⁣Webinar: COVID-19 Early Home-based Treatment with Dr. Peter McCullough.

⁣HAARP, in full High-frequency Active Auroral Research Program, scientific facility for studying the ionosphere, located near Gakona, Alaska. The main instrument is the Ionospheric Research Instrument (IRI), an array of 180 radio antennas spread over an area of 0.13 square kilometer (33 acres).

The ionosphere is the outermost layer of Earth’s atmosphere. It begins at about 50 kilometers (30 miles) above Earth’s surface and contains atoms and molecules that are ionized (that is, they lose an electron and become positively charged) by the Sun’s ultraviolet light. The ionosphere is of particular importance for radio because low radio frequencies are reflected off the ionosphere, allowing for long-distance communications. At higher frequencies, radio communications with satellites pass through the ionosphere. The ionosphere is also where the auroras occur when solar wind particles collide with oxygen and nitrogen atoms.

The IRI transmits at frequencies between 2.7 and 10 MHz with a power of 3.6 megawatts. It transmits radio waves upward into the ionosphere, where they cause electrons to move in waves. HAARP is an ionospheric heater, so called because the excitation of electrons increases their temperature, and it is the most powerful ionospheric heater in the world. By altering the density of electrons in a specific region, scientists using HAARP can study how the ionosphere reacts to changing conditions.

Because of the ionosphere’s significance for radio communications, in the early 1990s the U.S. Air Force and U.S. Navy proposed the HAARP project, and the Air Force began construction in 1993. The site near Gakona was chosen because it was an area of flat ground that was in the North Polar region where auroras occur. The HAARP site was near a major highway but isolated enough that there were no nearby sources of electrical or radio interference. Responsibility for HAARP was transferred to the University of Alaska Fairbanks in 2015.

HAARP became a popular subject of conspiracy theories. Venezuelan Pres. Hugo Chávez blamed it for the 2010 Haiti earthquake, but most such theories about HAARP concern its use for weather modification or mind control. In response, HAARP scientists noted that the ionosphere is far above the troposphere and stratosphere where Earth’s weather actually happens, and, as for any other effects, HAARP scientists stated that the amount of energy the IRI deposits in the ionosphere is far below that supplied naturally by the Sun and that any effects from the IRI quickly dissipate.

(https://www.britannica.com/topic/HAARP)

⁣Directed by William Arntz, Betsy Chasse, and Mark Vicente, the film is an initially intriguing—and then gradually more outlandish—examination of quantum physics (“the physics of possibilities”), the theoretical brand of science that supposedly helps us understand life’s most fundamental question: What is reality? Unfortunately, the film’s answer isn’t half as interesting as those posited by The Matrix, Fight Club, or Waking Life.

A collection of talking-head physicists, philosophers, religious scholars, and mystics (all of whom are deliberately unidentified until the end credits to obscure their dubious authority) casually toss about terms like “epistemic” and “gifts of intentionality” in arguing that reality—rather than being an external force—is something we shape internally, thus meaning that what’s happening within us determines what happens around us. The ensuing, rambling discussion of quantum physics’ impact on notions of love, addiction, and Jesus is clumsily interspersed with scenes involving a fictional photographer named Amanda (Marlee Matlin) who, still smarting over her husband’s infidelity, embarks on a journey of self-discovery by learning to transcend humanity’s current perception of reality.

Engaging theories are sporadically contemplated (such as the idea that an object can exist in two places at the same time), yet by the film’s conclusion, it’s clear that the real modus operandi of these “experts” is promoting a new-agey version of spiritual enlightenment intended to replace traditional monotheism. Society’s “superstitious, backwater concept of God” is the filmmakers’ ultimate target, since it interferes with their belief that everyone is God and that all of us are “co-creating our future.” If people are truly able to construct their own destinies, then I can only hope that What the Bleep Do We Know?, with its hokey and derivative CGI, John Tesh-influenced score, and screeching electronic sound effects, will beget a future devoid of these filmmakers’ creepily cultish work.

