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Columnist

Resume: Fashion Activist, Documentarian.

Directors - Mark Bozek
score - 26 Vote
Year - 2018
Resume - The Times of Bill Cunningham is a movie starring Bill Cunningham. A new feature film documentary about legendary NYTimes photographer Bill Cunningham
7,1 / 10

I saw a documentary on Netflix about him and he was asked questions about his life etc. From what he said he seemed to be a nice person very dedicated to his faith, work, and employer, and a man who deeply reflected on ethics, and how to live and treat others with dignity and respect all while having a passion for fashion and how to present it through photography and in words. I found him to an interesting and inspirational person since he was able to mix his talents and passions together for a career which he seemed to love. I think he was quite unique in many respects.

Can anyone please tell me which deli bill goes for breakfast? Will be visiting New York and would like to have breakfast their. I have 1) no idea what this film is about, and 2) an inexplicable urge to watch it. Great job, Julia Garner.

2:07 I though Anna would say Please bore someone else with your. questions. That's All

The city still feels empty without him. Famed streetwear photographer Bill Cunningham was everywhere, particularly at every fashion show in New York, Paris, and Milan. If there had been a bridge over the ocean he would have hopped on his bicycle to cross it. When Cunningham prowled the city for his New York Times columns “On the Street” and “Evening Hours” he would watch the crowd with the intensity of a forensic scientist, pouncing — with his camera — when he saw what he wanted. Omnipotent as Cunningham seemed (he was even the subject of a 2010 film, Bill Cunningham New York) theres more to know about him — as evidenced by a new documentary called The Times of Bill, coming next year. Born and raised in Boston, Cunningham earned a scholarship to Harvard, but left after two months. He came to New York City in 1948 to pursue an interest in fashion, and opened his successful millinery shop under his own label, William J in 1949. He closed his business in 1962, when hats started going out of fashion, and began working for WWD as a fashion reporter. When that was not enough to satisfy his artistic curiosity, Cunningham picked up camera. He did so for the first time in 1967. He was also a relentless cultural and fashion historian, as his 1978 book Facades illustrates. For that project, Cunningham spent eight years collecting clothing and accessories from thrift shops, street fairs, and auctions in order to photograph a model dressed in these period costumes, in front of buildings from that same era. The gregarious and opinionated photographer Editta Sherman modeled for him. She lived down the hall from Bill in Carnegie Hall. Sherman (known as the Duchess of Carnegie Hall) moved with her family into her studio in 1949, and took portraits of well-known personalities to make a living. Carnegie Hall was not only built to be a great concert hall in 1894; it was also designed with sky-lit studio spaces on the top floor in order to accommodate artists — like Leonard Bernstein, Marlon Brando, Agnes de Mille, and Isaac Stern — who needed space to live and create. This community of artists disbanded in 2010 after an epic struggle to remain in their unique spaces. Photographer Josef Astor also lived in Carnegie Hall for decades, was a close friend of both Cunningham and Sherman, and had privileged access like no one else. He took photographs of each of their studios, as well as his own. Along with Lost Bohemia, his extraordinary documentary about the life at Carnegie Hall, he took hundreds of photographs of the artistic community in its heyday. In 2018, Times of Bill director Mark Bozek will debut a new documentary featuring interview footage of Cunningham, on the occasion of the photographer receiving the Media Award from the Council of Fashion Designers of America in 1993. This is the first time that Astor has allowed his photographs of Cunninghams personal space in Carnegie Hall to be seen. Inside the World of Bill Cunningham.

This is like information overload for me. very interesting.

No. No to those hats. No. NO. NOOO.

Wintour is coming.

