Nan Goldin

The story of the legalization and subsequent rise of the porn industry in New York’s Times Square from the early ’70s through the mid ’80s, exploring the rough-and-tumble world that existed there until the rise of HIV, the violence of the cocaine epidemic and the renewed real estate market ended the bawdy turbulence of the area.

A repressed young woman becomes obsessed with pornography and the mysterious rich patrons of the Times Square porn theater where she works selling tickets.

The life of internationally renowned artist and activist Nan Goldin is 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.

Divorced private detective Francois Maneri is assigned by his agency to investigate the disappearance of Rachel, a young student who has been missing for six months. After interviewing Rachel's family, friends and classmates, Francois is attacked and injured by an anonymous assailant and becomes reluctant to continue his search. But when Rachel's body is found, Francois is drawn deeper into the investigation as he discovers the dead girl's secret life.

The ghosts of a middle-aged woman and a precocious little girl help an unwed jazz musician and a bar dancer reverse their bad fortune.

A collage-like, incisive look at the life of writer, painter and thinker David Wojnarowicz, whose powerful, unapologetic way of seeing the world gave voice to queer rights at a critical time in US history.

Nan Goldin's slide show “The Ballad of Sexual Dependency” converted, mixed and screened as a film by the artist, portraying the American underground culture, the no wave scene, post-Stonewall gay subculture, among others.

The Other Side was produced as an homage to Nan Goldin’s transgender friends whom she lived with and photographed from 1972 to 2010. The work celebrates the “gender euphoria” of her friends, in their possibilities for transcendence.

Goldin’s first work made up solely of found-footage video, Sirens assembles clips from movies by the likes of Kenneth Anger, Lynne Ramsay, Michelangelo Antonioni, Henri-Georges Clouzot, and Jack Smith, as well as wild documentary footage from the Manson family. Sirens was inspired by Donyale Luna, the first Black supermodel, who overdosed at the age of 33.

A young woman escapes from a mental hospital during the chaos of a nearby multiple-car accident. She is mistaken for a shock victim and is driven to her sister's house by a rescue volunteer. Then the real story begins...

When Nicole, a young copy-shop employee, is hired to translate an ancient Chinese manuscript, she soon finds that the document has strange powers that little by little begin to exert an eerie influence over her life.

Under Lock and Key is the single-channel version of an installation that premiered at the Wexner Center for the Arts in 1993. Using the "talking head" confessional as a stylistic device, B creates a social and psychological narrative wherein the act of speaking becomes therapeutic affirmation. B asked individuals who had suffered domestic violence to compose and read letters to those who had abused them. Their stories, addressed to their abusers and spoken directly to the camera, are intercut with comments by serial killer Ted Bundy and quotes from convicted murderer Jack Henry Abbott's prison memoir, In the Belly of the Beast.

This documentary features Nan Goldin’s celebrated 1996 mid-career photography retrospective at the Whitney Museum of American Art. Goldin’s exhibition filled an entire floor at the Whitney Museum with pictures that chronicle her involvement and fascination with the alternative, “downtown” culture of New York City, Boston, Berlin, Tokyo, etc. Culled from a period that spans more than 25 years of taking pictures, Goldin’s desire to make a visual diary of her friends and lovers, as well as her own life, makes for a moving, highly charged, visual experience.

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A moving-image work, with a score composed by Soundwalk Collective, that juxtaposes photographs Goldin has taken over the last twenty years of Classical, Renaissance, and Baroque masterpieces with portraits of her own friends, family, and lovers. Photographs of paintings and sculptures from museums around the world including the Galleria Borghese, Louvre, Metropolitan Museum of Art, and Prado flow seamlessly with images of Goldin’s community, crossing centuries to resonate in harmony with each other, revealing uncanny resemblances in composition, color, form, and emotional tone. Goldin’s ability to draw such precise visual connections raises profound questions about traditional hierarchies within art, and the enduring human compulsion to memorialize beauty in works fueled by love, and grief. — Gagosian

Considered the most intimate portrait of life & work of American photographer Nan Goldin. Collaborating with British documentary director Edmund Coulthard, the film also paints a sharp portrait of a generation, reconstructing disquiet from the extraordinary biographical account of the photographer.

Liberty’s Booty is an investigation into prositution from a female perspective under a late capitalist economy. The film is also a document and a celebration of a New York subculture in the late seventies. With a dense mix of real testimonies, verité footage and acted out scenarios, this film examines power relations and the commodification of the body. The film alludes to a growing globalisation with its reference to a MacDonalds strike in Dublin and imagery of Pope Paul’s visit to Ireland in 1979 which in retrospect, is seen as marking a final attempt to halt the transformation of Irish society.

Memory Lost (2019-2021) recounts a life lived through a lens of drug addiction. This captivating, beautiful and haunting journey unfolds through an assemblage of intimate and personal imagery to offer a poignant reflection on memory and the darkness of addiction.

Sisters, Saints, & Sibyls, a landmark new multimedia installation that focuses on the experience of “women who are trapped, literally and figuratively, in both psychological and mythical contexts.” Thematically, the three-screen-installation explores Goldin’s personal narrative of her sister Barbara’s institutionalization and suicide at an early age, presented alongside tracings of both the mythological history of Saint Barbara and the artist’s own contemporary history of hospitalization.

Bette Gordon describes her first feature film as “a narrative derived from film’s own material and my concern for exploring issues of representation and identification in cinema."