Burden (2016) - News Poster

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Burden review – a portrait of the artist with a bullet in his arm

This inquisitive documentary about the artist Chris Burden gets to the heart of its subject while keeping an objective distance

The American artist Chris Burden is famous for being the man who shot his arm on camera; in his 1971 gallery piece Shoot, he asked a friend to shoot at his arm, intending the bullet to merely graze the skin (the friend missed; a trip to the emergency room ensued). The late Burden’s interest in sculpture mutated into a fascination with performance art that incorporated the body (often his own or that of then wife Barbara). His friends described his art as having “a sinister, science-fair vibe”: he once squashed himself into a locker for five days; for another piece he nailed himself to a Volkswagen. This inquisitive, textured documentary pairs his drug-addled youth with the most controversial era of his career but wisely avoids hagiography by refusing to
See full article at The Guardian - Film News »

Burden Review

  • HeyUGuys
Author: Linda Marric

Known throughout his life mostly for his earlier subversive and deliberately provocative work, Chris Burden was one of the most controversial artists of his generation. Using his body as a tool to express himself, the artist pushed the boundaries of decency to the limits and put himself in danger in a series of dangerous stunts, which at the time earned him the nickname of “The Evil Knievel of art”. In the ’70s Burden’s name became synonymous with a new art movement which sought to subvert hundreds of years of classical art tradition by adding elements of danger and unease to the proceedings.

In Burden, directors Richard Dewey and Timothy Marrinan attempt to explore the myth behind the man in one of the most touching accounts about the life and work of an artist who stopped at nothing in his quest for brilliance. Immortalised by David Bowie
See full article at HeyUGuys »

Burden review – persuasive look at art's 'Evel Knievel' – or David Blaine

This stimulating film about the radical performance artist Chris Burden, who once got himself shot through the arm for a piece, is a thorough exploration of his work and reputation

Chris Burden is the conceptual artist who started his career in the 70s as the dangerous situationist radical who didn’t want art to be composed of objects to be bought and sold. He wanted a pure essence, a form that might come into being purely ephemerally, mysteriously, in performance art that challenged our sense of ourselves. Notoriously, he devised a performance piece that involved him getting shot through the arm with a real gun. The press called him the “Evel Knievel of modern art” – I kept thinking he was the David Blaine of modern art, or the Hunter S Thompson of modern art or even at his worst moments – and very occasionally – the Charles Manson of modern art, such
See full article at The Guardian - Film News »

Guardians Of The Galaxy Vol. 2 Kicks Off Summer 2017! -- The Weekend Warrior

  • LRM Online
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.

Guardians of the Galaxy, Vol. 2 Kicks Off the Summer With a Sci-Fi Action-Comedy

After three weeks of dominating the box office, Universal’s The Fate of the Furious is going to have to give way to a new movie, and that’s because the first weekend of May means that it’s officially...The Summer Movie Season!!!!

Just like the last couple years, the summer movie season is kicking off with a new movie from Marvel Studios, and their sequel Guardians Of The Galaxy, Vol. 2 (Marvel Studios/Disney), reunites Chris Pratt as Starlord, Zoe Saldana as Gamora, Dave Bautista’s Drax, Michael Rooker’s Yondu with the voices of Vin Diesel and Bradley Cooper as Groot and Rocket Racoon, for the next
See full article at LRM Online »

‘Edith + Eddie’ Clip: America’s Oldest Interracial Newlyweds Will Make You Believe in Love Again — Watch

  • Indiewire
If you like your love stories with a side of social justice (who doesn’t?), Laura Checkoway’s “Edith + Eddie” is probably the documentary for you.

The film follows the titular Edith and Eddie, ages 96 and 95, who are America’s oldest interracial newlyweds. The two are committed to being with each other despite the odds against them, even as a family feud threatens to keep them apart.

Read More: ‘Shiners’ Trailer: Hot Docs Selection Explores the Incredible Lives of Shoe Shiners Around the World — Watch

That heart of the film is never clearer than it is in our clip, where Eddie talks about the difficulties they have faced as a couple. “They think they’re gonna wear us down,” he says with a smile. “But they’re not gonna wear us down. We married for life.”

“Edith + Eddie” makes its international premiere at Hot Docs. Check out our exclusive clip below.
See full article at Indiewire »

‘A Happening of Monumental Proportions’ Clip: Judy Greer’s Directorial Debut Features Every Actor on Planet Earth — Watch

  • Indiewire
‘A Happening of Monumental Proportions’ Clip: Judy Greer’s Directorial Debut Features Every Actor on Planet Earth — Watch
Beloved character actress and national treasure Judy Greer would naturally apply the go big or go home mentality to her directorial debut.

