⁣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.

⁣Homeschooling is the wise choice. The "training" a child receives in the Satanic public school system is not of the God of the King James Bible. Training and teaching children is a parental responsibility. We should not expose our children to the Satanic government education systems, demonic video games, demonic movies, whisperers, demonic music, yoga, tarot cards, horoscopes, (divination) etc as exposure to these things creates demonic strongholds in their minds that are contrary to The Word of God (King James Bible).
What does the school do with the children? Gatto states the following assertions in "Dumbing Us Down":
It makes the children confused. It presents an incoherent ensemble of information that the child needs to memorizsto stay in school. Apart from the tests and trials that programming is similar to the television, it fills almost all the "free" time of children. One sees and hears something, only to forget it again.

It teaches them to accept their class affiliation.
It makes them indifferent.
It makes them emotionally dependent.
It makes them intellectually dependent.
It teaches them a kind of self-confidence that requires constant confirmation by experts (provisional self-esteem).

It makes it clear to them that they cannot hide, because they are always supervised
Nowhere in the Bible does it say to enrol your children in the Satanic, public, government owned and operated education system's "indoctrination camps" known as "schools."
Education of children is a parental responsibility.

The Education systems have been used and are being used as a tool by Satanic governments (around the world) to indoctrinate and conduct experiments on children.
A corrupt tree (government owned and operated public education system) cannot bring forth good fruit (a child raised according to Biblical values and principles).

Matthew 7:18: 18 A good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit.
As it is written: Proverbs 22:6: Train up a child in the way he should go: and when he is old, he will not depart from it.
Proverbs 22:6 is one of the most famous verses in the Bible, but also one of the least followed.
The "training" a child receives in the Satanic public school system is not of the God of the King James Bible. Training and teaching children is a parental responsibility. We should not expose our children to the Satanic government education systems, demonic video games, demonic movies, etc as exposure to these things creates demonic strongholds in their minds. Homeschooling is the wise choice.

We live in a world increasingly opposed to the laws of its Creator. Christians are looking more and more ‘peculiar’ (1 Peter 2:9). We must teach our children the Word of God (King James Bible), teach them how to put Jesus Christ first in all aspects of their lives, teach them how to pray, pray for them to be filled with the Holy Spirit, teach them to recognize the answer to prayer, teach them how to depend on God, teach them how to serve and live for Him as we lead them by example and pray for them without ceasing.
Training a child includes teaching them to see the Hand of God at Work while being aware of the wiles of the evil one.

We must help our children examine everything in the light of God’s standards (the King James Bible), and encourage them to be salt and light, to stand apart when necessary, to stand for righteousness, to be wise as serpents and harmless as doves. (Matthew 10:16)

We must help our children to see the evil and demonic in music, books, games (including video games), movies, videos and certain friendships. We owe it to them to teach them the spiritual realities (rigged realities) of the world in which we live and protect them from corruption.

⁣Filmworker charts the multiple decades that Leon Vitali spent as the jack-of-all-trades assistant to famously demanding film director Stanley Kubrick. It’s a glimpse into the ways Kubrick worked that is both fascinating and heartbreaking, especially in the ways the director, and then his estate after his death, treated someone who was unwaveringly loyal. The lone bonus feature is a Q&A with Vitali and director Tony Ziera.

Behind every Hollywood legend there’s usually at least one assistant who helps keep that person’s world turning in countless unsung ways. In the case of famous film director Stanley Kubrick, there was Leon Vitali, who was different from other assistants in film lore because he cut short a promising acting career to take on a thankless role.
He was also different because he did so much more than keep the trains running on time, so to speak. When needed, Vitali served as casting director, editor, film archivist and restorationist, and more. He even stepped in to play a masked role in Kubrick’s final film, Eyes Wide Shut, which, of course, didn’t allow him to shirk his other duties even as he was filming his lines over and over again, as the director famously liked to do.

Director Tony Zierra’s documentary about Vitali, Filmworker, takes its name from the occupation Vitali put on various forms. It was something he came up with, he says, because he saw himself simply as someone who works in film. He acted in many British TV shows and movies before being cast as Lord Bullingdon in the 1975 Kubrick film Barry Lyndon. While on the Lyndon set, he was fascinated by how the director was involved in every aspect of the production and how every crew member around him had a key role to play.

