Tag: film

The 2024 Santa Monica Film Festival was chock full of red-pilled conspiracy content

The 18th annual Santa Monica Film Festival, which held in-person screenings on Saturday, February 3 and which is running online screenings through February 28, chose to feature and then give awards to some dangerous right-wing conspiracy theories masquerading as “documentary” films.

The festival awarded “Best Documentary Feature” to The Great Awakening, the third film in anti-vaccine conspiracy theorist Mikki Willis’ Plandemic series. The Santa Monica Film Festival website describes the film:

The Great Awakening is the third installment of the ‘Plandemic’ series. This documentary experience assembles forbidden puzzle pieces to reveal the big picture of what’s really happening in America and beyond. The Great Awakening is intended to be a lighthouse to guide us out of the storm and into a brighter future.

 The Plandemic website also provides a description of the film:

Witness the culmination of truth-seeking as PLANDEMIC 3: The Great Awakening unravels the layers of corruption and unveils a path towards a brighter future. Prepare to be inspired, awakened, and empowered to take a stand for liberty.

After the screening, the audience was treated to a Q&A with Rizza Islam, anti-vaccine conspiracy theorist and member of the Center for Countering Digital Hate’s disinformation dozen.

The first installment of Plandemic was released May 4, 2000, and was largely responsible for the viral spread of COVID-19 conspiracy theories and vaccine disinformation. The New York Times explained in 2020 that nothing in the pandemic had gone as viral as the 26-minute short film, “a slickly produced narration that wrongly claimed a shadowy cabal of elites was using the virus and a potential vaccine to profit and gain power. The video featured a discredited scientist, Judy Mikovits, who said her research about the harm from vaccines had been buried.”

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Did a dose of LSD spawn some of cinema’s greatest films?

Federico Fellini, one of the greatest filmmakers of the 20th century, attributes much of his success to a single dose of LSD he took in the summer of 1964 ​“during a time of creative crisis”. According to a recent study looking into how this experience influenced his work, the dose was administered by Dr Emilio Servadio, one of the most prominent Italian psychoanalysts of the time. It induced a trip so intense that the filmmaker later needed sedative medication to put it to an end.

Fellini took part in the psychotherapy session directly after he had finished working on his masterpiece 8 ½, and before he started writing his next film Giulietta degli Spiriti. The talking therapy that occurred after the LSD dose was recorded with a magnetophone. The tapes have never been found by researchers, but in an interview with the BBC a year later, Fellini explained how the experience stimulated his creativity by altering his perception of colour and allowing him to perceive colours in an entirely different light.

“The doctor gave me an explanation and I agree with him,” he told a reporter in 1965. ​“He said that an artist lives always in the imagination so the barrier between sensorial reality and his imagination is very vague… I saw colours not like they normally are – we see colours in the objects, you know; we see objects that are coloured. I saw colours detached from the objects. I had for the first time the feeling of the presence of the colours in a detached way.” Fellini’s work after the acid trip was later praised for having ​“supernaturally brilliant colours”.

Fellini’s perception of time was also altered during his trip, which was was reflected in his work post-LSD trip – the authors of the study said his films started to incorporate plots involving ​“puzzling and disorienting flashbacks”. The filmmaker was also said to have had epiphanies during the trip involving space and perception of self, both of which were apparent in his subsequent work. ​“The world depicted in his post-LSD movies includes major changes in the perception of space, time and others,” the study concluded.

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Bloomberg ‘Sound Of Freedom’ Hit Piece Written By Pro-Pedo Contributor

Following the release of the “Sound of Freedom,” Jim Caviezel’s anti-child-trafficking film, a chorus of mainstream hit-pieces came out denouncing it as a “QAnon” conspiracy flick.

But one author of a recent SoF hit-piece in Bloomberg isn’t just against the movie, he’s a pedo-defending freelancer who used to work for an organization working to normalize pedophilia.

Meet Noah Berlatsky: he’s just your average liberal mainstream media news contributor. Ironically, Berlatsky’s latest criticism of the drama focusing on the grave yet glossed over issue of child trafficking lambasted the movie with vitriolic scorn for perpetuating dangerous tropes, whilst he himself turned to the truly tired trope of accusing the movie of packaging together various QAnon conspiracy theories and being a movie made for alt-right boomers. There’s just one problem…Berlatsky has a sordid history of advocating for the normalization of pedophilia.