A Happening of Monumental Proportions” is a film that stars, among others, Common, Bradley Whitford, Allison Janney, Anders Holm, John Cho, Katie Holmes, and Jennifer Garner, which would probably be enough to get people in a theater, but it also happens to have a pretty hilarious, intriguing premise.

Read More: What ‘The Judy Greer Effect’ Tells Us About Hollywood’s Roles for Women

Taking place over the course of one fateful Career Day, an unassuming elementary school is thrown into turmoil when a dead body is discovered. As the bumbling administrators attempt to hide the corpse, Daniel Crawford (Common) finds himself in the middle of all of it when, after being unceremoniously fired, he heads to his daughter’s school to speak about a job he no longer has.
See full article at Indiewire »

‘Burden’ Clip: The Life and Often Dangerous Work of Performance Artist Chris Burden Gets Wild Documentary — Watch

  • Indiewire
‘Burden’ Clip: The Life and Often Dangerous Work of Performance Artist Chris Burden Gets Wild Documentary — Watch
People do crazy things for their art, and there is perhaps no better example of that than Chris Burden. In “Burden,” Richard Dewey and Timothy Marrinan’s new documentary about the late performance artist, they use a combination of personal footage and interviews from Burden’s friends and colleagues to paint a portrait of the man behind the madness.

In 1971, Burden captivated audiences and solidified his spot in history with his often life-threatening work. Among other things, he had himself shot, crucified on the back of a Vw bug, and electrocuted, all while insisting he was “not about death.”

Read More: Macaulay Culkin Gets Crucified As Kurt Cobain in Father John Misty’s Totally Bananas New Music Video — Watch

The film looks at the artist’s work, private life, and place in art history, integrating Burden’s own voice and musings through the use of audio recordings. Our exclusive clip
See full article at Indiewire »

‘It Comes at Night’: 5 Terrifying Clues You Might Have Missed in First Full Trailer for Trey Edward Shults’ Horror Film

  • Indiewire
‘It Comes at Night’: 5 Terrifying Clues You Might Have Missed in First Full Trailer for Trey Edward Shults’ Horror Film
While the first teaser trailer for “Krisha” filmmaker Trey Edward Shults’ highly anticipated upcoming horror feature, “It Comes at Night,” played up atmosphere over plot (like any good teaser), the film’s newest full-length trailer piles on the plot details, but that doesn’t keep it from being any less intriguing.

The film stars Joel Edgerton as patriarch Paul, who has sequestered his family (including his wife, played by Carmen Ejogo, and their teen son, played by rising star Kelvin Harrison Jr.) in a secluded country house after something terrible has decimated modern civilization. When another young family (including Christopher Abbott and Riley Keough) arrives on their property, Paul makes the choice to keep them around, because what could possibly go wrong with adding more terrified people into an already on-edge situation?

Read More: ‘It Comes at Night’ Review: Joel Edgerton and Christopher Abbott Face Off In Trey Shults’ Frightening
See full article at Indiewire »

Burden Trailer: Controversial Performance Artist, Exposed in a Doc

Chris Burden inspired my first movie. My first scripted effort was a short 8mm film that you will never see -- I've never seen it! -- that was inspired by performance artist Chris Burden. I think I read a newspaper article about him and his work, most notably that time he was shot for his art. Frankly, my interest never went any further than that, lo those many years ago, but now a new documentary, Burden promises to expose him to the light. Directed by Timothy Marrinan and Richard Dewey, it's heading for release in select U.S. theaters on April 5, and will also be available on Video On Demand platforms, all courtesy of Magnolia Pictures. The trailer nicely sets up the artist and his...

[Read the whole post on screenanarchy.com...]
See full article at Screen Anarchy »

Official Trailer for 'Burden' Documentary About the Artist Chris Burden

"I'm not about death, I didn't want to die, but I wanted to come close." Magnolia has debuted an official trailer for a documentary titled Burden, telling the story of artist Chris Burden, who made his place in art history in 1971 with dangerous performances. The film features Burden himself, as well as Jonathan Gold, Marina Abramovic, Frank Gehry, Alexis Smith, and Brian Sewell. The description says the doc examines "the artist’s works and private life with an innovative mix of still-potent videos of his 70s performances, personal videos and audio recordings, friends fellow students and colleagues, critics’ comments and latter day footage at his Topanga Canyon studio, all peppered with his thoughts and musings through the years." This definitely looks fascinating, and I'm intrigued to learn more about Burden and his motivations for this. Here's the trailer (+ poster) for Richard Dewey & Tomothy Marrinan's doc Burden, from YouTube: Chris Burdern
See full article at FirstShowing.net »

Edinburgh International Film Festival unveils 2016 line-up

  • ScreenDaily
Edinburgh International Film Festival unveils 2016 line-up
Highlights include the UK premiere of Finding Dory and the world premiere of the 4K restoration of Highlander [pictured].Scroll down for competition titles

The line-up for the 70th Edinburgh International Film Festival (Eiff) has been unveiled this morning by artistic director Mark Adams.

