Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Wednesday, July 5, 2023

Kandahar Movie Poster: Filipino Edition

Kandahar is a 2023 film starring Gerard Butler as a freelance agent whose cover is blown and needs to be extracted from a hostile nation. It's a standard action film and a passable way to spend two hours. But I am not here to review this film. I want to talk about this strange movie poster I saw at Ayala. 


That is most certainly not the official poster for Kandahar. From the looks of it this movie takes place in a city while Kandahar takes place in the desert. The tag line makes it appear that the movie is about stopping a nuclear attack.
No hostile country can go nuclear. 
When the government has no jurisdiction... 
They send their best man from the outside to do the job.
Here is the same poster at the Mall of Asia in Manila.

https://dprime.kr/g2/bbs/board.php?bo_table=movie&wr_id=2830063

However, the Facebook page for The Cinema Exhibitors Association has an altogether different movie poster  for Kandahar.

https://www.facebook.com/permalink.php?story_fbid=813535470358494&id=100451381666910
No hostile country can go nuclear.
When the government has no jurisdiction, they send their best man from the outside to do the job.
Why are they publishing that tagline when the movie poster says:
The only thing more dangerous than the mission is the escape.
It's weird but it gets even more bizarre. The picture of Gerard Butler being used in this movie poster is from the movie Plane!

https://www.sortiraparis.com/en/what-to-do-in-paris/cinema-series/articles/287504-mayday-the-action-movie-with-gerard-bultler-review-and-trailer

It's known as Mayday in France but it's the same movie. A close look at the hand holding the gun shows that it is definitely photoshopped over this picture of Gerard Butler. There are tattoos on the fingers. 

So, why does the Philippine movie poster for Kandahar feature a wrong tagline, a wrong picture of Gerard Butler, and a wrong setting? The movie poster database has several editions ofthe Kandahar movie poster none of them look like the Philippine version. 

https://www.movieposterdb.com/kandahar-i5761544?v=posters

 It is all rather strange. 

Monday, April 17, 2023

Filipino Man Wins Best Supporting Actress Award at MMFF

We truly live in special times. All over the world, especially in the West, men are transforming into women and taking over women's spaces in fashion, sports, and film. Now in the Philippines a man has invaded a woman's space by winning the best supporting actress award at the inaugural summer edition of the Metro Manila Film Festival. 

https://entertainment.inquirer.net/494579/kaladkaren-makes-history-as-first-transwoman-to-win-mmff-best-supporting-actress-award

Celebrity impersonator KaladKaren was named best supporting actress at the first-ever Summer Metro Manila Film Festival (MMFF), making her the first transgender woman to be nominated and to win the acting honor.

KaladKaren, born Jervi Li, was not able to hold her tears back as she accepted the award for her performance in “Here Comes the Groom,” as seen in a clip from the Gabi ng Parangal which she shared on her Instagram page.

“Itong parangal na ito ay hindi lamang recognition ng aking trabaho kundi pati na rin po ng aking pagkatao,” she said during her speech. (This award is not just a recognition of my work but also of my identity.)

“When I entered show business, I never thought na makakakuha po ako ng award kasi (that I would receive an award because) as transgender woman, I thought I will never be enough,” she continued.

KaladKaren dedicated her win to her fellow transgender people, drag artists and members of the LGBTQIA+ community “whose lives and existence are being threatened in the world right now,” reminding them that they are “more than enough.”

She then thanked the Summer MMFF board of jurors, headed by actress Dolly de Leon as chairman, for the recognition which she said is a testament to the “diversity, inclusion and equity in Philippine cinema.” She also credited her co-stars and the production team in the film, as well as its director Chris Martinez for being a huge part of her win.

“Thank you rin po sa mga role models ko sa (to my role models in the) industry—ma’am Karen Davila, if not because of your support I don’t think KaladKaren would fly,” she stated. “And to meme Vice Ganda, thank you for opening so many doors for us so we can enter. You’re one of the reasons why I’m here tonight.”

(To the LGBTQIA+ kids, do not be afraid to be yourselves and to dream because one day, who knows, you would also be the one standing here. And I hope we also remember the message of our film: What’s important is not your appearance or your gender, but your heart and soul.)

He is not the first Filipino man to win a best actress award. That dishonor goes to Iyah Mina who won best actress in 2018. 

https://www.cnnphilippines.com/entertainment/2018/10/21/cinema-one-originals-festival-awards-night-iyah-mina-best-actress.html

So, what is this film about? 

“Here Comes The Groom” is a body-swapping story that features a gay beauty pageant, conservative Christians seeing the error of their ways, and multiple trans characters played by actual trans actors. In it, KaledKaren’s character is being taken care of by Mina’s character—now echoing real life. It makes the win even more significant as a queer win.

https://preen.ph/132864/kaladkaren-dedicates-acting-win-threatened-queer-lives

Ah yes. It's a preachy film about how Christianity is actually wrong. Or it's a preachy movie that to be a real Christian means one has to accept sodomy as normal, natural, and healthy despite it being none of those things. How about a movie where a "transperson" learns the error of his ways after having his weiner lopped off and inverted to form a fake vagina? And don't get me started on the horrors of "transmen" and how they hack off their breasts and use skin from the forearm to construct a monstrous "penis. 

