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Why Is China Afraid of a Documentary? A documentary about fishermen should not be a threat to any nation. But when Food Delivery: Fresh from the West Philippine Sea screened in New Zealand, Beijing responded with urgency. They didn’t issue a public rebuttal or request a balanced forum. They... sent official demands. They called the organizers. They warned that showing the film would damage China–New Zealand relations. Not because of violence, or hatred, or incitement—but because the film tells the story of Filipino fishermen working in waters they have called home for generations. That act of storytelling alone was deemed dangerous. The film doesn’t speculate. It doesn’t provoke. It documents. It shows what it means to live near Scarborough Shoal, where foreign vessels loom and radio threats pierce through static. It follows men who must weigh their catch against the risk of harassment. It gives voice to those who are often spoken about, but rarely heard. This is what Beijing wants silenced. Not lies. Lives. To call it “false propaganda” is to dismiss the lived reality of those who endure the West Philippine Sea conflict every day. That denial says more about the accuser than the film itself. China claims the documentary misleads the world. But what misleads more: a filmmaker showing the truth of her people, or a foreign government working to suppress it? When a state pressures foreign festivals, contacts staff, and warns of diplomatic consequences, that is not film criticism. That is censorship, plain and deliberate. And still, the filmmakers remain open. They invite critics to watch, not to fight. They speak of peace, not confrontation. They chose to focus on humanity, not headlines. That courage deserves to be seen. The attempt to silence this documentary only confirms its value. It reveals what some would rather the world never hear—that even in the shadow of larger powers, there are voices that will not be drowned. Let this film be watched. Let the world see what intimidation cannot erase. Truth does not need permission. #WestPhilippineSea #TruthWins #LetTheNationListen #DefendSovereignty #SouthChinaSea #MaritimeRights #StopChinaAggression #ProtectEEZ #中菲关系 #中共 #菲律宾 #南海問題 #盧比奧 #马可 #菲律賓 #世界苦茶 #南海 #菲律賓show more

BRP Sierra Madre

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72,702 Aufrufe • vor 1 Jahr •via X (Twitter)

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Profilbild von EDWARD Phillips

EDWARD Phillipsvor 1 Jahr

One thing that stood out for me was why it was pulled out of a local film festival. Let us hear from the this film festival why did they pull out the showing of this documentary and take appropriate action if needed.

Profilbild von When How @ “Grounded A.I.”

When How @ “Grounded A.I.”vor 1 Jahr

CCP criminals can offer their lies at the festival. Viewers are the one to decide .

Profilbild von PorLaPatria1896 🇵🇭 🫡

PorLaPatria1896 🇵🇭 🫡vor 1 Jahr

Arrogant asshole bullies, without doubt.

Profilbild von Tuco Ramirez

Tuco Ramirezvor 1 Jahr

The documentary was pulled from screening in the Philippines? Does the film tell lies or not? Like any documentary film, let's have it peer reviewed.

Profilbild von OverAlt69 🇵🇭

OverAlt69 🇵🇭vor 1 Jahr

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Profilbild von OverAlt69 🇵🇭

OverAlt69 🇵🇭vor 1 Jahr

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Profilbild von OverAlt69 🇵🇭

OverAlt69 🇵🇭vor 1 Jahr

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Profilbild von OverAlt69 🇵🇭

OverAlt69 🇵🇭vor 1 Jahr

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Profilbild von OverAlt69 🇵🇭

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When a documentary tells the truth, and they try to erase it—ask why. This isn’t just about a film. It’s about sovereignty. It's about every Filipino voice being silenced when the narrative is stolen. 📽 “Food Delivery: Fresh from the West Philippine Sea” was pulled from screens days before premiere. Then attacked by CGTN. They say it’s fiction. We call it frontline truth. They call our fishermen “props.” We call them defenders. To silence this story… is to let them win the war of words. 🇵🇭 Don’t let them. 🔗 Watch it. 📢 Share it. 🛡 Defend it. #WestPhilippineSea #NarrativeDefense #FoodDeliveryDoc #BRPSierraMadre #SovereigntyMatters

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Elon Musk: We will not accept an anointed class of journalists who tell us what to think. “What we're not going to do is say that there's some anointed class of journalists who are the special ones who get to tell everyone what they should think. It should be up to the people what they think. And even if an article is completely accurate, comprehensive, and everything, in writing that article, the media is choosing the narrative. They're deciding what to write an article about. So, I'm hopeful that this can be more a case of the public choosing the narrative as opposed to the media choosing the narrative. At least a combination of the media and the public choosing the narrative, and the public getting to weigh in on stories if they think that they should add something to it, or we've got something wrong. And over time, I think if Twitter is the best source of truth, it will succeed. And if we are not the vessels of truth, we will fail.” Interview with the BBC, April 12, 2023

