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Madonna has now said her remarks were taken "wildly out of context". "I am not a violent person, I do not promote violence and it's important people hear and understand my speech in its entirety rather than one phrase," she posted on Instagram . Image copyright Madonna / Instagram She added she was trying to express there are two ways to respond to Donald Trump's election - with hope or with anger - and said she wanted to start a "revolution of love". Madonna had been attending the Women's March in Washington DC - one of several anti-Trump protests taking place around the world over the weekend Several news networks had begun broadcasting Madonna's speech live on Saturday but many cut away after she swore several times. Image copyright Getty Images Image caption Madonna performed and spoke at the Women's March in Washington "Yes, I'm angry. Yes, I am outraged. Yes, I have thought an awful lot about blowing up the White House. But I know that this won't change anything," she said in her speech. After Madonna made the comments, White House chief of staff Reince Priebus told Fox News: "One of the singers said she wanted to blow up the White House. I mean, can you imagine saying that about President Obama?" Kellyanne Conway, a senior White House aide, described Madonna's speech as "destructive".

Heineman, whose last film quite literally put him in the line of fire in Mexicos drug wars, takes his cameras to the disparate locations from which the members of RBSS do their work. ชุดเครื่องนอน That work involves spreading the word about the horrors visited upon Syria by the corrupt Assad regime, by ISIS taking advantage of the chaos and by Russia sending in bombers, ostensibly to fight ISIS but in practice to kill thousands of civilians who might not support Assad. Also Read: 'Walking Out' Sundance Review: Matt Bomer Anchors Powerful Father-Son Drama We see some of the carnage but City of Ghosts is focused not on the news, but on the people who risk everything to spread it. That makes it a less immersive and immediate piece of filmmaking than Cartel Land, though no less valuable. Heineman finds a fascinating perspective on the unfolding tragedy, and finds heroes in an unexpected place (and, for many people these days, an unexpected profession). Afineevskys Cries From Syria does not so much look for heroes as show the awful face of tragedy. A warning might be in order: The doc, which will air on HBO, might well be the hardest film to sit through in the Sundance lineup not because its bad, but because it is so overwhelmingly sad. The film opens with a shot of the corpse of a young boy, lying face-down on a Mediterranean beach after drowning when a boatload of Syrian refugees sank. Its a gut punch in the first minute of the movie, impossible to shake.

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