35 Views · 6 months ago
The New World Order’s main focus is complete world dominance. Population control, better known as Depopulation, is the UN’s tool to annihilate the majority of the masses, so that no more than 500 million people are left on the face of the earth. A neat number, easy to control, dominate and subjugate. How are we, the people, being attacked in the name of population control? By means of 10 different Extinction Tools. Let’s take a look at the first 4: wars, (natural?) disasters, famine & drought, and plagues & diseases…
By Janet Ossebaard & Cyntha Koeter
Music: Alexander Nakarada, Chopin, Keys of Moon, Punch Deck
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236 Views · 6 months ago
Oil. From farm to pharmaceutical, diesel truck to dinner plate, pipeline to plastic product, it is impossible to think of an area of our modern-day lives that is not affected by the petrochemical industry. The story of oil is the story of the modern world.
Parts of that story are well-known: Rockefeller and Standard Oil; the internal combustion engine and the transformation of global transport; the House of Saud and the oil wars in the Middle East.
Other parts are more obscure: the quest for oil and the outbreak of World War I; the petrochemical interests behind modern medicine; the Big Oil money behind the “Green Revolution” and the “Gene Revolution.”
But that story, properly told, begins somewhere unexpected. Not in Pennsylvania with the first commercial drilling operation and the first oil boom, but in the rural backwoods of early 19th century New York State. And it doesn't start with crude oil or its derivatives, but a different product altogether: snake oil.
“Dr. Bill Livingston, Celebrated Cancer Specialist” was the very image of the traveling snake oil salesman. He was neither a doctor nor a cancer specialist; his real name was not even Livingston. More to the point, the “Rock Oil” tonic he pawned was a useless mixture of laxative and petroleum and had no effect whatsoever on the cancer of the poor townsfolk he conned into buying it.
He lived the life of a vagabond, always on the run from the last group of people he had fooled, engaged in ever-more-outrageous deceptions to make sure that the past wouldn't catch up with him. He abandoned his first wife and their six children to start a bigamous marriage in Canada at the same time as he fathered two more children by a third woman. He adopted the name “Livingston” after he was indicted for raping a girl in Cayuga in 1849.
When he wasn't running away from them or disappearing for years at a time, he would teach his children the tricks of his treacherous trade. He once bragged of his parenting technique: “I cheat my boys every chance I get. I want to make ’em sharp.”
A towering man of over six feet and with natural good looks that he used to his advantage, he went by “Big Bill.” Others, less generously, called him “Devil Bill.” But his real name was William Avery Rockefeller, and it was his son, John D. Rockefeller, who would go on to found the Standard Oil monopoly and become the world's first billionaire.
The world we live in today is the world created in "Devil" Bill's image. It's a world founded on treachery, deceit, and the naïveté of a public that has never wised up to the parlor tricks that the Rockefellers and their ilk have been using to shape the world for the past century and a half.
2 Views · 7 months ago
Utah County Sheriff Mike Smith announced an investigation into what he described as “a child sex abuse ring that operated in Utah, Juab, and Sanpete counties between 1990 and 2010,” under which Utah County Attorney David Leavitt and his wife Chelom Leavitt had been previously accused. Leavitt denied the allegations, saying they were politically motivated, and said the accusations had been debunked over 10 years ago.
Meanwhile, an official study on the NIH National Library of Medicine website says that a condition is causing more deaths in people with COVID-19 vaccines than without. Its autopsy study found there was a “significantly increased rate of generalized viral dissemination within organ systems in vaccinated cases versus nonvaccinated cases.”
2 Views · 7 months ago
Executive Order 14067 Explained in 15 min.
Executive Order 14067, officially titled Ensuring Responsible Development of Digital Assets, was signed on March 9, 2022, and is the 83rd executive order signed by U.S. President Joe Biden. The ultimate aim of the order is to develop digital assets in a responsible manner. The executive order addresses the potential national security implications of cryptocurrencies.
127 Views · 7 months ago
(2002 LEAKED DOC) Secret Covenant of the Illuminati - Satanic Globalist Evil SECRET PLAN
The document was anonymously sent to the email of bankindex.com in June of 2002.
