"The (Golden Gate) Bridge"

This movie, Eric Steel's The Bridge, sounds fascinating. I'll try to see it. Here are two synopses, one from Graham Legatt, of the San Francisco Film Festival:

In the poem "Musee des Beaux Arts," W. H. Auden wrote, "About suffering they were never wrong, The Old Masters: how well they understood/Its human position; how it takes place/While someone else is eating or opening a window or just walking dully along." Auden's poem takes as its occasion a painting by Dutch master Pieter Brueghel, Landscape with the Fall of Icarus, in which, far from being central and tragic, Icarus appears only in a quiet corner of a busy frieze, as a pair of legs disappearing with a small splash into the water. The heartrending truths in Auden and Brueghel's works--that people suffer largely unnoticed while the rest of the world goes about its business--are brought literally and painfully home in Eric Steel's The Bridge, a documentary exploration of the mythic beauty of the Golden Gate Bridge, the most popular suicide destination in the world, and the unfortunate souls drawn by its siren call. Steel and his crew filmed the bridge during daylight hours from two separate locations for all of 2004, recording most of the two dozen deaths in that year (and preventing several others). They also taped more than 100 hours of interviews with friends, families and witnesses, who recount in sorrowful detail stories of struggles with depression, substance abuse and mental illness. The result is a moving and unsettling film that cannot help but touch everyone in the Bay Area in one way or another, not least because it admittedly raises as many questions as it answers: about suicide, mental illness and civic responsibility as well as the filmmaker's relationship to his fraught and complicated material.

and one from David Kwok, of the Tribeca Film Festival:

The Golden Gate Bridge, with its views of the San Francisco Bay and skyline, is an American icon and a major tourist destination. But it is also the site of more suicides than any other place in the world. The question of why this particular bridge is such a magnet for suicides (along with the broader issue of suicide, and mental illness in general) is explored in Eric Steele's debut documentary, which he began to work on after reading Tad Friend's New Yorker article on the subject. Every day during 2004, Steele set up his cameras and filmed the Golden Gate Bridge during daylight hours. Day after day, he and his crew observed thousands of people crossing the bridge on foot from San Francisco to Marin County and back. They filmed everyone from tourists to bicyclists, but ever so often a person would climb over one small part of the bridge's mile-long railing and let go. However, while the camera can record the act of suicide, it cannot tell us what leads a person to such an extreme action or what thoughts run through someone's mind during those last moments. In an attempt to uncover some of these mysteries, Steele crossed the country in order to interview friends and families of the jumpers he captured on film, on-scene witnesses to various jumps, and even a jump survivor. These testimonials elevate the jumpers in the film from nameless statistics to human beings whose lives have inexorably led them to a tragically decisive moment on the Golden Gate Bridge. Like the bridge itself, this film is beautiful, powerful, and possesses an underlying darkness.