United Kingdom 1974, 106 min, English, Hebrew subtitles

In the middle of the 1970s, long before his works were priced at tens of millions of dollars, David Hockney had already become a superstar. It is therefore unsurprising that director Jack Hazan chose him as the subject of his unusual film. The film follows Hockney as he picks up the pieces after a breakup—and paints some of his greatest work. The documentary footage is intercut with fantasies, some of them erotic—an unprecedented on-screen depiction of homosexual love. Young Hockney and his bohemian friends are shown flitting between the clubs, galleries, and fashion shows of London and New York. The result was so intimate that Hockney offered the director 20,000 GBP to shelve the film. The director refused, and now this rare gem graces the screen once more, revived in a new digital restoration.


  • The film will be available until September 30th

How it works

Please note that tickets are limited

Meet the Filmmakers

  • Filmmaker Jack Hazan in conversation with Yuval Saar In collaboration with Portfolio Magazine

    Fri 04.09 at 16:00

Director: Jack Hazan
Production & Production Company: Buzzy Enterprises
Script: David Mingay, Jack Hazan
Music: Patrick Gowers

Source: Contemporary Films


Born in Manchester on 31 March 1939 to Jewish Syrian parents attracted to the flourishing textile trade, Hazan moved to California in the late 1950s to study Motion Picture Arts at UCLA. Returning to the UK in the early 1960s, he joined the BBC Film Department as an assistant cameraman, leaving in 1967 to form a partnership of technicians, Solus Enterprises, and worked as cinematographer on television documentaries. By the end of the 60s he had directed two shorts, Grant North (1969), about the nature painter and sculptor Keith Grant, and Especially at My Time of Life (1969), about four artists then working at Camden Studios. In 1970, his partner David Mingay showed him the David Hockney retrospective catalogue and its double portraits revealed to him the possibilities of juxtaposing real life and art. Hazan contacted the artist, showed him his short films and had his proposed collaboration immediately turned down. Nevertheless, for the next four years, Hazan, often working alone, would film Hockney and his entourage with his personal 35mm Cameflex, on-call, using short ends of film donated by friendly assistants and backed up by the in-house Solus partners.

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