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The Woodmans
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The Woodmans (2010) More at IMDbPro »


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7.0/10   503 votes »
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Down 8% in popularity this week. See why on IMDbPro.
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Release Date:
18 January 2011 (USA) See more »
The story of a family that suffers a tragedy, but perseveres and finds redemption through each other and their work - making art. | Add synopsis »
2 wins & 2 nominations See more »
User Reviews:
The Woodman See more (9 total) »


  (in credits order)
Francesca Woodman ... Herself (archive footage)
George Woodman ... Himself
Betty Woodman ... Herself
Charles Woodman ... Himself (as Charlie Woodman)
Patricia Sawin ... Herself
Edwin Frank ... Himself
Sloan Rankin ... Herself
Catherine Chermayeff ... Herself
Sabina Mirri ... Herself
Benjamin ... Himself (archive footage)
Glenn Palmer-Smith ... Himself
Robert Kushner ... Himself
Alexander Woodman ... Himself
Andrea Woodman ... Herself

Directed by
Scott Willis  (as C. Scott Willis)
Produced by
Neil Barrett .... producer
Jeff Werner .... producer
Scott Willis .... producer (as C. Scott Willis)
Original Music by
David Lang 
Cinematography by
Neil Barrett 
Film Editing by
Jeff Werner 
Art Direction by
Ekin Akalin 
Art Department
Collin Willis .... graphic artist
Sound Department
Kennedy Wright .... sound designer
Visual Effects by
Eric Reinhard .... lead compositor
Camera and Electrical Department
Greg Andracke .... additional photography (as Gregory Andracke)
Michael Shane Bowles .... photography: Beijing (as Michael Bowles)
Richard Coppola .... camera operator: 3d motion capture camera
Philip Geyelin Jr. .... additional photography (as Philip Geyelin)
Magee McIlvaine .... key grip (as Magee McIlvane)
Chad Stayrook .... key grip
Kenzan Tsutakawa-Chinn .... key grip
Collin Willis .... key grip
Editorial Department
Magee McIlvaine .... assistant editor (as Magee McIlvane)
Todd Sali .... color correctionist
Todd Sali .... on-line editor
Tagui Chilyan .... assistant editor (uncredited)
Music Department
Royce Jeffries .... assistant engineer
So Percussion .... musicians
Mike Vecchio .... assistant engineer
Lawson White .... original score producer
Lawson White .... original score recordist
Other crew
Michael Shane Bowles .... creative consultant (as Michael Bowles)
Rachel Goslins .... creative consultant
Dorothy Batten .... special thanks
Andrew Cockburn .... special thanks
Leslie Cockburn .... special thanks
John Donvan .... special thanks
Sherry P. Geyelin .... special thanks
Katie Homans .... special thanks
Katarina Jerinic .... special thanks
Phil Alden Robinson .... special thanks
Patterson Sims .... special thanks
Mary-Sherman Willis .... special thanks
Alexander Woodman .... special thanks
Andrea Woodman .... special thanks
Betty Woodman .... special thanks
Charles Woodman .... special thanks (as Charlie Woodman)
George Woodman .... special thanks

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Additional Details

Also Known As:
82 min
Aspect Ratio:
1.78 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Francesca Woodman:Real things don't frighten me - just the ones in my mind do.See more »


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11 out of 13 people found the following review useful.
The Woodman, 3 July 2012
Author: ThurstonHunger from Palo Alto, CA, USA

I was fortunate enough to see some of Francesca's work at the SF MOMA earlier this year. Her photos, seeming to both express and erase herself at the same time, were fascinating.

The "Polka Dot" image alone was what called me to the exhibit...

Here is an oddly cropped version from the cover of a posthumous book

go to wiki and Keller2011FrancescaWoodmanBookDustJacketFront.jpg

Anyways, this film is indeed called "The Woodmans" and obviously the intent was to focus on all the artists in the family: Mom, Dad, Brother Charlie and Francesca, who killed herself over 30 years ago.

Yes, ideally her art should (and can) stand separate from her suicide, but there is some eerie harmony between the work and her suicide. Art is more clearly about choices than life, in art there is much more control, whereas in life, control is at best an illusion.

I didn't go into the film expecting it to be a mystery, and I steadfastly tried to avoid any judgment of the parents, even though I felt the filmmaker was pushing us towards one at times. Betty's comments about a therapist and a family Francesca babysat for, and then George's comment about the timing of her death, well they pushed me towards psychoanalysis. Ultimately Georges photo shoot is unfurled, and I'm curious if anyone felt was not at least a little creepy. Meanwhile the friends and other testifiers on behalf of Francesca if anything made her feel more remote than anything. Especially the sweet neighbor whose friendship sadly must have come before two or three major changes in Francesca...

They seemed from two different worlds, united by a kindergarten lifetimes ago. Even the parents, at this point have spent more time without Francesca then they did with her. What I might over analyze as willful detachment, could just as well be a weary detachment at this point.

Ultimately she is gone. And the film just underscores that. I'm not sure what I would do in her parent's stead, feel honored with a hint of agony? Maybe wish it away until I'm gone, and then let her brother handle it (if he wanted to?) I don't have the all-consuming near religious belief in art as they do. Seeing that was the most striking aspect of the film. For better or worse.

I had hope for more footage of Franscesca speaking for herself, instead they offered scribbled diary pages and then even excerpted those. I paused them at times, looking for more in the margins. Whether the film meant to just augment her mystique, or could not find its way in the few scraps left of Francesca, I do not know.

In the end, I think people are better served spending time with her artwork then this film, here's a nice set via UC Berkeley online

During the film, I felt the images came and went too quickly. Not just for her, but for the other family members as well (Charlie in particular got the shortest shrift, his stuff looked more interesting to me than the parents.) Even at the exhibition, it was so crowded that the experience was diminished for me a bit, when looking alone at these photos now, it works better, in the quiet and stillness.

Evidently her work strikes a resonance with young female artists, however I am excluded from all three categories, and still find her work charged. We all struggle with meaningless in our lives, but for her to have captured meaningful photos during that struggle, that's the film I wanted to watch.

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