That fascination led him to essentially creating a job for himself with Kubrick, who, as Vitali tells it, was masterful at coming across as benign and gentle at first before later revealing his controlling and demanding side. In that context, Vitali notes that Kubrick loved to play chess, but I don’t know if that’s a masterful relationship move as much as someone who wants to hide their distorted personality until the other person is in too deep. Kubrick was brilliant, but he was also abusive – I’ve long felt that his infamous obsession with shooting even the most mundane moments over and over wasn’t so much about perfectionism as it was about a sadistic tendency to see how far he could push people.

In Vitali’s case, I don’t think there was ever a notion that he was in too deep. He seemed to revel in his relationship with Kubrick, enjoying the fact that he worked long hours seven days a week to serve all of the director’s whims and needs. The only times cracks seem to appear in that happy façade are when he relates moments where he’s perhaps considering that Kubrick went too far – such as when he horribly mistreated Vitali on Christmas Eve, gave him a present and sent him home, and then started calling him on Christmas Day to hound him about many tasks that needed to be done.

When Kubrick died, Vitali seemed to be cast aside by people closest to the director who took over his estate. It’s telling, for example, that this documentary doesn’t feature interviews with Kubrick’s widow Christiane and her brother Jan Harlan, who executive produced several of the director’s movies and was known as his right-hand man. Vitali was constantly at Kubrick’s home when he wasn’t on movie sets or doing prep work for movies such as location scouting and casting, so obviously the two of them would have been around him quite a bit.

REVIEW RESOURCE: https://www.flickeringmyth.com..../2021/03/blu-ray-rev

⁣Is there a secret program behind the technology of the Space Force? Are Navy Pilots engaging E.T. Craft, or is it one of Ours? Dr. Steven M. Greer reveals the secrets behind the cover-up of the False Narrative Alien Threat. Dr. Michael E. Sallapresents Explosive information in regards to the incredible out of this world technology that has been reversed engineered at a Secret Location in Palmdale CA.

Is the New York Times retraction of statements made to "Off World Vehicles recovered Not Of This Earth" An attempt to Cover-Up the biggest Story Known To Mankind? Bob Lazar among others share there Insight to the Most Asked question "Are We Alone" Countdown To Disclosure Opens the Floodgates on information never heard before by the public until now! Buckle Up for a cutting Edge Documentary that will leave you believing we are not been told the truth. Premiered Dec 25, 2020

⁣Zdefraudowali wsparcie dla Ukrainy za ponad $80MLD USD. Pominięte przez mainstream afery finansowe, w które zamieszana jest Partia Demokratyczna, Joe Biden, tajemniczy inwestorzy i prezydent Ukrainy.

⁣Ukraine. Across its eastern border is Russia and to its west-Europe. For centuries, it has been at the center of a tug-of-war between powers seeking to control its rich lands and access to the Black Sea. 2014's Maidan Massacre triggered a bloody uprising that ousted president Viktor Yanukovych and painted Russia as the perpetrator by Western media.

But was it? "Ukraine on Fire" by Igor Lopatonok provides a historical perspective for the deep divisions in the region which lead to the 2004 Orange Revolution, 2014 uprisings, and the violent overthrow of democratically elected Yanukovych.

Covered by Western media as a people's revolution, it was in fact a coup d'état scripted and staged by nationalist groups and the U.S. State Department. Investigative journalist Robert Parry reveals how U.S.-funded political NGOs and media companies have emerged since the 80s replacing the CIA in promoting America's geopolitical agenda abroad.

⁣Environmental advocates have long protested the role that oil companies play in exacerbating the climate change crisis. Their voices have rattled some of the world's most influential leaders, inspired meaningful reforms, and galvanized a desire for more clean energy solutions. This has led many to believe that the age of Big Oil is on its way out. But according to the feature-length documentary Why Big Oil Conquered the World, its reign has only just begun. The film theorizes that the industry is actually based entirely on the principle of exerting power over the people. Up until this point in history, oil has served as a means to that end.