This year’s Eiff (June 15-26) will comprise a total 161 features from 46 countries including: 22 world premieres, five international premieres, 17 European premieres and 85 UK premieres.

Highlights include the UK premiere of Disney-Pixar animation Finding Dory, in-person events that include Us indie filmmaker Kevin Smith and Sex & The City actress Kim Cattrall, and the opening and closing gala world premieres of the previously announced Tommy’s Honour and Whisky Galore!.

Old classics will be re-imagined with the Royal Scottish National Orchestra performing the score to E.T. The Extra-Terrestrial live at Edinburgh’s Festival Theatre and the world premiere of the newly-restored 4K version of Highlander, celebrating its 30th anniversary with star Clancy Brown in attendance.

The
See full article at ScreenDaily »

Chris Burden Doc ‘Burden’ Heads to Magnolia Pictures for Us

  • The Wrap
Chris Burden Doc ‘Burden’ Heads to Magnolia Pictures for Us
Magnolia Pictures have acquired the U.S. rights to Timothy Marrinan and Richard Dewey’s documentary, “Burden,” the company announced Thursday. “Burden” gives audiences an inside look into the life and work of the late art provocateur Chris Burden. The film premiered at Tribeca Film Festival and chronicles an individual who became one of the most admired artists of his generation. Burden became infamous after having himself shot, locked up in a locker for five days, electrocuted and crucified on the back of a Vw bug in 1971. However, he reinvented himself and became the creator of installations and sculptures that ranged from.
See full article at The Wrap »

Cannes: Magnolia Nabs U.S. Rights to Documentary on Artist Chris Burden (Exclusive)

Cannes: Magnolia Nabs U.S. Rights to Documentary on Artist Chris Burden (Exclusive)
Magnolia Pictures has acquired U.S. rights to “Burden,” a documentary about the late art world provocateur Chris Burden.

Burden’s work was known for pushing boundaries — at various points he was crucified on a Volkswagen Beetle, electrocuted and shot in the left arm. “Burden” world premiered at the Tribeca Film Festival.

Timothy Marrinan and Richard Dewey directed the film, which looks at the artist’s works and private life. It draws on videos of his performances in the 1970s and latter-day footage at his Topanga Canyon studio in Southern California. Interspersed throughout are personal videos and audio recordings, and interviews with friends, students, critics and colleagues.

“Timothy and Richard have crafted a fitting testament to one of the most exciting artists of the last century,” said Magnolia president Eamonn Bowles in a statement. “It’s easily the most entertaining, well-made doc about an artist that we’ve seen in a long time.
See full article at Variety - Film News »

Burden review – how a crazed performance artist mellowed

The late Chris Burden was known for works involving extreme physical peril, but he ended up almost respectable. A compelling new film charts his journey

It’s a strange path from nailing oneself to a revving Volkswagen to creating a photo-ready oasis of nostalgic, tourist-friendly street lamps. This was the journey of Chris Burden, the sculptor and performance artist whose early, notorious work pushed even the most liberal responses to the unanswerable question “what is art?” Luckily, Burden, a documentary from Timothy Marrinan and Richard Dewey, is a thorough enough guide that even skeptical audiences may find themselves “getting it”.

The story gets cooking at the University of California at Irvine in 1969, where Burden, having shrugged off a potential career in architecture, is studying sculpture. It’s a time and a place where traditional notions of what sculpture means are, shall we say, flexible. Recollecting for us in interview footage
See full article at The Guardian - Film News »

Burden review – how a crazed performance artist mellowed

The late Chris Burden was known for works involving extreme physical peril, but he ended up almost respectable. A compelling new film charts his journey

It’s a strange path from nailing oneself to a revving Volkswagen to creating a photo-ready oasis of nostalgic, tourist-friendly street lamps. This was the journey of Chris Burden, the sculptor and performance artist whose early, notorious work pushed even the most liberal responses to the unanswerable question “what is art?” Luckily, Burden, a documentary from Timothy Marrinan and Richard Dewey, is a thorough enough guide that even skeptical audiences may find themselves “getting it”.

The story gets cooking at the University of California at Irvine in 1969, where Burden, having shrugged off a potential career in architecture, is studying sculpture. It’s a time and a place where traditional notions of what sculpture means are, shall we say, flexible. Recollecting for us in interview footage
See full article at The Guardian - Film News »

Tribeca: Dogwoof Launching Production Fund for Documentaries (Exclusive)

Tribeca: Dogwoof Launching Production Fund for Documentaries (Exclusive)
Twelve-year-old international sales agent and U.K. distributor Dogwoof is expanding production investment with the launch of TDog Productions, Variety has learned exclusively.

