Sam Taylor-Johnson

십대 때부터 술과 마약을 시작한 제임스 프라이. 아내도 있고 20대지만 생명이 위험할 정도로 몸이 망가진다. 추락 사고로 다친 채 미니애폴리스의 재활 시설에 입원하면서 다양한 환자 동료들을 알게 된다. 그중에는 조직 범죄에 몸담은 레너드와 매춘부였던 릴리, 그리고 한 방을 쓰는 판사 출신의 마일스 데이비스도 있다. 릴리와 가까워지지만 규정을 어겼다는 이유로 릴리는 퇴소해서 나가고, 제임스는 레너드의 도움을 받아 릴리를 데려오지만 릴리는 버티지 못하고 결국 자살을 한다. 그런 슬픔 속에서도 제임스는 재활 과정을 마치고 시설에서 나온 뒤 자신을 시험하고자 술집에 들어간다.

십대 때부터 술과 마약을 시작한 제임스 프라이. 아내도 있고 20대지만 생명이 위험할 정도로 몸이 망가진다. 추락 사고로 다친 채 미니애폴리스의 재활 시설에 입원하면서 다양한 환자 동료들을 알게 된다. 그중에는 조직 범죄에 몸담은 레너드와 매춘부였던 릴리, 그리고 한 방을 쓰는 판사 출신의 마일스 데이비스도 있다. 릴리와 가까워지지만 규정을 어겼다는 이유로 릴리는 퇴소해서 나가고, 제임스는 레너드의 도움을 받아 릴리를 데려오지만 릴리는 버티지 못하고 결국 자살을 한다. 그런 슬픔 속에서도 제임스는 재활 과정을 마치고 시설에서 나온 뒤 자신을 시험하고자 술집에 들어간다.

십대 때부터 술과 마약을 시작한 제임스 프라이. 아내도 있고 20대지만 생명이 위험할 정도로 몸이 망가진다. 추락 사고로 다친 채 미니애폴리스의 재활 시설에 입원하면서 다양한 환자 동료들을 알게 된다. 그중에는 조직 범죄에 몸담은 레너드와 매춘부였던 릴리, 그리고 한 방을 쓰는 판사 출신의 마일스 데이비스도 있다. 릴리와 가까워지지만 규정을 어겼다는 이유로 릴리는 퇴소해서 나가고, 제임스는 레너드의 도움을 받아 릴리를 데려오지만 릴리는 버티지 못하고 결국 자살을 한다. 그런 슬픔 속에서도 제임스는 재활 과정을 마치고 시설에서 나온 뒤 자신을 시험하고자 술집에 들어간다.

At a pivotal moment for gender equality in Hollywood, successful women directors tell the stories of their art, lives and careers. Having endured a long history of systemic discrimination, women filmmakers may be getting the first glimpse of a future that values their voices equally.

Explores the hot-button issues around the striking gender gap in Hollywood. Both women and men in the entertainment industry share first-person insights, questions, and anecdotes about the place of women in Hollywood.

A provocative and rare glimpse at the most iconic luxury jeweler in the world. From past to present, discovering the behind the scenes creation to those beholden to its charm, Tiffany & Co. is unveiled like never before.

순수한 사회 초년생인 여대생 ‘아나스타샤’는 어느 날, 아픈 친구를 대신해 모든 것을 다 가진 매력적인 CEO ‘크리스찬 그레이’의 인터뷰를 맡게 된다. 단숨에 사람을 매료시키는 ‘크리스찬 그레이’의 마력에 ‘아나스타샤’는 순식간에 빠져들고, 그 역시 순수한 아나스타샤를 점점 더 알고 싶어지게 된다. 내 취향은 아주 분명해. 한편, 원하는 것을 모두 들어줄 만큼 완벽한 ‘그레이’의 숨겨진 비밀을 알게 된 ‘아나스타샤’는 거부할 수 없는 본능에 눈을 뜨게 되는데…

This short film is made by 'We Are Equals' to celebrate International Women's Day. James Bond video for international women's day shows 007's feminine side. Daniel Craig and Dame Judi Dench team up for two-minute film highlighting the need for gender equality. 007 star Daniel Craig undergo a dramatic makeover as he puts himself, quite literally, in a woman's shoes.

리버풀의 가난한 항구 노동자의 아들로 태어난 존은 부모의 불화로 이모 미미의 손에서 자라난다. 아빠처럼 든든하게 지켜주던 이모부가 갑자기 세상을 떠나자 상실감에 빠진 존은 이모 미미 몰래 엄마 줄리아를 찾아간다. 자유분방한 성격으로 자신을 이해해주는 줄리아를 따르며 기타를 배우기 시작하는 존. 그러나 미미는 동생 줄리아의 무책임한 행동에 존이 다시 상처받을까 걱정하고 둘의 만남을 반대한다. 한편, 전세계적인 열풍이 불고 있는 엘비스 프레슬리의 공연을 접한 존은 그의 노래와 패션은 물론, 로큰롤 세계에 흠뻑 빠져든다. 이모와 엄마의 불편한 관계 속에서 혼란과 불안감에 힘겨워 하던 존은 음악에 더욱 깊이 빠져 들고, 마침내 친구들과 함께 밴드를 결성하기로 한다. 밴드 멤버를 구하던 중 수줍은 소년 폴 매카트니를 만나 음악을 향한 열정과 깊은 우정을 나눈다. 마침내 존은 전설적인 록그룹 비틀즈의 전신 쿼리멘 밴드를 결성하고 리버풀의 작은 클럽에서 연주를 시작하는데...

