All the Beauty and the Bloodshed can join Fire of Love in the club of Oscar-nominated documentaries from 2022 that would have been more worthy winners than Navalny. It's admittedly a small club, but I feel like both of those movies have moments that demonstrate documentary filmmaking at its best.

In the case of All the Beauty and the Bloodshed, it's probably the final 15-20 minutes that shines the brightest. It can be a slow and somewhat uneven feeling documentary at some points, but it builds to some phenomenal and emotionally hard hitting final scenes. The rest of the documentary still tends to hit far more often than it misses, but I did get the sense it may have been a tiny bit too long, and while I respect the choice not to tie together its two primary narratives more explicitly, part of me was waiting for them to collide more directly at a point. Still, leaving some of that up to the viewer felt like a deliberate choice, and I can respect that.

It follows Nan Goldin, with the film both recounting her life story from the 1950s to the 1990s and detailing her activism against the Sackler family and their role in the opioid epidemic in the 2010s. The latter might be more interesting narratively, but the former has the more interesting presentation, seeing as Goldin's an accomplished artist/photographer, and the documentary frequently relies on her work to serve as visuals.

It's a heavy and often sad documentary, dealing with mental illness, addiction, corruption, censorship, the AIDS crisis, discrimination, and domestic violence. It might be upsetting to some viewers as a result, but I think it was best not to pull punches (so long as people know what they're in for before deciding to watch it). It's a largely powerful documentary that I think will stick with me. Not perfect, but it has some amazing sequences that were very striking and moving.