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ELON: WE WILL NOT ACCEPT AN ANOINTED CLASS OF JOURNALISTS WHO TELL US WHAT TO THINK “What we're not going to do is say that there's some anointed class of journalists who are the special ones who get to tell everyone what they should think. It should be up to the people what they think. And even if an article is completely accurate, comprehensive, and everything, in writing that article, the media is choosing the narrative. They're deciding what to write an article about. So, I'm hopeful that this can be more a case of the public choosing the narrative as opposed to the media choosing the narrative. At least a combination of the media and the public choosing the narrative, and the public getting to weigh in on stories if they think that they should add something to it, or we've got something wrong. And over time, I think if Twitter is the best source of truth, it will succeed. And if we are not the vessels of truth, we will fail.” Source: Interview with the BBC, April 2023, Elon Musk

ELON: WE WILL NOT ACCEPT AN ANOINTED CLASS OF JOURNALISTS WHO TELL US WHAT TO THINK “What we're not going to do is say that there's some anointed class of journalists who are the special ones who get to tell everyone what they should think. It should be up to the people what they think. And even if an article is completely accurate, comprehensive, and everything, in writing that article, the media is choosing the narrative. They're deciding what to write an article about. So, I'm hopeful that this can be more a case of the public choosing the narrative as opposed to the media choosing the narrative. At least a combination of the media and the public choosing the narrative, and the public getting to weigh in on stories if they think that they should add something to it, or we've got something wrong. And over time, I think if Twitter is the best source of truth, it will succeed. And if we are not the vessels of truth, we will fail.” Source: Interview with the BBC, April 2023, Elon Musk

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The Epic of Resistance 🎼 This is not just a symphony. This is what resistance sounds like. Composed by Majid Entezami, the Epic of Khorramshahr is not played… it is remembered. It carries the echo of the Battle of Khorramshahr during the Iran–Iraq War... when a city was shattered and occupied… then reclaimed by a people who refused to disappear. They believed fire would silence it. They believed steel would break it. They believed time would erase it. But they misunderstood something fundamental: You can destroy buildings… but not belief. You can occupy land… but not dignity. Listen. The violins do not mourn defeat— they rise like voices from beneath the dust. The drums are not war— they are the pulse of a nation that never stopped beating. The crescendo is not sound— it is return. Like Jerusalem… Khorramshahr fell— and then Khorramshahr rose — and so too will Jerusalem. And in its rising, a message was written into history: That oppression is loud… but resistance is eternal. Today, the same rhythm echoes— in every people who refuse humiliation, in every nation that stands when it is told to kneel, in every voice that says: enough. The oppressed the world over, do not hear this music as the past— but as a covenant. A promise carried across generations: That injustice exhausts itself. That arrogance overreaches. That truth, though tested, does not break. This is why the melody does not end. It advances— from rubble to resistance, from resistance to resurgence, from resurgence to victory. History has a pattern: Empires arrive with certainty. They leave with silence. But those who endure— write the final verse. And so the symphony continues… not as memory alone— but as prophecy. Victory is not a moment. It is a direction. And those who refuse to surrender are already moving toward it… They see victory—and joy and smiles— in Tehran and Gaza, in Beirut and Sana’a, in Baghdad and Jerusalem… in every city with a resisting soul and a tight fist... as candle by candle is rekindled, and as light by light is ignited across the world… until the darkness fades, until racism ends, and until supremacism dismantled.

Sami Al-Arian

103,097 Aufrufe • vor 5 Monaten

STRAWMAN: THE NATURE OF THE CAGE John K. Webster Here is a deep dive documentary that took 18 months of research to complete this film. No stone is left unturned. By the end of this film you will be well informed of the legal fiction that has been used to manipulate our society. “A minority is powerless while it conforms to the majority; it is not even a minority then; but it is irresistible when it clogs by its whole weight. If the alternative is to keep all just men in prison, or give up war and slavery, the State will not hesitate which to choose. If a thousand men were not to pay their tax bills this year, that would not be a violent and bloody measure, as it would be to pay them, and enable the State to commit violence and shed innocent blood. This is, in fact, the definition of a peaceable revolution, if any such is possible.” – Henry David Thoreau, Civil Disobedience

