We need an Alt Right IMDB

I used to go out of my way to watch movies I suspected of being diversity propaganda so I could analyse them and see what the agenda was. Now these themes are so pervasive that you have to make a conscious effort to avoid them. We had another example last night at the Golden Globes when “In the Fade” won the Best Foreign Language Award, having won at Cannes the previous year.

As I noted in the review of it I wrote last year (link), it’s a weak film which gets bonus points for having the correct political biases. A blonde, blue-eyed German marries a Turk. When her husband and half-breed child are killed by neo-Nazis, she is denied justice by a racist criminal justice system. So she sets about exacting revenge personally.

Ignoring the politics, it’s a by-the-numbers revenge drama, thinly characterised and not at all compelling to watch. Nothing but approval of its message content can account for the awards it has won. It is anti-white hate literature for the illiterate generation.

But how would anyone in the ethno-European survival movement know this unless they had happened to come across my review?

We need an Alt Right IMDB to get the message out.


Years ago, I first became intrigued about the multicultural biases of films when I had bought a bunch of French DVDs almost at random and was amazed to find that they were all filled with pro-immigration, pro-Islam messages, with whites (especially the men) displayed as old, feckless and weak. At first I thought this was a sign of the multicultural decline of France being somehow spontaneously reflected in its art. But as I worked through my pile of DVDs, the “messages” became so in-your-face that I thought, “Hold on, this can’t possibly be spontaneous. Could there really be some kind of organised propaganda effort in French cinema?” After researching the subject, I found that, yes indeed, there are French government agencies that monitor French television and cinema for the “correct” balance of diversity, reproaching companies if they fail to meet the correct quotas.

Subsidies are also given to film-makers willing to insert pro-diversity themes into the script or give leading roles to brown-skinned actors. As a result, French cinema has been corrupted by propaganda. And now the same blight has struck Britain, as I predicted it would in 2014 when I read that the British Film Institute was making changes to its funding rules, requiring film-makers to show a “commitment to diversity”.

Since then, we’ve seen a succession of propaganda features, often pairing British women with brown-skinned men: A United Kingdom, Victoria and Abdul, etc.

victoria-and-abdul-et00050146-06-12-2016-03-37-32

Most European cinema is made with government subsidies. This makes it particularly pernicious since it is resistant to commercial imperatives. Fortunately, most European films are so bad no one wants to watch them. Hollywood is a different story. There the Jews are in control and have diabolically weaponised the art of story-telling against us. We can at least hope for a consumer revolt against them there since they’re operating in the private sector. Perhaps it’s wishful thinking, but in the last few years there may have been signs of goy rebellion as Alt Right consciousness spreads and Jews have jumped the shark by laying the propaganda on too thick.

Jew Henry Winker jumps the shark, destroying his show’s credibility

It would help fan the flames of this goy revolt if we had an Alt Right equivalent of the IMDB where you could get a quick deconstruction of the propaganda content of the film before watching it. One reason Netflix shut down their review option, I suspect, was that white people had started pushing back there in the comments.

The reviews/analysis on the site wouldn’t need to be too in-depth. A quick take would often be enough.

For example, for “Star Wars: The Last Jedi”.

Jew producer Rem Bergman (Israeli). Reckless young white man rebel gets lots of people killed by evil, white-skinned imperial baddies. Purple-haired, feminist-type white woman takes charge and reprimands him. But she is clueless and doesn’t know what to do. A negro and fat Asian chick come up with a plan to save everyone. The negro is a coward but the Slope encourages him to man up. A young white chick goes to an old white guy to learn wisdom. He is weak, feckless; given up; thinks he is useless and doesn’t care anymore. She persuades him to try again. He teaches her stuff. In the end, the white chick, the negro and fat Asian bitch and a “diverse” crew of helpers confront the evil white imperials and defeat their plans.

Obviously, this would have to set up on a platform that was resistant to censorship, open to input from unknown outsiders, with some kind of approval process for entries to exclude infiltration by the Left. Sort of like the “far-right” Wikipedia equivalents.

Ultimately, a people defines its self-image through the stories it tells. By hijacking the apparatus of our collective dream manufacture, the Jews have been able to sap our spirit and warp our sense of right and wrong. An Alt Right IMDB would let us set up our very own Culture of Critique through which we could begin the process of deprogramming the Matrix.

 

6 Comments

  1. Actually, a pro-White IMDB shouldn’t waste it’s time with breaking down the themes from jewish, anti-White propaganda films. Because it’s becoming SO difficult to find films or TV shows without these themes, it should instead be a database containing descriptions and reviews of films that support White interests and promote White history and Whites themselves accurately and in a positive light. Such a database created to inspire Whites would be a great resource, especially for those looking for positive films for their children. With a few exceptions like the Lord of the Rings trilogy, it probably wouldn’t contain many films or TV shows produced after 1990. Most of the stuff I have chosen to view has been produced prior to that time, especially film adaptations of great English and American literature.

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  2. It is a shame that Ridley Scott did not get around to directing “Emma’s War” the story of “Emma McCune was a beautiful young Englishwoman who conceived a romantic passion for Africa, went to the Sudan to be an aid worker and ended up marrying a warlord. Her story is extraordinary, but also quite thin. Emma didn’t change anything. She become embroiled in the politics of southern Sudan, but made no difference, averting her eyes from things she didn’t want to see. She was infuriating, in the way that headstrong, very attractive young women can be.” (Guardian)
    https://www.theguardian.com/books/2003/mar/09/biography.features

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  3. Michael Medved’s Hollywood vs America, published in 1992, is recommended reading. Divided into six parts, Part II is devoted to ‘The Attack on Religion’ (needless to say, the target is Christianity); Part III, ‘The Assault on the Family’, comprises ‘Promoting Promiscuity’, ‘Maligning Marriage’, ‘Encouraging Illegitimacy’ and ‘Kids Know Best’; and Part IV, ‘The Glorification of Ugliness’, includes chapters on swearing and violence.

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