And to think this kind of garbage is happening in the only Christian nation in Asia. I'm not sure the Philippines has ever truly been a Christian nation despite adopting the trappings of Roman Catholicism. But that is an article for another day. 

Monday, November 8, 2021

The Influence of Netflix on Philippine Politics

As improbable as it seems Netflix is having an influence on political discourse in the Philippines. Remember this photo showing Duterte watching Django Unchained on Netflix?

https://www.nytimes.com/2019/05/20/world/asia/duterte-philippines-absence-health.html

There is nothing wrong with watching a good movie or show. The problem is when fiction begins to influence one's political or world view. Remember during the martial law hearings before the Supreme Court when Justice Bersamin was worried that scenarios like those in White House Down and London Has Fallen could come true if martial law were lifted?

“How can the republic survive if there was another kind of threat worse than rebellion or invasion,” a Supreme Court Associate Justice asked Tuesday as he noted that President Rodrigo Duterte’s martial law is already emasculated compared to that of the late dictator Ferdinand Marcos. 
“Oh I watched so many movies like White House has fallen, London has fallen. These are very terrifying realities that could happen in a few years’ time,”  Bersamin said, adding that the framers crafted a constitution “that constricted the use of the ultimate power to actual invasion and actual rebellion.”

What if these [movies] become a reality,” Bersamin asked. 

https://philippinefails.blogspot.com/2019/09/filipinos-and-movies.html 

Then there was Senator Lacson who, after watching a show on Netflix, actually introduced legislation inspired by that show.

Legislation loosely based on a popular Netflix political thriller called the “Designated Survivor” have been filed in the Senate and the House of Representatives to deal with such a situation. 
In the show, actor Kiefer Sutherland plays Housing and Urban Development Secretary Tom Kirkham, who is hidden away during the State of the Union. He was thrust into the US presidency when the Capitol building is bombed during the address, killing the president and everyone in it. 
The Philippine proposal is called the Presidential Succession Act, referred to simply as the designated survivor bill.

Sen. Ping Lacson wrote the Senate version of the bill, while Quezon City Rep. Precious Hipolito introduced the House counterpart proposal. 
Lacson told reporters on Thursday that his proposal was inspired by the Netflix series.

https://philippinefails.blogspot.com/2019/09/filipinos-and-movies.html 

Lacson is back in the news telling us all that a movie he saw on Netflix has influenced him to now be against the death penalty.

https://newsinfo.inquirer.net/1510389/no-longer-for-death-penalty-lacson-says-netflix-show-changed-his-beliefs-on-capital-punishment

Senator Panfilo Lacson now says that if he is elected president in the 2022 national elections, he will no longer push for the death penalty despite previous statements advocating for the reinstitution of capital punishment.

Asked about how his opinion about the death penalty changed, Lacson attributed this to a movie on streaming site Netflix, which talked about an activist who set himself up for a crime just to prove that innocent people could be punished.

He says that his running mate, Senate President Vicente Sotto III, also shares his views.

“In the course his (Sotto) perspective changed. I’m like that, I’m also a convert. Did you know, did you watch ‘The Life of David Gayle’ on Netflix? "I watched that, that activist, that's where he set-up himself," Lacson told reporters in a media forum on Thursday.

"He was not the one who killed but he set-up just to prove that the innocent man could be executed," he explained.

Lacson admitted that in the past, he has been a stern advocate of the death penalty for certain crimes like plunder, high-level drug trafficking, law enforcers proven guilty for planting evidence, and other heinous crimes.

But the Netflix show changed it all, Lacson claimed, who is now saying that saving the life of a wrongly accused person is more important than executing a criminal.

"That changed my attitude, my outlook, and my perspective on the death penalty. I am also an author, I have been infinite several times, I have even included the plunder and then the various crimes as heinous crimes, which should be punishable by the death penalty, ”he explained.

"But then I realized that it is more important to save the life of an innocent person who has been convicted so that we can execute someone who is really convicted and really convicted. "When I weighed it, I thought it would be more important to save the life of a wrongly convicted person," he added.

Are we really to believe that Senator Lacson, who was once Chief of the PNP and who admits he has written numerous articles advocating for the death penalty, had never considered that an innocent person could be wrongly convicted of a crime and placed on death row until he saw The Life of David Gale!?

https://en.wikipedia.org/wiki/The_Life_of_David_Gale

This 2003 film starring Kevin Spacey as an anti-death penalty advocate who conspires to get himself executed for a crime he did not commit to show how bad the death penalty is because innocent people could be executed is one of the most ridiculous and convoluted films ever made. It is right up there with Crash which, to the consternation of everyone, won the Academy Award for Best Picture in 2006. Roger Ebert thought The Life of David Gale was so stupid that he gave it zero stars.

The secrets of the plot must remain unrevealed by me, so that you can be offended by them yourself, but let it be said this movie is about as corrupt, intellectually bankrupt and morally dishonest as it could possibly be without David Gale actually hiring himself out as a joker at the court of Saddam Hussein.

I am sure the filmmakers believe their film is against the death penalty. I believe it supports it and hopes to discredit the opponents of the penalty as unprincipled fraudsters.

https://www.rogerebert.com/reviews/the-life-of-david-gale-2003

Unless you are a small-brained normie there is absolutely no way you can walk away from this movie thinking that it is anything like a coherent argument against the death penalty. Sadly it is true that there are and have been innocent men on death row for years. There is a documentary streaming on Netflix titled  Fear of 13 which is about this very subject.