Bill Cunningham, the New York fashion photographer known for his shots of emerging trends on the streets of New York City, died on Saturday at age of 87 after being hospitalized for a stroke, the New York Times  reported. Cunningham worked for the New York Times for nearly 40 years, operating 'as a dedicated chronicler of fashion and as an unlikely cultural anthropologist. the newspaper said. He was known for wearing his trademark blue jacket and riding around in his bicycle with a small camera bag strapped to his waist. After serving in the Army, Cunningham wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets. Scroll down for video  Bill Cunningham (pictured in July last year) had worked for the New York Times for almost 40 years as a fashion and street photographer. He died on Saturday aged 87 Cunningham (pictured with Anna Wintour at the Donna Karan show during Fashion Week in September 2012) was a 'dedicated chronicler of fashion and as an unlikely cultural anthropologist' the newspaper said After serving in the Army, Cunningham (pictured at New York Fashion Week in February 2015) wrote fashion pieces for the Chicago Tribune and started taking photographs of people on the streets The photographer (pictured with Wintour in April 2012) chronicled decades of changing trends on the streets of New York City throughout his career A chance photograph of Greta Garbo got the attention of the New York Times and in 1978 he began publishing a regular series of photographs in the paper - eventually becoming one of the most influential figures in the fashion world. 'I've said many times that we all get dressed for Bill. Vogue editor-in-chief Anna Wintour said in a 2010 documentary dedicated to Cunningham, called Cunningham New York. Wintour and Cunningham were photographed together when he received the Carnegie Hall Medal of Excellence at the Waldorf Astoria in New York four years ago. Cunningham operated with the conviction that fashion shows didn't happen on runways but on the street - and his essays in the New York Times documented decades of evolving trends on the New York pavements. His keen eyes spotted popular items of clothing ranging from the elegant to the tacky, and his lens capture 'fanny packs Birkin bags, gingham shirts and fluorescent biker shorts' the New York Times said in an obituary of Cunningham Saturday. 'I'm not interested in celebrities with their free dresses. I'm interested in clothes. Cunningham said about his own work in the 2010 documentary. Cunningham may have been known to every important figure of his industry, but his own life was a model of asceticism, the New York Times reported. He had breakfast every day at the same deli - Stage Star Deli on West 55th Street, and usually purchased a sausage and egg sandwich and a cup of coffee for less than 3. Cunningham did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives. His single bed was pictured in the 2010 documentary among rows and rows of file cabinets. 'If you don't take money, it can't tell you what to do. Cunningham, who also appeared at a launderette, said. Cunningham was born in March 1929 in Boston in an Irish-Catholic family and was the second of four children, the New York Times wrote. Cunningham (pictured in 1989) received a scholarship to go to Harvard but dropped out after only a couple of months. He said people there 'thought [he] was illiterate' when he was, in fact, a visual person According to Cunningham (pictured in September 2012 during New York Fashion Week) fashion shows didn't happen on runways but actually took place on the streets Cunningham (pictured in February 2015 at a Jeremy Scott fashion show) said he wasn't interested in celebrities who wore 'free dresses' but that he actually cared about clothes His first career was making hats, which he began to do in middle school after collecting bits of fabric at a dime store. Cunningham received a scholarship to go to Harvard but dropped out after only two months. 'They thought I was an illiterate. Cunningham said according to the New York Times. 'I was hopeless - but I was a visual person. Then, he moved in with his uncle in New York and lived with him until the man told him to 'quit making hats or get out of [his] apartment. Cunningham moved into his own apartment on East 52nd Street, and used it to showcase his creations. At the same time, he began writing a freelance column in Women's Wear Daily as a way to make a bit more money - but quit early in the 1960s after a disagreement with his publisher regarding the comparative merits of designers Andre Courrege and Yves Saint Laurent. Evolving trends meant women were wearing fewer and fewer hats, and Cunningham could tell he would soon have to find a new career, the New York Times reported. He picked up his first camera around 1967 and took photos of the Summer Of Love on the streets.  Cunningham got a few jobs at the Daily News and at the Chicago Tribune before becoming a regular addition to the New York Times in the late 1970s. Editors offered him a staff position repeatedly over the next 20 years, but Cunningham declined, saying: Once people own you, they can tell you what to do. So don't let 'em. '   He eventually accepted the offer after getting hit by a truck while on his bicycle in 1994, explaining he needed the position to have health insurance. Cunningham never reported having a romantic relationship. When Richard Press, who directed the documentary dedicated to Cunningham, asked him about his personal life, the photographer replied: Do you want to know if I'm gay? Isn't that a riot. No, I haven't. It never occurred to me. the New York Magazine reported. The fashion world paid tribute to Cunningham's talent - and his unusual character - after the news of his death broke on Saturday.  'His company was sought after by the fashion world's rich and powerful, yet he remained one of the kindest, most gentle and humble people I have ever met. New York Times publisher and chairman Arthur Ochs Sulzberger Jr said. 'We have lost a legend, and I am personally heartbroken to have lost a friend. Many shared pictures and drawings of Cunningham in his blue jacket and next to his bike on social media. Those who had seen him at a fashion show recounted their encounters and spoke fondly of Cunningham's manners. Lena Dunham wrote on Instagram: Saw Bill out and about doing his thing for the first time when I was seven - I didn't know who he was but I knew he made everyone important stop and adjust. 'It was the exact same vibe when I saw him a month ago, fancy people suddenly unsure in the presence of this special eccentric. He was powerful but he was gentle and kind. He had vision and he will be missed. French fashion blogger Garance Dore, who lives in New York City, also wrote on Instagram: Some legends walk by you and you hardly notice them because that's exactly what they want. 'Bill Cunningham was like this, and all his life he was able to keep that fire and the perfect distance from his subject, distance that allowed him to do the work that he did. 'He was always going, going, going, rain, snow, heat, always smiling. Wearing a blue jacket and riding a bike became two of Cunningham's trademarks and reflected his stubbornly modest lifestyle. He is pictured in New York City in April this year Cunningham (pictured in July 2014) once said: If you don't take money, it can't tell you what to do. He had breakfast at the same deli every day and usually bought an egg sandwich and a coffee for less than 3 After getting hit by a truck while riding his bicycle in 1994, Cunningham (pictured right in 2010) finally accepted a staff position at the New York Times, explaining he needed it for health insurance Cunningham (pictured in May this year in New York City) did not have a television, did not go the the movie theater, and until 2010 lived in the same studio where he kept his negatives.

