‘Avedon’ Review: Ron Howard’s Thrilling Documentary About Richard Avedon, the Great Photographer Who Turned Head-On Portraits Into an Art Form

‘Avedon’ Review: Ron Howard’s Thrilling Documentary About Richard Avedon, the Great Photographer Who Turned Head-On Portraits Into an Art Form hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 8, 2026 1:02pm PT ‘Avedon’ Review: Ron Howard’s Thrilling Documentary About Richard Avedon, the Great Photographer Who Turned Head-On Portraits Into an Art Form Avedon was a paragon of high fashion and also the ultimate democratic humanist. The film explains that paradox and makes his images sing.

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That’s Because It’s About a World Gone Mad 1 week ago What Is ‘Fjord’ Really About? A Political Stance That May Be Too Hot to Handle 2 weeks ago See All Add us as a Google Preferred Source Comments “ Avedon ,” Ron Howard ’s documentary about the legendary photographer, is a fantastic movie.

It’s the best documentary Ron Howard has made (my favorite before this: “The Beatles: Eight Days a Week”), and it’s been edited in a way that’s so supple and artful that its technique should be studied in filmmaking classes. (The film’s editor is Andrew Morreale.) Woven through the movie are hundreds of photographs that were shot by Richard Avedon , and there’s no question that the images are stunning, but the way the movie layers them into your consciousness is nearly musical in its finesse.

And that helps to tell the very large story “Avedon” is telling: how Richard Avedon changed the metaphysics of photography, shifting the way we see the world. Related Stories Sanjay Gupta, Indian Director of ‘Kaante’ and ‘Zinda,’ Dies at 59 David Fincher Cut 60 Pages of Tarantino’s ‘Cliff Booth’ Script: ‘The First Draft Was 230 Pages.

It Was Essentially Two Movies’ There’s a paradox running down the center of Avedon’s work that feels as epic and tingly as the 20th century, and that is this: He was a paragon of high fashion — the world of glamour and impossible beauty — but he was also, as a maker of images, the ultimate democratic humanist. The beauty of “Avedon” is that it explains that paradox and makes those images sing.

Howard interpolates old clips and interviews, placing Avedon, with his sleek command, at the center of the movie. He also talks to models and critics and media and art-world luminaries who have a great deal of import to say.

They include Tina Brown, Larry Gagosian, John Lahr, Twiggy, Adam Gopnik, Hilton Als, Calvin Klein, and Avedon’s lovingly insightful son, John Avedon. James Martin, the executive director of the Richard Avedon Foundation, takes us deep into the labyrinth of Avedon’s archives, where we see the work that resulted from 16,000 sittings he did from 1944 until his death in 2004.

That’s a long time, but it still averages out to one sitting per day, Monday through Friday, for 60 years. The movie opens with an old clip of Avedon, fixing that piercing bird-eye look of his into the camera as he explains, “I can say very little about photography.

I follow no rules, no laws, and no advice.” He’s totally serious about that. We then get a montage, set to the funky martial beat of Spoon’s “I Turn My Camera On,” of Avedon portraits of the famous.

Marilyn Monroe lovingly embracing Arthur Miller. All the images look timeless.

(Avedon’s lighting makes it look as if each one was taken yesterday.) Every subject

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