Two teenagers are drawn together by the Buzzcocks' single 'Love You More' during the summer of 1978.

Sigh was made in collaboration with the BBC Concert Orchestra and features a score made especially for it by Academy-Award winning composer Anne Dudley. Dudley comments, 'When I was composing this piece I had in mind Sam's wonderful large photographs from her series Wuthering Heights. This gave me the sense of loss that would transform onto the members of the orchestra as they played without their instruments. I knew that the sound of each section had to come from the right screen and this allowed me to think about the music travelling around the room. Also, I wanted the listener to be able to move around the room and experience a different perspective of sound – very much like strolling through an orchestra. All the sections rely on each other to complete the soundscape and avoid a greater loss.' Eight-screen projection.

Three Minute Round depicts the Klitschko brothers, Vitali and Wladimir, in the moments after defeating their rivals in separate championship boxing matches in Las Vegas and Berlin in 2008. Sam Taylor-Johnson isolated the world-famous Ukrainian boxers, known for their brute strength, speed and athleticism, in their dressing rooms immediately after each fight. She asked them to sit idly while she videoed their still bodies for 3 minutes. The brothers breathe rhythmically and slowly, in an almost meditative state, and we see them away from their public persona as all-conquering fighters. The vulnerability and humanity of the Klitschko brothers is allowed to come through in a way that echoes the depiction of another famous athlete by Taylor-Johnson, David Beckham. Dual screen projection.

Sam Taylor-Wood says she can't believe the silly questions that people keep asking about her latest work, presented in the Ukrainian pavilion. That White Rush is a video of a young woman lying naked with a white swan decomposing on top of her; her toe twitches as the swan's internal liquids spew out. It is made up of two seamlessly integrated films, one taken of the girl over four minutes and one of the swan over four weeks. "People actually ask me if the girl lay there for four weeks," says Taylor-Wood.

In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio.

Death Valley is recognised as the lowest point in the Western Hemisphere and one of the hottst places on earth. The rocks tell a story of endless changes in the earth’s crust - vast depositions, contortions, alternate risings and lowerings, faultings, intense heats and pressures. It is here director Sam Taylor-Wood and cinematographer Seamus McGarvey chose to frame the ‘Death Valley’. The story of a man exploring the experience of self-stimulation, pleasuring, the erotic satisfaction and possibilities with oneself.

한번의 클릭으로 인터넷을 통해 한 순간에 포르노그라피의 세계에 이를 수 있는 시대에 우리는 살고 있다. 넘쳐나는 포르노그라피들은 과연 예술과 어떤 관계를 맺을 수 있을 것인가. 그 불경함은 영영 그것을 예술의 영역 바깥으로 소외시킬 것인가

한번의 클릭으로 인터넷을 통해 한 순간에 포르노그라피의 세계에 이를 수 있는 시대에 우리는 살고 있다. 넘쳐나는 포르노그라피들은 과연 예술과 어떤 관계를 맺을 수 있을 것인가. 그 불경함은 영영 그것을 예술의 영역 바깥으로 소외시킬 것인가

The graceful, ephemeral longing highlighted in this work is brought back down to earth with the title – after Van Halen's Jump. Single-screen projection.

A 90 minute program of film footage from the Elton John archive, carefully selected for Elton's fans. Elton exclusively gives an overview of the chosen songs, and there are truly rare interviews with Thom Bell, Cameron Crowe, and other individuals who play major roles in the history of these songs. For the first time, forty years of selected Elton's incredible stage costumes can be viewed from every angle in the stunning costume gallery. Other highlight include a retrospective of Your Song, which includes Elton performing the song from every era of his career, and the film for I'm Still Standing, as created by David LaChappelle for Elton's Las Vegas shows.

Simply lit from one light source (the lamp in the Madrid hotel room where it was shot) and shot in a single long take after Beckham finished training, David joins Sam Taylor-Johnson's other intimate portraits of male vulnerability. Single-screen projection.

2003 Sam Taylor-Wood video art work featuring a tap dancer

A string quartet, dressed in black tie, seated in an arc that curves away from the viewer, play part of Tchaikovsky's String Quartet No. 2 in F major Op. 22. The piece is titled Andante ma non Tanto (which, crudely translated, means faster, but not too much). They sit in the sumptuous surroundings of the Crush Room at the Royal Opera House, London. Above them suspended by wires, which flick in and out of view as the light catches them, is a ballet dancer. He is naked apart from shorts and the harness. The dancer rests just above the musicians' heads as they play Tchaikovsky's melancholic piece. The dancer moves rhythmically and slowly, his feet almost brushing their bows as they play. 35mm film. Single-screen projection.

