National Gallery

A London museum is inhabited by masterpieces of Western art from the Middle Ages to the 19th century, all of which tell its story.

National gallery 01
Premiere Date
August 21, 2015
Length
181 minutes
Wiseman frederick filmmaker bio
Director

Frederick Wiseman

Frederick Wiseman has made 39 documentaries and two fiction films. Among his documentaries are Titicut Follies, Welfare, Public Housing, Near Death, La Comédie Française Ou L'amour Joué, La Danse — le Ballet De L'opéra De Paris, and At Berkeley (Independent Lens, 2014). His documentaries are dramatic, narrative films that seek to portray the joy, Show more sadness, comedy and tragedy of ordinary experience. His films have played in theatres and been broadcast on television in many countries. He is also a theater director and has directed The Last Letter, based on a chapter of Vasily Grossman's novel Life and Fate, and Samuel Beckett’s Happy Days at the Comédie Française. Mr. Wiseman received his BA from Williams College in 1951 and his LLB from Yale Law School in 1954. He has received honorary doctorates from Bowdoin College, Princeton University, and Williams College, among others. He is a MacArthur Fellow, a Fellow of the American Academy of Arts and Sciences, the recipient of a Guggenheim Fellowship, and an Honorary Member of the American Academy of Arts and Letters. He has won numerous awards, including four Emmys and the Dan David Prize. He is also the recipient of the Career Achievement Award from the Los Angeles Film Society (2013); the George Polk Career Award (2006); the American Society of Cinematographers Distinguished Achievement Award (2006); and the Venice Film Festival Golden Lion (2014); among many others. Show less

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The Film

National Gallery takes the audience behind the scenes of a London institution, on a journey to the heart of a museum inhabited by masterpieces of Western art from the Middle Ages to the 19th century. Master documentarian Frederick Wiseman's film is the portrait of a place, its way of working and relations with the world, its staff and public, and its paintings. In a perpetual and dizzying game of mirrors, film watches painting watches film.

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