REVIEW RESOURCE : https://www.slantmagazine.com/....film/what-the-bleep-

⁣Clear, blue skies greeted air travelers on the morning of September 11, 2001. But those skies were more heavily trafficked than we were originally led to believe, according to the documentary 9/11 War Games. Produced by the conspiracy-minded Corbett Report, the film assumes a unique perspective for those who question the official account of that tragic date.


Before the attacks began to unfurl, there were an unprecedented number of aviation tests, military drills and emergency simulations taking place. Some were eerily similar to the terrorist attacks that would grip the country later that morning. In spite of the incessant denials that followed in the months and years following 9/11, the film argues that military forces were well aware of the potential of such an attack, and were active in preparing for such a nightmare scenario.


The evidence presented in the film expose how the government was well aware of the specific threats in the lead up to 9/11. Documents and taped recordings show multiple military drills mounted by the North American Defense Command (NORAD), including those involving hijacked airplanes, coordinated attacks from multiple planes, and even a scenario that used an aircraft as a weapon in the heart of the Pentagon.
The theory? The real plot of terror was piggybacked off some of these simulated war games. While much of the blame fell on the FAA, the prevention of these attacks was actually hindered by an inability to decipher between the manufactured exercises and the real world tragedy. The terrorist cell was likely aware of such exercises, and used them to their advantage.


Taken to the extreme, the film theorizes that members of NORAD, the US military and the National Command Authority were themselves complicit in these attacks, and the confusion between simulation and reality was an intentional and strategic stage from which they could operate most effectively.
Viewers who have an intolerance for conspiracy-themed material, especially as it pertains to the events of September 11, might find some of the film’s thesis offensive. But for others, 9/11 War Games may serve as a provocative, well assembled argument for greater transparency.


REVIEW RESOURCE: https://topdocumentaryfilms.com/9-11-war-games/

⁣This is a message from Dr. Anne McCloskey from Londonderry. She speaks about the traumatised people that she comes across. Most double jabbed with an experimental genetic therapy.
These people might have been bribed, bullied, coerced, because of the removal of their basic human rights.
The hospitals are full of double jabbed people and increasingly younger people - and next they are coming for the children.
Let me know your thoughts in the comments?
Check out my other channels as well:
RESOURCE: https://plandemic.co/2021/08/2....2/a-message-from-ann

⁣Filmmaker Morgan Spurlock features as the guinea pig in this film about the fast food industry. Inspired by America’s obesity epidemic, he goes on a diet of McDonald’s three times a day for thirty days straight in order to examine the effects of fast food consumption on the body and mind. The effects of the trial are harrowing: His body mass increases by 13%, his cholesterol levels skyrocket, fat accumulates in his liver, and he experiences mood swings and loss of libido. Super Size Me will completely change the way you think about eating and living.

Super Size Me accomplishes the feat of being both entertaining and horrifying. It investigates how the fast food culture in American schools, corporations and politics is driving nationwide obesity. In between meals, Spurlock drives across the country and interviews a host of health and nutrition experts, lawyers, school workers, and a surprisingly trim man who has eaten over 19,000 Big Macs yet maintains a healthy cholesterol level. We also meet an industry lobbyist who states that consumers need to be educated about nutrition and perplexingly proclaims that “we’re part of the problem and part of the solution”.

The film investigates the industry’s political lobbying and advertising campaigns. We learn about some of the disturbing strategies McDonald’s uses to acquire customers. It is particularly effective at getting children hooked at an early age through mediums they love, such as birthday parties, toys, clowns and playgrounds. In certain areas, the McDonald’s playground is the only one the community has. In one of the most shocking scenes of Super Size Me, Spurlock shows pictures of Jesus, George Washington and Ronald McDonald to a group of first graders, and Ronald is the only one that all of them can identify.

Spurlock is a likeable host, both witty and engaging. Despite his criticism of the fast food industry, he does not place the blame solely on corporations, and at one point asks the rhetorical question of where personal responsibility stops and corporate responsibility begins. Towards the end of the experiment, he is a changed man. The exuberant and healthy host we meet at the beginning of the film has transformed into a puffy, weary and depleted man. He has experienced first-hand the damaging effect of junk food on the nation. All in all, Super Size Me is a fascinating and informative insight into the fast food industry and its link to the American obesity epidemic.