35 Views · 7 months ago
In the spring of 2019 we started creating a short film series, “PIONEERS OF SCIENCE” with the Sacopee Valley Middle’s School’s 8th grade science class taught by Steve Bridges about Wi-Fi and its potential health risks.
The students have been amazing to work with and the first experiment we did exposing cress seeds to Wi-Fi was incredibly powerful and thought provoking. We’re looking forward to running a number of experiments and documenting our different discoveries.
130 Views · 7 months ago
Watch Part ONE (1) here => https://vajratube.com/watch/ge....orge-harrison-living
George Harrison first became known to the world as 'The Quiet Beatle', but there was far more to his life than simply being a part of The Beatles. This film explores the life and career of this seminal musician, philanthropist, film producer and amateur race car driver who grew to make his own mark on the world.
Through his music, archival footage and the memories of friends and family, Harrison's deep spirituality and humanity are explored in his singular life as he took on artistic challenges and important causes as only he could.
Using unseen photos and footage, Academy Award®-winning director Martin Scorsese traces the life of George Harrison in a personal film, weaving together performance footage, home movies, rare archival materials and interviews with his family and friends including Eric Clapton, Terry Gilliam, Eric Idle, George Martin, Paul McCartney, Yoko Ono, Tom Petty, Phil Spector, Ringo Starr and Jackie Stewart.
5,975 Views · 7 months ago
Child Trafficking, Pedophilia, Deep State, Ritual Murder, Kidnaping, Depopulation, Genocide, Satanic Rituals, cannibalism, Kids Abuse, New Word Order, NWO, Bilderberg, USA Government, Skull and Bones
Millions of children vanish each year.
83,000 each month.
2,700 a day.
115 per hour.
1 every 30 seconds.
It makes you wonder…where do they all go? From the producers of “Watch the Water”, directors Matthew Miller Skow and Nicholas Stumphauzer tackle the dark underworld of CPS sex trafficking, elite pedophilia, and the shady death of truth seeking icon Isaac Kappy.
Let me know your thoughts in the comments
434 Views · 7 months ago
The plandemic continues, but its origins are still a nefarious mystery. How did the world get sick, how did Covid really spread, and did the Satanic elite tell the world about this bioweapon ahead of time? Dr. Bryan Ardis (www.ardisantidote.com) has unveiled a shocking connection between this pandemic and the eternal battle of good and evil which began in the Garden of Eden.
Version with Polish subs here: https://rumble.com/v10qo1a-sfj....nasjfbaf-svd-npl.htm
(Thanks for Andy Choinski)
In this Stew Peters Network, exclusive, Director Stew Peters, award-winning filmmaker Nicholas Stumphauzer and Executive Producer Lauren Witzke bring to light a truth satan himself has fought to suppress.
Visit http://ardisantidote.com/ to learn how to protect you and your loved ones during this biological war.
Get Dr. Zelenko's Anti-Shedding Treatment, NOW AVAILABLE FOR KIDS: http://zStackProtocol.com
1,290 Views · 7 months ago
Dr. Robert Malone is the controversial inventor of the mRNA gene therapy technology that is now being utilized in the Covid-19 vaccinations. He is an outspoken critic of regulatory capture and industry influence over regulators. He comes from the heart of the vaccine industry and was kind enough to sit down with us to discuss and answer a variety of questions we had about his thoughts and perspectives on what we are currently experiencing.
Watch more full interviews and educate yourself! https://planetlockdownfilm.com/full-interviews/
3,457 Views · 7 months ago
Kent Heckenlively and Judy Mikovits are the new dynamic duo fighting corruption in science. Ben Garrison, America's #1 political satirist
Dr. Judy Mikovits is a modern-day Rosalind Franklin, a brilliant researcher shaking up the old boys&; club of science with her groundbreaking discoveries. And like many women who have trespassed into the world of men, she uncovered decades-old secrets that many would prefer to stay buried.
From her doctoral thesis, which changed the treatment of HIV-AIDS, saving the lives of millions, including basketball great Magic Johnson, to her spectacular discovery of a new family of human retroviruses, and her latest research which points to a new golden age of health, Dr. Mikovits has always been on the leading edge of science.