STRAWMAN: THE NATURE OF THE CAGE John K. Webster Here is a deep dive documentary that took 18 months of research to complete this film. No stone is left unturned. By the end of this film you will be well informed of the legal fiction that has been used to manipulate our society. “A minority is powerless while it conforms to the majority; it is not even a minority then; but it is irresistible when it clogs by its whole weight. If the alternative is to keep all just men in prison, or give up war and slavery, the State will not hesitate which to choose. If a thousand men were not to pay their tax bills this year, that would not be a violent and bloody measure, as it would be to pay them, and enable the State to commit violence and shed innocent blood. This is, in fact, the definition of a peaceable revolution, if any such is possible.” – Henry David Thoreau, Civil Disobedience

Redpill Drifter

104,419 Aufrufe • vor 2 Jahren

**footage of hunting/death** This is the trailer to one of the best documentary films I’ve ever seen "Africa Addio" is a controversial Italian documentary from 1966, directed by two Italian guys (Gualtiero Jacopetti and Franco Prosperi) It shows the transition of Africa from colonial rule to independence and the total chaos that ensued in the process It’s just such unique, raw, violent footage. You can’t believe that it was captured on film It’s not for the faint of heart and it’s almost abit distasteful but viewed through the correct lens I think alot can be learned. It doesn’t paint any particular group out to be good or bad it just “is” the footage of what they captured at the time I’m giving a second warning to the actual documentary film there are some horrific scenes but as they trailer says: “You may hate it, or you may love it but you will never forget Africa Addio”

footage of hunting/death This is the trailer to one of the best documentary films I’ve ever seen "Africa Addio" is a controversial Italian documentary from 1966, directed by two Italian guys (Gualtiero Jacopetti and Franco Prosperi) It shows the transition of Africa from colonial rule to independence and the total chaos that ensued in the process It’s just such unique, raw, violent footage. You can’t believe that it was captured on film It’s not for the faint of heart and it’s almost abit distasteful but viewed through the correct lens I think alot can be learned. It doesn’t paint any particular group out to be good or bad it just “is” the footage of what they captured at the time I’m giving a second warning to the actual documentary film there are some horrific scenes but as they trailer says: “You may hate it, or you may love it but you will never forget Africa Addio”

RŌNIN

25,120 Aufrufe • vor 1 Jahr

"There are no entertaining moments in 'Mirror' (1975). In fact I am categorically against entertainment in cinema: it is as degrading for the author as it is for the audience." --- Andrei Tarkovsky Full Excerpt: "'Mirror' (1975) is an autobiographical film. The things that happen are real things that happened to people close to me. That is true of all the episodes in the film. But why do people complain that they cannot understand it? The facts are so simple, they can be taken by every one as similar to the experience of their own lives. But here we come up against something that is peculiar to cinema: the further a viewer is from the content of a film, the closer he is; what people are looking for in cinema is a continuation of their lives, not a repetition. There are no entertaining moments in the film. In fact I am categorically against entertainment in cinema: it is as degrading for the author as it is for the audience. The purpose of 'Mirror', its inspiration, is that of a homily: look, learn, use the life shown here as an example. There are so many films now, and they are all so different, that very soon it will be impossible to plan for distribution to cinemas. That will be the beginning of a new phase in the development of film, which is after all the youngest art form, it is only about seventy years old. Films will start to be handed out as cassettes, people will take them home, every viewer will find himself face to face with the film he particularly likes. And what of cinema, the mass medium, you may ask ? Mass is not a criterion of quality. The same could be said about the number of people involved in the making of a film. Numbers are not the point. A small team working together is preferable to a large collective. Another question: What is going to happen to Mirror? We don't know yet. For the moment the film is only being shown in three cinemas, and they started with two. They are trying it out first, because the organs responsible for distribution are afraid it might be a failure. When they heard that people sat on and wouldn't leave, one of the highly placed distribution officials observed that normal people leave the cinema." [A talk by Tarkovsky in the Building Institute, 1975 about his film 'Mirror' (1975)]