The Fear of 13 is a 2015 British documentary film. It tells the story of Nick Yarris, who was convicted of murder and spent 22 years on Death Row in Pennsylvania. He was released in 2004 when DNA evidence proved he was innocent of the crime.

https://en.wikipedia.org/wiki/The_Fear_of_13

There are actually a whole lot of documentaries about wrongly convicted people. The Innocence Project has a list. Surely a few of them are streaming on Netflix. But no. The one film that changed Lacson's mind is the impossible fiction titled The Life of David Gale.

There is absolutely no problem with the death penalty just as there is no problem with incarceration. The problem is a corrupt justice system which allows innocent people to be convicted. It is a multifaceted problem involving overzealous prosecutors, corrupt judges, incompetent defenders, and many other factors which I will not be discussing in this article. 

Did Panfilo Lacson, as an officer in one of the world's most corrupt police organizations, not think about these things? Did he not consider that people could be wrongly convicted or wrongly accused? It is absolutely ludicrous that Lacson has changed his mind about the death penalty because he saw The Life of David Gale and thought it had a great message. 

You know what else is absolutely ludicrous? That the DFA got so upset over a Netflix series called Pine Gap that they asked the MTRCB to demand they delete two episodes. The reason? Becasue in those two episodes there is a map of China's 9-dash line.

https://edition.cnn.com/2021/11/01/media/netflix-philippines-pine-gap-intl-hnk/index.html

Netflix Inc has removed two episodes of spy drama "Pine Gap" from its streaming service in the Philippines, after the Southeast Asian country rejected scenes involving a map used by China to assert its claims to the South China Sea. 

The Philippines on Monday asked Netflix to remove certain episodes of the six-part Australian series, saying the map depicted on the show was a violation of its sovereignty.

The second and third episodes of the show were no longer available in the Philippines by late Monday, with Netflix announcing on its platform that those episodes had been "removed by government demand". It did not elaborate.

After a thorough review, the Philippines' movie classification board has ruled that certain episodes of Pine Gap were "unfit for public exhibition", the Department of Foreign Affairs (DFA) said in a statement. 

Earlier this year Netflix removed "Pine Gap" from its services in Vietnam following a similar complaint from the country's broadcast authorities. 

The Philippine films board, acting on the DFA's complaint, handed down its ruling on Sept. 

It was not clear why the decision was only made public now. 

The board, according to the DFA, noted that the appearance of the map was "no accident as it was consciously designed and calculated to specifically convey a message that China's nine-dash line legitimately exists". 

The board believes that "such portrayal is a crafty attempt to perpetuate and memorialize in the consciousness of the present generation of viewers and the generations to come the illegal nine-dash line," the DFA said.

The last two paragraphs of that article are very important. The DFA is claiming that the inclusion of a map showing the 9-dash line legitimates China's claim. This is an outright lie. While that line is shown in a map in the background there is nothing to indicate that it conveys "a message that China's nine-dash line legitimately exists." Here is some dialogue from the offending scene in episode 2.


Episode 2 12:28 

 Jacob: Is the Rha Two in Chinese territory?

Gus: Which is disputed territory.


Eloise: Well, they’ve been saying it's theirs since 1948. 

Jasmine: Actually, according to them it’s been theirs since 3,000 BC. They just went to sleep for a hundred years and everyone just took it off them.


Gus: They still lost the court case. 

Eloise: Well, these are the Fiery Cross Islands. Where China’s built a navy base.


Gus: And I love the way they just "take" islands.

Does that dialogue sound like they are giving legitimacy to the 9-dash line? Of course not. And that kind of banter goes on throughout the series. How about this screen cap from episode 3 saying point blank that China ignores international law?

Episode 3 25:16  Will China retract its territorial claims in the South China Sea or continue to ignore the decision of the International Court that America has sworn to uphold? 

Did anybody at the DFA or the MTRCB actually watch the show?  I mean the entire show which is not very kind to China. In this show China is the enemy. If they had watched the show they would know that every single episode except the first one mentions the nine-dash line or shows it on a map. But for some odd reason only episodes 2 and 3 offended them enough to be removed.

The reason the 9-dash line is shown on a map in this show is not because the creators of the show are giving it legitimacy. It's there because China considers it legitimate and these analysts at Pine Gap are monitoring China. It's really that simple. China rejects The Hague ruling and acts in accordance with their claims. They really do see that line as legitimate and one cannot ignore that fact. That is why they continue to build island bases within that area. But the Philippines does not care about that. Instead, while Duterte calls the International Court ruling just a piece of paper he will throw away, the DFA and MTRCB boldly claim that some silly Netflix show which got bad reviews and shows a map of the 9-dash line in two episodes, it actually shows up in five episodes, violates the Philippines' sovereignty.

One idiot, the executive director of the MTRCB Jose Benjamin Benaldo, even calls the removal of these episodes a victory for the Philippines.

“After a thorough review, the Board ruled that certain episodes of Pine Gap are ‘unfit for public exhibition.’ The MTRCB also ordered the immediate pullout of relevant episodes by its provider, Netflix Inc, from its video streaming platform,” the DFA said in a statement. 