This thesis begins with eugenics, a Darwin-inspired movement that supported genetic manipulation, and the breeding of new generations that would possess only the most desirable human characteristics. Many members of the elite threw their support behind the study and implementation of eugenics, including John D. Rockefeller, Jr., and their goals soon took on an even more sinister tone. They proposed the isolation, containment and complete control of "subnormal" populations, such as the disfigured, uneducated and impoverished. They lobbied for the power to decide who lived or died.

Their approach might have changed over the intervening years - and their harsh rhetoric softened - but their ultimate goals have remained unchanged. They've simply adopted a more polished public relations image. Meanwhile, the masses are oblivious to their nefarious ulterior motives. The oil oligarchies even worked to hijack the environmental movement, and perverted the message of conservation by suggesting population control as a means of reducing our carbon footprint. In recent years, their vocal support of the Paris Climate Accord has proven equally suspect. Can the culprits behind our current environmental catastrophes really be trusted to free us from them?

At times, the film plays like a science fiction based horror movie, but it provides substantial footage and extensive research in support of even its most outlandish claims. Direct quotes and on-camera sound bytes prove especially damning to the powerful figures at the center of these schemes.
Whether you embrace the film's premise wholeheartedly, or remain skeptical of many of its accusations, Why Big Oil Conquered the World provides a wealth of eye-opening revelations that are worthy of consideration.

⁣Kurt Cobain: Montage of Heck is a 2015 American documentary film about Nirvana lead singer Kurt Cobain. The film was directed by Brett Morgen and premiered at the 2015 Sundance Film Festival.
It received a limited theatrical release worldwide and premiered on television in the United States on HBO on May 4, 2015. The documentary chronicles the life of Kurt Cobain from his birth in Aberdeen, Washington in 1967, through his troubled early family life and teenage years and rise to fame as front man of Nirvana, up to his suicide in April 1994 in Seattle at the age of 27.
The film includes artwork by Cobain as well as music and sound collages composed by him. Much of music and sound collages were released on the film's soundtrack, Montage of Heck: The Home Recordings. A companion book was also released containing animation stills from the film as well as transcripts of interviews, photographs, and Cobain's artwork that were not featured in the film.

⁣Moment of Contact is an exploration of extraterrestrial encounters, this one centered on a series of events in 1996 when citizens of Varginha, Brazil, reported seeing one or more strange creatures and a UFO crash. A number of locals, including a group of girls ranging in age from 14-21, had a close encounter with a being described as about 4 feet tall, with brown oily skin, a large head and huge red eyes.


The town of Varginha was cordoned off by military and emergency response teams and two creatures were captured. Local military policeman Marco Cherese died under mysterious circumstances after allegedly handling one of the creatures.


Fox’s documentary features interviews with key eyewitnesses, experts and officials including nuclear physicist and professional ufologist Stanton Friedman, Brazilian Air Force General Jose Carlos Pereira, and Brazilian ufologist Ademar Jose Gevaerd.

⁣My Reincarnation is an epic father-son drama, spanning two decades and three generations, about spirituality, cultural survival, identity, inheritance, growing old, growing up — and past and future lives.

The film follows the renowned reincarnate Tibetan spiritual master, Chögyal Namkhai Norbu, as he struggles to save his spiritual tradition, and his Italian born son, Yeshi, who wants nothing to do with his father's mission. Yeshi was recognized at birth as the reincarnation of his father's uncle, a powerful spiritual master who died at the hands of the Chinese in Tibet. But while Yeshi longs for a normal life, he cannot escape his destiny. As time passes, he begins to have visions and dreams of another life....

⁣A horrific tale of misogyny, rape and 10,000 deaths
This shocking, methodical documentary uses first-hand testimonies to expose a toxic culture where abusers prey on the vulnerable – while hiding behind a cloak of saintliness.
Not the United Nations as well. We live resigned to the knowledge that our political parties, law enforcers, independent standards agencies and sport governing bodies are functionally corrupt and deeply chauvinistic. Now Whistleblowers: Inside the UN (BBC Two) is here to tell us that the nearest thing we have to an expression of global conscience is a source of shame as much as hope.

