Sam Taylor-Johnson

The extraordinary story of Amy Winehouse’s early rise to fame from her early days in Camden through the making of her groundbreaking album, Back to Black that catapulted Winehouse to global fame. Told through Amy’s eyes and inspired by her deeply personal lyrics, the film explores and embraces the many layers of the iconic artist and the tumultuous love story at the center of one of the most legendary albums of all time.

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Anthology series telling character-driven stories set at different moments in time, aiming to showcase that during people's most isolated moments, and in disparate circumstances, the human experience connects everyone.

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A diverse band of Nazi Hunters living in 1977 New York City discover that hundreds of high ranking Nazi officials are living among us and conspiring to create a Fourth Reich in the U.S. The eclectic team of Hunters set out on a bloody quest to bring the Nazis to justice and thwart their new genocidal plans.

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A young drug-addled writer approaching the bottom of his descent submits to two months of agonizing detox at a treatment center in Minnesota.

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The journey of Jean Holloway – a therapist who begins to develop dangerous and intimate relationships with the people in her patients' lives.

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When college senior Anastasia Steele steps in for her sick roommate to interview prominent businessman Christian Grey for their campus paper, little does she realize the path her life will take. Christian, as enigmatic as he is rich and powerful, finds himself strangely drawn to Ana, and she to him. Though sexually inexperienced, Ana plunges headlong into an affair -- and learns that Christian's true sexual proclivities push the boundaries of pain and pleasure.

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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.

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A rebellious teenager, future Beatle John Lennon lives with his Aunt Mimi in working-class mid-1950s Liverpool, England. Mimi's husband suddenly dies, and John spies his mother Julia at the funeral. Despite Mimi's misgivings, John intends to have a real relationship with his mother. Julia introduces him to popular music and the banjo and, though a family conflict looms, young John is inspired to form his own band.

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

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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.

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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.

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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.

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The figures in this piece are the fashion designer Bella Freud, daughter of Lucian and granddaughter of Sigmund, and her husband, the writer James Fox. Fox has written about Taylor-Johnson's work on more than one occasion. Single-screen projection.

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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.

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A compilation of erotic films intended to illuminate the points where art meets sexuality.

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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.

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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.

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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.

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

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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.

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

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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.

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2001 Sam Taylor-Wood video art short

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

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

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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.

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

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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.

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

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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.

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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.

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

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The brink of 2000. The misfits refuse to get krunk.

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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.

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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.

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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.

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Kelly Clarkson presents the biggest newsmakers and names in film, television and music; as well as emerging new talent and everyday people who are beacons of hope in their communities.

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At a pivotal moment for gender equality in Hollywood, successful women directors talk about their art, lives and careers.

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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.

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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.

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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.

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2001 Sam Taylor-Wood video art short

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The extraordinary story of Amy Winehouse’s early rise to fame from her early days in Camden through the making of her groundbreaking album, Back to Black that catapulted Winehouse to global fame. Told through Amy’s eyes and inspired by her deeply personal lyrics, the film explores and embraces the many layers of the iconic artist and the tumultuous love story at the center of one of the most legendary albums of all time.

Open details →

Anthology series telling character-driven stories set at different moments in time, aiming to showcase that during people's most isolated moments, and in disparate circumstances, the human experience connects everyone.

Open details →

A young drug-addled writer approaching the bottom of his descent submits to two months of agonizing detox at a treatment center in Minnesota.

Open details →

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

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A compilation of erotic films intended to illuminate the points where art meets sexuality.

Open details →