Hilma af Klint's enigmatic life. The scenes where her wall sized work are displayed are worth a look, it shows how monumental they are. A large screen HD monitor helps.
And there is a scene where Edvard Munch invites Klint and her friends to an exhibition of his work, which she attended, though they were very likely aware of each other, there is no documentation of such an meeting. The filmmakers took some artistic liberties with a few other things, like her sexuality. There are no letters or diaries that suggest she was a lesbian.
Painting: Group IV, The Ten Largest, No. 7, Adulthood (Grupp IV, De tio största, nr 7, Mannaåldern), from untitled series, 1907. Hilma af Klint. Tempera on paper mounted on canvas.
Young Woman On The Beach, 1896. Edvard Munch. Mezzotint and drypoint with burnishing printed in colours on Arches laid paper.
The Day After (Schiefler 15; Woll 10), 1894-95. Edvard Munch. Drypoint.
Vampire II (Schiefler 34; Woll 41) c.1895-1902. Edvard Munch,1863 - 1944. Lithograph and woodcut printed in colors on wove paper, c.1913.
“Munch did not title this painting "Vampire." He called it "Love and Pain" and it was only later that it picked up the name and interpretation of a man locked in a vampire's embrace. Munch maintained it was nothing more than a woman kissing a man on the neck. The Nazis declared it morally 'degenerate.' In the painting, we see a man in anguish, arms around his love, while she tries to comfort him.”