Dogwoof, which primarily handles prestige documentaries, made the announcement Thursday following the opening of the 15th annual Tribeca Film Festival. It’s selling the documentaries “LoveTrue,” executive produced by Shia Labeouf, and “Burden” at the festival.

“This a natural evolution for us to grow the company and move toward making our own content,” said CEO Anna Godas, who’s managing the fund. “Talent has been approaching us to start packaging films so we began exploring this last year.”

Dogwoof has handled international sales and U.K. theatrical distribution on “Blackfish,” “Cartel Land,” “Dior and I,” and “Weiner” and the UK theatrical distribution for “The Look of Silence,” “The Act of Killing,” “The Queen of Versailles,” and “Heart of a Dog.”

The fund is 50% owned by Dogwoof and 50% owned by a private investor.
See full article at Variety - Film News »

A Conversation With Lisa Immordino Vreeland, Director, 'Peggy Guggenheim: Art Addict'

  • Sydney's Buzz
Totally and tragically unconventional, Peggy Guggenheim moved through the cultural upheaval of the 20th century collecting not only not only art, but artists. Her sexual life was -- and still today is -- more discussed than the art itself which she collected, not for her own consumption but for the world to enjoy.

Her colorful personal history included such figures as Samuel Beckett, Max Ernst, Jackson Pollock, Alexander Calder, Marcel Duchamp and countless others. Guggenheim helped introduce the world to Pollock, Motherwell, Rothko and scores of others now recognized as key masters of modernism.

In 1921 she moved to Paris and mingled with Picasso, Dali, Joyce, Pound, Stein, Leger, Kandinsky. In 1938 she opened a gallery in London and began showing Cocteau, Tanguy, Magritte, Miro, Brancusi, etc., and then back to Paris and New York after the Nazi invasion, followed by the opening of her NYC gallery Art of This Century, which became one of the premiere avant-garde spaces in the U.S. While fighting through personal tragedy, she maintained her vision to build one of the most important collections of modern art, now enshrined in her Venetian palazzo where she moved in 1947. Since 1951, her collection has become one of the world’s most visited art spaces.

Featuring: Jean Dubuffet, Marcel Duchamp, Max Ernst, Alberto Giacometti, Arshile Gorky, Vasil Kandinsky, Paul Klee, Willem de Kooning, Fernand Leger, Rene Magritte, Man Ray, Jean Miro, Piet Mondrian, Henry Moore, Robert Motherwell, Pablo Picasso, Jackson Pollock, Mark Rothko, Kurt Schwitters, Gino Severini, Clyfford Still and Yves Tanguy.

Lisa Immordino Vreeland (Director and Producer)

Lisa Immordino Vreeland has been immersed in the world of fashion and art for the past 25 years. She started her career in fashion as the Director of Public Relations for Polo Ralph Lauren in Italy and quickly moved on to launch two fashion companies, Pratico, a sportswear line for women, and Mago, a cashmere knitwear collection of her own design. Her first book was accompanied by her directorial debut of the documentary of the same name, "Diana Vreeland: The Eye Has To Travel" (2012). The film about the editor of Harper's Bazaar had its European premiere at the Venice Film Festival and its North American premiere at the Telluride Film Festival, going on to win the Silver Hugo at the Chicago Film Festival and the fashion category for the Design of the Year awards, otherwise known as “The Oscars” of design—at the Design Museum in London.

"Peggy Guggenheim: Art Addict" is Lisa Immordino Vreeland's followup to her acclaimed debut, "Diana Vreeland: The Eye Has to Travel". She is now working on her third doc on Cecil Beaton who Lisa says, "has been circling around all these stories. What's great about him is the creativity: fashion photography, war photography, "My Fair Lady" winning an Oscar."

Sydney Levine: I have read numerous accounts and interviews with you about this film and rather than repeat all that has been said, I refer my readers to Indiewire's Women and Hollywood interview at Tribeca this year, and your Indiewire interview with Aubrey Page, November 6, 2015 .

Let's try to cover new territory here.

First of all, what about you? What is your relationship to Diana Vreeland?

Liv: I am married to her grandson, Alexander Vreeland. (I'm also proud of my name Immordino) I never met Diana but hearing so many family stories about her made me start to wonder about all the talk about her. I worked in fashion and lived in New York like she did.

Sl: In one of your interviews you said that Peggy was not only ahead of her time but she helped to define it. Can you tell me how?

