“Seances” is an experimental film project from Guy Maddin which began as an art installation piece shot in public over 18 days at the Centre Pompidou in Paris and over another 13 days at the Phi Centre in Montreal. It’s intention is tomystically conjure long-forgotten stories of lost films from periods such as Hollywood’s silent era. Maddin invited the sad spirits of lost films to possess his assembled actors (including Mathieu Amalric, Charlotte Rampling, Udo Kier, and Geraldine Chaplin among others) and compel them to act out the old stories, while the spirit-photographer/director captured the precious narratives. The project’s website, which is currently the only way to view the project, randomly combines clips of the material in different combinations for every viewer creating a unique experimental short film that will never be seen again.
“True Legend” (2010) was directed by legendary director/fight choreographer Yuen Woo-Ping (best known for Drunken Master, Iron Monkey, Wing Chun, and his work on films such as The Matrix, Kung Fu Hustle, and Fist of Legend among other classics of the genre). The film’s plot is not unlike countless old school martial arts films, following the journey of former general Su Can (Vincent Zhao of The Blade) whose life is shattered by a jealous adopted brother (Andy On). With support from his wife (Xun Zhou), his doctor (Michelle Yeoh), the God of Wushu (Jay Chou) and an old sage (Gordon Liu), Su Can strives to overcome great odds to reunite his family. If you ever hoped to see a Shaw Brothers film with a larger budget and made using modern film techniques, True Legend won’t disappoint. The cast of martial arts veterans are great across the board as are David Carradine (in one of his last roles) and assorted lesser-known western actors as minions.
A massive wave of government propaganda is coming and the method of transmission will be Hollywood. Hollywood is one of the most important brainwashing tools to keep the masses ignorant of reality and government corruption. And as we’ve seen in the past, it is designed to reinforce numerous government lies the masses are supposed to believe. Whenever Hollywood releases a film endorsing a government narrative it usually represents the final phase of a false flag, staged event narrative being sold.
Remember what former CIA director William Casey said. Until EVERYTHING that everyone believes is a lie, the control system feels they are not done lying to you yet.
When it comes to propaganda Hollywood operates under a different set of rules as they have the liberty to fictionally represent a story under the guise of “entertainment” without having to be accurate about what really happened. A close look at this issue reveals how powerful and effective the Hollywood-Government complex is at cementing massive government lies in the psyche of the general public.
So it shouldn’t surprise us that it is being reported that Hollywood producers are in race to put out not one but two films about the Boston bombing hoax staged in April of 2013 featuring numerous crisis actors. One film “Patriots Day” will serve to not only reinforce the Boston bombing staged event but to glorify “lockdown” and deceive viewers into worshiping police and psychologically re-accepting that lockdown was necessary to catch the “bad guys”, thus serving to authenticate future lockdowns as necessary as well. Another film being scheduled for release this year “Boston Strong” is also based on the Boston bombing false flag event and the concept of heroism. Both films appear to correlate “strength” with obedience to lockdown as well as “patriotism” and obedience to lockdown, and both are psychological operations on the general public being likely secretly funded by the state.
So without any shame, the storyline behind Patriots Day admits the idea is to sell the manhunt against the Tsarnaev accused patsy brothers itself and the lockdown of Watertown which ensued. The lockdown itself seems to be the focus of the emotion and heroism in these movies more so than the overall false flag narrative which has been debunked and exposed on many levels.
The story of course, is told by lucky Ed Davis, the commissioner that just so happened to get a phone call right at the time of the pressure cooker detonation, and like lucky Larry Silverstein on 9/11 he wasn’t blown up. Davis was just as “lucky” as all those “Craft International” operatives clearly seen all over the place with suspicious backpacks and communicating suspiciously before during and after the explosion.
Commissioner Davis, who was right there are the marathon finish line and walked away to take a phone call moments before the blast occurred, played an integral role working with the FBI, Watertown Police Department, Boston Police Department, Massachusetts State Police and local first responders to track, identify and apprehend the suspected bombers. Their tactics included the use of sophisticated identity technology (they actually discovered the murderers acting differently than the crowd) and giving the historic order to put the city of Boston on lockdown as they rushed to catch the suspects.
The story is envisioned as an intense thriller, spanning the five-day search up to the infamous siege where Dzhokhar Tsarnaev was pulled from a boat in Watertown. Three lost their lives at the Marathon blast site, 264 were injured, and a police officer was killed and several injured in the shootout that ended in the death of Tsarnaev’s older brother, Tamerlan. The younger mass murderer is currently on trial. Victims were eulogized in a touching ceremony at Fenway Park, something that most certainly will be part of each of those feature films, including an unforgettable exhortation of defiance by Red Sox slugger David Ortiz.
This is a clever attempt to appeal to everyone’s emotional and “patriotic” feelings, 9/11 Bush Jr style, while selling them that martial law lockdown is somehow “patriotic” because it helped catch the bad guys.
“There is nothing more compelling than a real story populated by real heroes,” said CBS Films President Terry Press. “The team that we have assembled for this project is determined to give audiences a very personal look at what occurred during the days when the eyes of the world were on the city of Boston and how a group of contemporary patriots faced this crisis.”