"There are no entertaining moments in 'Mirror' (1975). In fact I am categorically against entertainment in cinema: it is as degrading for the author as it is for the audience." --- Andrei Tarkovsky Full Excerpt: "'Mirror' (1975) is an autobiographical film. The things that happen are real things that happened to people close to me. That is true of all the episodes in the film. But why do people complain that they cannot understand it? The facts are so simple, they can be taken by every one as similar to the experience of their own lives. But here we come up against something that is peculiar to cinema: the further a viewer is from the content of a film, the closer he is; what people are looking for in cinema is a continuation of their lives, not a repetition. There are no entertaining moments in the film. In fact I am categorically against entertainment in cinema: it is as degrading for the author as it is for the audience. The purpose of 'Mirror', its inspiration, is that of a homily: look, learn, use the life shown here as an example. There are so many films now, and they are all so different, that very soon it will be impossible to plan for distribution to cinemas. That will be the beginning of a new phase in the development of film, which is after all the youngest art form, it is only about seventy years old. Films will start to be handed out as cassettes, people will take them home, every viewer will find himself face to face with the film he particularly likes. And what of cinema, the mass medium, you may ask ? Mass is not a criterion of quality. The same could be said about the number of people involved in the making of a film. Numbers are not the point. A small team working together is preferable to a large collective. Another question: What is going to happen to Mirror? We don't know yet. For the moment the film is only being shown in three cinemas, and they started with two. They are trying it out first, because the organs responsible for distribution are afraid it might be a failure. When they heard that people sat on and wouldn't leave, one of the highly placed distribution officials observed that normal people leave the cinema." [A talk by Tarkovsky in the Building Institute, 1975 about his film 'Mirror' (1975)]

DepressedBergman

205,784 Aufrufe • vor 7 Monaten

For months, I’ve been building a documentary that exposes Digital ID—what it really is, who’s pushing it, and what it means for the future of humanity. Naming names. Following the money. Getting to the root of the agenda. In the last two weeks alone, my footage and documents have been destroyed three times. Not glitches. Not accidents. Digital sabotage. This was meant to stop the film. It won’t. I’m still here. And this documentary will be finished!

For months, I’ve been building a documentary that exposes Digital ID—what it really is, who’s pushing it, and what it means for the future of humanity. Naming names. Following the money. Getting to the root of the agenda. In the last two weeks alone, my footage and documents have been destroyed three times. Not glitches. Not accidents. Digital sabotage. This was meant to stop the film. It won’t. I’m still here. And this documentary will be finished!

Digby Furneaux

51,890 Aufrufe • vor 8 Monaten

Ostriches are intensely social animals who understand their world through movement contact and the presence of their flock. They do not experience life with human concepts or human language but they do experience fear safety comfort and distress in ways that are clear measurable and deeply felt. When ostriches live together they learn the shapes sounds and movements of the birds around them. They feel secure when the flock is calm and they become anxious when others show signs of alarm. Their sense of safety depends entirely on the stability of the group. Any threat to one member of the flock creates a wave of fear through all of them. Because of this the emotional impact of violent handling and mass killing is not limited to the bird that is struck but spreads through every ostrich who sees hears or senses it. When force and confinement are imposed on them the birds experience a level of fear that overwhelms their natural coping behaviors. Ostriches respond to danger with flight or alert stillness and when neither response is possible they enter a state of acute stress that includes trembling pacing vocalizing or freezing in place. Their hearts race their muscles tense and their entire body prepares to escape. When they are surrounded or trapped they cannot understand why the danger cannot be avoided. The sense of helplessness for a prey animal is not a thought but a physical shock that floods them with stress and panic. To a creature who survives through movement and awareness the loss of space and the inability to flee is a form of suffering in itself. The abuse of forcing ostriches to witness the injury or death of familiar flock mates creates another layer of distress. These birds recognize individuals. They notice when one of their companions collapses or cries out. They become restless and agitated when a bird they know is harmed. They remain close to fallen birds and often attempt to investigate or stay near them because their instinct pushes them to stay with the group even when the group is being destroyed. The emotional meaning of this moment is not symbolic but immediate. The flock is breaking apart. The cues of danger multiply. The birds see others in pain or falling and their own fear grows with each new sign of suffering. When violent killing happens around them ostriches sense it as the collapse of their only system of safety. They are not built to make sense of destruction happening in their own flock. Instead they respond with escalating panic. Their bodies show it clearly through rapid breathing frantic shifts in posture and attempts to move closer to surviving flock mates. They do not understand why the danger continues or why the people near them are the source of harm. The stress they experience is intense enough to cause physical shock. Their final moments are dominated by confusion fear and the overwhelming instinct to escape a threat that cannot be avoided. The public often imagines large animals as numb or unaware but ostriches feel the world with a sensitivity shaped by millions of years as prey animals. Their eyes are sharp their hearing is attuned to stress in others and their bodies react strongly to fear and pain. When dozens or hundreds of birds are subjected to violence in a confined area every ostrich feels the fear of the others. The suffering does not happen to them one by one but as a shared experience of terror. This is an experience that no animal should ever be forced to endure. The reality is not clinical or quick. It is emotionally devastating to the animals caught in it because it destroys the flock bond that is their only sense of stability and then it destroys the birds themselves. Understanding this matters because it shows that the harm done to these animals was not only physical but deeply emotional. The ostriches suffered long before any final action was taken against their bodies. They suffered through fear they could not escape through the panic created by the collapse of their flock and through the helplessness of being unable to understand why the world around them suddenly turned violent. Recognizing this is essential because it reveals the true scale of what was done. This was not a neutral procedure. This was the infliction of terror on beings capable of feeling it powerfully. The public deserves to know that these birds were not indifferent creatures. They were living animals who felt fear and confusion and distress and whose final experiences were shaped by violence they could not comprehend or escape.