Anyone who has studied the mechanics of the UN security council knows the United Nations is an instrument of iniquitous power, not a check upon it, but Whistleblowers suggests the parts you could still naively have thought of as pure – the collective effort to fight disease, hunger and climate change – ripple with the familiar stench of powerful people who are concerned, it seems, only with how to preserve and abuse their positions.
The documentary combines disparate accounts from former senior UN staff, to accumulate a breadth and depth of evidence that becomes crushing.

We start with Emma Reilly, claiming a boss overruled her when she refused to let China see the names of Uyghur activists who were to attend a human rights council meeting. She feared they would be targeted by state repression. One of those activists says his family was targeted.

OK, perhaps that’s just one blase manager, and in any case the programme-makers have been sent a UN statement contesting Reilly’s claim. But then we hear from James Wasserstrom, who says he found evidence that the tendering process for the construction of a power station in Kosovo was compromised by kickbacks, and John O’Brien, who raised concerns that an environmental programme in Russia had succumbed to local money-laundering scams.
Reilly, Wasserstrom and O’Brien all separately allege that once they spoke out, the UN went after them. O’Brien was suddenly accused of solicitation and viewing nude photographs on his phone at work (O’Brien sees the allegations as vexatious). Wasserstrom was promised whistleblower protection, then had his identity leaked to the very people he had accused. Reilly has footage of Swiss police entering her flat and refusing to leave: she says the UN had sent them, and had told them Reilly was a suicide risk. “Effectively,” she recalls, “the UN tried to have me sectioned.”
By the time she’d convinced them it was a false alarm, she had missed an online meeting at which she had planned to raise the disclosure of activists’ identities – it so happened that the cops arrived just as the meeting was beginning.

Still, although the trio’s tears seem real, perhaps the odd viewer might, somehow, think all three are lying and the UN’s flat denials are the truth. But we are not even halfway into a 90-minute programme that never feels short of material.
Next, the journalist Jeremy Dupin relates how he came to suspect that leaking latrines at a UN base in Haiti caused a catastrophic cholera outbreak that began in 2010 and ended up costing more than 10,000 lives. Attempts to hold anyone accountable were stonewalled.

Somehow, after this allegation the programme manages to be shocking in a new way.
Because, of course, we’re not talking here about powerful people. We are largely talking about powerful men and, in its latter stages, Whistleblowers switches its focus to an organisational culture of misogyny and rape. We hear how peacekeeping troops in Haiti and Central African Republic were implicated in numerous horrific sexual assaults against vulnerable locals, and we meet one of the victims – as well as the former assistant secretary-general Tony Banbury, who resigned in dismay at the UN’s indifferent response to a child in CAR being raped: “I needed the organisation to prioritise that girl. They prioritised the perpetrators.”

Purna Sen, former UN spokesperson on sexual harassment … Whistleblowers: Inside the UN. Photograph: Ben Steele/BBC
The most pained testimonies – presented, like everything else in this methodical dossier, with a sober lack of sensationalism – are from three women who worked for the UN to help those affected by floods, poverty or Aids. They make detailed allegations about their careers being derailed when they reported senior colleagues for serious sexual misconduct.
When Purna Sen, formerly the UN’s spokesperson on sexual harassment, claims that the United Nations badge is “a fantastic cloak for abuse”, it highlights what’s so particularly disturbing here: the nature of its work ought to make the UN a safer institution to work in or deal with than, say, a multinational corporation, but its supposed inherent goodness gives bad apples natural impunity. One is reminded of the infallibility afforded to the Catholic church in the 20th century; in the 21st, the UN’s secular saintliness offers the same sort of men similar protection. A stronger one, in fact, since – as the Haitian cholera victims discovered when they tried to sue – if you work for the UN, you generally enjoy legal immunity.


And so Whistleblowers slots in with one of the themes of the age: we have placed our trust in certain institutions to enforce vital rules, but we’ve constructed those institutions as toxic boys’-club hierarchies where the rules, depending on who you are and how much power you wield, do not always apply.

REVIEW RESOURCE: https://www.theguardian.com/tv....-and-radio/2022/jun/

⁣Anthony Summers, the author of the book Goddess (1985), explains he began researching Marilyn Monroe after he learned that the Los Angeles County District Attorney was reopening the case of her death. Summers subsequently spent three years collecting 650 tape-recorded interviews with people who either knew Monroe in her lifetime or had knowledge concerning her death. The audio of the interviews is original, but actors perform lip-synced reenactments.

