This has been added to our The First Album album promo page
This has been added to our The First Album album promo page
Ask Peter Lindbergh which year of his career he’d most like to relive, and he has plenty of good options. 1988 comes to mind: It’s the year he shot the iconic “white shirt” photo of Linda Evangelista, Karen Alexander, Christy Turlington, Estelle Lefébure, Tatjana Patitz and Rachel Williams at the beach — an image that would launch the careers of the then-unknown models, and of Lindbergh himself. It is regarded as the first artifact of the supermodel era. Or maybe 1994, the year he shot Madonna in a tribute to Martha Graham (never-before-seen photos from that session are in the slide show here, along with previously unpublished shots of Kate Moss, Gisele Bündchen and Lara Stone). Or 2002, the year he shot his second Pirelli calendar and became the first photographer to be exhibited at Moscow’s Pushkin Museum.
But Lindbergh has a different answer: “I would live the last 12 months again, as they have been extremely crazy: an unbelievable amount of projects, challenges, experimentation, freedom; extremely creative adventures, and a lot of satisfaction, too,” he told T in an email. It’s true: It’s been a big year for Lindbergh. He’s spent the last few months prepping a huge solo show at the Kunsthal Rotterdam opening Sept. 10, “A Different Vision on Fashion Photography,” which shares its title with a weighty upcoming Taschen monograph of the same name. He’s also recently wrapped the 2017 Pirelli calendar — he’s the only photographer who’s ever shot three — featuring Nicole Kidman, Robin Wright, Julianne Moore and others of their milieu. “Not to forget that my seventh grandchild is about to be born in the Villa Medici in Rome,” he adds.
To see more images and read more visit NYTimes
© Peter Lindbergh/Courtesy of Peter Lindbergh, Paris/Gagosian Gallery/TASCHEN
The Out On Film Festival will open its 29th year with a screening of Strike a Pose, a documentary about seven young male dancers who worked with Madonna on her controversial 1990 Blond Ambition tour.
The festival, which runs from September 29 through October 6 at Landmark’s Midtown Art Cinema, will include more than 110 feature films, documentaries, shorts and web series. It has grown into one of the premier LGBT film festivals in the country.
“This is an exceptional year for LGBT cinema,” says Out On Film director Jim Farmer. “This is, by far, our biggest festival to date in terms of the number of films we are showing, as well as the most diverse slate we’ve ever presented. It’s an amazing year, as well, for terrific features and documentaries by female directors.” [Full disclosure: Farmer is a theater and film writer for ArtsATL.]
Out On Film will close with Chris Kelly’s Other People, a film about a struggling comedy writer (Jesse Plemons), fresh off a breakup and in the midst of the worst year of his life, who has to return home to take care of his dying mother (Molly Shanon).
Several directors and actors will appear at the festival. Carlton Wilborn, one of Madonna’s former dancers featured in Strike A Pose will be in attendance for the screening of that movie. Actor Gregory Harrison and director Randal Kleiser (who also directed the iconic film Grease) will participate in a Q&A sessions following the screening of their It’s My Party. Kleiser will also receive Out on Film’s Icon Award.
Look for a full preview of the festival on ArtsATL in late September.
More at artsatl.com
Het Nederlands Film Festival presenteert in samenwerking met het Uitfeest de NFF Openluchtbios! Zoek een mooi plekje uit op het Stadhuisplein en geniet als preview op het filmfestival (21 t/m 30 september) van de internationaal succesvolle film Strike a Pose.
De spraakmakende documentaire Truth or Dare – In Bed with Madonna gaf in 1991 een kijkje achter de schermen van Madonna’s wereldtournee. De zeven jonge dansers (zes homo-, één heteroseksueel) die in de film te zien waren, durfden zichzelf te zijn en groeiden zo uit tot iconen van seksuele vrijheid. Maar het mooie beeld dat Madonna opriep, blijkt niet helemaal te kloppen. De dansers onthullen vijfentwintig jaar later de werkelijkheid over hun levens tijdens en na de Blond Ambition Tour, die de kijkers toen niet te zien kregen. In regie van Ester Gould en Reijer Zwaan. filmfestival.nl
Meer info hier
Yes we are almost at the end of Madonna’s current Filmography, its been quite a ride and hope you enjoyed the tons and tons of scans, info and videos.
