. That was really important.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>A key moment in this process of making the film was when I saw Nan&#8217;s art work about her sister Barbara, and it&#8217;s called &#8221; Sisters, Saints, &amp; Sybils&#8221;, it&#8217;s a three-panel installation. It&#8217;s devastating, I was [wrecked for days]. Barbara [was] a young woman who was rebellious and outspoken and sexual at a time when that just wasn&#8217;t accepted [for women]. That for me becomes really a [key] part of the film: her sister, and not just the tragedy of her loss, but this fighting against denialists, that there is this cruelty in this society and it destroys people who are different or who are outsiders. And then, to pretend that that doesn&#8217;t exist &#8212; it&#8217;s almost that the cruelty [is] bad enough, but this is more vivid: this idea that it&#8217;s not happening. [This caused] a sense of rage that Nan felt about her situation.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-15058\" src=\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2-1024x564.jpg\" alt=\"\" width=\"696\" height=\"383\" srcset=\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2-1024x564.jpg 1024w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2-300x165.jpg 300w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2-768x423.jpg 768w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2-696x383.jpg 696w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2-1068x588.jpg 1068w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2-762x420.jpg 762w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bloodshed2.jpg 1318w\" sizes=\"(max-width: 696px) 100vw, 696px\" \/><\/p>\n<p><strong>Q: That&#8217;s always been a very powerful element of her work. The rage she feels at the addiction compelled her to document these lives.<\/strong><\/p>\n<p>LP: Yeah, and Nan and I had these really deep conversations about it. All of her work is profoundly beautiful but maybe it&#8217;s in a less direct way. My outlook is political, maybe emotional in a geopolitical way, and her work is profoundly political in this sortof intimate way.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>I was situating her work, not leaning it towards [a particular way]. She felt it was important that when you talk about the radicalness of \u201cqueens\u201d, that it wasn\u2019t a &#8220;thing&#8221; or a dare to be a rebel. They just were, they were being themselves, and saying \u201cfuck you\u201d to society. And sometimes they protested. It was [about] how to present that in the film that is true in terms of [their lives].<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><strong>Q: You talk about the throughline of activism as a guidepost for you and within the structure of the film. Can you talk a little bit about the melding of the Sackler story with her personal story?<span class=\"Apple-converted-space\">\u00a0<\/span><\/strong><\/p>\n<p>LP: Yeah. For me, it was the book. It was really the book in the sense that I might be the right filmmaker to do this movie. Whereas I got a portrait of an artist, a renowned artist who I loved. I was kindof obsessed with these actions she was doing with museums, and I was obsessed with the failure of our government and the failure of the judiciary system, and yet here it was in these cultural spaces where there was emotional reckoning. That feels so essential to me, to be able to tell that story and to document it.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>But then I think it couldn\u2019t just be that. For me, it was supposedly the challenge of the film, and what was the most thrilling thing about making the film were these fields juxtaposed, the past and present. So for instance, you go from the middle of an action to back in time to Nan invading New York or dancing. To me that\u2019s like, here is where Nan enters the art world, and then you go to, here\u2019s where she conquers the art world, and that\u2019s when Nan is the renowned, famous artist being collected by all the institutions that she\u2019s protesting. But oh, let\u2019s rewind, and let\u2019s see how she conquered the art world.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>That\u2019s the kind of stuff that you usually can only do if you\u2019re writing a script. Partly because she has a epic life, but also because it was material to tell it as a nonfiction filmmaker. So the fact that filmmakers like Vivienne Dick documented Nan\u2019s loft on the Bowery, and that Betty Gordon was in Tin Pan Alley \u2014 that\u2019s incredible to be able to cut to Nan in Variety and at the bar in Tin Pan Alley. I loved [that], because who has the [framing] of life that Nan has with that kind of art and also can be her photographs, obviously, and then this other part of her.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><strong>Q: Can you talk a little bit about the art world in the context specifically of the intense nature of the opioid crisis, which clearly is central to the film?