⁣This video by The Mirror Project explains whether or not you can choose to have blood containing mRNA if you were in hospital or needed emergency care or a transfusion following an accident.
The movie makers - THE MIRROR PROJECT invites everyone to copy and share this documentary. Feel free to spread this information, so you have the chance to save the lives of many sentient beings.

If you have experienced serious side effects following Covid vaccine jab.
Please inform your healthcare provider and ensure a report is submitted to your country’s relevant authority.


The theatres of this film asking people that would like to document
and share their story, to send us their details to info@mp-22.com

RESOURCE: https://www.mp-22.com

⁣Huron University College professor refuses to abide by school’s vaccine mandate in the name of ethics.


Huron University College professor is speaking out against the institution’s vaccine mandate, questioning the ethics of “coercing people into medical procedures” for those refusing to get the COVID-19 vaccine. The professor states in the video, which has since been removed from YouTube, that she fears for her employment.


Julie Ponesse, an ethics professor at Huron University College which is affiliated with Western University, describes it as “ethically wrong” to require staff and students to be fully vaccinated, despite the policy also being encouraged by Ontario health officials.


“I am facing imminent dismissal after 20 years on the job. Because I will not submit to having an experimental vaccine injected into my body,” said Ponesse in the video.
“I don’t work in a high-risk environment. I’m not a doctor in an emergency room. I’m a teacher. I’m a university professor,” she adds.


This video comes amid a statement released Tuesday by Western University President and Vice-Chancellor Alan Shepard, after a “disturbing trend” involving several large gatherings near the campus in London, Ont., during frosh week.


“This activity is a blatant disregard for the campus community, public health, and the law,” Shepard wrote. “We want to be clear: if this activity continues, the academic year we have so carefully planned will not happen. In-person learning with fellow students, interaction with professors, extra-curricular activities, athletics and all the things that make your student experience great will be lost.

⁣This man is the real deal on all issues with the COVID-19 treatment.

Dr. Vladimir Zev Zelenko graduated summa cum laude with a B.A. degree with high honors in Chemistry from Hofstra University. After receiving an academic scholarship to attend S.U.N.Y. at Buffalo School of Medicine, he earned his M.D. degree in May 2000. Dr. Zelenko completed his family medicine residency at South Nassau Communities Hospital in Oceanside, N.Y. in May 2004. Since then, Dr. Zelenko has practiced family medicine in New York’s Hudson Valley.


He has been described by his patients as a family member to thousands of families, and is a medical adviser to the volunteer ambulance corps in Kiryas Joel, New York. In March 2020, Dr. Zelenko’s team was one of the first in the country to successfully treat thousands of Covid-19 patients in the prehospital setting. Dr. Zelenko developed his now famous “Zelenko Protocol,” which has saved countless lives worldwide, while he was fighting recurrent and metastatic sarcoma, had open heart surgery, and aggressive chemotherapy.
He has also persevered against unrelenting defamation of character from the media, and threats against his person. Dr. Zelenko is an observant orthodox Jew, married with 8 children, and has authored two books called Metamorphosis and Essence to Essence.

Visit https://vladimirzelenkomd.com/ to get more information about Dr. Zelenko
Covid-19 Treatment Protocol details here:
https://vladimirzelenkomd.com/treatment-protocol/

Covid-19 Treatment Protocol PDF download here:
https://vladimirzelenkomd.com/wp-content/uploads/2021/08/Treatment_Protocol.pdf

⁣Based on the book by environmentalist lawyer Robert F. Kennedy Jr., The Real Anthony Fauci is a two-part documentary directed by Kala Mandrake.

When the coronavirus outbreak happened, one face became known to the American public as the one standing for “the science.” That man was NIH Director Anthony Fauci and he continues to haunt the media. However, who is this man? Where did he come from? How has he worked at the NIH for so long? Kennedy explores Fauci’s hidden past, revealing corruption, conflicts of interest, and even a disregard for ethics.

One of the most illuminating parts of the documentary was how Fauci peddled ADZ as a treatment for the AIDs epidemic. Any dissenting voices to his official press release were mocked and disregarded. There is a similar pattern in regard to coronavirus. Fauci did not meet a camera he did not want to yell at and that could be his downfall.

Unlike the glowing propaganda film that Disney put out, this documentary was fearless in its pursuit of the truth behind what is going on behind the scenes with government regulators who are supposed to be protecting Americans when it comes to healthcare.