With the brilliant wit one might expect if Erin Brockovich had a doctorate in molecular biology, Dr. Mikovits has seen the best and worst of science. When she was part of the research community that turned HIV-AIDS from a fatal disease into a manageable one, she saw science at its best. But when her investigations questioned whether the use of animal tissue in medical research were unleashing devastating plagues of chronic diseases, such as autism and chronic fatigue syndrome, she saw science at its worst. If her suspicions are correct, we are looking at a complete realignment of scientific practices, including how we study and treat human disease.
Recounting her nearly four decades in science, including her collaboration of more than thirty-five years with Dr. Frank Ruscetti, one of the founders of the field of human retrovirology, this is a behind the scenes look at the issues and egos which will determine the future health of humanity.
20 Views · 8 months ago
Are UFOs real? Unidentified flying objects have been a state secret for a long time. In less than 100 years, mankind has experienced a wide range of U.F.O./U.A.P. phenomena the world over. From these experiences, fascinating data has been gathered by military, government, and private organizations in key geopolitical countries, leading people within these organizations to believe that a unified human effort should be undertaken to study extraterrestrial phenomena.
Watch this UFO documentary and let us know what you think in the comments.
"Covers the most up to date, most credible ufo incidents in recent memory including the Pentagon UFO videos. While nothing new for ufo enthusiasts, for anyone not in deep in the ufo field, it's a short, succinct, straight to the point ufo documentary on the latest happenings."
In less than 100 years, mankind has experienced a wide range of U.F.O./U.A.P. phenomena the world over. From these experiences, fascinating data has been gathered by military, government, and private organizations in key geopolitical countries, leading people within these organizations to believe that a unified human effort should be undertaken to study extraterrestrial phenomena.
173 Views · 8 months ago
This documentary from Jeff Orlowski explores how addiction and privacy breaches are features, not bugs, of social media platforms.
That social media can be addictive and creepy isn’t a revelation to anyone who uses Facebook, Twitter, Instagram and the like. But in Jeff Orlowski’s documentary “The Social Dilemma,” conscientious defectors from these companies explain that the perniciousness of social networking platforms is a feature, not a bug.
They claim that the manipulation of human behavior for profit is coded into these companies with Machiavellian precision: Infinite scrolling and push notifications keep users constantly engaged; personalized recommendations use data not just to predict but also to influence our actions, turning users into easy prey for advertisers and propagandists.
As in his documentaries about climate change, “Chasing Ice” and “Chasing Coral,” Orlowski takes a reality that can seem too colossal and abstract for a layperson to grasp, let alone care about, and scales it down to a human level. In “The Social Dilemma,” he recasts one of the oldest tropes of the horror genre — Dr. Frankenstein, the scientist who went too far — for the digital age.
In briskly edited interviews, Orlowski speaks with men and (a few) women who helped build social media and now fear the effects of their creations on users’ mental health and the foundations of democracy. They deliver their cautionary testimonies with the force of a start-up pitch, employing crisp aphorisms and pithy analogies.
“Never before in history have 50 designers made decisions that would have an impact on two billion people,” says Tristan Harris, a former design ethicist at Google. Anna Lembke, an addiction expert at Stanford University, explains that these companies exploit the brain’s evolutionary need for interpersonal connection. And Roger McNamee, an early investor in Facebook, delivers a chilling allegation: Russia didn’t hack Facebook; it simply used the platform.
Much of this is familiar, but “The Social Dilemma” goes the extra explainer-mile by interspersing the interviews with P.S.A.-style fictional scenes of a suburban family suffering the consequences of social-media addiction. There are silent dinners, a pubescent daughter (Sophia Hammons) with self-image issues and a teenage son (Skyler Gisondo) who’s radicalized by YouTube recommendations promoting a vague ideology.
This fictionalized narrative exemplifies the limitations of the documentary’s sometimes hyperbolic emphasis on the medium at the expense of the message. For instance, the movie’s interlocutors pin an increase in mental illness on social media usage yet don’t acknowledge factors like a rise in economic insecurity. Polarization, riots and protests are presented as particular symptoms of the social-media era without historical context.
Despite their vehement criticisms, the interviewees in “The Social Dilemma” are not all doomsayers; many suggest that with the right changes, we can salvage the good of social media without the bad. But the grab bag of personal and political solutions they present in the film confuses two distinct targets of critique: the technology that causes destructive behaviors and the culture of unchecked capitalism that produces it.