In its decision, the MTRCB underscored that “under a whole-of-nation approach, every instrumentality of the government, whenever presented with the opportunity, has the responsibility to counter China’s aggressive actions in the West Philippine Sea to assert the Philippines’ territorial integrity.” 

“And we’re very happy Netflix has done that. This is another victory for our country,” Benaldo said.

"Another victory?" The only victory so far has been the initial ruling against China. Since the day that ruling was handed down it's been loss after loss as the Duterte administration refuses to even attempt to enforce that ruling. But who knows. Maybe now that these two episodes of a Netflix show depicting the 9-dash line have been removed so only Filipino viewers cannot see them, just maybe China will stop its island building program and vacate the West Philippine Sea.

Monday, February 8, 2021

The Irony of Duterte Declaring Septmeber as Philippine Film Industry Month

The Philippines has a long history of cinema that stretches back to 1897 and has embraced every sort of genre. Like all cultures each film is a peek into the hearts and minds of Filipinos of the era when a particular movie was made. Marcos recognized the power of film and with the help of Giovanni Volpi, whose family founded the Venice Film Festival, he organized the 1975 Metro Manila Film Festival. Likewise his wife Imelda built the Manila Film Center which was designed to be the first national film archive as well as a place to showcase cinema. The Center hosted the first Manila International Film Festival in 1982.

So one would think that it is great thing that Duterte has declared September as "Philippine Film Industry Month."

https://entertainment.inquirer.net/403007/duterte-declares-september-as-philippine-film-industry-month

“[T]here is a need to recognize the invaluable contribution and sacrifices of all stakeholders and sectors of the film industry, as well as provide avenues to showcase and celebrate the achievements and progress of the discipline of film and filmmaking,” Duterte said in the proclamation made public Thursday.

The President directed the Film Development Council of the Philippines to lead the observance of the Philippine Film Industry Month and identify the programs, projects, and activities for its celebration.

Duterte also encouraged other government agencies, state universities and colleges, local government units and the private sector to promote the programs of the Philippine Film Industry Month.

On principle who could not agree more? Every nation needs to cherish its filmography. The first Philippine film is Dalagan Bukid (Country Maiden) from 1919 and it is now a lost film like so many others.

Dalagang Bukid (English: Country Maiden) is a 1919 Filipino silent film directed by José Nepomuceno. It is the first Filipino feature film to be locally produced in the Philippines. Like all of Nepomuceno's works, Dalagang Bukid is now a lost film.

https://en.wikipedia.org/wiki/Dalagang_Bukid

It is a sad thing that across the world there are so many lost films. The antidote is film preservation and restoration. That is the job of the national film archives.

The Film Developmemt Council of the Philippines (FDCP) is the national agency under the Office of the President of the Republic of the Philippines responsible for film policies and programs to ensure the economics, cultural and educational development of the Philippine Film Industry. It aims to encourage the film industry to create quality films - from development, to production, to distribution and exbihition - and to conduct film - related events that enchance the skills of the Filipino talents. The agency also leads the film industry's participation in domestic and foreign film markets and local and international film festivals to promote and position Philippine cinema to be globally competitive. It also tasked to preserve and protect films as part of the country's national cultural heritage through film archiving.

https://www.fdcp.ph/about-us

The Film Development Council of the Philippines, FDCP, was founded in 2002. That was 19 years ago. But to this day they do not have proper storage facilities for the films they archive.

As of July 2020, the PFA Collection count is at 26, 171 elements⁠ — the film collection (16mm, 35mm, and super) is at 12,985 and the video tape collection (U-matic, Betacam-SP, Betamax, and VHS) is at 8,753. The audio collection has an estimated 600 open reels and cassette tapes while the digital assets are 833 (DVD, VCD, LTO, and hard drives).

Maintaining the PFA, which is among the mandates of the FDCP, is paramount to effectively archive and protect our cinematic heritage. Around 65-percent of our film copies are already destroyed, with the remaining ones that are unpreserved in danger of damage as each day goes by.

But while our efforts to sustain our current facilities continue to be a priority, the long-term vision of FDCP for the Philippine Film Archive is a state-of-the-art permanent storage facility. So that’s what we did: to start the quest of finding a property for our cinematic treasures.

With the support of the Department of Tourism, Department of Finance, and Tourism Infrastructure and Enterprise Zone Authority, the FDCP embarked on a partnership for the construction of the Film Archive Heritage Building in Intramuros.

The construction was supposed to take place this year in Beaterio de la Compañia de Jesus, Intramuros, Manila, but due to the Covid-19 pandemic, the plans were temporarily put on hold. The facility will be a 4-storey structure that will be able to cater to the multi-faceted elements of film archiving.

It will have laboratories and working areas where audiovisual elements can be inspected, cleaned, and repaired; digitization rooms for scanning, capturing, and post video-editing; and climate-controlled vaults for film reels and analogue tape materials. It will also have a theater plus a media library for students, researchers, and the public who want to view digitized films.

