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— Maybe he doesn’t take advantage of anyone. — That’s impossible.

Happy as Lazzaro, 2018 dir. by  Alice Rohrwacher

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Marlene Dumas, Naomi, 1995. 

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Little Women (2019), Greta Gerwig

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Little Women (2019) // Lady Bird (2017) // Barbie (2023) dir. Greta Gerwig (insp)

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Caravaggio (Italian, 1571-1610) The Incredulity of Saint Thomas, ca.1601-02 Sanssouci Picture Gallery Thomas the Apostle—often referred to as “Doubting Thomas”—was one of the twelve main disciples of Jesus Christ. In the Gospel of John, Thomas famously doubted Jesus’ resurrection, telling the other disciples, “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe” (John 20:25). Jesus then appeared and offered to let him do just that. Upon seeing Jesus in the flesh with his own eyes (and possibly touching the wounds), Thomas proclaimed, “My Lord and my God!” (John 20:28). Jesus responded with one of the most powerful and prophetic statements about faith in all of Scripture: “Because you have seen me, you have believed; blessed are those who have not seen and yet have believed” (John 20:29).

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Terence Davies Of Time and the City

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All the Beauty and the Bloodshed.

D: Laura Poitras (2022).

Addiction also drives Laura Poitras documentary portrait of photographer Nan Goldin, who ran away from a repressive dysfunctional family (after the suicide of her brilliant and beloved sister) and dove into the bohemian demimonde of Boston and New York chronicling the drug addicts, queers, drag queens, hookers, sex workers etc. of lower bohemia. As a photographer she smashed the difference between artist and subject showing the underground denizens as her makeshift family (and during the 80s and 90s AIDS crisis, the decimation of that family). The film tells her story but intercuts it with her current struggle against the drug corporation Purdue Pharma over their marketing of oxycontin which helped turn her into an opioid addict and nearly killed her. Her activism is focused on pressuring the most prestigious museums in the art world (many of which have hosted her work) to reject the endowments of the Sackler family, major art philanthropists who also control Purdue, as well as removing their names from museum exhibits. Poitras takes what could have been a messy mélange of themes and turns it into a strong depiction of an artist’s turn to activism. By the end when Goldin makes the Pharma board listen on Zoom to hours of testimony from victims of the opioid epidemic (you can see the blood drain from their face) the story seems to be one of a piece – the lifelong effort by the artist to make us look at the people who are supposed to be invisible and to see them.

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Corsage (2022)