All the Beauty and the Bloodshed – first-look… | Little White Lies

Festivals

All the Beau­ty and the Blood­shed – first-look review

03 Sep 2022

Words by Leila Latif

Woman with curly red hair wearing glasses, standing in front of a curtain.
Woman with curly red hair wearing glasses, standing in front of a curtain.
Lau­ra Poitras doc­u­ments US artist Nan Gold­in’s attempts to expose the Sack­ler fam­i­ly for their role in the US opi­oid cri­sis, but with mixed results.

The opi­oid cri­sis is a man-made atroc­i­ty. When the Sack­ler fam­i­ly – via their com­pa­ny Pur­due phar­ma­ceu­ti­cals – brought painkiller Oxy­Con­tin onto the mar­ket in 1997 they unleashed untold mis­ery on the unsus­pect­ing Amer­i­can pop­u­la­tion, as mar­ket­ing cam­paigns and bonus incen­tive schemes encour­aged doc­tors to pre­scribe it to patients while false­ly reas­sur­ing every­one that the risk to their health was min­i­mal. Even patients tak­ing Oxy­Con­tin strict­ly as advised by their physi­cians found them­selves devel­op­ing addic­tions. As Lau­ra Poitras’ All The Beau­ty All the Blood­shed repeat­ed­ly reminds us, this is not a case of amoral cor­po­rate greed but of mass mur­der, which in 2021 alone left 107,000 peo­ple dead in the Unit­ed States.

The Sack­ler fam­i­ly have noto­ri­ety beyond phar­ma­ceu­ti­cals – many peo­ple are famil­iar with their name because of its preva­lence in the art world. Muse­um wings, gallery build­ings, and exhi­bi­tions have proud­ly dis­played the Sack­ler name in recog­ni­tion of their hefty finan­cial and artis­tic dona­tions, includ­ing the Met­ro­pol­i­tan Muse­um of Art, the Guggen­heim, The Lou­vre, and the Tate. It is at this inter­sec­tion of art and cor­rupt phar­ma­ceu­ti­cals that lies acclaimed artist and activist Nan Goldin.

Nan Goldin, as well as being one of the world’s most impor­tant liv­ing Amer­i­can artists and a pro­lif­ic doc­u­men­tar­i­an of its LGBT+ his­to­ry, was a huge fig­ure in the down­town” scene in New York through­out the 70s, 80s and 90s. The film cov­ers her tur­bu­lent child­hood and rise in the New York art world, while weav­ing in her present day activism where she is deter­mined to make the Sack­lers pay for their crimes.

Goldin’s pho­tog­ra­phy and slideshows dom­i­nate the telling of her back­sto­ry, shown over her own dead­pan, elo­quent nar­ra­tion. We begin with an unhap­py child­hood, (she believes her par­ents had no busi­ness hav­ing chil­dren”). The trau­ma from which Goldin can still not recov­er is the fate of her free-spir­it­ed sis­ter, who was failed by their par­ents and the health­care sys­tem before she died by sui­cide. Goldin broke the cycle by find­ing a com­mu­ni­ty of LGBT+ artists in the 70s, but despite pos­sess­ing a bril­liance evi­dent from even the ear­li­est of pho­tos the film shows us, she spent decades as an out­sider in the art world. Nan faced pover­ty, abuse, and drug addic­tion before she final­ly found the suc­cess she deserves.

As an activist her motives are some­what neb­u­lous, but what pow­er she does have in the art world she wields with unwa­ver­ing zeal. Stead­fast­ly boy­cotting insti­tu­tions like the Tate and oth­er gal­leries (where her work is part of their per­ma­nent col­lec­tion) until they stop their asso­ci­a­tion with the Sack­lers, she puts her own rep­u­ta­tion on the line to achieve change. She also has a flair for cre­ativ­i­ty in the protests that she and her group P.A.I.N (Pre­scrip­tion Addic­tion Inter­ven­tion Now) com­mit them­selves to, stag­ing events where pre­scrip­tions and pill bot­tles are rained down on unsus­pect­ing muse­um patrons.

The mate­r­i­al and the life from which the film draws is not just good, it is utter­ly extra­or­di­nary, which makes it a shame that the result­ing film feels less than a sum of its parts. Each of these sub­jects would eas­i­ly war­rant a sin­gle ded­i­cat­ed doc­u­men­tary, but togeth­er there is a slight vague­ness of purpose.

As we come to the end, Nan final­ly gets some answers but – aside from the reveal of the dev­as­tat­ing ori­gin of the title – it’s hard to gauge how much those answers real­ly mat­ter to those con­cerned. Whether the results of Goldin and P.A.I.N’s cam­paign­ing save oth­er people’s friends and fam­i­ly the way she couldn’t save her own, or sim­ply draws atten­tion to a grim but per­ma­nent real­i­ty, remains unclear. Ulti­mate­ly the sto­ry of Nan Goldin and the opi­oid cri­sis is such a com­pli­cat­ed and dif­fi­cult tale that even the light­est sim­pli­fi­ca­tion does both a disservice.

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