2002 Sam Taylor-Wood short video art piece featuring a man playing an imaginary string instrument.

Taylor-Johnson updates traditional still life imagery. What seems at first to be a quiet arrangement of a dead hare and peach on a table starts to decompose before our eyes. Rather than attempting to capture a moment in time, the viewer is put face to face with a speeded up decomposition of the subject matter. Taylor-Wood brings home the transience of biological life, and the viewer's mortality. This work explores the issue of temporality, an idea which permeates the artist's oeuvre, where a course of action can change radically even within the space of a few seconds.

2001 Sam Taylor-Wood video art short

Reminiscent of Warhol, Breach depicts a girl in ever-heightening grief, but with the sound of her tears removed. The person inflicting her agony is also unheard and unseen, but has a tangible presence in the film. As emotion is taken out of context, the viewer is almost placed in the position of the aggressor. The tangible melts into the intangible and the other way around.

2001 Sam Taylor-Wood video art work featuring a man praying in silence

2001 Sam Taylor-Wood video art short

2001 Sam Taylor video art piece featuring rotting fruit in time lapse

1999 Sam Taylor-Wood video art piece featuring a dancer in agony

As Harold Pinter famously said, Taylor-Johnson is 'the weasel under the cocktail cabinet' at this particular party. The erotic undercurrents between the various people at the party are given further resonance with the use of multiple screens to portray them. Marianne Faithfull is given a starring role, and the viewer is the 'third party' of the title. 16mm film. Seven-screen projection.

1998 Sam Taylor-Wood video art piece featuring a dude goin' nuts

The title of this piece is the well-known warning of Jesus to Mary Magdalene after his resurrection. It translates to Touch me not. This biblical scene gave birth to a strong iconographical tradition in Christian art, from late antiquity to present. Here, the denial of hope and redemption is removed from its religious context. 16mm film. Dual-screen projection.

In Sam Taylor-Johnson's words, 'I wanted (Atlantic) to feel like you could be coming in, as you say, at any point, not necessarily at the beginning, or the end, but somewhere towards the middle where something is about to happen. It could be the beginning of an argument or an argument petering out … the only thing those people have in common is the space they occupy. They are totally isolated within their own activity or mental space … you are looking at two people interacting but you project what the discussion or argument is about. The viewer is put in the position of the people in the restaurant who are onlookers. And as an onlooker you're straining to understand what exactly is taking place. I want people to construct their own narrative, so they're looking at it and giving it endless possibilities.' 16mm film. Three-screen projection.

The Swedish actress Amanda Ooms, who appeared in several of Taylor-Johnson's early works, is here juxtaposed with a man who is filmed separately. When installed, the double screens of this piece placed the viewer in between the tensions of these two people. 16mm film. Dual-screen projection.

1996 Sam Taylor-Wood video art piece focusing on a naked singer

The white glare of Knackered, where the voice of a castrati is also used, is here replaced with a decadent red velvet backdrop. Kylie Minogue embodies the voice instead of an anonymous woman. But the vulnerability is the same, if shaped differently. 16mm film. Single-screen projection.

A 10 minute film that depicts a man and a woman having an argument. This domestic drama is enacted simultaneously on two separate projected screens—the man’s space is described by a chair standing against a blank wall, the woman’s by a fridge and a fragment of kitchen sideboard. Each participant is isolated within his and her own screen, the borders from one to the other being crossed by thrown objects such as a glass of milk or a frying pan and, occasionally, by one of the participants, who, unable to contain their rage, launches an attack across the divide. A soundtrack of tuning into a series of different radio stations accompanies the film, seeming to articulate the switching emotional tenor of the scenario as it moves through confusion, anger, sadness and resignation.

Informed by cinematic and documentary traditions, Taylor-Johnson has been working with photography, film and video in London since the early 1990s. She presents characters in situations of isolation and self-absorption, their familiar, even mundane, surroundings and poses belying more or less hidden states of emotional crisis. This piece explores the difficult distinctions 'between reality and unreality, life and theatre', public and private, by putting the viewer in the uncomfortable position of deciding whether the action is genuine or staged. This discomfort persists with Brontosaurus, which is clearly taking place in a private space.

The interior monologues of five characters are made audible, giving way to a host of efforts on the part of the viewer to create connections or manufacture logic and pattern where, ultimately, there is none. 16mm film. Five-screen projection.

As four people lip-synch to the grand, passionate sounds of the Richard Strauss opera Elektra, the contrast between the banality of modern life and the primal desires that swirl beneath the surface is heightened. Four-screen projection. Video.

A biopic centered on English singer and songwriter Amy Winehouse.

Kate Rothko, the daughter of revered U.S. painter Mark Rothko, is drawn into a protracted legal battle with her father's estate executors and gallery directors, in a fight to honor his legacy.

Kate Rothko, the daughter of revered U.S. painter Mark Rothko, is drawn into a protracted legal battle with her father's estate executors and gallery directors, in a fight to honor his legacy.