#jonas akerlund

[b-skarsgard]

“4️⃣years ago since my first day in Christiania 🥳”

via Clark costar @/hannabjoern on IG

[medievalcat]

Brittany Murphy in Spun (2002)

[heaven-bent]

freezing moon man be tripping

[itsallmadonnasfault]

[escapismthroughfilm]

#188

[brooklynmuseum]

🎶 Hello, hello, baby, you called, I can't hear a thing…🎶

#OnThisDay... March 11, 2010, Lady Gaga’s music video for “Telephone” premiered around the world. Gaga referred to the release as “a real true pop event.”

In “Telephone” she is seen wearing a Thierry Mugler design, which features an extraordinary hat fabricated by Philip Treacy, as she is bailed out of prison by Beyoncé (nicknamed “Honey Bee” in the video) who drives their getaway car—the Pussy Wagon from Quentin Tarantino’s film, “Kill Bill: Vol 1”. Many viewers remember Beyoncé’s line reading of: “You’ve been a very bad girl… a very, very bad, bad girl, Gaga” just before taking a bite of a Hostess Honey Bun and hand-feeding Gaga a bite, too. 

Directed by Jonas Akerlund, the nearly ten-minute-long music video packs the action with edgy plotlines and dance sequences choreographed by Laurieann Gibson, which are all amplified by the wardrobes styled by Niccola Formichetti (Gaga) and Ty Hunter (Beyoncé). Mugler’s fashions especially complemented Lady Gaga’s creative vision for “Telephone.” 

Beyoncé, Lady Gaga and Kim Kardashian are some of the American performers and personalities who revived interest in the work of Thierry Mugler, following his retirement in 2002.

📷 Still from music video for "Telephone" (dir. Jonas Åkerlund, 2010).  Mugler’s fashions from Prêt-à-porter Fall/Winter 1995–96 collection (“Anniversaire des 20 ans”) → Installation view, Thierry Mugler: Couturissime, on view November 18, 2022 - May 7, 2023. Brooklyn Museum. (Photo: Danny Perez)

[unreal-decay]

Pondering

i have some opinions on the Lords of Chaos movie. i personally somewhat enjoyed the movie, not to say i loved it and would throat its dick, but as a movie on its own i thought it was alright. - The thing that irritates a lot of people is the lack of music in the movie considering it is (poorly) centred around the (halfarsed) history of multiple bands, obviously putting mayhem under a microscope. This movie had to appeal to people, naturally people who do enjoy the music would want it to be centred around black metal, however considering the world isn't made of people who enjoy black metal, it'd be impossible to get enough people to watch it and make a profit. Foul of Åkerlund, he needed to dramatise and make the movie appeal to the masses so he could make a profit and capitalise. - In an interview, Culkin claims the movie was a documentation. Anyone with any grasp on mayhem ins and outs can say with confidence that the movie was not anywhere close to a documentation, its stylised and inaccurate. Its a movie, made for entertainment purposes.

In my opinion, you cant really ignore the fact that the movie failed to be what it was intended to be, it's failure in accuracy and overcompensation with adding scenes/people that didn't happen/weren't there was its downfall from the get go. You cant separate it from what it was set out to be. HOWEVER, as a movie it is entertaining, while not accurate, its a somewhat alright watch. I wouldn't recommend it to people, though i wouldn't really recommend many mayhem related documentaries at all, Until the light takes us is Varg being full of himself and lying through his teeth every now and again for the fun of it so it makes it almost impossible to stand. Yet, on the subject of Lords of Chaos, i did find it entertaining to watch and will probably watch it again.

[pausethatfilm]

Lords of Chaos (2018)

[classicfilmpunk]

Lords of Chaos (2018)

[idrawprettyboys]

I drew this for myself and anyone else out there who saw this movie and adored these two. The film got terrible reviews, so I imagine that scared some people away from giving it a shot. It was whacky and overdramatic, in a style that I feel would have been popular a decade or two ago. The villains weren't particularly endearing, but these two make it all worthwhile. I adore these actors, and they add comfort and nostalgia for me. It was really nice to see Mads in a redemption story. Duncan reminds me of Slade from Teen Titans as a good guy. I think what makes Duncan and Camille's dynamic stick out to me is the fact that she didn't go through with her revenge. Not just because she didn't want blood on her hands, but because in her time getting close to Duncan to kill him, she learned to see him as a human being. There's a level of forgiveness and understanding between them that I don't usually see in revenge stories. I grew to enjoy the dichotomy between the assassin's violent goofiness and Duncan and Camille's gentle quietude. I would like to see this movie get a sequel, but I'm not holding my breath, considering it's lack of success. That said, I've seen the movie twice, and I plan on watching it again sometime. Once you get used to the sex and violence for the sake of shock value, the movie gets to be very enjoyable. I've come to enjoy even the parts that initially embarrassed me to watch. And the good, sweet moments got even better with the second watch!

Tools: Sakura Pigma Micron 005, Canson Cold-Pressed Watercolor Paper, Marie's Watercolours.

[schlock-luster-video]

On May 17, 2019, Lords of Chaos debuted in Iceland.

Here's some new Rory Culkin art!

[b-skarsgard]

Director Jonas Akerlund and Bill on the set of Clark via @/jonasakerlund on IG

[medievalcat]

Spun (2002)

[endlich-allein]

Till, Richard and Jonas Åkerlund attend the Grey Goose Cocktail Reception at Liberatum Berlin, 02-07-2012 © Dave M. Benett

[itsallmadonnasfault]

American Life era...

[gold75berry]

RAMMSTEIN about Jonas Akerlund (Paris, Bercy 2012).