⁣Stanley Kubrick: A Life in Pictures is a 2001 documentary about the life and work of Stanley Kubrick, famed film director, made by his long-time assistant and brother-in-law Jan Harlan. Its running time is 142 minutes long, it consists of several 15-minute chapters, each detailing the making of one of his films – and two more showing his childhood and life.

Jan Harlan got many of Kubrick's collaborators for interviews, including Tom Cruise, Nicole Kidman, Keir Dullea, Arthur C. Clarke, Malcolm McDowell, Peter Ustinov, Jack Nicholson, György Ligeti and Matthew Modine. It also has interviews from film directors who were inspired by Kubrick such as Woody Allen, Steven Spielberg, Martin Scorsese and Sydney Pollack.

The film contains some rare footage, including from the Kubrick family home videos and on film sets, and clips from Fear and Desire - Kubrick's first feature-length film.
It was released on DVD on October 23, 2007, and was featured on the tenth disc of Stanley Kubrick: The Essential Collection and Stanley Kubrick: Limited Edition Collection DVD and Blu-ray released May 31, 2011, respectively. The documentary was also bundled in a box set of some of Kubrick's other films released January 22, 2008.

The soundtrack of the film is by composer and musician Jocelyn Pook, who had previously worked with Kubrick on Eyes Wide Shut (1999).

Stanley Kubrick is one of the first names you hear when the word "director" is brought up. His career spanned many decades, and the movies he worked on were given his undivided attention. He was obsessive, reclusive, and demanding.

And if you've ever wanted to learn pretty much everything you could ever want to know about the iconic director, well, there's a movie for that. Originally released back in 2001, Stanley Kubrick: A Life in Pictures is a documentary that spans his life, offering behind the scenes looks at what went into his directing and thought process. As luck would have it, Warner Bros. has made it available to watch for free online, complete with an introduction by ReelBlend podcast hosts Sean O'Connell, Kevin McCarthy, and Jake Hamilton.

There are some real gems in this thing, from Jack Nicholson talking about the ways Kubrick made him feel satisfied as an actor to looking at the newsreels that helped him understand how to make Dr. Strangelove...including Martin Scorsese's reactions to watching Kubrick movies.
What about the music in A Clockwork Orange—what could be behind playing the William Tell Overture five times fast?

Kubrick's work has touched us all, and the step to understanding the themes and ideas he explores are all captured in this doc.

⁣In 2013 David Kennedy produced Fluoridegate: An American Tragedy, a classic documentary that is exquisite in capturing the battle that raged over the downgrading of cancers in the fluoride study overseen by the National Toxicology Program and published in 1990. Below we reprint the comments made by William Marcus, the senior toxicologist at the Environmental Protection Agency’s Office of Drinking Water, on these downgrades. Also, we add the comments from Stephen Kohn of the National Whistleblowers Association who explained how the EPA went after Marcus with “a vengeance… like he was an enemy of the state.”


In 1977 the US Congress mandated the National Toxicology Program to conduct animal studies to determine if fluoride causes cancer. Battelle Columbus Laboratories were contracted to perform the studies that began in 1985 and ran for 2 years. In 1988 Battelle submitted their final report that included the finding of a dose-dependent increase of a rare liver cancer (hepatocholangiocarcinoma) in male & female mice and a small but statistically significant dose-related increase in osteosarcomas in male rats but not in the female rats.


For the rare liver cancer, the first scientist to describe this cancer said that Battelle made a correct diagnosis. However, this rare liver cancer was reclassified by a government review panel as a non-cancer and one of the osteosarcomas was downgraded leading to the classification of “equivocal evidence of cancer”. There were also increases in oral and thyroid cancers, but they were not considered statistically significant.