The tail end of it does sort of veer into a commercial for Ted Kennedy Jr.s organization, but it is his documentary, so I’ll let it slide. There were a few topics I do not agree with Kennedy on, but this issue of Fauci’s fraud overrides those issues.

With this in mind, I went into this skeptical but I came out wondering how the federal health “experts” get away with so much. Fauci has gotten it wrong so many times and somehow he is the highest-paid government official. It is one of the most bizarre things to happen, but it seems in politics, you can fail upwards.

The documentary is an impressive look at the evidence not to mention a feature from which Americans can learn a great deal.

REVIEW RESOURCE: https://studiojakemedia.com/20....22/10/26/the-real-an

⁣"State of control", the control society is increasingly becoming a reality.

What is the price of convenience?

The CBDC (Central Bank Digital Currency) and the digital passport can make our lives easier and more efficient. But new international legislation shows that the purpose of these possibilities, has far-reaching implications for our privacy.

In this documentary international experts such as Edward Snowden, Arno Wellens, Catherine Austin Fitts express their serious concerns and criticisms. It compiles the range of facts and opinions, creating a shocking picture about the future of mankind. A crystal-clear narrative that can''t be ignored.

RESOURCE: https://debunkproductions.com

⁣Karen Kingston joins Maria Zeee to explain the way humans have now been connected to the demonic realm through the nanotech in COVID-19 injections and the quantum field - but there's more.
The patents show that nanotechnology is embedded into everyday products and every single human has been exposed.

For more info on Karen's Substack visit:
https://karenkingston.substack.....com/p/part-1-disman

Visit https://link.goldco.com/Maria or call 855-913-0814 TODAY to protect your retirement! (US only)

Visit Gold Stackers today to secure your wealth with Australia's leading supplier of gold and silver bullion (Australia only):
https://www.goldstackers.com.au/?utm_source=zeeemedia&utm_medium=banner&utm_campaign=zeeemedia

To prepare you and your family for incoming food shortages, head to Heaven's Harvest on the link below (available only in the United States) and use promo code 'ZEEE' (with 3 e's!) for 5% off your order:
https://heavensharvest.com/

If you're in Australia, head to Survival Supplies Australia to prepare with long-life food, survival supplies and more:
https://www.survivalsuppliesau....stralia.com.au/?b7=z

Detox your system NOW with Dr. Zelenko's Z-DTox and use promo code 'MARIAZEEE' for 5% off your order:
https://zstacklife.com/?ref=MARIAZEEE

⁣The Kim Iversen Show LIVE | March 17, 2023


Dr. David Martin PhD founder of M·CAM® and has published across various fields in law, medicine, engineering, finance, and education. He recently appeared in Mikki Willis’ documentary, Plandemic: Indoctornation where he revealed the truth behind the vaccine agenda and how following the money had led him to a number of conclusions about what is really going on during the Coronavirus crisis. He joins us today to discuss his experience uncovering government corruption.


Dr Martin's Youtube channel: https://www.youtube.com/@DavidMartinWorld
Official website: https://davidmartin.world

⁣They Can’t Hide This Any Longer… Some COVID-19 Patients Have Deadly Venom In Them
36 different shellfish toxins and snake venom are showing up in COVID-19 patients…
How did this end up in their blood, feces, or urine?
Some experts believe this so-called “respiratory” disease is actually an envenomation from the vaccine.
They’ve targeted people with toxins for decades…
Why wouldn’t this be the case now?
Did you know that the word “corona” means “crown for the king” and virus in Latin actually means “venom” so coronavirus very closely translates to “king venom”?
If you thought this film was eye-opening, then you won’t want to miss out on what we reveal next. It’s even more shocking… and the good news is, there are solutions!

⁣Ciemna strona buddyzmu tybetańskiego, czyli nadużycia władzy, despotyzm, seksualne wykorzystywanie uczniów, pedofilia, chciwość i gromadzenie dóbr materialnych. Autorka dokumentu podąża tropem skandali związanych z działalnością popularnego w Europie, Azji i Stanach Zjednoczonych odłamu zwanego Szambalą. Diamentowa Droga potrafi być kręta, pełna pułapek i niebezpieczeństw.

