LWLies 97: The All the Beauty and the Bloodshed issue
All the Beauty and the Bloodshed won the Golden Lion at the 2022 Venice Film Festival – a rare feat for a non-fiction film, albeit in this case, a deserved one. Director Laura Poitras had already made a name for herself as someone interested in meeting various controversial figures – Edward Snowdon, Julian Assange, Osama Bin Laden’s one-time bodyguard – and allowing them to give their side of an often complex story. While this new film initially feels like something a little different, it soon becomes clear that this is another portrait of an activist searching for ways to rail against the entrenched political hegemony and a general system of oppression.
We learn details of Goldin’s early life, but the story is filtered through her contemporary battle against the billionaire Sackler family, whose financial tendrils are sunk into the pharmaceutical industry, and whose mercenary economic practices have instigated a pandemic of opioid deaths in the US. Goldin takes specific umbrage with their attempts to greenwash their filthy lucre through endowments to some of the globe’s biggest art institutions.
In this issue, we place Goldin and her world in the spotlight, exploring her connections to film, the primacy of images and the collaborators she’s worked with along the way.
On the cover: It’s a thrill for us to announce a collaboration with the award-winning Canadian-American illustrator Nicole Rifkin, who has produced a collage-like representation of Goldin for the cover which nudges at the boundaries of traditional portraiture. Her portfolio can be viewed at reformforest.com. Elsewhere in the issue we have new work from Stéphanie Sergeant, Ian Addison, Lily Blakely and Oliver Stafford.
In this issue
Lead review: All the Beauty and the Bloodshed
Marina Ashioti lauds this extraordinary profile feature that explores the intersections between art and activism.
For Shame: A Conversation with Laura Poitras
Sophie Monks Kaufman interviews the filmmaker on her intimate collaboration with protagonist, Nan Goldin.
You Are Entering a World of PAIN
Activist Megan Kapler on the vital work she undertakes for Nan Goldin’s advocacy organisation, PAIN.
The Art of Dissent: A Conversation with Nan Goldin
Sophie Monks Kaufman meets the legendary photographer, activist and subject of All the Beauty and the Bloodshed.
Journey to the End of the Night
Hannah Strong reports from Stockholm on an innovative and immersive new exhibition of Nan Goldin’s slideshows.
The Cinematic Circle
Juan Barquin offers up a programming proposal for a Nan Goldin-inspired film festival series.
Anna Bogutskaya talks to Bette Gordon about the making of her Hitchcockian 1983 cult classic, Variety.
Alice Through the Looking Glass
Leila Latif celebrates the films of French director Alice Diop, particularly her stunning new drama, Saint Omer.
(Experience My) Transcendent Despair
Charles Bramesco teases out the intricacies of depicting activism on screen with the makers of the brilliant new film, How to Blow Up a Pipeline.
In the back section:
The Best Films of 2022
A small sample of our favourite movies to be released in the UK between 1 February 2022 and 31 January 2023.
Sophie Monks Kaufman talks to the Canadian filmmaker about how cultivating an environment reflective of the drama in her film Women Talking was a vital aspect of her work.
David Jenkins meets the Cornish maestro to discuss his new film Enys Men and why everyone should stop worrying and learn to love 16mm.
Trevor Johnston unlocks the secrets of Spielberg (via his new film The Fabelmans) with screenwriter and doyen of American theatre.
Marina Ashioti chats to the Spanish director of Golden Bear-winning Alcarràs to talk lyricism and realism in film.
Rōgan Graham goes face-to-face with the director of scintillating civil rights drama, Till.
Charles Bramesco hears a fun story about bubble gum from the writer/director of the formidable Tár.
In this issue
Lead Review: Glass Onion: A Knives Out Mystery
David Jenkins has the ride of a lifetime on Rian Johnson’s politically trenchant whodunit marvel.
Back in the Game
Adam Woodword has a long and winding chat with writer/director Rian Johnson on his inspirations behind the continuing saga of Benoit Blanc.
The world needed an iconic super sleuth, and Daniel Craig delivered in Benoit Blanc. Hannah Strong meets him to talk fits, parties and his pivot to comedy.
Four below-the-line artists delve into the secrets of working with Rian Johnson and the craft behind Glass Onion.
The LWLies Short Film Detective Agency
A team of cine-sleuths look back at the first flirtations with moviemaking of a host of directorial legends.
A Page Ripped From the LWLies Gazette
Classified ads. Movie detectives A-Z.
In Search of Simenon
Jeff Billington embarked on a Georges Simenon odyssey and lived to tell the tale.
To Kill for Love is Such a Thrill
Kyle Turner on the intersections between musical-theatre godhead Stephen Sondheim, and the time-honoured murder mystery.
Across the Universe
Michael Leader explores how the Beatles have influenced movies beyond their music.
In the back section
Leila Latif meets the Hollywood legend to comb over his career as actor and activist, and his strange and brilliant new role in Noah Baumbach’s White Noise.
The Queens-born director of Armageddon Time waxes philosophical on time and memory with Hannah Strong.
The beloved Bones and All director on how he jumped at the chance to work with his old muse Timothée Chalamet again.
The Aftersun director chats to Rafa Sales Ross about personal cinema and the melancholy aspects of nostalgia.
The double Palme d’Or-winner on Triangle of Sadness and his provocative take on the #MeToo movement.
The star of Corsage speaks to Marina Ashioti about playing an Austrian queen and working alongside many cute dogs.
Noah Baumbach’s White Noise
Laure de Clermont-Tonerre’s Lady Chatterly’s Lover
Li Ruijun’s Return to Dust
James Gray’s Armageddon Time
Alexandre Koberidze’s What Do We See When We Look at the Sky?
Oliver Hermanus’ Living
Guillermo del Toro’s Pinocchio
Ruben Östlund’s Triangle of Sadness
Sebastian Lelio’s The Wonder
Charlotte Wells’ Aftersun
Bianca Stigter’s Three Minutes: A Lengthening
Phyllis Nagy’s Call Jane
Nathalie Álvarez Mesén’s Clara Sola
Miryam Charles’ Cette Maison
Maria Schrader’s She Said
Alexandre O Philippe’s Lynch/Oz
Luca Guadagnino’s Bones and All
Agnieszka Smoczyńska’s The Silent Twins
Alejandro González Iñárritu’s Bardo
The Dardenne brothers’ Tori and Lokita
Jafar Panahi’s No Bears
Mary Mylod’s The Menu
Marie Kruzer’s Corsage