<\/strong><\/p>\n<p>LP: Yeah, they didn\u2019t really want it to be \u2014 and I don\u2019t think this is a critique of other types of action, like political actions and other actions that are disruptive. But they really wanted to be respectful of the spaces and people who work in the spaces, and there\u2019s a lot of support by the museum staff. They even protested that happening and they had support for that leadership. This is why we have to have that conversation. There are dark, dirty mysteries in art and how it comes to be in museums of big art, . . . and we can\u2019t ignore them. The Sacklers are obviously uniquely [capable of] wanton greed and lack of [integrity]. But they\u2019re not complete outliers.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>The boards are actually thinking a little bit of this. I do think these questions are fair when it comes to arts institutions.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-15060\" src=\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-1024x763.jpg\" alt=\"\" width=\"696\" height=\"519\" srcset=\"https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-1024x763.jpg 1024w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-300x223.jpg 300w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-768x572.jpg 768w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-696x518.jpg 696w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-1068x795.jpg 1068w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-564x420.jpg 564w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-80x60.jpg 80w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3-265x198.jpg 265w, https:\/\/cinemadailyus.com\/wp-content\/uploads\/2023\/02\/All-the-Beauty-and-the-Bllodshed3.jpg 1128w\" sizes=\"(max-width: 696px) 100vw, 696px\" \/><\/p>\n<p><strong>Q: I think it\u2019s being understood that the existential struggle is perhaps a procedure of both sides. <span class=\"Apple-converted-space\">\u00a0 <\/span>Meaning the institutions need to survive in a country where there is no governmental support for the arts. You probably wouldn&#8217;t want that in the sanctity of our government, but the existential struggle of actual people, many of whom are artists that the institutions are involved with, is actually part of [it].<\/strong><\/p>\n<p>LP: Yeah, I agree. That was not an immediate consensus, but since it\u2019s put that way, Nan and Kane actually did the first action at the Met, and that didn\u2019t even make a statement. So it took a year and a half of going to institutions and doing these actions. And also talking to investigative journalists, many, many, many others. This shift happened because of the journalists who would not let this story go away and end.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><strong>Q: Talking in the context of your signature narrative elements and ideas that you\u2019ve brought to your films, and one of them is an investigative journalistic impulse, this strategy, this humanist impulse. You focus on people rather than ideas about people or pop culture or any one person. But there\u2019s something new in this film, and maybe it\u2019s catharsis. You and Nan actually got something done.<span class=\"Apple-converted-space\">\u00a0<\/span><\/strong><\/p>\n<p>LP: Yeah, there are many levels of catharsis there. I make a documentary like an experimental art form. Like . . . Nan\u2019s way of storytelling and constructing from her own visual language, that\u2019s not just a reaction to a story that\u2019s character-driven in the same way. That was really liberating to be able to make a film with Nan that could let me have a different range of voices, and obviously, this range of emotion that existed in Nan\u2019s work. I find it moving, and if you didn\u2019t feel that, I think I would absolutely have failed this film. I hope you felt that, because Nan does deserve it.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><strong>Q: Thank you, Laura.<span class=\"Apple-converted-space\">\u00a0<\/span><\/strong><\/p>\n<p><a href=\"https:\/\/cinemadailyus.com\/author\/nobuhosokigmail-com\/\">Check out more of Nobuhiro&#8217;s articles<\/a>.<\/p>\n<p><strong>Here&#8217;s the trailer of the film<\/strong>.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"wiuKv8l-MgI\"><iframe loading=\"lazy\" title=\"ALL THE BEAUTY AND THE BLOODSHED | Official Trailer | Altitude Films\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/wiuKv8l-MgI?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Synopsis : Directed by Academy Award\u00ae-winning filmmaker Laura Poitras, All the Beauty and the Bloodshed is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin told through her slideshows, intimate interviews, ground-breaking photography, and rare footage of her personal fight to hold the Sackler family accountable for the overdose crisis&#8230;.<\/p>\n","protected":false},"author":2,"featured_media":15061,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[35],"tags":[10741,14219,14218,14223,14222,10911,14220,10912,14221,14224,14217],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>All the Beauty and the Bloodshed : Q&amp;A with Director Laura Poitras | Cinema Daily US<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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