⁣Reżyseria : Elodie Emery

⁣In this film Dr. David Martin gives an education in the history of the United States where we went wrong and what are the mechanisms of that deviation of the grand experiment.

In American R/Evolution, David tells the story of the financial and commercial history of the United States. He revisits the vision for America that was postulated by Thomas Jefferson, and explains where this vision was derailed. The film delivers a message that challenges existing paradigms and inspires viewers to engage their communities in a greater capacity.
Our financial history is a subject typically distorted beyond comprehension. But through the film, Dr. David Martin narrates it in a way that is approachable, entertaining, and utterly mind-blowing for people of all walks of life.

“We believed in a world where there was always something beyond. We believed in a world where somehow our fear of death needed to change how we live. We believed in a world where we had to look to ourselves rather than look to our neighbours and to our network to support us. We believed in a world where we wanted to surrogate our responsibility because even though we got rid of a monarch, we got rid of a pope… We still believed that someone somewhere else was responsible for our lives.“
David Martin


⁣Dr Martin's Youtube channel => https://www.youtube.com/@DavidMartinWorld
Official website => https://www.davidmartin.world/

⁣This documentary is Dr. Greer’s answer to the current government and media disinformation campaign promoting 3 big lies:
1. We do not know what these UAPs/ UFOs are. WE DO.
2. Humans cannot make craft that can maneuver like UFOs. WE CAN and WE DO.
3. The UFOs are a threat. THEY ARE NOT.

Share this film widely for FREE if it is in its entirety and is not commercialized or monetized. (If you wish to use it in another way please contact: media@SiriusDisclosure.com)
Other Streaming and Download options can be found at: https://linktr.ee/TheCosmicHoax
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⁣The story of activist group Act Up and its struggle with authority in the early years of Aids makes for a compelling and often moving documentary

"Plague!" howls screenwriter/playwright Larry Kramer like some Old Testament prophet in one of the many arresting moments from this urgent, heartbreaking, and ultimately empowering account of how Aids activists took control of their own destiny in the late 1980s when the US government and health services failed to do so. Kramer is addressing an increasingly heated Act Up (Aids Coalition to Unleash Power) meeting, silencing those who have fallen into factional bickering with a voice which conjures up rage, anger and defiance.

Kramer's outburst is extraordinary, captured in grainy footage along with 700 hours of archive material (TV interviews, news broadcasts, reportage), through which director David France sifts to put us right there in the middle of the emerging struggle. What's even more remarkable is just how effectively the disparate group Kramer calls to order manage to put aside their differences to become a dynamic and wide-ranging force for change, saving lives even as they look death in the face.

Like David Weissman and Bill Weber's equally powerful We Were Here, which movingly documented the response to the outbreak of Aids in San Francisco, How to Survive a Plague offers an enlightening portrait of community action in the face of appalling government negligence and barely concealed anti-gay prejudice. Footage of George Bush blithely advocating a "change of lifestyle" as the only cure for HIV sits alongside riotous film of Act Up members staging peaceful occupations that rattle the cages of both the government and the pharmaceutical industry.

In one gut-wrenching sequence, the ashes of lost loved ones are scattered on the lawns of the White House as baton-wielding policemen on horses attempt to prevent the protesters from making their stand (we think of Joe Hill's call to arms, "Don't mourn, organise!"). Yet even in the midst of such clashes, the authorities came to realise that, in the words of one federal official, "they know more than we do". Gradually, members of Act Up (who included scientists, chemists, and researchers) were accepted onto the boards of those struggling to oversee the crisis, their literate, informed and practical responses to floundering drug development becoming a key part of the search for a cure.

With its intimate footage of activists, several of whom fall by the wayside before the final credits, How to Survive a Plague is a compellingly watchable portrait of a battle fought under that most memorable rallying cry: "Silence = Death". Bravo.

... as 2023 gathers pace, we have a small favour to ask. A new year means new opportunities, and we're hoping this year gives rise to some much-needed stability and progress. Whatever happens, the Guardian will be there, providing clarity and fearless, independent reporting from around the world, 24/7.

Times are tough, and we know not everyone is in a position to pay for news. But as we’re reader-funded, we rely on the ongoing generosity of those who can afford it. This vital support means millions can continue to read reliable reporting on the events shaping our world. Will you invest in the Guardian this year?
Unlike many others, we have no billionaire owner, meaning we can fearlessly chase the truth and report it with integrity. 2023 will be no different; we will work with trademark determination and passion to bring you journalism that’s always free from commercial or political interference. No one edits our editor or diverts our attention from what’s most important.