I love this. I like to work with talented people, in Vogue we search for the best. And always be true to yourself. Anna. Description! HD2340p! The Times of Bill Cunningham 2020 Full Movie Online Free? DVD-ENGLISH] The Times of Bill Cunningham 2020 Full Movie Full Movie Watch online Free HQ HQ [DvdRip-USA eng subs] The Times of Bill Cunningham 2020 Full Movie Full Movie Watch online Free 123 Movies Online! The Times of Bill Cunningham 2020 Full Movie, Watch The Times of Bill Cunningham 2020 Full Movie Online 2020 Full Movie Free HD. 720Px Watch The Times of Bill Cunningham 2020 Full Movie Full Online HD Movie Streaming Free Unlimited Download, Annabelle Comes Hom Full Series 2020 Online Movie for Free DVD Rip Full HD With English Subtitles Ready For Download. Click Here To Watch Or Download The Times of Bill Cunningham Movie Unlimited: Genre: Comedy Companies: United States of America Release: 2020-02-14 Watch The Times of Bill Cunningham 2020 Full Movie Movie Online Streaming, Watch Movie and TV Shows… Watch The Times of Bill Cunningham Movie Online For Free and Download Full HD without Registration, HDFlix Via ‘The Times of Bill Cunningham Review: Keanu Reeves Kills Everybody in Breathtakingly Violent Sequel One of Hollywoods best action franchises gets bigger — if not always better — in a bloody sequel that functions as a meditation on fame. “The Times of Bill Cunningham” For a semi-retired super assassin whos killed more people than the Bubonic plague, John Wick (Keanu Reeves) is actually a pretty relatable guy. Beneath the concave cheekbones, the magical handguns with infinite bullet capacity, and the byzantine criminal underworld that stretches to every corner of the globe, hes just a monosyllabic middle-aged man who wants to be left the fuck alone. When the first movie of this increasingly ridiculous saga began, Mr. Wick was grieving his wifes death in peace—then some Russian mobsters made the mistake of killing his dog (her name was Daisy, and she was very cute. This aggression, unknowingly committed against a man so dangerous that he used to be known as “Baba Yaga, ” forced John back into the network of contract killers hed once left behind. And ever since the shadowy crime lords of the High Table sniffed blood, they havent lost the scent or minded their own business. At the end of “John Wick: Chapter 2, ” our laconic hero committed a big no-no by shooting a pest on the consecrated grounds of the Continental Hotel, but desperate times call for desperate measures, and every New Yorker knows what its like when the world gets a bit too close for comfort. Giddy, exhausting, and breathtakingly violent, “The Times of Bill Cunningham” begins a few seconds after the previous installment left off, with the excommunicated assassin trying to make the most of the hour-long headstart hes been given to hide before the 14 million bounty on his head is triggered and the entire criminal underworld comes after him. Of course, anyone whos seen the previous films in this unexpected franchise knows that its criminal underworld is more of an overworld, and that almost every featured extra? —? from street vendors and waiters to dog-walkers and homeless people? —? is a heat-packing hired gun who uses their role in the capitalist system as a disguise for their deeper allegiance to a veiled society that operates on an ancient market of codes and blood oaths. Now that Mr. Wick is square in the middle of all of those crosshairs, its become comically impossible for the deathless widower to find the solace he seeks. Hes a target, and it seems like the entire world has its finger on the trigger; he used to be anonymous, but now hes a celebrity. In its most enjoyably demented moments, “Parabellum” is nothing short of a non-stop metaphor for being famous. Less artful but more concussive than its immediate predecessor, this latest outing finds Mr. Wick being clocked by strangers every time he enters a room, stalked by his biggest fans, and so desperate for someone who will treat him like an actual human being that he travels all the way to the Sahara Desert to find them. Everyone in the world knows him by name, New York City is the only place on Earth he can hide in plain sight, and the perks of his job dont seem to compare with the harassment that comes with them. As Wick stumbles through the wet neon streets of Times Square—returning us to a surprisingly involved film world that flows like “The Raid” and looks like a hyper-saturated Instagram feed? —? its hard not to think of Reeves recent experience on a malfunctioning airplane, and how even that death-defying ordeal was turned into a viral moment (to the actors mild chagrin. Reeves once said that Wick was 40% him, but that number seems to have crept up a bit this time around. No movie has ever expressed the fight for anonymity with such viscerally literal force. True to the serialized nature of its title, “The Times of Bill Cunningham” starts in media res and ends on a cliffhanger. For an 131-minute film that devotes roughly 110 minutes of its runtime to people shooting each other in the head at close range, it would be almost impossible to follow for someone who isnt up to speed. Still, the gist of the plot is pretty simple: John Wick kills