Liv: Peggy grew up in a very traditional family of German Bavarian Jews who had moved to New York City in the 19th century. Already at a young age Peggy felt like there were too many rules around her and she wanted to break out. That alone was something attractive to me — the notion that she knew that she didn't fit in to her family or her times. She lived on her own terms, a very modern approach to life. She decided to abandon her family in New York. Though she always stayed connected to them, she rarely visited New York. Instead she lived in a world without borders. She did not live by "the rules". She believed in creating art and created herself, living on her own terms and not on those of her family.

Sl: Is there a link between her and your previous doc on Diana Vreeland?

Liv: The link between Vreeland and Guggenheim is their mutual sense of reinvention and transformation. That made something click inside of me as I too reinvented myself when I began writing the book on Diana Vreeland .

Can you talk about the process of putting this one together and how it differed from its predecessor?

Liv: The most challenging thing about this one was the vast amount of material we had at our disposal. We had a lot of media to go through — instead of fashion spreads, which informed The Eye Has To Travel, we had art, which was fantastic. I was spoiled by the access we had to these incredible archives and footage. I'm still new to this, but it's the storytelling aspect that I loved in both projects. One thing about Peggy that Mrs. Vreeland didn't have was a very tragic personal life. There was so much that happened in Peggy's life before you even got to what she actually accomplished. And so we had to tell a very dense story about her childhood, her father dying on the Titanic, her beloved sister dying — the tragic events that fundamentally shaped her in a way. It was about making sure we had enough of the personal story to go along with her later accomplishments.

World War II alone was such a huge part of her story, opening an important art gallery in London, where she showed Kandinsky and other important artists for the first time. The amount of material to distill was a tremendous challenge and I hope we made the right choices.

Sl: How did you learn make a documentary?

Liv: I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.

Research is fundamental; finding as much as you can and never giving up. I love the research. It is my "precise time". Not just for interviews but of footage, photographs never seen before. It is a painstaking process that satisfies me. The research never ends. I was still researching while I was promoting the Diana Vreeland book. I love reading books and going to original sources.

The archives in film museums in the last ten years has changed and given museums a new role. I found unique footage at Moma with the Elizabeth Chapman Films. Chapman went to Paris in the 30s and 40s with a handheld camera and took moving pictures of Brancusi and Duchamps joking around in a studio, Gertrude Stein, Leger walking down the street. This footage is owned by Robert Storr, Dean of Yale School of Art. In fact he is taking a sabbatical this year to go through the boxes and boxes of Chapman's films. We also used " Entre'acte" by René Clair cowritten with Dadaist Francis Picabia, "Le Sang du poet" of Cocteau, Hans Richter "8x8","Gagascope" and " Dreams That Money Can Buy" produced by Peggy Guggenheim, written by Man Ray in 1947.

Sl: How long did it take to research and make the film?

Liv: It took three years for both the Vreeland and the Guggenheim documentary.

It was more difficult with the Guggenheim story because there was so much material and so much to tell of her life. And she was not so giving of her own self. Diana could inspire you about a bandaid; she was so giving. But Peggy didn't talk much about why she loved an artist or a painting. She acted more. And using historical material could become "over-teaching" though it was fascinating.

So much had to be eliminated. It was hard to eliminate the Degenerate Art Show, a subject which is newly discussed. Stephanie Barron of Lacma is an expert on Degenerate Art and was so generous.

Once we decided upon which aspects to focus on, then we could give focus to the interviews.

There were so many of her important shows we could not include. For instance there was a show on collages featuring William Baziotes , Jackson Pollack and Robert Motherwell which started a more modern collage trend in art. The 31 Women Art Show which we did include pushed forward another message which I think is important.

And so many different things have been written about Peggy — there were hundreds of articles written about her during her lifetime. She also kept beautiful scrapbooks of articles written about her, which are now in the archives of the Guggenheim Museum.

The Guggenheim foundation did not commission this documentary but they were very supportive and the film premiered there in New York in a wonderful celebration. They wanted to represent Peggy and her paintings properly. The paintings were secondary characters and all were carefully placed historically in a correct fashion.

Sl: You said in one interview Guggenheim became a central figure in the modern art movement?

Liv: Yes and she did it without ego. Sharing was always her purpose in collecting art. She was not out for herself. Before Peggy, the art world was very different. And today it is part of wealth management.

Other collectors had a different way with art. Isabelle Stewart Gardner bought art for her own personal consumption. The Gardner Museum came later. Gertrude Stein was sharing the vision of her brother when she began collecting art. The Coen sisters were not sharing.

Her benevolence ranged from giving Berenice Abbott the money to buy her first camera to keeping Pollock afloat during lean times.

Djuana Barnes, who had a 'Love Love Love Hate Hate Hate' relationship with Peggy wrote Nightwood in Peggy's country house in England.

She was in Paris to the last minute. She planned how to safeguard artwork from the Nazis during World War II. She was storing gasoline so she could escape. She lived on the Ile St. Louis with her art and moved the paintings out first to a children's boarding school and then to Marseilles where it was shipped out to New York City.