Anyone who cares about truth, freedom, and morality should be outraged by this in-your-face propaganda. This also serves as a warning of things to come. Very likely they are rushing these two films because something is coming and they need to condition the masses for a major lockdown.
I’m calling for readers to help take a stand against “lockdown” now before it’s too late. I’m currently in the process of researching how to properly draft a petition that can be used broadly across the U.S. to demand that lockdown is criminalized as illegal, not to mention it’s an ineffective and unproven tactic for catching law breakers. If anyone wants to help and contribute to the process please do or by all means carry out the idea yourself.
This entire effort by the Hollywood-Government complex to expedite the production of these two films which will glorify lockdown should concern everyone. Ask yourself: Why are they moving so fast to glorify lockdown? And why now? I’m sure we’ll soon find out.
“La Haine” (1995) is the second feature film written and directed by Mathieu Kassovitz. The plot follows 19 hours in the lives of a multi-ethnic 20-something trio of friends from the housing projects of Paris where racism, police brutality and poverty have created a social pressure cooker. After finding a police pistol in the aftermath of a riot in which one of their friends was severely beaten by police, they navigate a series of perilous situations exemplifying simmering race and class hatred in French society (often escalated by the presence of the weapon). Though set in France, the basic storyline is all too relatable for disenfranchised people everywhere including the US. The film features great performances from the three leads (Hubert Koundé, Vincent Cassel and Saïd Taghmaoui), striking black and white cinematography by Pierre Aïm, and excellent writing/direction by Mathieu Kassovitz.
“Bangkok Loco” (2004) is a surreal Thai musical comedy (and feature film debut) from director Pornchai Hongrattanaporn. Actor/musician Krissada Terrence stars as Bay, a 70’s era drum prodigy with special skills taught to him by a monk. After getting framed for a murder, he becomes a fugitive but is aided by friend and fellow drummer Ton (Nountaka Warawanitchanoun). Together, they struggle to evade police, clear his name and win a climactic drum duel against “Devil’s Drums Master” Mr. David (Rang Sabian).
Watch the full film with English subtitles here. (May not stream on some portable devices.)
What is it that makes us human? And how best to ensure that we all get our fair say?
For director, photographer, and environmental activist Yann Arthus-Bertrand, the answers lay in framing all of his interview subjects using the same single image layout. The formal simplicity and unwavering gaze of his new documentary, Human, encourage viewers to perceive his 2,020 subjects as equals in the storytelling realm.
There’s a deep diversity of experiences on display here, arranged for maximum resonance.
The quietly content first wife of a polygamist marriage is followed by a polyamorous fellow, whose unconventional lifestyle is a source of both torment and joy.
There’s a death row inmate. A lady so confident she appears with her hair in curlers.
Where on earth did he find them?
His subjects hail from 60 countries. Arthus-Bertrand obviously went out of his way to be inclusive, resulting in a wide spectrum of gender and sexual orientations, and subjects with disabilities, one a Hiroshima survivor.
Tears, laughter, conflicting emotions… students of theater and psychiatry would do well to bookmark this page. There’s a lot one can glean from observing these subjects’ unguarded faces.
The project was inspired by an impromptu chat with a Malian farmer. The director was impressed by the frankness with which this stranger spoke of his life and dreams:
I dreamed of a film in which the power of words would resonate with the beauty of the world. Putting the ills of humanity at the heart of my work—poverty, war, immigration, homophobia—I made certain choices. Committed, political choices. But the men talked to me about everything: their difficulty in growing as well as their love and happiness. This richness of the human word lies at the heart of Human.
In Volume I, above, the interviewees consider love, women, work, and poverty. Volume II deals with war, forgiveness, homosexuality, family, and the afterlife. Happiness, education, disability, immigration, corruption, and the meaning of life are the concerns of the third volume .
The interview segments are broken up by aerial sequences, reminiscent of the images in Arthus-Bertrand’s book, The Earth from Above. It’s a good reminder of how small we all are in the grand scheme of things.
Appropriately, given the subject matter, and the director’s longtime interest in environmental issues, the filming and promotion were accomplished in the most sustainable way, with the support of the GoodPlanet Foundation and the United Carbon Action program. It would be lovely for all humanity if this is a feature of filmmaking going forward.
“Terror in Resonance” is an 11 episode anime series directed by Shinichirō Watanabe (director of a number of cult anime titles such as Cowboy Bebop, Space Dandy and Samurai Champloo). This latest series (known in Japan as Terror in Tokyo) centers on two teenage terrorist masterminds code-named Nine and Twelve who collectively go by the name Sphynx. They set off a number of targeted bombs around the city while releasing videos designed to communicate cryptic messages to authorities. What starts off as a conventional “cat & mouse” detective story gradually becomes an even more intriguing parapolitical parable. Terror in Resonance stands out for its mixture of elements from Akira,Dark Angel and V for Vendetta and references to familiar topics in the conspiracy milieu such as thermite bombs, remotely piloted planes, EMPs and human experimentation.
After the Crash 