Nevertheless, “The Social Dilemma” is remarkably effective in sounding the alarm about the incursion of data mining and manipulative technology into our social lives and beyond. Orlowski’s film is itself not spared by the phenomenon it scrutinizes. The movie is streaming on Netflix, where it’ll become another node in the service’s data-based algorithm.
REVIEW RESOURCE: https://www.nytimes.com/2020/0....9/09/movies/the-soci
267 Views · 8 months ago
New US Federal law paves the way for government and government contractors UFO witnesses to finally come forward. It's time to act!
Whistleblowers contact Dr. Greer confidentially at info@SiriusDisclosure.com.
Help crowdfund THE LOST CENTURY documentary at https://thelostcenturyfilm.com/
𝗗𝗥. 𝗦𝗧𝗘𝗩𝗘𝗡 𝗚𝗥𝗘𝗘𝗥 is the founder of the disclosure movement and one of the world’s foremost authorities on UFOs, extraterrestrial intelligence, and initiating peaceful contact with interstellar civilizations. Dr. Greer’s relentless efforts towards the disclosure of classified UFO/ET information have inspired millions of supporters around the world. 🌎
Dr. Greer’s mission is to initiate peaceful contact and put an end to the disinformation surrounding contact. To achieve this goal, it will take one percent of the world’s population to come together with peaceful intent and initiate contact. To that end Dr. Greer has produced three incredible documentaries on the subject, amassed a large following on social media, and inspired a far-reaching network of independent CE5 Groups Worldwide.
438 Views · 8 months ago
A documentary featuring Steven Greer, apostle of the alien-visitation disclosure movement, has tantalising "sightings," but reveals that ET obsession is now the mother ship of conspiracy theory.
Supporting actors: Adam Michael Curry, Joe Martino, Jan Harzan, Dr. Russell Targ
Producers: Dr. Steven Greer, Grant Ibrahim, Jim Martin, Philip James
Rating: Not Rated
Content advisory: Drug use, foul language, violence
In the old days, you would check in on an alien-visitation shlock-TV documentary (or an episode of “Unsolved Mysteries”) all to catch those grainy home-movie glimpses of alien spaceships. On that score, “Close Encounters of the Fifth Kind” is nothing less than an all-you-can-eat banquet of UFO porn. There are vintage clips of “sightings” shot in 8 and 16mm, but most of them are from the home-video and cell-phone-camera era, all tagged with important-sounding datelines.
CE5 event, March 16, 2017, Newport Beach, Calif. (five shimmering green lights in the sky!). CE5 Event, Sept. 21, 2019, Vancouver, B.C. (purple lights ringed like an X-ray of bottom teeth!). There are shaky-cam videos of glowing discs that hover and vanish into the ether and what look like a pair of suns that appear on an ocean horizon. There are mysterious lights, sometimes three (in a triangle), sometimes five (in a cluster), or 10 in the shape of a V. As always, these you-are-there images cast a spell, though the most spine-tingling element is often the reactions of the people shooting the video, who always say something like “Ho-lee shit” in a way that makes it sound like they’re witnessing the uncanny.
Of course, after you’ve seen 30 or 40 of these clips, they begin to acquire a certain more-is-less quality. Look, it’s one more set of lights hovering in the sky! One more saucer-shaped thingy! Another blip, another blob, another fuzzy pulsating orb, another streak of light too crooked to be a comet trail. Are these really alien ships? Or are they close encounters of the WTF kind?
“Close Encounters of the Fifth Kind” is the third documentary, following “Sirius” (2013) and “Unacknowledged” (2017), to be centered around Dr. Steven Greer, the apostle of the alien-visitation “disclosure” movement. “Unacknowledged” was a kind of extraterrestrial manifesto, and it’s a movie that can suck you in and give you that down-the-rabbit-hole experience, so that as you watch the footage and scan the hidden government documents and hear the testimonials, you may find yourself on the precipice of feeling that you…believe. In “Close Encounters of the Fifth Kind,” we see Steven Tyler on “The Joe Rogan Experience,” repeating to his host, “You’ve got to see ‘Unacknowledged,'” as if watching that movie would change your life. And that, in a way, is the point of all UFO porn: to provide a conversion experience. (I was blind, and now I believe in ETs!)
