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For her ‘Blond Ambition’ tour in 1990, pop superstar Madonna was looking for performers who knew how to vogue. Out of countless hopefuls, the gay dancers Salim, Kevin, Carlton, José, Luis and Gabriel were chosen along with huphopper Oliver, the only straight guy. The tour was accompanied by a film crew and Madonna cast herself in the role of mother figure of her stage family. The boys soon found fans among homosexual youths who saw them as role models, while the tour came to epitomise Madonna’s commitment to gay liberation and the acknowledgement of AIDS. But the idyll fell apart after the tour. Although the dancers were pivotal to Madonna’s message, they weren't all living it. After failing to persuade Madonna to cut out the kissing scene that would ‘out’ him to his family and friends, Gabriel filed a lawsuit against her. In he Gabriel died of AIDS-related illness, while the others continued to pursue their professional careers. Now, twenty-five years later, the six surviving performers are reunited and long-buried secrets are aired. The filmmakers excel at telling the stories of these very different dancers in order to edge closer to the truth. berlinale 2016
观众心声
一部让人看了充满力量的好作品。主角从谷底一步步走向成功的历程，虽然充满艰辛但无比热血。最难得的是，影片没有把成功描绘成轻而易举的事情，而是真实地展示了过程中的每一次挫折、每一次犹豫和每一次坚持。正是这种真实感，让最后的成功显得格外动人。看完之后真的有一种被激励到的感觉，想要马上去做一些一直想做但没敢做的事情。
《娜姐背后的男人》不是完美无缺，但优点足够覆盖小瑕疵，整体仍是值得推荐的记录片，尤其适合耐心观众。
冲着来看《娜姐背后的男人》，结果整部作品完成度超出预期，瑞特·斯万,埃斯特·古尔德把情绪线收得很干净。
《娜姐背后的男人》在情绪表达上很克制，该爆发时爆发，该沉默时沉默，比一味煽情高级很多。
整部剧的氛围感营造得很好，让人不知不觉就沉浸在故事中。
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