With your support, we’ll continue to keep Guardian journalism open and free for everyone to read. When access to information is made equal, greater numbers of people can understand global events and their impact on people and communities. Together, we can demand better from the powerful and fight for democracy.


REVIEW RESOURCE: https://www.theguardian.com/fi....lm/2013/nov/10/how-t

⁣⁣Biological Weapon, Chemtrails, Depopulation, Genocide.
Everything indicates that the future of the human race will be destroyed by the elites who control the global power.

⁣"If you want to find the secrets of the universe, think in terms of energy, frequency and vibration."
- Nikola Tesla

In this video we explore everything from the ancient knowledge of the magnetoelectric universe and how everything takes shape as torus fields, to how sound and magnetism is connected and how religions have common teachings of creation and sound.
A massive thank you to the speaker, Michael Tellinger for dedicating himself to this revolutionary and inspiring work!
Please check out and support his work over at his youtube: @michaeltellinger
Also check out his website: https://www.michaeltellinger.com

⁣As long as you accept there’ll be no genuine analysis in “My Generation,” Michael Caine’s joy ride through his youth offers significant pleasures. There’s a tremendous amount of pleasure to be had in David Batty’s “My Generation,” a sloppy wet kiss to Michael Caine and British youth culture of the 1960s. Loaded with great footage from the era and accompanied by superbly cleaned-up music tracks from the Kinks, the Beatles, the Rolling Stones and many others, this love letter-as-documentary offers 85 minutes of good old fun. What it doesn’t do is posit any genuine analysis or even make a head-nod to diversity.

But this is Caine’s narrative about the unapologetic working class taking over popular culture, and the writers as well as music mogul Simon Fuller, acting as top producer, have no interest in countering their star’s gleefully empowering chronicle of his youth. Voiceover interviews with such key players of the era as Paul McCartney, Marianne Faithfull, Twiggy and Mary Quant add to the overall feast, making the film an attractive offering for all platforms. Britain in the 1950s was dull, announces Caine, though doesn’t every generation say that about the era before their own gloriously self-satisfied arrival?

What’s undeniable is the momentous shift toward youth culture beginning in the 1960s, as well as the opening up of opportunities for white working-class creative types who no longer submitted to makeovers designed to smooth out their roughness. In one of the more telling anecdotes, Caine talks about auditioning for “Zulu,” his breakthrough role, and accurately suggests that had the director, Cy Endfield, been British instead of American, Caine’s working class London accent would have eliminated any hope of being cast in the role of an upper-class officer. That’s an undeniable fact.

Far more shaky is the suggestion that the working class in the 1960s was the first generation in Britain to thumb its collective nose at convention. On-the-street interviews from the era with stuffed shirts bemoaning the appearance of long-haired men in flowery blouses expose middle-class attitudes, but the filmmakers choose to ignore the fact that the upper class has always played with transgression in ways designed to shock the bourgeoisie. What made the 1960s different was that the working class was playing the same game, and emulating “our betters” was no longer an acceptable form of behavior.

Nor was emulating our elders: Freedom from convention was the hallmark of a social revolution that impacted everything from art, music and clothing to changing concepts of morality. Of course, every Englishman knows the class system remains the key determinant of opportunity, but in the art and entertainment world, coming from the wrong side of the tracks is actually now more desirable than a boarding school certificate, and that’s definitely due to the upheavals of the 1960s. Batty divides the film into three parts, roughly corresponding to the awakening, the flourishing and the decline of 1960s pop culture.

Alongside nods to expected historic markers like the Beatles performing at Liverpool’s Cavern Club are more unanticipated moments, such as Roger Daltry talking about the profound impact of seeing Elvis perform: “For the first time in my life, I saw someone who was free.” That’s about the only time in the film there’s a mention of transatlantic influences on the British scene. From there, the documentary plunges headlong into the intoxicating psychedelic playpen of Pop Art, Vidal Sassoon haircuts, and Mary Quant micro-miniskirts, reminding audiences (or teaching them for the first time) that in the 1960s, color and pattern were transgressive and hip, unlike today’s tediously conformist black monochromaticity.