But “Close Encounters of the Fifth Kind” treats alien visitations as a given. That is, it totally takes for granted that there’s a technologically advanced, mystically benevolent world of extraterrestrial beings, light-years beyond ours in development and consciousness (though they still walk on two legs and have big bulgy heads like the Martians in ’50s sci-fi movies), who for all their cosmic distance from earth still had enough concern to show up in 1947 to save us from the specter of the nuclear age.
Taking this as undeniable fact, “Close Encounters of the Fifth Kind” is a conspiracy documentary built around the thesis that the “national security state” has concealed it from all of us. It has kept these close encounters hidden in the darkness — and just as deceptively, it has advertised, through the mainstream media and Hollywood movies, the notion that if life beyond earth exists, it must surely be hostile. More “War of the Worlds” than “E.T. the Extra-Terrestrial.” The national security state has done all this for its own world-dominating purposes. “Close Encounters of the Fifth Kind” is two hours of fantasy propaganda attacking reality-based propaganda. It can make your eyes widen and your head hurt at the same time.
With his pockmarked face and broad shoulders, Dr. Steven Greer, who was born in 1955 (and claims to have seen a flying saucer when he was nine), is like a ’70s computer nerd played by John Waters with a touch of Guy Pearce. He’s compellingly articulate, with a thousand points of information and a kind of name-dropping “I was at this meeting at the CIA…” cockiness that lends his statements a patina of authority. With his books, films (this one, like “Unacknowledged,” was directed by Michael Mazzola), and his privately curated group sighting tours, he’s become the science-whiz P.T. Barnum of alien visitation, a role he seems to relish all the way to the bank.
Does he believe everything he says? Part of the strange psychology of our time involves people with vast platforms stating things that aren’t true as if they were true, and doing it often enough that they believe it themselves. When Greer chokes up into an “Oprah” moment and weeps on camera at the thought of all the people on his team who’ve either committed suicide or been assassinated (yes, he says this), you’re seeing a man who will go the extra mile to sell his snake oil. Steven Greer seems sincere and intelligent, but he’s also got a prattling-on-at-the-mouth touch of New Age narcissism, and the narrative he spins is so extreme that you either buy it or you don’t. I’ve always watched those clips of sightings feeling as if alien ships could be real (though what I tend to think is: they’re some form of defense craft), yet Greer, in his way, does a version of what Trump does, taking the fake-news accusations that were once leveled against alien believers and projecting them onto the skeptics. If, like me, you’re not a believer, then you’re perpetuating the lie. You’re part of the conspiracy.
And as “Close Encounters of the Fifth Kind” makes clear, the mythology of alien visitation has become the mother ship of all conspiracy theories, mutating with the times, soaking up other conspiracies like a sponge. The new alien theology is a hydra that keeps sprouting new (paranoid) heads.
There was the original incident, and cover-up, at Roswell. (Several raging military figures who claim to have been there testify, in the movie, that they saw the alien bodies.) There’s the idea — and this goes back to the stories of George Adamski, the founding voice, in the early ’50s, of the alien-contact movement, and also to the classic 1953 movie “The Day the Earth Stood Still” — that aliens have arrived, and they’ve come to be friends, but the government can only see them as a hostile force.
To that idea, Greer now adds a layer of deep-state treachery, claiming that it’s all an underground plot that even the U.S. president has no power over. And this is all linked to the environmental movement — or, in fact, to the systematic squelching of it. One key reason for the cover-up, you see, is that the aliens possess technology that could solve the energy crisis with the snap of an ET finger, nixing the need for oil or even solar panels. (It would all happen with advanced alien tech magic, lending new meaning to the phrase “little green men.”) But naturally, the American fossil-fuel complex will have none of this. Believe it or not, even the death of Marilyn Monroe has been glommed onto the conspiracy. According to Greer, the reason Marilyn was “killed” is that, in the midst of her affairs with JFK and RFK, she was about to say something in public about the government’s alien secrets.
What’s more, remember all those stories in the ’80s about alien abduction — all the folks who looked like future Trump voters who claimed to have been taken aboard alien spaceships and probed while under a state of hypnosis? According to the movie, that’s now part of the conspiracy. The abductions, it turns out, were all staged as an act of counterintelligence. Richard Doty, a sleazy-impish retired agent of the Air Force Office of Special Investigations, claims that it was his job to hoax UFO researchers (there’s a whole documentary about Doty, entitled “Mirage Men”), in part to make them look like wackjobs.
