Martha: A Picture Story

Martha Cooper is an unexpected icon of the street art movement – a tiny, grey-haired figure running alongside crews of masked graffiti artists.

In the 1970’s, as the boroughs of New York City burned, she worked as a photographer for the New York Post, seeking images of creativity and play where others saw crime and poverty. As a result, she captured some of the first images of New York graffiti, at a time when the city had declared war on this new culture. Martha and her co-author Henry Chalfant compiled these images into the book Subway Art. However, the commercial failure of the book forced Martha to leave graffiti behind, moving on to document many other hidden cultures of New York.

20 years later Martha discovers she has become a legend of the graffiti world – a culture that has now exploded into a global movement. Subway Art became one of the most sold – and stolen – art books of all time, photocopied and shared by graffiti artists for decades.

At 75 years of age, Martha finds herself navigating a culture vastly changed.The small community born from struggle and adversity, has grown into a commercial industry fuelled by the rise of social media. Now every new piece of street art is immediately uploaded, and crowds line up for selfies in front of popular works. Martha struggles to find her place in this new world, driven by a passion for capturing the creativity that helps people rise above their environment.

Paparazzi

Chain-smoking, opinionated, nihilistic and unscrupulous; Przemek will stop at nothing to get the picture that he wants.

During a high-speed chase he photographs a female celebrity, his camera pointing towards her passenger window, blazing like a machine-gun. He trawls through the grounds of a hospice to get an elusive window shot of the dying Catholic priest Father Jankowski. The paparazzo is a leather-jacketed, self-proclaimed ‘motherfucker’ whose actions and motivations seem deeply immoral, even borderline criminal. But this is only half the story.

Director Bernas filmed his ‘black hero’ for a year, and events subsequently conspire to force home Przemek’s volte-face. When the Polish president and his entourage are killed in a plane crash, the public outpouring of grief effects a significant change in his approach to his craft. His subjects are now sorrowful citizens assuming attitudes of sombre reflection, illuminated by candles of remembrance. But despite his change of heart, Przemek can’t suppress his urge to get one final picture, which is of the car carrying the president’s brother as it eludes the speeding paparazzo, racing towards a dark and ominous tunnel.

Paparazzi is a visual feast – stylish, colourful, fast-paced – and shot to a thumping beat.