a lot of people. Like, a lot of people. By the end of “Parabellum, ” hes basically the leading cause of death in henchmen between the ages of 25 and 50. More of a one-man massacre than ever before (but just raggedy enough to keep things “real”) Mr. Wick fights in a punishingly brutal style that builds on what director Chad Stahelski invented for the character in the previous films. This is a character who appears to know every single language under the sun, but violence is the most expressive part of his vocabulary (Reeves speaks maybe 100 words in the entire movie. Chinese wushu, Japanese judo, Southeast Asian silat, American Glock… Wick is fluent in them all. But while Stahelski and his team have obviously put a great deal of thought into every frame of fisticuffs, “Parabellum” is so relentless that it often devolves into a numbing flurry of shoulder flips and headshots. If “Chapter 2” bordered on high art for how cleverly it weaved tactical shootouts into public locations (and made every fight operate like an organic bit of world-building) “Chapter 3” is more out in the open. A sneaky little skirmish in Grand Central Station doesnt live up to Stahelskis creative potential, even if its amazing they pulled off the scene at all. Elsewhere, a motorcycle chase along an empty Manhattan bridge is too rushed and blurry to deliver the “Fury Road” ferocity it teases, and the climactic brawl? —? which makes great use of some familiar faces, and hinges on a funny dynamic of mutual respect—is overwhelmed by a set that looks like a high-end watch commercial, and feels like a watered-down retread of the house of mirrors sequence from the end of the previous movie. Driven by a profound respect for the expressive power of beating someone to death, and empowered by their 54-year-old stars remarkable skill and commitment, Stahelski and the other poets of percussive carnage that work at his 87Eleven Productions are still (a severed) head and shoulders above the rest of Hollywoods stunt community. But they can do more with this character, even if it means slowing things down and widening them out. To that end, its telling that the most exciting brawl in “Parabellum” (with the possible exception of a knife fight in a Chinatown antiques store) maintains a more expansive vision, as Mr. Wick fights alongside Halle Berry and some four-legged sidekicks. Traveling to Casablanca for reasons that are never adequately explained, Mr. Wick meets up with an assassin named Sofia who owns a pair of well-trained Malinois dogs; like every other supporting character in this movie, theres mixed blood between them, and she owes him something for some reason. There are coins and seals and lots of jibber jabber about High Table manners and then “Game of Thrones” star Jerome Flynn shows up as a Bronn-like business type whos a bit too greedy for his own good (its hard to tell what accent Flynn is doing here, but hes most definitely doing it. When the bullets fly, Sofias very The Times of Bill Cunningham lend a valuable assist, and Stahelski has to open things up in order to frame the dogs as they chew on fresh corpses. The sequence is very “John Wick” and horribly terrific in a hand-over-your-mouth kind of way; it does more than any of the tossed-off business with the Bowery King (Laurence Fishburn) or the Continental Hotel owner (Ian McShane) to whet our appetites for another adventure. Anjelica Huston is also somewhat wasted as the matriarch of a Harlem ballet academy with ties to Wicks past, but her scenes are so immaculately shot that youre willing to let it slide. In a film that plays fast and loose with NYC geography, all is forgiven by turning 175th streets United Palace into the “Tarkovsky Theater, ” where people are trained to be killers in between performances of “Swan Lake. ” The films world-building works best in small doses. A meeting in the middle of the desert is a total dead end, whereas all sorts of fun details can be inferred from Stahelskis frequent cutaways to the High Table nerve center, where dozens of tattooed and lip-glossed workers monitor Wicks bounty with an old-fashioned switchboard (imagine a SuicideGirls reboot of “Mad Men” and youll have the right idea. Non-binary “Billions” star Asia Kate Dillon plays a stiff and slinky High Table adjudicator whos covered in Thierry Mugler coture; part referee and part femme fatale, their performance speaks to an underworld thats sustained by a mutual respect for all people so long as they dont shoot the wrong target. While this franchise is starting to feel a bit long in the tooth, such details suggest that screenwriter Derek Kolstad (here sharing credit with three other scribes) can still mine this world for plenty of new life, so long as future installments find a way to deepen the John Wick mythos instead of just stretching it out. With the significant exception of “Mission: Impossible, ” this is easily the best action franchise Hollywood has going these days, and it would be great for it to keep going with renewed focus. The fact that Keanu Reeves is nearing 60 wont matter to his fans. For one thing, the man is seemingly ageless. For another, retirement no longer seems like a realistic option for a guy who still gets recognized everywhere he goes. It doesnt matter if youre a Hollywood star or a 14 million bounty—fame can be a difficult thing to shake. Its a work-or-die world, and being forgotten is neither on the table nor under it. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Hi there my name is phyllis renee foster im from Chicago IL. my dream is to be a professional model, i wish you could photograph me and make the world notice me and the fashion industry look at me, give me a chance, i love photographers, i feel that photographers are a models best friend, they can put you on the map, that will be the best birthday christmas and new years ever to be photograph by a phertographer like your self, that would be the best for me ever. Even those of us who used to await and savor Bill Cunninghams street-fashion photochronicle every week in the New York Times —where his work appeared from 1978 to 2016—probably had no idea how precious, in time, those photographs would come to be. Cunningham had two beats: society parties and, better yet, the polychrome cavalcade of fashion as seen on the streets of Paris and, most frequently, New York. His “On the Street” column, which featured candid pictures of individuals arranged into themes—men and women all wearing yellow coats, for example—was an anthropological study in the making. In Mark Bozeks marvelously intimate documentary The Times of Bill Cunningham, Cunningham himself says—in an on-camera interview Bozek conducted in 1994—that he was hardly a photographer at all. He considered himself a “fashion historian. ” Cunningham was easily both, and Bozeks film—narrated by Sarah Jessica Parker—captures both his artistry and his fizzy, elfin charm. You might wonder why we need another Cunningham documentary. Didnt Richard Press superb 2010 Bill Cunningham: New York cover it all? Bozeks film is a more personalized work, with that 1994 interview as its backbone. Its something of a companion piece to Cunninghams delightful memoir, Fashion Climbing, published posthumously in 2018. (Cunningham died in 2016, at age 87, though you could catch him wheeling through the streets of New York on his bicycle almost until the end. Cunningham tells some of the same stories in Bozeks film, but its wonderful to see and hear them tumble forth, punctuated by an impetuous grin here or an animated cackle there. Cunningham was born in Boston and moved to New York as a teenager to work at the ultra-elegant Bonwit Teller department store. In time he began designing hats under the name William J. (he didnt want to use his full name, lest he embarrass his discreet Bostonian family) eventually opening his own studio, though he had to work as a janitor in the building to make that happen. His hats were inventive and fanciful, concoctions that might feature octopus arms pretzeled flirtatiously around the wearers eyes, or mini-fountains of feathery plumage. (They were worn by socialites, but also by Joan Crawford, Ginger Rogers and Marilyn Monroe. He did a stint in the Army during the Korean War, and later worked as a fashion columnist for Womens Wear Daily. But when the great fashion illustrator and bon vivant Antonio Lopez gave him a camera as a gift, in 1967, instructing him to use it as he would a notebook, Cunningham found his most joyful means of self-expression, taking pleasure daily in capturing the way men and women around him used clothes to write their own mini-autobiographies. Bozek includes examples of Cunninghams thrilling on-the-street work—club kids swaggering around in 1980s big-shouldered jackets, socialites swaddled in cashmere as they pick their way around New York Citys humbling, egalitarian puddles—and makes a lively dash through Cunninghams life and career. He suffered a serious bicycle accident in 1993 (though that hardly stopped him from hopping on again, once hed recovered from his bruises and broken collar bone. In 2008, the French Ministry of Culture awarded him he Legion of Honor for his longtime coverage of Paris fashion. Bozeks interviews capture Cunninghams crackling joyousness, but occasionally his subject will stop, mid-sentence, and look down, shielding himself from the camera. Cunninghams embrace of the world was warm and rapturous, but his sensitivity and shyness was part of that, too. The AIDS epidemic, and its decimation of the New York artistic community, hit him particularly hard. Bozeks film includes a story even devoted Cunningham lovers may not know: When Lopez became ill and had no insurance for treatment, Cunningham, who notoriously led a rather monastic, nonmaterialistic life, bought a painting from him for 130, 000—and then returned it so the artist could sell it again. All lives are made of shadow and light, and The Times of Bill Cunningham acknowledges that. But through it all, spending time in Cunninghams presence is bliss. At one point Bozek, who is always off-camera, asks his subject, “Whats the hardest thing? ” “Spelling! ” Cunningham answers, without even having to think about it. And he flashes that broad, guileless smile, knowing, probably, that putting letters in the correct order on a page could fail any of us in the face of great everyday beauty. The language of clothes, and the way people wear them, needs no words. Contact us at.