In the ’70s, people got off on the sheer wish-fulfillment awesomeness of close encounters, the whole religious “Whoa!” factor of it. But what the science-fiction-is-real circus of “Close Encounters of the Fifth Kind” is selling is the dream that aliens could save us from the darkness of America. They’ve become sci-fi versions of Jesus crossed with Noam Chomsky. (And does this movie, as it implies, really think that the Russians or the Chinese would be any more humane about it? Vladimir Putin would eat an alien for breakfast.) The movie is predicated on a kind of emotional formula in which deep-state secrecy equals cover-up, and if there’s a cover-up then there must have been something to cover up. The film works like a drug, or maybe the cakes Alice eats in “Alice in Wonderland.” It says to its audience: Experience this movie, and it will clear your mind of the disinformation, laying bare the glowing nugget of revelation under the conspiracy.
But as it goes on, this all becomes a marketing hook for an increasingly flaked-out fantasy. In the midst of his anti-government screed, Steven Greer slips in that there have been many, many extraterrestrials captured and killed, and that in the desert of Arizona “there’s an underground facility where there are nine different ET craft that are there with all the autopsy bodies.” His proof? “There’s a man on my team who used to work in that facility.” He goes on to compare the aliens who’ve visited the earth to Gandhi. And that’s before the movie, in its windy second half (ESP, the physics of teleportation, aliens as mystical avatars of a one-universe consciousness), threatens to become a quantum version of “Koyaanisqatsi.”
The ultimate oddity of “Close Encounters of the Fifth Kind” is that it pushes a rabidly pro-environmental, anti-corporate, flower-child agenda, yet it does so with the kind of huckster aggression that has allowed left-wing conspiratorial thinking to mutate into right-wing paranoia. Put another way: The belief in alien visitation, as presented here, is actually congruent with the Trump agenda — the idea that America could be restored in one fell swoop by an acceptance of the otherworldly saviours who are already in our midst. That sounds, in its way, distressingly familiar: a promise to fix the world with fairy tales.
160 Views · 8 months ago
Phil Schneider died in 1996. Previous to his death he had been on tour across the United States speaking out about various subjects including his involvement with building a secret underground base in Dulce, New Mexico for the military.
During this time, he was said to have had an encounter with a violent E.T race in the late 1970's which would change his whole life immediately after. This documentary explores some of the information Phil Schneider spoke about to the public in the 1990's by examining each claim in detail with expert opinions from Richard Dolan, Richard Sauder, and Cynthia Drayer (Phil's Ex-Wife).
In this documentary you will find never before published photo's of Phil's Autopsy, documents about the Philadelphia Experiment from Oscar Schneider's files (Phil's father) and a very well explained background about Underground Bases. Written by Darcy Weir
5 Views · 8 months ago
The people interviewed for "Kedi," Ceyda Torun's documentary about the teeming street cat population in Istanbul, are not experts, or talking heads, or academics. They are citizens, moving through their lives, interacting with the cats in their neighborhoods, and their comments are casually contemplative, off-the-cuff and profound. The human beings take it upon themselves to care for the cats, feed them, and—even more tellingly—just enjoy observing them. They note each cat's personality quirks, likes and dislikes. They freely admit what these cats bring to their own lives. I am a cat owner, I admit, but even I was surprised at the power of "Kedi." Where did all that emotion come from? It's because what Torun really captures in her unexpectedly powerful film is kindness in its purest form.
The cats of Istanbul are everywhere. They curl up on stoops, car hoods, and cafe benches, they sit on piers and in doorways. They sneak beneath tables at flea markets and leap on scraps outside the fish markets. Torun's film profiles seven individual cats, each with its own distinct life, routine and personality. Considering the sneaky crepuscular habits of cats, following these beasts must have been quite a feat. The footage is astonishing. The film opens with a tabby cat stalking with purpose down a crowded city street, looking for food to bring back to her litter of kittens (stashed in a stairwell). Torun's camera is low to the ground, on the cat's level, following the tabby's determined progress. Watching "Kedi" is like lying down on a quickly-moving skateboard. Cats are wily creatures, and when they don't want to be found, they are not found. But Torun finds them!