Madonna’s film ‘W.E.’ is nothing but stunning from start to finish in this visually beautifully done film. After her debut as a director with ‘Filth and Wisdom’, Madonna became obsessed with the story of King Edward III and Wallis Simpson and read every single thing she could find, just so she was sure the movie paid tribute to them. No one could deny that the film was a fiest for the eyes, every little detail, so subtle and wonderfully done. M deserved nothing but praise for this was only the second film for her to direct, and such a brave effort at that!
MadonnaUnderground is very proud to have helped with the Dutch promotion for the film, which was distributed by Dutch FilmWorks. We officially premiered the Dutch film poster, organised many competitions, attended screenings and just had an all over wonderful collaboration.
We have gathered so much for you to see in our W.E. online archives, lets sum it up:
This one will take up some of your time, so sit back and relax and start clicking away in W.E.
Please view the entire Filmography by clicking here
Truth or Dare, the documentary time capsule of Madonna’s iconic “Blonde Ambition” tour, just turned 25 years old. To celebrate, Metrograph, New York’s newest arthouse theater, is showing a weeklong run of the documentary in addition to a selection of seven films starring the singer in performances that range from strong and memorable to ridiculous.
Not all of the films are critically acclaimed—the erotic thriller Body of Evidence (1993), which features Madonna saying, “That’s what I do. I fuck,” in a moment of pure, obvious bad girl exposition is playing for the so-bad-it’s-good crowd. Who’s That Girl (1987) has Madonna doing a Judy Holliday voice and acting alongside a wildcat, which could be amazing if the zany plot wasn’t quite so thin and pointless.
The ultimate Madonna-as-actress film, of course, is her debut Desperately Seeking Susan (1985) in which she essentially plays herself: a downtown queen of jumbled accessories and sass who enchants all around her. In Dick Tracy (1990) she embodies the comic book femme fatale to an extent that would be eye roll-inducing were her provocateur status as a performer not already firmly in place. In the next two years, she’d have a small part in an atypical Woody Allen film (Shadows and Fog) and play a 1940s baseball player (A League of Their Own). While she’s been accused of not being the world’s greatest actress, the films selected here show that she can always cleverly play with her oversized persona, either reveling in its charms or choosing roles that seem like novel departures. Abel Ferrara’s gritty Dangerous Game (1993) makes for an interesting meta-commentary here, as Madonna plays an actress in a film about the making of a film, and we see her alternatively seductive and enraged, never quite sure who she really is. There aren’t many other pop stars who would immerse themselves in a world created by the director of Bad Lieutenant, for better and for worse. But for those who really want to see Madonna at the height of her powers and find some key to understanding her as a performer, Truth or Dare is the place to start.
Madonna as Breathless Mahoney in Dick Tracy.
“She was probably the most famous woman in the world at that point and the fact that she decided to allow the cameras to film her at that moment was a really fortuitous turn of events,” director and frequent Madonna collaborator Alek Keshishian told the Observer. Fortuitous not only for the director, but also for audiences both then and now: the documentary is revealing, finding moments of both extreme glamour and poignancy. We see Madonna not only performing onstage, as fierce and unapologetically sexual as we’d expect, but also catching up with a childhood friend, eating soup while talking on the phone with her father, and even visiting her mother’s grave.
Surprisingly, the film never feels forced or self-serious. It has moments of humor and a dynamic aesthetic, largely black and white with the concert sequences in lush color. There were practical as well as aesthetic reasons for shooting this way—as Keshishian recalls, “It seemed like an interesting division: the color for the artifice of the performance versus the reality of documentary, and yet each reflected the other. There was another practical consideration for the black and white, which was that the venues themselves were so ugly. Dressing rooms aren’t the prettiest places and black and white gives a kind of poetry. It also allowed me to use footage from different days since a lot of the venues looked the same.” The color choice also contributes to the iconography, giving the proceedings a feeling of being somehow out of time.