Despite the pandemic and the halt in some of our plans for PFA, the PFA Restoration Program is still ongoing. The program puts film reel movies back together by rescuing decaying film stock and preserving the film stock’s images.

https://www.manilatimes.net/2020/08/09/weekly/the-sunday-times/arts-awake/the-vision-for-fdcps-philippine-film-archive/752670/

It appears the FDCP is not fully equipped to carry out their mission. But ABS-CBN is. Or was. 

The ABS-CBN Film Restoration Project began in 2011 and had restored hundreds of films. They had the budget and the facilities to store them. Sadly when their franchise was not renewed this project was forced to shut down.

https://entertainment.inquirer.net/384429/devastating-effects-of-abs-cbns-film-restoration-and-archives-group-shutdown

“What will happen to our films now?”

This is the question that key industry players are asking now that ABS-CBN’s Film Restoration and Archives group has announced that it would be shutting down, along with most of the departments of the broadcasting network starting Aug. 31.

This was an effect of the Kapamilya network’s failed bid to renew its franchise for another 25 years.

“I want to emphasize several points. First of all, restoration and archiving are not the work of a private company, but of the government. It should be the one to preserve artifacts of culture,” he pointed out.

“Up to this day, the only ones that are doing restoration in the country are the FDCP (Film Development Council of the Philippines)—which is the government—and the FPJ Studio, which is doing really well. Even the FDCP, with its budget to restore films can only do two films a year. It has the National Film Archives, but, unfortunately, they can only do so much with their budget.

Also, ABS-CBN is the only one with the proper storage and archive facility—nobody else has one because it takes a lot of money to maintain. I’m also worried that what happened to our archives in the ‘80s might happen again today. We lost so many films before. You see, aside from ABS-CBN being the only one restoring films, it is the only one looking for films and acquiring them. A lot of the films that private production houses used to own are now left in the care of families whose lolo was among those who made them. These films are left in the closet and are starting to smell like vinegar. Those titles may never see the light of day again if we don’t have a group like ABS-CBN to save them."

"Preserving our heritage." That is what these two filmmakers say ABS-CBN was doing by preserving and restoring films. How can anyone disagree? But the only company with the proper storage facilities and budget to preserve the nations's film heritage has been shut down on orders of Duterte. It is a terrible irony and he likely either doesn't know or doesn't care or both.

Wednesday, April 1, 2020

Ma Anand Puja the Filipina Nurse Who Poisoned An Oregon Town

Wild Wild Country is a documentary currently streaming on Netflix about a cult that took over an Oregon, USA town in the early 1980's. At six hours the series is largely comprehensive but leaves out a lot of details and barely scratches the surface of how evil this cult was. Based around an Indian guru named Rajneesh the devotees were called Rajneeshees or sannyasins. 

The documentary is readily available and there are other videos about this cult all over Youtube. If you know nothing about them go watch the Netflix series or some of the other videos or read the Wikipedia entry. What I want to discuss here is one particular follower of Rajneesh known as Ma Anand Puja. 

  

Was born in Manila in 1947 as Diane Ivonne Onang, and grew up in California. She became a registered nurse in California in 1976 and trained at the LA County Hospital. In the years following her certification, Puja claims to have worked in clinics around Asia including the Philippines and Indonesia from 1977-1979, but in other interviews she claims to have been the director of Kern Country Medical Centre for several years during the same period. Whatever the case, she was in India in 1979 where she came into contact with sannyasins and the Pune one ashram.  After becoming a sannyasin,  astonishingly quick,  she became Director of the Rajneesh Health Centre in 1980,  until she fled with Sheela from Rajneeshpuram in September, 1985.
http://sannyasnews.org/now/archives/4933
The personal details about this lady are scant. She was born in Manila, immigrated to America at a young age, trained as a nurse, joined the cult, and eventually became the Director of the Rajneesh Health Centre. That is an ironic name because it was at the health centre where Ma Anand Puja cultured germs which she used to poison the town The Dalles, Oregon. It is also where she stored the Haldol which was used to drug the beer given to homeless people the cult invited to live with them. This was to keep them subdued. She also attempted to cultivate and weaponise the AIDS virus. In effect the health centre was a laboratory of death and disease.

The background story to all this is that in 1981 The Rajneesh cult immigrated en masse from India to Oregon. After a few years they attempted to take over the county. To do so they needed enough votes to change the county board. Oregon has a law that one only need live in the state for 20 days to become a registered voter. In a flash of genius the leaders of the cult sent out members around the country to bus in hundreds of homeless people who would in turn register to vote and consolidate the cult's power in the county. But the plan backfired and none of the homeless men were allowed to register to vote. In retribution it was decided to poison the town so no one would be able to show up on election day. 

The documentary Wild Wild Country does not answer the question of how the cult was able to obtain drugs and germs. But the book Germs: Biological Weapons and America's Secret War gives us a lot more detail. I will quote at length from this book.
The investigation eventually established that the cult had experimented in 1984 and 1985 with poisons, chemicals, and bacteria. The commune's germ-warfare chief was a thirty-eight year-old American nurse of Philippine origin who had been a close ally of Sheela's since their days in Poona, India. Ma Anand Puja, whose real name was Diane Ivonne Onang, supervises medical care at the commune. One of the "Big Moms," as the commune's three women leaders were known, Puja wielded enormous power. 
A stocky woman with narrow eyes, a fixed sneer, and jet-black hair, Puja was known to some sannyasins as "Nurse Mengele." She was obsessed with poisons, germs, and disease. 
David Barry Knapp, known as Krishna Deva, or K.D., the mayor of Rajneeshpuram, later testified for the prosecution after being taken into a federal witness-protection program. He said that Puja had given Haldol, a powerful tranquilliser, to many of the violent. mentally disturbed homeless people whom the cult had brought to the ranch to help win the county elections. Acting under orders from Puja and Sheela, sannyasins had injected hypodermic syringes filled with the prescription drug into tea consumed by the homeless. They has also stirred it into their mashed potatoes.