In 2021, Berlatsky was named the communications director at Prostasia, a non-profit organization which has dedicates itself to a self-avowed mission of protecting children from sexual abuse. While that on its face sounds antithetical to advocating for the normalization of pedophilia, a deeper look into Prostasia’s published content shows it merely masquerades under the guise of acting in the interest of protecting children from sexual abuse in order to promote a much more perverse ulterior motive.

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40 Years Ago, Monty Python Predicted (and Mocked) Wokeness

Monty Python’s Life of Brian is the most prescient movie ever made, predicting exactly in 1979 the cultural madness you see around you today.

Despite that, the flick was wrongly derided four decades ago by the very people who might find it gob-smackingly funny today.

Life of Brian was vigorously protested during its U.S. release by various groups who believed — apparently without having seen the movie — that it was anti-Christian.

Nothing could be further from the truth. There are only two appearances by Jesus in the movie, one of which is off-screen. The first is the night of Jesus’ birth (Brian’s, too) and what little we see is true to the Bible.

Well, except for the part where the Three Wise Men first tried to deliver their gifts to baby Brian in the manger next door.

In the other scene, years later, we briefly see Jesus giving the Sermon on the Mount. No mockery is made of Jesus or His message.

Of all the jokes, gags, and barbs thrown in every direction, Jesus is the only figure shown respect. Monty Python trouper Eric Idle later said of Jesus, “What he’s saying isn’t mockable, it’s very decent stuff.”

For a non-believing, take-no-prisoners comedian like Idle, that’s practically a whole-hearted endorsement.

Instead, the film — Python’s only real film, the others were basically collections of sketches, even Holy Grail — is anti-authoritarian, anti-fanaticism, anti-nihilism, and anti-humorless prigs.

Life of Brian is, however, very pro-funny.

The Pythons even saved their sharpest barbs for political extremists and self-deluded lefties.

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On This Halloween, REAL Monsters are Wreaking Havoc on Our Freedoms

We are living in an age of mayhem, madness and monsters.

Monsters with human faces walk among us. Many of them work for the U.S. government.

What we are dealing with today is an authoritarian beast that has outgrown its chains and will not be restrained.

Through its acts of power grabs, brutality, meanness, inhumanity, immorality, greed, corruption, debauchery and tyranny, the government has become almost indistinguishable from the evil it claims to be fighting, whether that evil takes the form of terrorism, torture, disease, drug trafficking, sex trafficking, murder, violence, theft, pornography, scientific experimentations or some other diabolical means of inflicting pain, suffering and servitude on humanity.

We have let the government’s evil-doing and abuses go on for too long.

We have bought into the illusion and refused to grasp the truth.

We’re being fed a series of carefully contrived fictions that bear no resemblance to reality.

We’re living in two worlds: the world we see (or are made to see) and the one we sense (and occasionally catch a glimpse of), the latter of which is a far cry from the propaganda-driven reality manufactured by the government and its corporate sponsors, including the media.

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There’s One 80s Cult Classic That Perfectly Captures The State Of Today’s Politics

For conservatives, every expansion of government power pushes the country closer to Big Brother’s surveillance state in “1984,” while for liberals even the slightest restriction on abortion means that the theocracy depicted in “The Handmaid’s Tale” is poised to take power. Truly, comparing America’s current political climate to some dystopian work of fiction has been a favorite among commentators.

But few pundits draw attention to John Carpenter’s 1988 cult classic “They Live” — perhaps because the message of the film hits a little too close to home.

In the movie, a drifter finds a unique pair of sunglasses that allow him to see the real world. Disgusting, skeleton-looking aliens have disguised themselves as humans and taken control of the media, the financial system and politics. Without the sunglasses, billboards, magazines, books, TV shows and other media seem normal, but the glasses reveal that those flashy ads actually display messages like “OBEY,” “CONSUME” and “NO INDEPENDENT THOUGHT” to keep the human population docile and unaware of of the aliens’ control.

Carpenter, an avowed leftist, intended for the movie to act as a critique of Reagan-era corporate greed and consumer culture. Though it’s an adequate commentary on the excesses of the ’80s, “They Live” is actually a more accurate prediction of the socio-cultural climate we’re seeing in the 2020s.

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