RESOURCE: https://fluoridealert.org/cont....ent/bulletin_12-26-1

⁣People do not understand how hard a jazz musician works for a living. I’m not putting nobody down, but I’m telling you nobody understands how hard jazz musicians work. Jazz is not big in the US, because the States are too worried about Pac-Man and The Police. — Jaco

When Jaco Pastorius uttered the quote above in a typically entertaining and insightful interview withGuitar World from 1983, he meant no disrespect to the members of The Police. It’s safe to say, in fact, that Pastorius significantly influenced crossover subgenres in punk, New Wave, and No Wave, through compositions like “Punk Jazz” — “a real jazz players stab at a brave new music,” writes Guitar World‘s Peter Mengaziol. In general, Pastorius’ music was “a fusion with energy but without overkill.” He absorbed influences from everywhere, and nothing seemed out of bounds in his playing. “I am not an original musician,” he says in the same interview:
I am a thief…. You see, I rip off everything. I have no originals. Only animals and children can understand my music; I love women, children, music, I love everything that’s going in the right direction, everything that flows… I just love music. I don’t know what I’m doing!

It’s not that Pastorius necessarily thought of jazz as a more elevated form than rock or funk or soul or pop — hardly. He regarded Hendrix with the same worshipful awe as he did Motown bassist Jerry Jemmott, and both equally informed his playing and showmanship. Yet he seemed to feel under-appreciated in his time, and that is probably because he was, even though he was acclaimed as one of the world’s greatest bass players during his brief 35 years, and he radically altered the sound of popular music on albums by Joni Mitchell and other non-jazz-world stars.

⁣Three Identical Strangers: the bizarre tale of triplets separated at birth
“Ideas are my bread and butter,” says film-maker Tim Wardle. “But it’s hard to find ideas that make you want to get out of bed at 3am and go film somewhere.”


That, however, was not the case when a producer at Raw, the London-based production company where Wardle works, brought to his attention the story of Bobby Shafran, Eddy Galland and David Kellman, a set of identical triplets who knew nothing of one another until they were reunited by happenstance at age 19. That alone would make for a compelling documentary, but their story doesn’t end there.


Bobby, Eddy and David are the subjects of Wardle’s new film Three Identical Strangers, an extraordinary documentary that starts as a feelgood human interest story and, by the end, has you questioning the nature of existence. As far as documentary subjects go, this one is nonpareil, a fact that was heavy on Wardle’s mind as he set out to tell the brothers’ story on film. “There’s huge pressure not to fuck up the story,” he admits. “I wasn’t worried about money or anything like that. I was just like, ‘I can’t blow this.’”


Three Identical Strangers begins in 1980, as a 19-year-old Bobby Shafran attends his first day of university only to find unfamiliar classmates greeting him as Eddy. While it’s only the first in a series of fortuitous revelations, most of which are better seen than read about here, Wardle is smart to tell the first half of the documentary through narration and recreated scenes, a tactic that allows the viewer to get a sense of how uncanny it must be to move into your dorm room and find you’re already an on-campus celebrity. Eventually, Bobby and Eddy meet and are contacted by David, whose adoptive mother noticed a pair of twins in the newspaper who looked exactly like her son, down to their shared pudgy hands.


Those alive in the early 80s might remember what followed, a period of pre-internet virality that took the triplets from the Phil Donahue Show to a cameo alongside Madonna in Desperately Seeking Susan. As they made the rounds, audiences lapped up the brothers’ likeness: they finished each other’s sentences, smoked the same brand of cigarettes, even had the same taste in women. When one brother crossed his legs, the others followed. So, in the ensuing decade, they made good on the frenzy by opening a steakhouse in Soho, New York, called Triplets, which thrived until things between them went sour.


To Wardle, the honeymoon period served as wish-fulfillment for the brothers and the media. “There’s been an obsession with identicals going back to Romulus and Remus,” he says. “And the siblings wanted to believe that they were similar, too. It’s that thing where you fall in love with someone for the first time, you try and find everything you have in common. ‘Oh my God, we like the same music!’ But you sort of tone down the differences.”


The brothers, as they discovered on account of their own detective skills, were separated by a ritzy New York City adoption agency called Louise Wise Services, which declined to tell their adoptive parents they were a set of three. It’s at this juncture that the documentary turns – tonally, structurally, thematically – and embraces a very au courant style of leather-shoe reporting in Wardle’s efforts to uncover the bizarre and nefarious reasons for the brothers’ 19-year estrangement. But convincing producers he’d get there wasn’t easy.