There's one cat who hangs out at a restaurant by the water, taking care of the mice. (There's a hilarious night-vision section showing the cat creeping through a drain pipe, eyes ablaze.) There's a cat who dominates the area in front of a busy cafe, fighting off interlopers, harassing her "husband" (pushing him out of the way so she can eat first), and chasing off the floozy cats vying for her man's attention. ("She's the neighborhood psychopath," says a neighborhood resident.) One woman spends a day cooking fresh chicken and then wanders her neighborhood, leaving food for the cats, who swarm around her. She says that she has a lot of pain and the cats are helping her heal. There's one cat who sits outside a bakery, and bats on the windows frantically when it gets hungry. There's a freeform style of communication between cats and humans. They share space. Some cats adore being petted. Others can't abide it. A man who owns a textile store demonstrates that the cat who hangs out in his shop likes pats only when they're rough. Gentle pats drive her crazy. "She gets so much pleasure she almost passes out," he says, and then there's footage of her sprawled on the floor, lost in the sensations. One cat shows up at a woman's window every day for a visit. She lets him in, he strolls around, he eats, and then he clambers back down the tree.
The focus is on the cats, but "Kedi" is really a portrait of community. Torun gives a sense of life in Istanbul, its diversity and beauty, its storefronts and waterfronts, its people. Why there are so many cats in Istanbul, and how they all came to be there, is not explained (except for a casual comment from an interview subject). Political upheaval and turmoil is not addressed at all, although there are disturbing signs everywhere, thrumming underneath the everyday routines. One woman says that it is very difficult to be a woman in Turkey, and that the cats in her neighborhood remind her of what is good in being feminine. There is a lot of concern expressed about the brutal knocking down of old neighborhoods to make way for high-rises. Gentrification disrupts entire ways of life, and the residents worry about that but they also worry about the cats. Where will they go? What will become of them? It can be a heartless world. Caring for one another and caring for animals may seem like a small thing, but Torun's affectionate portrait of these cats—and the people who love them—makes it seem like the most important thing in the world. A restaurant owner keeps a tip jar on the counter, and the money goes into a fund for vet visits for the cats who hang around outside. Imagine that. Torun combines her up-close-and-personal footage of the cats with transcendent drone shots of Istanbul in all its moods and weather.
24 Views · 8 months ago
The film narrative is focused on the life of singer-songwriter Amy Winehouse, who was found dead on 23 July 2011 from alcohol poisoning, at the age of 27 at her home in Camden, North London.
The film starts with a 1998 home movie depicting a 14-year-old Winehouse singing along with her long-time friend, Juliette Ashby, at the birthday party of their mutual friend, Lauren Gilbert, at a home in Southgate, London.
The rest of the documentary shows the songwriter's life, in a chronological order from her early childhood, to her music career, which attained commercial success through her debut album, Frank (2003), and second, final album Back to Black (2006), to her troubled relationships, self-harm, bulimia, the controversial media attention, and her downfall with her drug and alcohol addiction, all until her death in 2011. Winehouse is featured throughout the film talking about her early influences and how she felt about fame, love, depression, family and her music career.
The subject of the film, Amy Winehouse performing the Virgin Festival, Pimlico, Baltimore in 2007.
Kapadia conducted more than 100 interviews with Winehouse's friends and family that combine to provide a narrative around the star's life and is billed as "the singer in her own words." The film shows extensive unseen footage and unheard tracks Winehouse had recorded in the years before she died. Unheard tracks featured in the film are either rare live sessions, such as "Stronger Than Me", "In My Bed", "What Is It About Men?" and Donny Hathaway's "We're Still Friends", a cover of Johnny Mercer's "Moon River" from when Winehouse attended the National Youth Jazz Orchestra at the age of 16 in 2000 or never-before heard songs the star wrote, such as "Detachment" and "You Always Hurt The Ones You Love".
There are various pieces of extensive, unseen archive footage of Winehouse, such as when she is video-recorded in a cab with friend Tyler James in January 2001 and driving to tours and on her long-term friend, Lauren Gilbert's holiday tape in Majorca, Spain in August 2005.