Another key witness told prosecutors that when state medical authorities asked Puja to account for the large Haldol purchases, she ordered her assistants to fabricate records to disguise its actual use. Several had left the commune rather than break the law.
 
Puja was responsible for buying the prescription and over-the-counter drugs that the Rajneesh Medical Corporation kept in the Pythagoras pharmacy, as well as its medical supplies. 
Because she headed a medical corporation, she was entitled to buy such products from commercial medical supply companies like VWR Scientific and even obtain dangerous pathogens from the American Type Culture Collection, the giant private germ bank located first in Maryland and later in Virginia from which doctors, clinics, and hospitals order germs for research and standard diagnostic tests. 
An invoice from the ATCC shows that the cult ordered and received a variety of such pathogens, among them the Salmonella type, said Skeels, people would almost certainly have died in the outbreak. 
The invoice also listed Salmonella paratyphoid, which causes a similar illness, though not a severe, and, most startling of all, Francisella tularensis, which causes tularaemia, a debilitating and sometimes fatal disease. U.S. Army scientists in the 1950s had turned F. tularensis into a weapon, and is still remains on the nation's list of germs a foe might use in a biological-warfare attack.

Finally Puja had obtained orders of Enterobacter cloacae, Neisseria gonorrhoeae, and Shigella dysenteriae. Fewer than one hundred organisms of shigella are needed to cause very sever dysentery-profuese diarrhoea, bloody mucoid stools, and cramping-and death in as many as 10 to 20 percent of all cases, even in previously healthy persons.
 
The ATCC invoice was dated September 25, 1984, indicating that the agents had been delivered between the two waves of the salmonella outbreak. 
No pathogens ordered from the germ bank were ever found at the ranch, and the order's implications got little attention. The investigation had begun more than a year after the poisonings, giving the cult time to destroy evidence before the authorities obtained search warrants. When the invoices were seized in the search, they were not shown to health officials who would have understood their significance. But those officials, who learned of the orders only years later, considered both the agents and the timing of their arrival at the ranch ominous. Skeels said that Francisella tualarensis, Salmonella typhi, Salmonella paratyphi, and Shigella dysenteriae were all unnecessary in a clinical lab the size of Puja's. And all these bacteria, he said, could have been used for bioterrorism. 
Puja was also particularly fascinated by the AIDS virus, about which relatively little was known at the time. The Bhagwan had predicted that the virus would destroy two-thirds of the world's population. For Puja, it was a means of control and intimidation. She repeatedly tried to culture it for use as a germ weapon against the cult's ever-growing enemies. Her apparent failure was not for lack of effort. After she was told by a technician at the ranch, for instance, that her lab lacked the necessary equipment to stabilise and dry the virus, the corporation promptly bought a "quick-freeze dryer" in September 1984. 
Experts doubted that Puja had the skills, expertise, or supplies needed to culture the AIDS virus or the other dangerous pathogens she had ordered, But several sannyasins told the police that in at least one instance she had injected blood drawn from a homeless man who had tested positive for the AIDS antibody into the veins of a cult rival. The fate of the man is unknown.
State and federal investigators eventually concluded that the plot to poison people in The Dalles with a biological agent, which involved about a dozen people, had grown out of the cult's legal war with the county and its determination to win control of the country government in the November elections. 
Sometime during the spring of 1984, according to sworn affidavits and court testimony in 1985 and 1986, the commune's inner circle began brainstorming about how the commune's four thousand or so members could defeat the roughly twenty thousand residents of Wasco County. At one meeting, Sheel fastened on the idea of making non-Rajneeshees too sick to vote. Together, she and Puja began reading books like How to Kill:Volumes 1-4, and The Handbook of Poisons, trying to locate various bacteria that would sicken people without killing them. They also asked a urologist at Puja's clinic about poisons and bacteria that would be difficult to trace. The urologist, apparently unalarmed since he was told the women were trying to defend the commune against germ attacks by the Rajneeshees' numerous enemies, mentioned salmonella as a possibility.

Rajneeshpuram's mayor, K.D., told another cult member that Puja did some experiments with a hepatitis virus and had initially considered using it to sicken local residents. Puja also proposed using Salmonella typhi, the bacteria that causes typhoid fever, which she wound up purchasing for the lab. But a Rajneesh Medical Corporation lab technician warned her that orders of typhoid cultures would be easy to trace if an outbreak occurred. As far as K.D. knew, the plan was never implemented. 
K.D. also testified that Puja had considered sickening people by putting dead rodents-rats and mice-into the water system. Puja believed that daed beavers would be especially effective because they harboured a natural pathogen-Giardia lambda, which causes diarrhoea. When other plotters complained that the county's water reservoirs were covered by screens, K.D. recalled, someone "jokingly" suggested that the beavers be put in a blundered and liquified.