“They kept saying, ‘What’s the third act? What’s the third act?’ And I’m like, it’s a documentary, you don’t always know!” recalls Wardle, who was accustomed to inconclusive, even plotless projects after making a documentary about prisoners serving life-sentences. Too many documentaries, he believes, explore “weighty”, ethically fraught issues without a human element to provide connective tissue. But since he had that in the first act, Wardle was confident he’d end up with a finished product whether or not his own sleuthing yielded results.


The question at the center of Three Identical Strangers essentially concerns nature versus nurture, which led Wardle to California, where he interviewed Natasha Josefowitz, the 90-year-old research assistant who contributed to psychoanalyst Peter Neubauer’s study of siblings separated at birth.
For Wardle and Lawrence Wright, the Pulitzer-prize winning journalist who is featured in the film, the idea that nature is more determinative than nurture is an unsettling one, especially as articulated in Josefowitz’s frank, unsparing style.


“She would talk to me about how much of what I’ve done in my life was a function of biology and genes, how little agency I had, which was kind of mind-blowing,” says Wardle, who gives equal weight in the film to both theses while endorsing neither. “A lot of liberal ideology is based on the idea that nurture is really, really important. So when you start down the nature perspective you end up in quite a politically and scientifically dark place, a kind of eugenicist paradise where, ‘Why bother trying to help people?’ It’s all determined by biology anyway.”


Or is it? As Three Identical Strangers proceeds, you find yourself seduced by both prospects, the relative liberty afforded by nurture and the ice cold-comfort of nature. Mostly, though, it’s the brothers who keep the film grounded in reality, which turned out far different than it looked when they got their first taste of fame on the talkshow circuit.


When Wardle recently showed them the film, they were surprised to find he delivered as he’d promised. “I realized at that point how much they’d been disappointed and let down in their lives,” he says. “Documentaries are only as good as the contributors and what they give you. And they gave me pretty much everything.”

REVIEW RESOURCE: https://www.theguardian.com/fi....lm/2018/jun/27/miste

⁣The true history of the anti-government extremist terrorist group's century of violence. Focusing on the group which has caused nationwide rioting and violence, The film – which undermines the mainstream media’s depiction of the group as “just an idea” – has already been censored by YouTube and Vimeo.


Please share with your friends, stream to your FireTV stick using Silk and host a watch party to discover the truth about this deadly organization.


RESOURCE: https://puresocial.tv/antifa-r....ise-of-the-black-fla

⁣Raoul Peck’s outstanding, Oscar-nominated documentary is about the African American activist and author James Baldwin, author of Go Tell It on the Mountain and The Fire Next Time. Peck dramatises Baldwin’s unfinished manuscript Remember This House, his personal memoir of Malcolm X, Martin Luther King Jr and civil rights activist Medgar Evers, murdered by a segregationist in 1963. Baldwin re-emerges as a devastatingly eloquent speaker and public intellectual; a figure who deserves his place alongside Edward Said, Frantz Fanon or Gore Vidal.

Peck puts Samuel L Jackson’s steely narration of Baldwin’s words up against a punchy montage of footage from the Jim Crow to the Ferguson eras, and a fierce soundtrack. (It’s incidentally a great use of Buddy Guy’s Damn Right I’ve Got the Blues, which never sounded so angry or political.) There is a marvellous clip of Baldwin speaking at the Cambridge Union Society, and another on the Dick Cavett Show – the host looking sick with nerves, perhaps because he was about to bring on a conservative intellectual for balance, whom Baldwin would politely trounce.
Baldwin has a compelling analysis of a traumatised “mirror stage” of culture that black people went through in 20th-century America. As kids, they would cheer and identify with the white heroes and heroines of Hollywood culture; then they would see themselves in the mirror and realise they were different from the white stars, and in fact more resembled the baddies and “Indians” they’d been booing.
The film shows Baldwin refusing to be drawn into the violence/non-violence difference of opinion between King and Malcolm X that mainstream commentators leaped on, and steadily maintaining his own critique – although I feel that Peck’s juxtaposition of Doris Day’s mooning and crooning with a lynch victim is a flourish that approximates Baldwin’s anger but not his elegance. There is a compelling section on Baldwin’s discussion of dramatist Lorraine Hansberry, author of A Raisin in the Sun. It is vivid, nutritious film-making.