As Monroe began acting, she had affairs with multiple powerful men who helped advance her career. Fellow actor Jane Russell notes Monroe had a particularly strong work ethic. However, Monroe suffered from poor mental health stemming from a troubled childhood.

Monroe's third husband, writer Arthur Miller, was affiliated with communism. Both he and Monroe were observed by the FBI, and the couple was known to socialize with communist American ex-pats while abroad. As their marriage deteriorated, Monroe abused prescription drugs and she became increasingly difficult to work with. In 1961, she and Miller divorced.

In 1954, Arthur James, who knew Monroe from Charles Chaplin Jr. in the late 1940s, saw Kennedy with Monroe, walking on the shore, near the Malibu pier, and drinking at the hangout, Malibu Cottage. Monroe met the Kennedy family in the early 1950s, through Hollywood connections that likely evolved from the founding role of Joseph P. Kennedy Sr. at RKO Pictures during the 1920s. In the early 1960s, actor Peter Lawford and his wife, Patricia Kennedy Lawford, had a beach house in Malibu, California, where they hosted many social gatherings. Monroe had affairs with both President John F. Kennedy and United States Attorney General Robert F. Kennedy, often meeting them at the beach house.

Summers pieces together that Monroe was in a risky political position, as the Kennedy brothers would discuss with her current events including nuclear weapons testing. This was in 1962, during the height of the Cold War. Because of Monroe's leftist politics, the FBI worried she could pass along or make public anything the Kennedys told her. As a result, the Kennedy brothers eventually attempted to cut off all contact with her.

Monroe died on August 4, 1962, and it was ruled a probable suicide. The official timeline reports Monroe's housekeeper, Eunice Murray, checked on Monroe around 3am and found the bedroom door locked. Murray called Monroe's psychiatrist, Dr. Ralph Greenson, who arrived around 3:30am, broke in through a window, and discovered Monroe was dead. Paramedics and police arrived at 4:25am. Her death was ruled a probable suicide due to a drug overdose.

Summers discounts this timeline, as multiple interview subjects corroborate a rough sequence of events, although there are discrepancies. In this version, Monroe's medical emergency began earlier that night. Her public relations manager, Arthur Jacobs, arrived at Monroe's residence as early as 11pm. An ambulance was called, and Dr. Greenson rode with a comatose Monroe as she was transported to a hospital. She either died at the hospital or on the way. Her body was returned to her house, where she was placed in her bed and "discovered" in the early morning hours. Private investigator Fred Otash and surveillance expert Reed Wilson claim they were hired by Peter Lawford to clear Monroe's home of any evidence that connected her to the Kennedy family before police and reporters arrived.

Despite Summers having accumulated information that was previously unknown about Monroe's death, he doesn't believe she was murdered. Rather, he maintains Monroe died by suicide or an accidental drug overdose. He suspects any type of cover-up was due to her connection with the Kennedy brothers. In 1982, the Los Angeles district attorney ended its review of the case and upheld the original recorded cause of death.

⁣Recorded at Weltklang Studio Plauen, Germany in November 2018 by the Martin Miller Session Band in one continuous take.
Matthias Proctor - Vocals
Martin Miller - Guitar & Vocals
Nico Schliemann - Guitar & Vocals
Marius Leicht - Keyboards & Vocals
Benni Jud - Bass & Vocals
Felix Lehrmann - Drums
Martin Miller - Audio Mix & Video Edit
https://www.bennijud.com/
http://www.martinmillerguitar.com/
http://www.nicoschliemann.de/
https://www.youtube.com/nicoschliemann
https://felixlehrmann.de/
http://bit.ly/youtube_BIIDmusic_Matth...

⁣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

⁣Sound has the power to charm, annoy, and even change history. Sonic Magic: The Wonder and Science of Sound reveals the historic force, promise, and potential of sound – and a strange phenomenon called cymatics that has created a new scientific mystery.