Her role in art was not taken seriously because of her very public love life which was described in very derogatory terms. There was more talk about her love life than about her collection of art.

Her autobiography, Out of This Century: Confessions of an Art Addict (1960) , was scandalous when it came out — and she didn't even use real names, she used pseudonyms for her numerous partners. Only after publication did she reveal the names of the men she slept with.

The fact that she spoke about her sexual life at all was the most outrageous aspect. She was opening herself up to ridicule, but she didn't care. Peggy was her own person and she felt good in her own skin. But it was definitely unconventional behavior. I think her sexual appetites revealed a lot about finding her own identity.

A lot of it was tied to the loss of her father, I think, in addition to her wanting to feel accepted. She was also very adventurous — look at the men she slept with. I mean, come on, they are amazing! Samuel Beckett, Yves Tanguy, Marcel Duchamp, and she married Max Ernst. I think it was really ballsy of her to have been so open about her sexuality; this was not something people did back then. So many people are bound by conventional rules but Peggy said no. She grabbed hold of life and she lived it on her own terms.

Sl: You also give Peggy credit for changing the way art was exhibited. Can you explain that?

Liv: One of her greatest achievements was her gallery space in New York City, Art of This Century, which was unlike anything the art world has seen before or since in the way that it shattered the boundaries of the gallery space that we've come to know today — the sterile white cube. She came to be a genius at displaying her collections...

She was smart with Art of the Century because she hired Frederick Kiesler as a designer of the gallery and once again surrounded herself with the right people, including Howard Putzler, who was already involved with her at Guggenheim Jeune in London. And she was hanging out with all the exiled Surrealists who were living in New York at the time, including her future husband, Max Ernst, who was the real star of that group of artists. With the help of these people, she started showing art in a completely different way that was both informal and approachable. In conventional museums and galleries, art was untouchable on the wall and inside frames. In Peggy's gallery, art stuck out from the walls; works weren't confined to frames. Kiesler designed special chairs you could sit in and browse canvases as you would texts in a library. Nothing like this had ever existed in New York before — even today there is nothing like it.

She made the gallery into an exciting place where the whole concept of space was transformed. In Venice, the gallery space was also her home. Today, for a variety of reasons, the home aspect of the collection is less emphasized, though you still get a strong sense of Peggy's home life there. She was bringing art to the public in a bold new way, which I think is a great idea. It's art for everybody, which is very much a part of today's dialogue except that fewer people can afford the outlandish museum entry fees.

Sl: What do you think made her so prescient and attuned ?

Liv: She was smart enough to ask Marcel Duchamp to be her advisor — so she was in tune, and very well connected. She was on the cutting edge of what was going on and I think a lot of this had to do with Peggy being open to the idea of what was new and outrageous. You have to have a certain personality for this; what her childhood had dictated was totally opposite from what she became in life, and being in the right place at the right time helped her maintain a cutting edge throughout her life.

Sl: The movie is framed around a lost interview with Peggy conducted late in her life. How did you acquire these tapes?

Liv: We optioned Jacqueline Bogard Weld’s book, Peggy : The Wayward Guggenheim, the only authorized biography of Peggy, which was published after she died. Jackie had spent two summers interviewing Peggy but at a certain point lost the tapes somewhere in her Park Avenue apartment. Jackie had so much access to Peggy, which was incredible, but it was also the access that she had to other people who had known Peggy — she interviewed over 200 people for her book. Jackie was incredibly generous, letting me go through all her original research except for the lost tapes.

We'd walk into different rooms in her apartment and I'd suggestively open a closet door and ask “Where do you think those tapes might be?" Then one day I asked if she had a basement, and she did. So I went through all these boxes down there, organizing her affairs. Then bingo, the tapes showed up in this shoebox.

It was the longest interview Peggy had ever done and it became the framework for our movie. There's nothing more powerful than when you have someone's real voice telling the story, and Jackie was especially good at asking provoking questions. You can tell it was hard for Peggy to answer a lot of them, because she wasn't someone who was especially expressive; she didn't have a lot of emotion. And this comes across in the movie, in the tone of her voice.

Sl: Larry Gagosian has one of the best descriptions of Peggy in the movie — "she was her own creation." Would you agree, and if so why?

Liv: She was very much her own creation. When he said that in the interview I had a huge smile on my face. In Peggy's case it stemmed from a real need to identify and understand herself. I'm not sure she achieved it but she completely recreated herself — she knew that she did not want to be what she was brought up to be. She tried being a mother, but that was not one of her strengths, so art became that place where she could find herself, and then transform herself.