The film also shows various interviews, such as with Jonathan Ross, Tim Kash, and a funny video of when Winehouse is interviewed and talked to about singer Dido in 2004, when she promoted her debut album. The documentary also includes when Winehouse performed live from London on the Grammy Awards in 2008, and won the award for "Record of the Year".
The film also features footage from when she was filmed with her ex-husband Blake Fielder-Civil, various performances, and when she auditioned at Island Records in February 2003, singing "I Heard Love Is Blind". Also included is footage from when she was recording her second album in March 2006 and a duet single, "Body and Soul", with Tony Bennett in March 2011 as her last recording before her death.
Some outtakes are also featured of her last shambolic performance in Belgrade, Serbia, a month before she died. The film concludes with long-term friend Juliette Ashby talking about her last phone call with Winehouse, footage of Winehouse's body being taken out of her home after her death, and Bennett stating: "Life teaches you really how to live it, if you live long enough." It then shows scenes from three days later of footage from Winehouse's funeral at Edgwarebury Cemetery and Golders Green Crematorium in North London. Closing clips end the film with videos of Winehouse from her early years until her death, with Antonio Pinto's composition, "Amy Forever".
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A documentary record of Talking Heads in concert, using material from three shows in Hollywood, December '83. Apart from what artifice the Heads themselves allow on stage, Demme restricts himself to a cool, almost classic style, with the camera subservient to the action.
Building from David Byrne performing a solo acoustic 'Psycho Killer', to the full nine-piece leaping through 'Take Me to the Water', its distinction is more what it omits than what it includes. Tacky rock theatre razzle is stripped down to humorously 'minimal' conceits of staging, lighting and presentation. Apart from a few moments of incongruous boogieing, the allegedly over- intellectual Heads are revealed to be human, warm-hearted, and possessed of a sizeable humour. A quietly large achievement.
David Byrne walks on to a bare stage with a portable cassette tape player and an acoustic guitar. He introduces "Psycho Killer" by saying he wants to play a tape, but in reality a Roland TR-808 drum machine starts playing from the mixing board. The gunshot-like beats cause Byrne to stagger "like Jean-Paul Belmondo in the final minutes of 'Breathless,' a hero succumbing, surprised, to violence that he'd thought he was prepared for."
With each successive song, Byrne is joined by more members of the band: first by Tina Weymouth for "Heaven" (with Lynn Mabry providing harmony vocals from backstage), second by Chris Frantz for "Thank You for Sending Me an Angel", and third by Jerry Harrison for "Found a Job". Performance equipment is wheeled out and added to the set to accommodate the additional musicians: back-up singers Lynn Mabry and Ednah Holt, keyboardist Bernie Worrell,
percussionist Steve Scales, and guitarist Alex Weir. The first song to feature the entire lineup is "Burning Down the House", although the original 1985 RCA/Columbia Home Video release (which featured three additional songs in two performances edited into the film) has the entire band (minus Worrell) performing "Cities" before this song. Byrne leaves the stage at one point to allow the Weymouth–Frantz-led side-band Tom Tom Club to perform their song "Genius of Love". The band also performs two songs from Byrne's soundtrack album The Catherine Wheel, "What a Day That Was" and (as a bonus song on the home video release) "Big Business".
The film includes Byrne's "big suit", an absurdly large business suit that he wears for the song "Girlfriend Is Better". The suit was partly inspired by Noh theatre styles, and became an icon not only of the film – as it appears on the movie poster, for instance – but of Byrne himself. Byrne said: "I was in Japan in between tours and I was checking out traditional Japanese theater – Kabuki, Noh, Bunraku – and I was wondering what to wear on our upcoming tour. A fashion designer friend (Jurgen Lehl) said in his typically droll manner, 'Well David, everything is bigger on stage.' He was referring to gestures and all that, but I applied the idea to a businessman's suit." Pauline Kael stated in her review: "When he comes on wearing a boxlike 'big suit' – his body lost inside this form that sticks out around him like the costumes in Noh plays, or like Beuys' large suit of felt that hangs off a wall – it's a perfect psychological fit." On the DVD he gives his reasoning behind the suit: "I wanted my head to appear smaller and the easiest way to do that was to make my body bigger, because music is very physical and often the body understands it before the head."