Sonic Magic explores how sound has shaped our history, introducing us to fields of acoustic ecology and also research labs where sound is eliminating cancer tumours and much more.

RESOURCE: https://spark-doc.com

⁣Award-winning journalist John Pilger investigates the discrepancies between American and British claims for the 'war on terror' and the facts on the ground as he finds them in Afghanistan and Washington, DC.

In 2001, as the bombs began to drop, George W. Bush promised Afghanistan "the generosity of America and its allies". Now, the familiar old warlords are regaining power, religious fundamentalism is renewing its grip and military skirmishes continue routinely. In "liberated" Afghanistan, America has its military base and pipeline access, while the people have the warlords who are, says one woman, "in many ways worse than the Taliban".

In Washington, Pilger conducts a series of remarkable interviews with William Kristol, editor of The Weekly Standard, and leading Administration officials such as Douglas Feith, Under Secretary of Defense for Policy, and John Bolton, Under Secretary of State for Arms Control and International Security.

These people, and the other architects of the Project for the New American Century, were dismissed as 'the crazies' by the first Bush Administration in the early 90s when they first presented their ideas for pre-emptive strikes and world domination.

Pilger also interviews presidential candidate General Wesley Clark, and former intelligence officers, all the while raising searching questions about the real motives for the 'war on terror'.

While President Bush refers to the US attacks on Afghanistan and Iraq as two 'great victories', Pilger asks the question - victories over whom, and for what purpose? Pilger describes Afghanistan as a country "more devastated than anything I have seen since Pol Pot's Cambodia". He finds that Al-Qaida has not been defeated and that the Taliban is re-emerging. And of the "victory" in Iraq, he asks: "Is this Bush's Vietnam?"

REVIEW RESOURCE: http://www.bullfrogfilms.com/catalog/break.html

⁣What’s it like to be cajoled, threatened and blackmailed by a sexual predator who has power, history and society on his side?

Untouchable: The Rise and Fall of Harvey Weinstein (BBC Two), directed by Ursula MacFarlane, is a film of halting testimonies, long pauses, lips pressed tightly together and eyes filling with tears. Of women struggling to articulate what they have left unsaid sometimes for decades, and what has gone unsaid by our sex – en masse – throughout history, until now.
You probably know the basic story – by osmosis if nothing else - so heavily was the media mogul’s eventual fall covered when the weight of evidence finally became too much for a man of even his resources to withstand.

It shows the uniformity of the women’s responses to suddenly finding themselves in terrifying situations

MacFarlane tells the story well. She gives due recognition to the journalists, especially Megan Twohey and Jodi Kantor, who broke the story in the New York Times, and Ronan Farrow’s gathering of 13 witness accounts in the New Yorker after painstaking investigations. But, like Dream Hampton’s Surviving R Kelly, Untouchable prioritises the victims’ stories (regardless of their personal celebrity or lack thereof – here “names” such as Rosanna Arquette simply slip in next to those without public profiles) and fills in the perpetrator’s to explain his relative power or position at the time. As with the R Kelly film – thought to have been instrumental in the R’n’B star’s latest arrest on federal sex trafficking charges – a pattern of predatory behaviour emerges, painted stroke by painful stroke by those who found themselves first charmed and cajoled by one version of Weinstein, then confronted with a very different one behind closed doors.

Whether we should be profoundly glad, deeply sad or simply exhausted to be living in a time where “examination of the lives of serial sexual predators unmasked after years of hiding in plain sight” is on the verge of becoming a recognised TV genre, let alone one taking up the slack left by uninterested police and legislative forces, I leave to you to decide. But we are where we are. Which is, waiting to see who gets their Jeffrey Epstein production off the blocks first.
Beyond a specific modus operandi – Weinstein’s involved hotel suites, towelling robes, forcible massages, volcanic rage and threats such as: “Do you really want to make an enemy of me for five minutes of your time?” – as an insight into one man’s apparent prelude to rape or assault (Weinstein denies all claims), such documentaries render a more valuable service in demonstrating, relentlessly and unavoidably, two things.