Many music documentaries rely on a workmanlike aesthetic that hides a directorial mark, but Keshishian knew from the start that he wanted to create something different. Truth or Dare was initially going to be more of a traditional concert film for HBO, but quickly moved in another direction. “I rented almost everything that had been done in the music documentary and concert arena, and then I decided not to watch any of them,” he said. “I didn’t want to be influenced, nor did I want to consciously avoid trying to do something. Sometimes it’s better not to know the rules.”
Going into the documentary without that “anxiety of influence,” worked well for the director, and part of what’s captivating about Truth or Dare, besides its highly charismatic subject, is the way we can see the seams—cameras and boom mikes are sometimes visible, and Madonna even refers to the director by name: “I had no incentive to try to hide the camera, though I certainly didn’t want to become the subject,” said Keshishian.
The subject reveals much of herself: one of the most striking motifs is the maternal bond she has with her dancers, all of whom are sassy, charming characters. The film strikes a fine balance between these moments of the maternal, good-humored Madonna and the diva. One of the most famous scenes has Madonna expressing ostentatious disdain after Kevin Costner calls her concert “neat.” Keshishian didn’t want to sensationalize: “I only used those moments because I thought they said something about Madonna. It shows she doesn’t do well with that kind of earnestness. You just see her with celebrities when they’re revealing something about her.” She has her own moments of vulnerability, and her admission that going home isn’t easy, say, is all the more striking after seeing her in her iconic cone bra, executing racy dance moves for a crowd of thousands. Balance is key to Truth or Dare—you can even see it in the title, which would fit even without the amusing scene in which she and her dancers play the game. Keshishian balanced the truth of the “real Madonna” with the daring of the performer quite purposefully: “The way the documentary ended up, I think if we removed even 10 minutes the balance would change significantly.”
Desperately Seeking Susan.
There isn’t a sense of bloated indulgence, nor is the narrative too thin, and there’s plenty more where all of the juicy, aesthetically pleasing footage came from. “We shot 250 hours,” the director recalls. “The movie ended up being two hours, and we edited it to get a complete portrait without it being redundant.”
These two hours create an eloquent document of a great performer, but one wonders what an extended cut might look like. At one point, Madonna’s then-boyfriend and director/star of Dick Tracy, Warren Beatty, remarks, “She doesn’t want to live off camera.” Watching Truth or Dare and the other films in the Metrograph series, we understand why she wouldn’t. Performing onstage, in one of her varied film roles, or just being herself, Madonna consistently captivates.
More at Observer.com
Next in Madonna’s Filmography is the documentary ‘I Am Because We Are’, written and produced by her. It showed the efforts the charitable organisation Raising Malawi made in helping to improve the lives and conditions. The documentary made its Dutch debut at the IDFA in 2008.
To view the entire film, see an interview and memorabilia visit I Am Because We Are now
Updated, 7:58 a.m.
Good morning on this moody Friday.
It’s a summer Friday. One of the last. So today we bring you a column on the lighter side.
In honor of the 25th anniversary of the Madonna documentary “Truth or Dare,” the Metrograph theater in Chinatown is running a retrospective of the performer’s film career, beginning on Saturday.
New York wasn’t easy for Madonna Louise Ciccone, according to J. Randy Taraborrelli, the author of “Madonna: An Intimate Biography.”
“It gave her the kind of draining experience that creates great artists,” he said. “She’s a product of the New York experience.”
We decided to take a tour of the Queen of Pop’s New York:
• We started in our apartment, in front of the iPad, and watched the city age alongside the singer in her videos for “Papa Don’t Preach” and “Secret.”
• Then we headed to Times Square, where, as legend has it, she arrived in 1978 with $35 in her pocket. She ate garbage out of trash cans. (We fact-checked: “Probably all mythology,” Mr. Taraborrelli said.)
• Madge’s first apartment, at 232 E. Fourth Street in the East Village, was “a roach motel,” according to her father. (No, we didn’t go there.)
Continue reading the main story
• She worked at a Dunkin’ Donuts on West 57th Street and at the Russian Tea Room, where she had a job in coat check and was fired, we were told. (We skipped the doughnut shop.)
• We read an essay in Harper’s Bazaar, in which she wrote that moving to the city was harsh at first. But like any proud New Yorker, she learned to love it:
“The sizzling-hot sidewalks and the noise of the traffic and the electricity of the people rushing by me on the streets was a shock to my neurotransmitters.”