REVIEW RESOURCE: https://www.theguardian.com/fi....lm/2017/apr/07/i-am-

⁣An interview with Dr. Robert W. Malone on the suspicion of an alarming increase in mortality and its correlation with the widespread vaccination of US citizens against Covid 19.

⁣Dr Jordan B Peterson and Dr. Dennis McKenna discuss the science behind psychedelics, the entities found through the looking glass, the current pharmaceutical approach to long life, and why it needs to change.
Dr. Dennis McKenna is an American ethnopharmacologist, lecturer and author. He is a founding board member and the director of ethnopharmacology at the Heffter Research Institute, a non-profit exploring the therapeutic uses of psychedelic medicines. McKenna received his masters in botany at the University of Hawaii in 1979, followed by his doctorate in the same field at the University of British Columbia in 1984. Dennis is the brother of Terrence McKenna, a cultural figure and proponent for the exploration of psychedelics.


Together they co-authored The Invisible Landscape. Much later McKenna would write a memoir, Brotherhood of the Screaming Abyss, detailing he and his brothers exploits in the field. Today, Dennis tours and lectures, while also running the McKenna Academy of Natural Philosophy, which seeks to uncover the mysteries of consciousness held within the realm of botany and pharmacology.


Dr Peterson's extensive catalog is available now on DailyWire+: https://utm.io/ueSXh
McKenna Academy: https://mckenna.academy
The Experiment at La Chorrera https://mckenna.academy/events?id=32
ESPD55 Livestream Symposium ESPD55.com Those interested in donations may contact connect@mckenna.academy

⁣Covid-19 Shots Will Kill Billions - Dr. David Martin And Seth Holehouse.


⁣In this interview (video starts after 1 min) MAN IN AMERICA, Mr. Seth Holehouse, talks to Dr. David Martin about the recent movie DIED SUDDENLY, and the precautions that needs to be taken towards the evil Covid-19 worldwide genocide agenda shots.
If 3 billion people took Covid-19 shots, and 7% to 15% of the batches had severe adverse events, that's around 300 million people with permanent death and disabilities.

If those 300 million people now require the 24/7 health care services of other individuals, that's another 300 million people dedicated to their care. "So, we're talking about 600 million people incapacitated" says Dr. David Martin.

DIED SUDDENLY Documentary =>⁣https://vajratube.com/v/FFG3pv

American (R)Evolution => ⁣https://vajratube.com/v/mjd74M



It is really WAKE UP time folks!
You can follow Dr. David Martin at - https://www.davidmartin.world/

This video was mirrored from the MAN IN AMERICA website - https://maninamerica.com/

⁣Dick Johnson Is Dead is a 2020 American documentary film directed by Kirsten Johnson and co-written by Johnson and Nels Bangerter.

A lifetime of making documentaries has convinced award-winning filmmaker Kirsten Johnson of the power of the real. But now she’s ready to use every escapist movie-making trick in the book — staging inventive and fantastical ways for her 86-year-old psychiatrist father to die while hoping that cinema might help her bend time, laugh at pain and keep her father alive forever.


The darkly funny and wildly imaginative DICK JOHNSON IS DEAD is a love letter from a daughter to a father, creatively blending fact and fiction to create a celebratory exploration of how movies give us the tools to grapple with life’s profundity. DICK JOHNSON IS DEAD was filmed, produced and directed by Kirsten Johnson (Cameraperson), produced by Katy Chevigny and Marilyn Ness, co-produced by Maureen A. Ryan and executive produced by Megan Ellison.


Cast:
Kirsten Johnson
Charles Richard "Dick" Johnson


Development:
Director Kirsten Johnson at the Miami Film Festival


Kirsten Johnson was inspired to make the film after having a dream in which "there was a man in a casket and he sat up and said, 'I'm Dick Johnson and I'm not dead yet'". When she pitched the idea to her father, she asked him, "Dad, what if we make a movie where we kill you over and over again until you really die? And he laughed".
The film incorporates Johnson family photographs and home movies, including that of Richard Johnson's wife who died from Alzheimer's disease in 2007.