The first is how perfectly our world is built for predators to function. Of Weinstein’s staff who admit they knew something – something – was happening, a common refrain is that they assumed “some sort of agreement” had been reached between the would-be actors and the mogul. If you live in a society that already believes in the casting couch, because the concept of young women as more-or-less sexual resources to be exploited is so embedded in the psyche, half your work – to normalise your predilections, to secure complicity – is done. With the likes of the gossip columnist AJ Benza out there – “You put a light on the porch,” he says of Weinstein’s power, “you’re gonna get a lot of moths” – the world is yours to do with as you will.


The second, perhaps even more valuable, service it renders is to show the uniformity of the women’s responses to suddenly finding themselves in terrifying situations, and how far they deviate from “common sense” or “natural” expectations (words defined almost entirely by men, who have least need of them). They don’t fight. They compute their chances against a much taller, heavier opponent (“He’s huge, you know,” says Hope d’Amore, who worked for him in the early days and says she was assaulted in 1978) and they go still. “The freeze thing kicks in,” says the actor Caitlin Delaney. “You just want it to be over.” They maximise their chances of survival (“I felt leaving would be worse,” says actor Erika Rosenbaum, when she saw a smashed and bloody toilet seat in his bathroom) and try and leave in other ways instead. Actor Paz de la Huerta remembers “hovering over my body” as, she says, Weinstein raped her. “I definitely went somewhere else,” says Delaney. Rosenbaum remembers hoping that if she kept still enough she would somehow disappear.
Almost every woman watching will understand. Some men will, too. If these films add to their number, maybe we can begin to change the world.

REVIEW RESOURCE: https://www.theguardian.com/tv....-and-radio/2019/sep/

⁣How does the Internet work? What energy does it use?
May it be that the Internet is not as magic, as clean, as one thought?

This films explores the hidden face of the web: huge data-centers that rely on cheap and reliable energy: coal. Our emails, our tweets, our messages on Facebook could be responsible of the destruction of the mountains in Virginia, unless the big players of the internet decide to change their mindset...


Genre: Documentary | Produced In: 2015 | Story Teller's Country: France

⁣Social Engineering, behaviorism, Mind Control, Sudo Democracy, human experimentatio, mechanistic philosophy, schooling, Noam Chomsky, Depopulation, Conspiracy, aggression, Deep State, Dehumanisation

Human Resources: Social Engineering in the 20th Century explores the rise of mechanistic philosophy and the exploitation of human beings under modern hierarchical systems. Topics covered include behaviorism, scientific management, work-place democracy, schooling, frustration-aggression hypothesis and human experimentation

Resources explores the rise of mechanistic philosophy and the exploitation of human beings under modern hierarchical systems.
Topics covered include behaviorism, scientific management, work-place democracy, schooling, frustration-aggression hypothesis and human experimentation.

Scott Noble releases all of his films online for free, but they do cost a fair bit to produce. If you're able and appreciate his work, consider supporting the production of the filmmaker's next film with a monthly donation on Patreon.

“A viscerally overpowering film and at the same time a thoughtful meditation on the human condition.”
- Walter A. Davis, Professor Emeritus, Ohio State University

“Brilliant…Riveting…The amount of material the filmmaker covers and unifies is astounding…Human Resources diagnoses the 20th century.”
- Stephen Soldz, Professor, Boston Graduate School of Psychoanalysis; President, Psychologists for Social Responsibility

"Powerful…Must See…It will leave you Spellbound.”
- Andrew Goliszek, Author, In the Name of Science: A History of Secret Programs, Medical Research, and Human Experimentation

"An important work…terrifiying in its implications….Human Resources is a must see for those of us who still take democracy seriously.”
- Bruce E. Levine, Author Commonsense Rebellion: Taking Back Your Life from Drugs, Shrinks, Corporations, and a World Gone Crazy

“It scared the shit out of me…A powerful and methodical dissection of the dominant culture.” - Derrick Jensen, Author, Endgame

⁣We are heading into one of the most epic famines in world history, where the poor will freeze in the dark and burn in the sun while they starve.

Michael Yon, one of America’s youngest Green Berets at 19 years old, joins Dr Jordan B Peterson to discuss the current state of affairs across the globe.

Michael has traveled and lived over half of his life abroad in more than 80 countries. Author of three books in the United States and three others in Japan, he is America’s most experienced combat correspondent.