Sheela and Puja finally settled on Salmonella typhimurium as their germ weapon of choice, known by the American Type Culture Collection's designation 14028. Before they began plotting in the spring of 10984, the cult ordered bactrol disks from VWR Scientific, the Seattle-based company. Puja then used the bacteria in the disks to culture and produce large amounts of the bacteria in a part of her lab known as the "Chinese Laundry." Ava Kay Avalos, known as Ma Ava, another star prosecution witness who was granted partial immunity, said that the lab was later moved, at another technician's insistence, to a complex closer to where people with AIDS and other infectious diseases were kept-a more isolated part of the ranch. 
Two rooms in the A-frame housed the production unit, with its gloves, masks, white robes, pills, syringes, containers, a large freeze dryer, and what Ava described as a small, green "apartment-type refrigerator" in which Puja kept the petri dishes filled with colonies of salmonella.
Known as Nurse Mengele this lady was obsessed with germs and disease. Her status as director of the health centre enabled her to purchase bacteria and germ cultures in large quantities.  She was also able to purchase large doses of Haldol. She attempted to culture the AIDS virus and even injected a rival with AIDS infected blood. And it was all in an effort to control and intimidate people both cult members and Oregonians.

More can be read about her doings at the cult in eyewitness testimony given by Ava Kay Avalos. Watching the documentary one gets the sense that Ma Anand Sheela was the brains and brawn behind the activities of the cult but the testimony points to Puja being the real wielder of that power.

Puja subsequently plead guilty and was sentenced to almost 20 years in prison.
Another commune leader, Ma Anand Puja, was sentenced to 4 1/2 years for conspiracy in the salmonella poisonings, to be followed by 3 years probation for wiretapping. Puja, a 38-year-old Filipino who led the commune’s Rajneesh Medical Corp., is not required to leave the country. 
On the state charges, Wasco County Circuit Judge John Jelderks sentenced Sheela to 20 years in prison and Puja to 15 years for attempting to murder the doctor and assaulting the county officials. Sheela also was sentenced to 20 years for arson. Prosecutors said, however, that Sheela would be in prison only about 4 1/2 years.
https://www.latimes.com/archives/la-xpm-1986-07-23-mn-21578-story.html
Remarkably she only served 39 months in prison before she was released.
Ma Anand Puja, 40, also known as Diane Yvonne Onang, was released from the federal prison at Pleasanton, Calif., Thursday after nearly 39 months behind bars, including time spent in a German jail before she was extradited to the United States in late 1985. 
Puja's plea bargain called for her to serve three years' probation following her release from prison for her role in the electronic eavesdropping network, said Assistant U.S. Attorney Baron Sheldahl of Portland.

https://www.upi.com/Archives/1988/12/31/Gurus-ex-aide-back-in-Oregon-after-prison/1337599547600/
What happened to her subsequently is not very clear. She is not interviewed in the documentary and the filmmakers do not focus on her but rather on Ma Anand Sheela. It is rather strange that this lady who poisoned an entire town only served 39 months of a 20 year sentence. Very strange indeed. Unless, that is, this cult was infiltrated by the CIA and run like their MKULTRA operations and Puja worked for them as some have opined. Stranger things have happened.

Monday, December 30, 2019

The Nightcrawlers Documentary Review

Two documentaries about the Philippines' drug war have been released in 2019. The first one, On the President's Orders, caught the ire of the Palace with Panleo calling the film black propaganda before he even saw it. The second, The Nightcrawlers, appears to have slipped under Panelo's radar.

https://www.nationalgeographic.com/films/the-nightcrawlers/#/
National Geographic, which is the studio releasing this documentary, describes the film thusly:
With unprecedented access, The Nightcrawlers is an unflinching exposé of Philippines President Duterte’s war on drugs, in which some claim over 20,000 people have been killed. RL, a former staff photographer for a prominent newspaper, leads the Manila Nightcrawlers, a small group of determined photojournalists on a mission to expose the true cost of the violent campaign. Through covering both sides of the conflict, The Nightcrawlers reveals a harrowing twist behind Duterte’s deadly crusade.
Just what they mean by "covering both sides  of the conflict" as well as the "harrowing twist" is not clear to me at all after having viewed the film.

Nightcrawler is the term for a photojournalist who works the night shift documenting crimes. In this movie there are two groups of nightcrawlers. The first is the group of the photojournalists. The second is a group of alleged assassins who call themselves "The Group." The film actually starts off on an island where members of The Group are preparing to go out on a mission.  We see them clean their weapons, sail to the mainland, and the camera follows their motorcycle as they ride into the city.

We then meet the real star of this picture, Raffy Lerma. He is racing to a scene to take pictures of another dead body. This time the victim is a 15 year old boy. Amazingly we even witness the moment he takes his world famous Pieta photograph.