Release:
The film premiered on January 25, 2020 at the 2020 Sundance Film Festival. It was released on October 2, 2020 via Netflix.
RESOURCE: www.dickjohnsonisdead.com

⁣Director John Dullaghan's biographical documentary about infamous poet Charles Bukowski, Bukowski: Born Into This, is as much a touching portrait of the author as it is an exposé of his sordid lifestyle.

Interspersed between ample vintage footage of Bukowski's poetry readings are interviews with the poet's fans including such legendary figures such as Lawrence Ferlinghetti, Joyce Fante (wife of John), Bono, and Harry Dean Stanton.

Filmed in grainy black and white by Bukowski's friend, Taylor Hackford, due to lack of funding, the old films edited into this movie paint Bukowski's life of boozing and brawling romantically, securing Bukowski's legendary status. Born Into This relies on interviews with Bukowski for biographical information instead of cheesy voiceovers, bringing the viewer even closer to the author.

For example, in one amazing sequence, Bukowski rides the viewer around in the backseat of his car, telling us through his rear-view mirror of his stint as a post office worker which inspired the novel, Post Office.
Scenes splicing interviews with Bukowski's ex-wife, Linda Lee, and R. Crumb's comic strip panels portraying Bukowski as a sex-crazed maniac, set the tone for bawdier parts of the film.

Occasionally the film displays lines of Bukowski's poetry on the screen, as reminders that he was not only a raging alcoholic with a fierce sense of humor but also a talented and beloved writer. With so much hilariously shocking footage of "Hank," Bukowski: Born Into This presents Bukowski as a troubled but classic genius.

⁣Is there a connection between UFOs, alien abductions, channeling spirits, demonic possessions, the new age movement, secret societies, and satanism?

In Age of Deceit: Fallen Angels and the New World Order, we investigate why the New World Order and the Global Elite are tirelessly working to form a One World Government and who they are getting this instruction from.

A biblical look at the history of fallen angels and it's relationship to the New World Order and the new age movement.
Topics covered are the fall of mankind, the pre-flood world as Atlantis, the new age through theosophy, the fallen angels and their origin of planting the seeds to society, UFOs, ETs and abduction cases, demonic possession, channeling, and more.

Carl Colby’s smart, fact-packed film “The Man Nobody Knew” operates on many levels, all riveting. Primarily an account of the career of his father, William Colby, director of the Central Intelligence Agency from 1973 to 1976, it traces a history ending in 1996, when his body washed ashore eight days after he embarked on a late-afternoon solo canoe outing in Maryland.

While reviewing the turbulent period spanning Vietnam and President Richard M. Nixon’s resignation, we also witness the arc of a marriage, the death of a daughter and the seeming disillusionment of a selfless, if steely-eyed and implacable, civil servant.William Colby was molded by the Office of Strategic Services in World War II, when he aided anti-Nazi insurgents in France and Norway. Working closely with the Vatican he fought the postwar Communist ascendance in Italy and helped coordinate the coup against President Ngo Dinh Diem of South Vietnam. As C.I.A. director he embraced covert activities until “the family jewels“ — memos revealing the agency’s domestic wiretapping and foreign assassination attempts, among other sordid pursuits — were leaked.

After disclosing details on such programs (several preceding his tenure) in Congressional hearings, he was replaced by George H. W. Bush.The Beltway insiders interviewed include the former national security adviser Brent Scowcroft, the journalist Seymour Hersh and, at his most smugly cynical, former Defense Secretary Donald H. Rumsfeld. Carl Colby’s mother, Barbara, meanwhile, is the embodiment of diplomatic poise and eloquence. Conspiracy theorists can have a field day with William Colby’s death, but “The Man Nobody Knew” suggests that the culprit may have been no more than a cold warrior’s crumbling facade.Directed by Carl Colby; edited by Jay Freund; music by Michael Bacon; produced by Mr. Colby, David Johnson and Grace Guggenheim; released by First Run Features. At the Lincoln Plaza, Broadway at 62nd Street. Running time: 1 hour 44 minutes. This film is not rated.

REVIEW RESOURCE: https://www.nytimes.com/2011/0....9/23/movies/man-nobo out the documentary channel: https://rumble.com/DocumentaryArchiveLet me know your thoughts in the comments.

⁣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.

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