Nobody believed in the artists she cultivated and supported — they were outsiders and she was an outsider in the world she was brought up in. So it's in this way that she became her own great invention. I hope that her humor comes across in the film because she was extremely amusing — this aspect really comes across in her autobiography.

Sl: Finally, what do you think is Peggy Guggenheim's most lasting legacy, beyond her incredible art collection?

Liv: Her courage, and the way she used it to find herself. She had this ballsiness that not many people had, especially women. In her own way she was a feminist and it's good for women and young girls today to see women who stepped outside the confines of a very traditional family and made something of her life. Peggy's life did not seem that dreamy until she attached herself to these artists. It was her ability to redefine herself in the end that truly summed her up.

About the Filmmakers

Stanley Buchtal is a producer and entrepreneur. His movies credits include "Hairspray", "Spanking the Monkey", "Up at the Villa", "Lou Reed Berlin", "Love Marilyn", "LennoNYC", "Bobby Fischer Against the World", "Herb & Dorothy", "Marina Abramovic: The Artist is Present"," Jean-Michel Basquiat: The Radiant Child", "Sketches of Frank Gehry", "Black White + Gray: a Portrait of Sam Wagstaff and Robert Mapplethorpe", among numerous others.

David Koh is an independent producer, distributor, sales agent, programmer and curator. He has been involved in the distribution, sale, production, and financing of over 200 films. He is currently a partner in the boutique label Submarine Entertainment with Josh and Dan Braun and is also partners with Stanley Buchthal and his Dakota Group Ltd where he co-manages a portfolio of over 50 projects a year (75% docs and 25% fiction). Previously he was a partner and founder of Arthouse Films a boutique distribution imprint and ran Chris Blackwell's (founder of Island Records & Island Pictures) film label, Palm Pictures. He has worked as a Producer for artist Nam June Paik and worked in the curatorial departments of Anthology Film Archives, MoMA, Mfa Boston, and the Guggenheim Museum. David has recently served as a Curator for Microsoft and has curated an ongoing film series and salon with Andre Balazs Properties and serves as a Curator for the exclusive Core Club in NYC.

David recently launched with his partners Submarine Deluxe, a distribution imprint; Torpedo Pictures, a low budget high concept label; and Nfp Submarine Doks, a German distribution imprint with Nfp Films. Recently and upcoming projects include "Yayoi Kusama: a Life in Polka Dots", "Burden: a Portrait of Artist Chris Burden", "Dior and I", "20 Feet From Stardom", "Muscle Shoals", "Marina Abramovic the Artist is Present", "Rats NYC", "Nas: Time Is Illmatic", "Blackfish", "Love Marilyn", "Chasing Ice", "Searching for Sugar Man", "Cutie and the Boxer"," Jean-Michel Basquiat: the Radiant Child", "Finding Vivian Maier", "The Wolfpack, "Meru", and "Station to Station".

Dan Braun is a producer, writer, art director and musician/composer based in NYC. He is the Co-President of and Co-Founder of Submarine, a NYC film sales and production company specializing in independent feature and documentary films. Titles include "Blackfish", "Finding Vivian Maier", "Muscle Shoals", "The Case Against 8", "Keep On Keepin’ On", "Winter’s Bone", "Nas: Time is Illmatic", "Dior and I" and Oscar winning docs "Man on Wire", "Searching for Sugarman", "20 Ft From Stardom" and "Citizenfour". He was Executive Producer on documentaries "Kill Your Idols", (which won Best NY Documentary at the Tribeca Film Festival 2004), "Blank City", "Sunshine Superman", the upcoming feature adaptations of "Batkid Begins" and "The Battered Bastards of Baseball" and the upcoming horror TV anthology "Creepy" to be directed by Chris Columbus.

He is a producer of the free jazz documentary "Fire Music", and the upcoming documentaries, "Burden" on artist Chris Burden and "Kusama: a Life in Polka Dots" on artist Yayoi Kusama. He is also a writer and consulting editor on Dark Horse Comic’s "Creepy" and "Eerie 9" comic book and archival series for which he won an Eisner Award for best archival comic book series in 2009.

He is a musician/composer whose compositions were featured in the films "I Melt With You" and "Jean-Michel Basquiat, The Radiant Child and is an award winning art director/creative director when he worked at Tbwa/Chiat/Day on the famous Absolut Vodka campaign.

John Northrup (Co-Producer) began his career in documentaries as a French translator for National Geographic: Explorer. He quickly moved into editing and producing, serving as the Associate Producer on "Diana Vreeland: The Eye Has To Travel" (2012), and editing and co-producing "Wilson In Situ" (2014), which tells the story of theatre legend Robert Wilson and his Watermill Center. Most recently, he oversaw the post-production of Jim Chambers’ "Onward Christian Soldier", a documentary about Olympic Bomber Eric Rudolph, and is shooting on Susanne Rostock’s "Another Night in the Free World", the follow-up to her award-winning "Sing Your Song" (2011).