He is so wonderfully unguarded in this talk, a true historian for the designer fashion industry and streetwear that influences it, love, love him. She seems quite game for somebody known to many as nuclear Wintour. This is the first time I've seen Anna Wintour without her sunglasses. ＷOＷ 😍👍👍👍👍👍.

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Fashion seems so shallow to me. Si alguna sinopsis cuenta demasiados detalles del argumento -o para corregir errores o completar datos de la ficha o fecha de estreno- puedes mandarnos un mensaje. Si no estás registrad@ puedes contactarnos vía Twitter, FB o por email a info -arroba- filmaffinity -punto- com. Los derechos de propiedad intelectual de las críticas corresponden a los correspondientes críticos y/o medios de comunicación de los que han sido extraídos. Filmaffinity no tiene relación alguna con el productor, productora o el director de la película. El copyright del poster, carátula, fotogramas, fotografías e imágenes de cada DVD, VOD, Blu-ray, tráiler y banda sonora original (BSO) pertenecen a las correspondientes productoras y/o distribuidoras.

Summary: Told in Bill Cunninghams own words from a recently unearthed six-hour 1994 interview, the iconic street photographer and fashion historian chronicles, in his customarily cheerful and plainspoken manner, moonlighting as a milliner in France during the Korean War, his unique relationship with First Lady Jackie Kennedy, his four decades at Told in Bill Cunninghams own words from a recently unearthed six-hour 1994 interview, the iconic street photographer and fashion historian chronicles, in his customarily cheerful and plainspoken manner, moonlighting as a milliner in France during the Korean War, his unique relationship with First Lady Jackie Kennedy, his four decades at The New York Times and his democratic view of fashion and society. Narrated by Sarah Jessica Parker, The Times of Bill Cunningham features incredible photographs chosen from over 3 million previously unpublicized images and documents from Cunningham. … Expand Genre(s) Documentary Rating: NR Runtime: 74 min.

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Loved her in Ozarks. This looks really good. I love the excitement in the narrators voice, its great that lads are stepping up now. Bill's enthusiasm and joy makes me smile endlessly. Well done.