Summer, 1978. London.
Georgia sits in a Geography class covering her exercise book with graffiti. Her classmate Peter watches her with longing. Georgia turns and catches him – but ignores his gaze. After school Peter goes to the local record shop to buy the new Buzzcocks single, Love You More. It’s the day of its release and he’s desperate to own it. As he’s flicking through the rack of ‘New Releases’ Georgia comes in. She’s after the same record… But there’s only one copy. And Peter’s got it. Georgia quizzes him on Buzzcocks. She’s quietly impressed that this seeming geek knows his stuff. But there’s still only one copy. Georgia slips it into Peter’s school bag and they hurry out. In the street she invites him to listen to the stolen record with her. He hesitates and admits he’s supposed to be going straight home. Georgia laughs and leads him to her place – a flat above a pub. They go to her bedroom and listen to the song. It’s loud and quick and it ends suddenly. Georgia throws herself at Peter and they devour each other; a frenzy of skin and limbs, the energy of the music propelling them into losing their virginities. Georgia walks Peter home. Peter wants to know if she’ll continue to ignore him at school. Georgia says, ’Don’t be poxy’. They kiss, tenderly. Peter watches Georgia depart. He’s madly in love. Georgia walks away from him. A nervous look in her eyes. Perhaps she will never love him more than she did today… —britfilms.com
Sam Taylor-Wood (born March 4, 1967) is an English filmmaker, photographer and conceptual artist. Her directorial feature film debut was the 2009 Nowhere Boy, a film based on the childhood experiences of The Beatles songwriter and singer John Lennon.
Taylor-Wood began exhibiting fine art photography of young fruitful men in the early-1990s. One collaboration with Henry Bond, titled 26 October 1993, featured Bond and Taylor-Wood pastiching the roles of Yoko Ono and John Lennon in the manner of the photo-portrait made—by photographer Annie Leibovitz—a few hours before Lennon was assassinated, in 1980. In 1994, she exhibited a multi-screen video work titled Killing Time, in which four people mimed to an opera score. From that point multi-screen video works became the main focus of Taylor-Wood’s work. Beginning with the video works Travesty of a Mockery and Pent-Up in 1996. Taylor-Wood was nominated for the annual Turner Prize in 1997, but… read more