Suddenly, thanks to the British Invasion, being young and British meant you were cool, stylish and glam, tuned into the best music, clothes and art movements. Models such as Jean Shrimpton and Twiggy set new standards for beauty, and groups like the Animals, the Kinks, the Stones and of course the Beatles set the tone, guiding a generation from the innocent charm of “Love Me Do” to the raucous hunger of “(I Can’t Get No) Satisfaction.” By the end of the decade, hedonism took a darker turn.

The Vietnam War acted as a political coming of age, and the destructive nature of so much heavy drug use began to take its toll, symbolized by the death of Brian Jones and Faithfull’s near-fatal drug overdose, both in 1969. For Caine, “My Generation” is a chance to look back in nostalgic delight at his salad days, allowing him to gamely reminisce about his time as one of the “it” boys of London. He even gets to swan around in the original Aston Martin DB4 he drove in “The Italian Job.”
None of the others interviewed are seen on screen — whether that’s because the producers wanted to maintain the aura of 1960s youth, or it was the only way to get these people to talk, remains open for speculation. It’s also likely that writers Dick Clement and Ian La Frenais allowed themselves to be guided by Caine’s insistence on working-class culture, ignoring the fact that some of those included, most especially Faithfull, are from posh backgrounds. If you set aside analytical skills however, it’s easy to sit back and enjoy the wealth of archival clips accompanied by fantastic music tracks that seem to have been remastered for the occasion (lord knows how much all the music rights must have cost).

Ben Hilton’s editing successfully crams in a great deal without a sense of whiplash. Reviewed at Venice Film Festival (Out of Competition), Sept. 4, 2017. (Also in London Film Festival – Journey.) Production: (Documentary — U.K.) An XIX Entertainment presentation, in association with IM Global, of a Raymi Films production, in association with Ingenious Media. (International sales: IM Global, Los Angeles.)

Producers: Simon Fuller, Michael Caine, Dick Clement, Ian La Frenais, Fodhla Cronin O’Reilly. Executive producer: James Clayton. Co-producer: Ben Hilton. CREW: Director: David Batty. Writers: Dick Clement, Ian La Frenais. Camera (color): Ben Hodgson. Editor: Ben Hilton. Music supervisor: Tarquin Gotch. Crew: With: Michael Caine Voices of David Bailey, Twiggy, Terry O’Neill, Roger Daltrey, Marianne Faithfull, Paul McCartney, Lulu, Joan Collins, Sandie Shaw, Penelope Tree, Dudley Edwards, Mary Quant, Mim Scala, David Putnam, Barbara Hulanicki.

⁣"He's an outsider. He's a maverick." Vision Films is about to release this documentary, called Banksy & The Rise of Outlaw Art, this week - available on VOD. We missed this trailer when it first debuted a few months ago, but happy to catch up with it now. Elio Espana's doc Banksy & The Rise of Outlaw Art is a look at the modern street art / graffiti culture that Banksy elevated. "Banksy, the world's most infamous street artist, whose political art, criminal stunts, and daring invasions outraged the establishment and created a revolutionary new movement while his identity remained shrouded in mystery.

[This film] finally reveals Banksy's story, from his roots in a criminal subculture to his rise as the leader of an art revolution." Don't expect Banksy's identity to actually be revealed. Not only was there Banksy's own doc Exit Through the Gift Shop (from 2010), but we also had the Banksy Does New York doc a few years ago, too.
As the world’s most infamous street artist, Banksy’s political art, criminal stunts and daring invasions have outraged the establishment for over two decades, but despite being one of the most important figures of our times, Banksy has remained an enigma, with little known about the circumstances of his life and work.

His rise coincided with the emergence of Street Art, a form of illegal, public art that evolved from the graffiti scene to change the face of cities across the world. Banksy became the leading figure in this revolutionary new movement, assembling a multi-million dollar empire and changing the way that we think about art. Through it all, however, his identity has remained shrouded in mystery… Banksy & The Rise of Outlaw Art is directed by documentary producer / filmmaker Elio Espana, director of the films Dawn of the Dead: The Grateful Dead & the Rise of the San Francisco Underground, CSNY: Fifty by Four, Feats First: The Life & Music of Lowell George, and Hamilton: One Shot to Broadway previously.

⁣An intimate documentary that intends to unveil the mystery of a spectacular close encounter case witnessed by a lonely gaucho.