“Blood pumping through my veins, I was poised for survival. I felt alive.”
More at NYTimes
Strike a Pose is vanaf nu via iTunes verkijgbaar voor 11,99 in HD. Wie wilt wachten op de DVD, moet nog even wachten tot 8 september.
In an age where social media, reality TV shows, and music documentary movies feel ubiquitous in providing fans with intimate access to their idols, it’s easy to forget that celebrity personas were previously much more private. So when Madonna’s Truth Or Dare documentary movie (also known as In Bed With Madonna) was released in 1991, it felt truly revolutionary and fresh. Once upon a time, fans only had interviews, newspaper gossip, and magazine profiles to rely on in gaining insight on their favorite stars, and often these impressions still felt stilted, and pre-programmed. But, chroniclingMadonna’s seminal Blond Ambition tour, the movie provided an intimate glimpse at the pop star and her life. The movie pulled back the curtain of celebrity to reveal both Madonna, the artist, and Madonna Louise Ciccone, the person.
25 years on from the movie’s release, which saw it gaining a cult-status amongst fans and the queer community, the film remains deeply inspiring, and its legacy can be felt right across pop culture. The movie managed to make an impact, not just in transgressing the boundaries between a celebrity and their fans, but also in providing a crucial reminder of how pop music, and feminist and queer rights, have developed since the early ’90s.
In 1990, when Truth Or Dare was filmed, the Blond Ambition tour was deeply controversial. Not only did the tour feature a scene of simulated female masturbation within a dance routine, but it also juxtaposed highly sexual choreography with Catholic imagery. By the time the tour reached Italy, the performance had become a scandal within the press, with the Pope even trying to get it banned. Two shows were cancelled among the tumult, andMadonna was even threatened with arrest in Toronto when law enforcement objected to the content of her dance routine for “Like A Virgin.”
This seems rightfully shocking to us in 2016, particularly when we have artists like Nicki Minaj, Lady Gaga, and the electro-pop artist Peaches using hyper-sexual imagery and choreography within their live shows and music videos. But, at the start of the ’90s, it was still deemed deeply inappropriate, criminaleven, for a female musician to proudly own her sexuality and to portray an expression of it on stage or in their videos.
Read full article at Bustle.com
Madonna: Truth or Dare turns 25!
Madonna surprised 400 unsuspecting fans that were in attendance at the anniversary screening of Madonna: Truth or Dare at the Museum of Modern Art in New York City on Wednesday.
“She came out to support Alek Keshishian, her longtime friend and director of the celebrated documentary,” a source tells PEOPLE.
Dressed in a red off-the-shoulder dress, Madge appeared to be all smiles as she interacted with her fans.
Madonna: Truth or Dare was originally released in May 1991 and followed Madonna’s successful 57-show Blond Ambition World Tour across the globe.
August has been a month of celebration for the superstar.
Madonna recently returned from a birthday trip to Cuba with her children, including estranged son Rocco. The mother of four turned 58 on Aug. 16.
Reporting by JEFF NELSON
Next in our Filmography is Madonna’s debut as a director in ‘Filth and Wisdom’, the small movie with a lot of references to Madonna wasn’t a big hit. However she did present the film at the Berlinale Film Festival and it gave her the experience she needed for her next directing job (W.E.).
Read all about Filth and Wisdom:
Full production and OB facilities provided for live tour stops in Sydney
Watford, UK, 4 August 2016 – Following its success implementing facilities for a recent live Taylor Swift concert, Gearhouse Broadcast has been selected by York Studios in Melbourne to provide live music and OB production facilities for Madonna’s Rebel Heart tour concert at Sydney’s Qudos Bank Arena.
Gearhouse Broadcast’s sales director Manny Papas explained, “Stuart Gosling at York Studios in Melbourne contacted us after he saw what we’d produced for Taylor Swift and wanted the same high level of production.”
With facilities similar to the Taylor Swift event, the Rebel Heart tour production consisted of a mix of six Sony PMW-F55 large sensor cameras. Which were used for close up and stage shots while six broadcast cameras with box lenses were installed for longer coverage. “The industry talked after the Taylor Swift gig and it was clear Gearhouse was the go-to company for live music concert OBs,” said York Studios EP, Stuart Gosling.