With all the voice overs from Duterte about wanting to kill drug users and pushers and from various media reciting the body count one is left with the distinct impression that the man in this photo, Michael Siaron, is an EJK victim done in by the cops or The Group. The filmmaker never tells the audience that Michael was a drug pusher and that his killer was a man who worked for a drug syndicate named Nesty Santiago. Whether or not you buy the PNP's assertion of that the filmmaker should have included that information somewhere in the film.  Perhaps at the end where they include the following tidbits:

"Police collusion with extrajudicial killings was noted in Amnesty's 2017 report which cited senior police figures as the source."
As far as covering both sides of the conflict we never hear a single word from the police in their defence. We only hear from the journalists and the alleged assassins. At just past the thirty minute mark the film takes a surprising twist and leaves the Philippines altogether. We see Raffy Lerma as a guest on Democracy Now, a radio show out of NYC, and we see him at a bar speaking to the Foreign Correspondents Club in Bangkok. The last 10 minutes of the film is basically Raffy Lerma the Crusading Journalist. His pictures will stop the killings.

At 30:25 the film shows us an art installation by Carlo Gabuco. On the wall are photographs of the dead. In the centre of the room is a blue chair.  You sit in the chair and listen to a girl all about the death of her father.  It is only then you realise the chair you are sitting in has a bullet hole and is the chair in which he was killed.
Curated by Erwin Romulo, with photography by Carlo Gabuco, music by Juan Miguel Sobrepeña, sound system design by Mark Laccay, and lighting design by Lyle Sacris, the chilling exhibit is set in a dimly lit room at the fair’s venue. The entire left side of the wall displays hundreds of Gabuco’s photos of various killings and the bloody aftermath of the president’s war on drugs. To recreate the feeling of stepping into a crime scene, Sacris hung up a few dangling lights that rotated and flickered, while Sobrepeña provided an eerie background noise to accompany the heart-wrenching scene in each of the photos and Laccay designed the sound system, which played Christine's voice recording.

https://www.townandcountry.ph/out-about/arts-culture/art-fair-philippines-2018-everyday-impunity-a00184-20180302
Exploitation or art?  You decide! It is certainly not nightcrawling.

The best parts of this entire film are the brief times we spend with The Group.  Who are these people? How did the filmmaker get access to them? Why did they give this access? Why isn't the film all about them? At one point we even get a first person perspective as they go on a mission to kill. The screen turns green as the night vision comes on.  The target is spotted. And then....I won't spoil it for you but this footage raises so many ethical and practical questions. Did the filmmaker supply them with a camera? Does The Group have their own cameras and do thy regularly film their work? Is it morally proper or even lawful for a documentarian to get an assassin squad to film their activities so he can use it in his documentary?

It is rather callous and hard-hearted to be making a documentary about the victims of the drug war and to film their alleged assassins prepping like beauty queens getting ready for a pageant. Other words spring to mind like disingenuous, exploitative, cynical. It is rather unbelievable that these men actually are a group of assassins one of whom claims to be working as a tour guide during the day. Take the testimony of "Blix."

Starting at 23:09 we here the following from "Blix" who is a member of The Group.
In the beginning it was still good. We took down many wanted people but there was one time the police covered up for us. We hit the wrong guy. It was a mistake. We planted drugs and guns on the victim so our group wouldn't be blamed. It was the police who created our group. They co-ordinate our operations. 
He then shows a video on his phone and says:
These are members of my group. They've been arrested on TV but it's just for the cameras. These guys are all back with us now. They're free. They were all set free. Those police operations - don't believe them. The news - it's all lies. 
The video "Blix" shows us is from CNN.  Here is what see in the film.


Blurring out the face of PNP Chief Bato is a rather strange editorial choice. I gather the CNN logo was blurred so CNN does not come around asking for money to use their video. Here is the original.


"Blix's" story is easily verifiable. All one has to do is check the jail records to find out whether or not Manuel Murillo, Marco Morallos, and Alfredo Alejan were released. The group these men claimed to be part of is the CSG or Confederate Sentinels Group. That would mean "Blix" is also a part of the CSG and that the PNP created the CSG. If I had the resources I would certainly check out his story. Did the filmmaker do that? I certainly challenge any journalist or anyone with the proper access who has watched this film or read this review to verify what Blix has told us. The truth or falsity of his story makes or breaks the conceit of this film which is that the PNP is behind all the killings. At least all the killings The Group claims to have committed.

Overall this film is a real disappointment. I was expecting an hour or so of gritty Manila nighttime shots with photojournalists crawling from crime scene to crime scene documenting the dead. What I got was Raffy Lerma boasting that he can change the world with his photographs and a lot of other pointless fluff. There is even a bit about press freedom. Why? In a movie that is supposed to be "an unflinching exposé of Philippines President Duterte’s war on drugs" it is completely out of place and that juxtaposition is the problem with the documentary as a whole. This film lacks focus. In contrast On the President's Orders found a subject and stuck with it. The filmmaker, Alexander Mora, was in the country for months documenting and it is difficult to believe this is the best of his hundreds of hours of footage. Perhaps the blame lies on the producer Joanna Natasegara.

A lot more could be said but I will end with one last thing. The film is available to stream on the National Geographic website but only if you live in the USA.


While I torrented my copy from the usual place not everyone knows how to do that. What is the point of this film and its accompanying discussion guide if Filipinos cannot watch it? On the Take Action page Rappler is listed as a resource to get information about the Philippines' war on drugs but Rappler would be insignificant to anyone outside the country. The film is clearly intended to be a rallying call that inspires people to take action so it seems rather odd to not make the film available in the Philippines.