Juan lives a solitary existence on a remote farm ever since he witnessed a UFO event. Filmmaker Alan Stivelman - together with the help of famous astrophysicist Jacques Vallée – begin an epic journey to help Juan in understanding the deep meaning of his close encounter.
This true story shows the long-term consequences of close encounters, proving that no one is exempt from a potential contact.

“Witness of another world” is unique in showing the long term meaning of such encounters on people and those around them. That has never been done before, and especially in a real, non-fiction setting where the people who laugh or cry on the screen are not actors”- Dr. Jacques Vallée
“I am deeply touched by this film and your wise and graceful style and sensitivity. Thank you for sharing it with me, and thank you for the very personal effort it must have taken to make it. Bravo! Again, thank you for this unique and memorable film. I think its the closest depiction I have seen of Jacques’ philosophy about the UFO Phenomenon”- Douglas Trumbull. VFX of Close Encounter of the Third Kind, Blade Runner, 2001.
Director: Alan Stivelman
Starring: Juan Perez, Dr. Néstor Berlanda, Dr. Jacques Vallée
Date: 15 July 2018

⁣It is now beyond doubt that strange, anomalous objects filling our skies and caught on camera are the real deal. Even the Pentagon admits it’s true. These seemingly intelligently controlled craft are operating above the clouds, in our oceans and in our orbit – travelling at hypersonic speeds far beyond any known human technology and completing manoeuvres unknown to science.


The subject of conspiracy and derision for years, UFOs are now the hottest topic in Washington and the world.
Five-time Walkley Award-winning investigative journalist Ross Coulthart – who has been investigating the phenomena for the past two years – led the 7NEWS Spotlight team across the US, amassing never-before-seen compelling evidence and speaking to the key players behind an event that will change the course of history.
Featuring interviews with the highest echelons of military defence and intelligence officials, leading researchers, scientists and witnesses in America and Australia, this mind-blowing documentary years in the making seeks to answer the most fundamental question there is: are we alone?


The US director of national intelligence is expected to hand down an unclassified report next month that will change our understanding of life itself. On Spotlight, we reveal what is in that report.
7NEWS Spotlight: The UFO Phenomenon unearths startling new evidence of Australian Government cover-ups and extraordinary vision of unidentified aerial phenomena in Western Australia, Victoria and Queensland – all credible and important additions to the worldwide data being accumulated by the US.


For Coulthart, the project has become the most fascinating and challenging of his career, becoming the focus of his new book 'In Plain Sight', available now in Australia and soon in other territories:


Australia: https://7news.link/3AuawFz

⁣Is There Evidence Of Alien Life Already?
Is there anyone out there? What is the alien agenda? And why has the government gone to such great lengths to stifle the overwhelming evidence that otherworldly creatures exist? Some of our greatest minds ask these questions and more in a quest to unveil the truth behind this massive cover-up--and whether Earth can afford to ignore the extraterrestrial messages much longer.

⁣Rodney Ascher's wry and provocative Room 237 fuses fact and fiction through interviews with cultists and scholars, creating a kaleidoscopic deconstruction of Kubrick's still-controversial classic The Shining.


What is "Room 237" really about? On the surface, Rodney Ascher's documentary exhibits the theories a few obsessive fans have put forward to reveal what they think Stanley Kubrick's "The Shining" is really about. According to them, Kubrick stashed "hidden meanings" in the vacancies, hallways, ballrooms, bathrooms, walk-in storage areas and hedge-mazes of the Overlook Hotel in his 1980 horror film.


Trouble is, the "Room 237" conspirators — er, contributors — don't seem to realize that those meanings are either not hidden, not meanings or not remotely supported by the secret evidence they think they've uncovered. "Room 237" isn't film criticism, it isn't coherent analysis, but listening to fanatics go on and on about their fixations can be kind of fun. For a while, at least.
Five off-screen narrators pitch various interpretations of "The Shining," accompanied by stock footage, illustrative recreations and clips from Kubrick's filmography. For Bill Blakemore, the subject of Kubrick's "Masterpiece of Modern Horror" is the genocidal slaughter of Native Americans by white European settlers; for Geoffrey Cocks, it's about the Holocaust in Nazi-dominated Europe; for Juli Kearns, it's an exploration of an impossible, Escher-like maze called the Overlook Hotel.


