Documentarian Laura Poitras has already tackled heavyweight subjects like National Security Agency whistleblower Edward Snowden (in 2014's Oscar-winner Citizenfour) and WikiLeaks founder Julian Assange (in 2016's Risk). We caught up with Poitras to talk about her Golden Lion-winning new film, All The Beauty And The Bloodshed. It follows iconic artist Nan Goldin as she campaigns for galleries and museums to cut ties with wealthy benefactors, The Sacklers, manufacturers of highly controversial painkiller OxyContin.

^{Picture: Jan Stürmann}

What was the seed for this film? 

It was always a Nan piece. All of my films focus on an individual who’s causing trouble. So Nan was the way in for me; and the fact that it is ongoing [the protests against the Sacklers] was appealing. I make films, generally, where some part of them unfolds in the present tense. I’m not a biographer, and if there hadn’t been this strong, palpable driving force to it, I don’t think I’d have been the right filmmaker for it.

Were you worried about going up against the Sacklers? 

I think the risks were real. When Nan and [campaign group] PAIN started doing these protests, all the museums didn’t say a word. The Sacklers have an army of lawyers, they hire private investigators to intimidate you. And I think Nan faced potential career harm. So I think those risks are real. I’m aware of the risks. But if Nan can stand up to them, I’ll stand with her.

^{Self-portrait with scratched back after sex/Picture: Nan Goldin}

The Sacklers’ company Purdue Pharma manufactured OxyContin, which destroyed many lives due to its addictive properties. But how responsible were the doctors prescribing it? 

They were lied to and were bought in many cases. They were sent on weekend vacations. They would track who were the big sellers, so if they found a doctor that seemed to be prescribing a lot, they would focus on that doctor to make more money. It’s an obscene portrait of American capitalism. Complete criminality in terms of how they lied about the addictive properties. But Nan would say this: some people need painkillers. Doctors should be able to prescribe painkillers. The mismarketing and profiteering is the crime here.

This story is very much ongoing, with the V&A Museum recently cutting ties with the Sacklers. Do you want to see more of that? 

I hope it’s more universal than just about the Sacklers. With all my films, I want people to be moved emotionally, but then also maybe to see what in their universe they can do to change things. If you don’t think the status quo is something that you support, then what can you do to change it?

^{Nan and Barbara holding hands/Picture: Nan Goldin}

Is there any sign of the opioid crisis relenting in the US?

No. Every year, more people are dying. This last year is the highest and it keeps going up. Hopefully, the film could maybe help destigmatise and shift the blame towards the pharmaceutical industry. Nan, by being open about her own experience, hopefully can destigmatise others to seek help if they need it.

What about your earlier subjects? 

How strange must it be for Edward Snowden to be in Russia during the conflict with Ukraine? Ed is in exile. I’m very glad he’s not in a US prison. . . I can promise you, that’s a much worse place to be. I don’t apologise for any aggression of any country . . . if that’s Russia or the US. I guess what I’ve tried to do with my work is expose the US empire. 

What about Assange? 

Right now, Assange is in Belmarsh Prison and the lack of outcry from journalists is staggering. The biggest threat to journalism right now is Assange’s case. The fact that the US is trying to extradite him . . . if that happens, it means any journalist anywhere in the world is vulnerable to US extradition for doing journalism, and that’s really staggering. So the landscape is really scary. The stakes could not be higher. I’ll be honest, it also impacts me; I’m vulnerable, I could be charged with the Espionage Act. The US government could charge me with that for the work I did exposing the NSA surveillance programmes. So the threat is real.

All The Beauty And The Bloodshed is in cinemas from Friday 27 January.