Submarine Entertainment (Production Company) Submarine Entertainment is a hybrid sales, production, and distribution company based in N.Y. Recent and upcoming titles include "Citizenfour", "Finding Vivian Maier", "The Dog", "Visitors", "20 Feet from Stardom", "Searching for Sugar Man", "Muscle Shoals", "Blackfish", "Cutie and the Boxer", "The Summit", "The Unknown Known", "Love Marilyn", "Marina Abramovic the Artist is Present", "Chasing Ice", "Downtown 81 30th Anniversary Remastered", "Wild Style 30th Anniversary Remastered", "Good Ol Freda", "Some Velvet Morning", among numerous others. Submarine principals also represent Creepy and Eerie comic book library and are developing properties across film & TV platforms.

Submarine has also recently launched a domestic distribution imprint and label called Submarine Deluxe; a genre label called Torpedo Pictures; and a German imprint and label called Nfp Submarine Doks.

Bernadine Colish has edited a number of award-winning documentaries. "Herb and Dorothy" (2008), won Audience Awards at Silverdocs, Philadelphia and Hamptons Film Festivals, and "Body of War" (2007), was named Best Documentary by the National Board of Review. "A Touch of Greatness" (2004) aired on PBS Independent Lens and was nominated for an Emmy Award. Her career began at Maysles Films, where she worked with Charlotte Zwerin on such projects as "Thelonious Monk: Straight No Chaser", "Toru Takemitsu: Music for the Movies" and the PBS American Masters documentary, "Ella Fitzgerald: Something To Live For". Additional credits include "Bringing Tibet Home", "Band of Sisters", "Rise and Dream", "The Tiger Next Door", "The Buffalo War" and "Absolute Wilson".

Jed Parker (Editor) Jed Parker began his career in feature films before moving into documentaries through his work with the award-winning American Masters series. Credits include "Lou Reed: Rock and Roll Heart", "Annie Liebovitz: Life Through a Lens", and most recently "Jeff Bridges: The Dude Abides".

Other work includes two episodes of the PBS series "Make ‘Em Laugh", hosted by Billy Crystal, as well as a documentary on Met Curator Henry Geldzahler entitled "Who Gets to Call it Art"?

Credits

Director, Writer, Producer: Lisa Immordino Vreeland

Produced by Stanley Buchthal, David Koh and Dan Braun Stanley Buchthal (producer)

Maja Hoffmann (executive producer)

Josh Braun (executive producer)

Bob Benton (executive producer)

John Northrup (co-producer)

Bernadine Colish (editor)

Jed Parker (editor)

Peter Trilling (director of photography)

Bonnie Greenberg (executive music producer)

Music by J. Ralph

Original Song "Once Again" Written and Performed By J. Ralph

Interviews Featuring Artist Marina Abramović Jean Arp Dore Ashton Samuel Beckett Stephanie Barron Constantin Brâncuși Diego Cortez Alexander Calder Susan Davidson Joseph Cornell Robert De Niro Salvador Dalí Simon de Pury Willem de Kooning Jeffrey Deitch Marcel Duchamp Polly Devlin Max Ernst Larry Gagosian Alberto Giacometti Arne Glimcher Vasily Kandinsky Michael Govan Fernand Léger Nicky Haslam Joan Miró Pepe Karmel Piet Mondrian Donald Kuspit Robert Motherwell Dominique Lévy Jackson Pollock Carlo McCormick Mark Rothko Hans Ulrich Obrist Yves Tanguy Lisa Phillips Lindsay Pollock Francine Prose John Richardson Sandy Rower Mercedes Ruehl Jane Rylands Philip Rylands Calvin Tomkins Karole Vail Jacqueline Bograd Weld Edmund White

Running time: 97 minutes

U.S. distribution by Submarine Deluxe

International sales by Hanway
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What’s Up Doc?: Pennebaker/Hegedus & Malick Voyage to the Top in November

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It’s been a couple months since the last edition of What’s Up Doc? placed Michael Moore’s surprise world premiere of Where To Invade Next at the top of this list and in the meantime much shuffling has taken place and much time has been spent on various new endeavors (namely my Buffalo-based film series, Cultivate Cinema Circle). Finally taking its rightful place at the top, D.A. Pennebaker and Chris Hagedus’ Unlocking the Cage is in the midst of being scored by composer James Lavino, according to Lavino’s own personal site. Though the project has been taking shape at its own leisurely pace, I’d expect to see the film making its festival debut in early 2016.

Right behind, the American direct cinema masters is a Texan soon to make his non-fiction debut with Voyage of Time. Just two weeks ago indieWIRE reported that Ennio Morricone, who scored
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