“These gigs are now a very big deal as the finished product is recorded, packaged and sold worldwide so the quality of the production has to be incredibly high. I’m very happy to say Gearhouse delivered on all fronts.” Gearhouse employed the same HD6 “Entertainment” supertruck that was previously implemented used on the Taylor Swift event as its production centrepiece. This time it housed Madonna’s creative team, the line cut, CCUs, three XT3 8-channel EVS live production servers and audio multi-track recording.
This was alongside the six PMW-F55 cameras with Fujinon 19-90mm Cabrio zoom lenses, six broadcast cameras with box lenses, a SpiderCam installed with a Sony P1 and wide angle lens, two Libre Hot Heads also with F55s and a 32 foot techno crane. Papas added, “The HD6 Entertainment supertruck is a vehicle specifically designed to handle large live concert gigs like this one. We also had to put film cameramen with focus pullers alongside broadcast guys which worked extremely well across both Saturday and Sunday shoots.
The Rebel Hearts production was even more refined than previously as we were able to offer more options for how the SpiderCam and Libre Hot Heads were used.” Gearhouse recorded the gig in 1080i/PsF 29.97 and ISO recorded every camera to EVS servers and hard drives. York Studios EP Stuart Gosling concluded, “We were delighted with the end result. Witnessing Gearhouse’s production experience and quality of output it was clear to see they knew exactly what they were doing and how everything worked. It really was an excellent job.”
Picture credit Gearhouse Broadcast at the Madonna Rebel heart concert in Sydney
|cookielawinfo-checkbox-advertisement||1 year||Set by the GDPR Cookie Consent plugin, this cookie is used to record the user consent for the cookies in the "Advertisement" category .|
|cookielawinfo-checkbox-analytics||11 months||This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics".|
|cookielawinfo-checkbox-functional||11 months||The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional".|
|cookielawinfo-checkbox-necessary||11 months||This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".|
|cookielawinfo-checkbox-others||11 months||This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other.|
|cookielawinfo-checkbox-performance||11 months||This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance".|
|geo||session||This cookie is used for identifying the geographical location by country of the user.|
|sp_landing||1 day||The sp_landing is set by Spotify to implement audio content from Spotify on the website and also registers information on user interaction related to the audio content.|
|sp_t||1 year||The sp_t cookie is set by Spotify to implement audio content from Spotify on the website and also registers information on user interaction related to the audio content.|
|_ga||2 years||The _ga cookie, installed by Google Analytics, calculates visitor, session and campaign data and also keeps track of site usage for the site's analytics report. The cookie stores information anonymously and assigns a randomly generated number to recognize unique visitors.|
|_ga_EFG7W3DQ07||2 years||This cookie is installed by Google Analytics.|
|CONSENT||2 years||YouTube sets this cookie via embedded youtube-videos and registers anonymous statistical data.|
|vuid||2 years||Vimeo installs this cookie to collect tracking information by setting a unique ID to embed videos to the website.|
|c||6 months 2 days||This cookie is set by Rubicon Project to control synchronization of user identification and exchange of user data between various ad services.|
|uuid||1 year 27 days||To optimize ad relevance by collecting visitor data from multiple websites such as what pages have been loaded.|
|VISITOR_INFO1_LIVE||5 months 27 days||A cookie set by YouTube to measure bandwidth that determines whether the user gets the new or old player interface.|
|YSC||session||YSC cookie is set by Youtube and is used to track the views of embedded videos on Youtube pages.|
|yt-remote-connected-devices||never||YouTube sets this cookie to store the video preferences of the user using embedded YouTube video.|
|yt-remote-device-id||never||YouTube sets this cookie to store the video preferences of the user using embedded YouTube video.|
|yt.innertube::nextId||never||This cookie, set by YouTube, registers a unique ID to store data on what videos from YouTube the user has seen.|
|yt.innertube::requests||never||This cookie, set by YouTube, registers a unique ID to store data on what videos from YouTube the user has seen.|
|loglevel||never||No description available.|