John Fell Ryan has discovered some interesting juxtapositions that occur if you project two prints of "The Shining" on top of each other at the same time, with one running forward and the other running backward. Jay Weidner, who characterizes himself as a "conspiracy hunter," insists "The Shining" is Kubrick's belated, life-risking confession/apology for faking the television footage of the Apollo 11 moon landing on the sets for "2001: A Space Odyssey" at the behest of the U.S. government.
"Room 237" could easily be (mis)taken for a comedic satire of fervent movie-geekery if the theories it presents — some more cockeyed than others — hadn't appeared on the Internet years ago. That's where Ascher found the inspirations for his documentary.


It starts off with a visual trick: In a digitally modified clip from Kubrick's final film, "Eyes Wide Shut" (1999), Dr. Bill Harford (Tom Cruise) stands outside the Sonata Cafe in Greenwich Village, which is actually a set at Pinewood Studios near London (which is the source of a little in-joke: The location is identified as "EUROPE"). But instead of inspecting a display featuring his old friend, pianist Nick Nightingale, he's looking at promotional materials for "The Shining." You could say that "Room 237" is based on a similar illusion, getting us to see things in a movie that either aren't there or aren't what they appear to be.


Let's rewind: Back in 2010, Ascher made a notably similar short film called "The S From Hell," a parodic inquiry into the off-the-wall proposition that the Screen Gems logo, which appeared after episodes of popular TV series such as "Bewitched" and "The Partridge Family" from 1965 to 1974, was so frightening, it traumatized a generation of unsuspecting children. Maybe you don't recall being terrified by this or any other logo? Me, neither. But we could've repressed it.


The goofy premise of "The S from Hell" is no less unlikely than some of the blarney put forward in "Room 237." The movie doesn't judge the relative merits of its subjects' opinions, probably because that might be construed as favoritism. That's understandable. But as a result, the movie lacks examples of sound critical thinking. All we have here are do-it-yourself interactive fan games.
In "The Shining," the genial hotel manager (played by Barry Nelson) mentions that the Overlook was built on an ancient Indian burial ground — a familiar horror-movie trope. Sure enough, the hotel decor is inspired by Native American motifs, as we can plainly see. But what, then, is the movie supposedly saying about the genocide of Native Americans? That their vengeful spirits might come back and kill people at a hotel? As the saying goes, that's not subtext, it's text.


The proponents of the Holocaust and staged-moon-landing scenarios undermine their own hypotheses by backing into them. They start with extraneous information (Kubrick wanted to make a Holocaust movie but could never figure out how; nobody was in a better position than Kubrick to fake moon footage in 1969). Then they scour the nooks and crannies of "The Shining" for anything that could be construed to support, or at least reference, their chosen preconceptions.


So is the recurrence of the number 42 (on Danny's jersey; in the movie "Summer of '42" on TV) an allusion to 1942, the year of the Wannsee Conference when Nazi officials met to plan the Final Solution? What about that German typewriter? And is Danny's hand-knit Apollo 11 sweater linked to the ultra-scary Room 237 because the average distance between the Earth and the moon is 237,000 miles? Even though it isn't 237,000 miles, but let's not allow facts and a few extra zeroes to spoil a juicy conspiracy plot. What if the first word in the famous typewritten "All work and no play makes Jack a dull boy" manuscript could be read as "A11" — as in "Apollo 11"?! What if, indeed.
The double-projection trick isn't a theory at all, just a nifty experiment in randomness somewhat less remarkable than the discovery that Pink Floyd's "Dark Side of the Moon" produces some striking juxtapositions when played along with "The Wizard of Oz." Likewise, it's sorta neat that the Outlook does not have an intelligible floor plan, as it fits with the movie's "lost in the maze" motif. But there's nothing unusual about it. That's the way movie sets are usually built — in disconnected bits and pieces, not as integral units.


Kubrick's longtime assistant and collaborator Leon Vitali (who played Lord Bullingdon in "Barry Lyndon") recently said that "Room 237" had him "falling about laughing most of the time" because he knows these ideas are "absolute balderdash." The Adler typewriter, for example, belonged to Kubrick himself, and that particular model was once as commonplace as late-model iPhones.
Any movie is the product of forethought, accident and improvisation. In the end, once the film is released, the filmmakers' intentions don't really matter anymore because it belongs to the audience. At that point, if something's there, it's there. "Room 237," regrettably, isn't all there.