Ostriches are intensely social animals who understand their world through movement contact and the presence of their flock. They do not experience life with human concepts or human language but they do experience fear safety comfort and distress in ways that are clear measurable and deeply felt. When ostriches live together they learn the shapes sounds and movements of the birds around them. They feel secure when the flock is calm and they become anxious when others show signs of alarm. Their sense of safety depends entirely on the stability of the group. Any threat to one member of the flock creates a wave of fear through all of them. Because of this the emotional impact of violent handling and mass killing is not limited to the bird that is struck but spreads through every ostrich who sees hears or senses it. When force and confinement are imposed on them the birds experience a level of fear that overwhelms their natural coping behaviors. Ostriches respond to danger with flight or alert stillness and when neither response is possible they enter a state of acute stress that includes trembling pacing vocalizing or freezing in place. Their hearts race their muscles tense and their entire body prepares to escape. When they are surrounded or trapped they cannot understand why the danger cannot be avoided. The sense of helplessness for a prey animal is not a thought but a physical shock that floods them with stress and panic. To a creature who survives through movement and awareness the loss of space and the inability to flee is a form of suffering in itself. The abuse of forcing ostriches to witness the injury or death of familiar flock mates creates another layer of distress. These birds recognize individuals. They notice when one of their companions collapses or cries out. They become restless and agitated when a bird they know is harmed. They remain close to fallen birds and often attempt to investigate or stay near them because their instinct pushes them to stay with the group even when the group is being destroyed. The emotional meaning of this moment is not symbolic but immediate. The flock is breaking apart. The cues of danger multiply. The birds see others in pain or falling and their own fear grows with each new sign of suffering. When violent killing happens around them ostriches sense it as the collapse of their only system of safety. They are not built to make sense of destruction happening in their own flock. Instead they respond with escalating panic. Their bodies show it clearly through rapid breathing frantic shifts in posture and attempts to move closer to surviving flock mates. They do not understand why the danger continues or why the people near them are the source of harm. The stress they experience is intense enough to cause physical shock. Their final moments are dominated by confusion fear and the overwhelming instinct to escape a threat that cannot be avoided. The public often imagines large animals as numb or unaware but ostriches feel the world with a sensitivity shaped by millions of years as prey animals. Their eyes are sharp their hearing is attuned to stress in others and their bodies react strongly to fear and pain. When dozens or hundreds of birds are subjected to violence in a confined area every ostrich feels the fear of the others. The suffering does not happen to them one by one but as a shared experience of terror. This is an experience that no animal should ever be forced to endure. The reality is not clinical or quick. It is emotionally devastating to the animals caught in it because it destroys the flock bond that is their only sense of stability and then it destroys the birds themselves. Understanding this matters because it shows that the harm done to these animals was not only physical but deeply emotional. The ostriches suffered long before any final action was taken against their bodies. They suffered through fear they could not escape through the panic created by the collapse of their flock and through the helplessness of being unable to understand why the world around them suddenly turned violent. Recognizing this is essential because it reveals the true scale of what was done. This was not a neutral procedure. This was the infliction of terror on beings capable of feeling it powerfully. The public deserves to know that these birds were not indifferent creatures. They were living animals who felt fear and confusion and distress and whose final experiences were shaped by violence they could not comprehend or escape.

Vote Canada

55,531 Aufrufe • vor 9 Monaten