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Generation Wealth Reviews
Greenfield wants us to know that greed, despite what Gordon Gekko so famously said, is not good.
This documentary really puts things in perspective for you. Money doesn't equal happiness.
Greenfield is aware of the irony. But she's also aware of the pain underneath that statement, encouraging us to lay down our smirks and quips and find it in ourselves to feel it too...
I wouldn't avoid this documentary like the plague, but I would save it for home viewing when you think about investing money with a mysterious stock broker.
The result is something of an indulgent, catch-all mess.
Despite the film's tired observations and lack of self-awareness, it's really just a giant ad for Greenfield herself.
It's slightly indulgent, but most of the great autobiographies are, and the end result manages -- almost against the odds -- to blend the personal and the professional in ways I didn't think were possible.
Generation Wealth is an unsatisfyingly superficial crash course in that enduring idea, a kind of omnibus of the photographer's fixations coalesced into one top-heavy, meandering production.
What happens when those who live fast don't die young.
It is not about the today's truly wealthy, which is a missed opportunity.
Despite its focus on materialism, Generation Wealth ends up as a tribute to loved ones, who bring richness to life that money cannot.
Greenfield's takeaway -- money doesn't buy happiness, family is important, status is illusory -- feels too pat. It also ignores a larger point: The people here who claim not to want money are the people who've had it and lost it.
Whilst it suffers from a lack of focus at times, it's a well-made and thought-provoking insight into our strange new world.
By being both sprawling and personal, Greenfield forces us to look at how we are all complicit in this culture that prizes wealth.
Maybe society is just so afflicted with its wealth sickness that looking at all the symptoms of the illness makes it impossible to craft a compelling diagnosis of how the infection started and spread.
What we get is a film that is most fun when observing the cautionary lifestyles of the once-rich and adjacent-to-famous, but most insightful when it pulls outs of the fast lane and Greenfield's eye turns inward on her own life.
The film is not so much a documentary about how greed and money are destroying society as it is an autobiographical look at Greenfield's obsession with the lifestyles of the rich and the famous.
The degree of difficulty here is off the charts, and the wildly uneven results only make the achievement of Kirsten Johnson's Cameraperson all the more impressive.
But as in so much of this sprawling meditation-an odd mix where the heinously crass often outweighs the authentically beautiful-deep analysis is lacking.
Greenfield's film is all over the place, and is more stream of consciousness than informative or even entertaining.