“Truth is communal.”
― Svetlana Alexievich
I have now seen the much anticipated VAXXED ll: The People’s Truth, which hits theaters on November 6.
I watched it last Friday night, starting out as a human being and winding up as a fossil of grief, immobilized.
It’s now Monday night, and the words I need are still nowhere at hand.
What did I just see?
Somehow I have to find words for this.
In the Tarkovsky film “The Sacrifice,” two professors sit in a house in the countryside. Outside the window, a milky nuclear holocaust rages and one asks the other, “So then, what is evil?”
The reply comes back: “Everything that is not necessary.”
72 vaccines for every American child, born perfect–not even this number is where it stops. It stops nowhere, that’s the horror. We no longer “fight disease,” or even, “profit from vaccines,” we just create a new Aztec Godhead that must be fed, fed, fed. More vaccines. We’re still not safe enough.
Totalitarian Germ Theory, divorced from nature, at war with mothers, families, children, and reality itself. A diabolical dystopia.
http://truthbarrier.com/2019/10/29/vaxxed-ll-the-peoples-truth/The pharmaceutical industry spends more on lobbying than any other industry–twice as much as oil and gas. They own the media, the courts, Congress, the medical profession, medical journals, tech companies, academic research, entertainment, TV, Hollywood, and the entire political discourse. They have blanketed the nation with violent pro-vaccine propaganda and enlisted talk show hosts and journalists to mock, harass, and defame suffering parents of vaccine injured or dead children.
And yet–this film, shot inside a bus with barely any production–just cameras on human faces– eclipses it all.
This film stops the lie, which producer Polly Tommey, calls “…the biggest lie ever told,” namely that vaccines are “safe and effective,” in its tracks, and renders it an obscenity. I have no doubt that this is the most dangerous film ever to emerge about the catastrophe that is the American vaccination agenda. “The film they can’t let you see,” is the tagline. “This film is a reality check for our democracy,” says executive producer Robert F. Kennedy Jr.
As I write this, 8 days before the film’s grassroots national premiere in over 100 theaters on November 6, the clock is ticking toward what is likely to be cinematic war: The vaccine Stalinists, led by Adam Schiff and Big Tech, have already blocked and banned it, so far from: Facebook, Vimeo, Hoople, MailChimp and Instagram. They’ve disabled the two most common hashtags: #VaccineInjury and #Vaxxed2. Being that this is a sequel to Vaxxed 1, the team is well versed in digging and outsmarting censorship. You can already buy tickets at the website, but the locations remain top secret, and will be revealed at the last moment. Many of the viewings are already sold out.
VAXXED: From Coverup To Catastrophe, which came out in 2016, and which I covered extensively here at The Truth Barrier, unleashed a tsunami of truth that only grew with each act of censorship, starting with the famous pulling of the film from Robert DeNiro’s Tribeca Film Festival. The first one centered on Brian Hooker’s teasing out of the “CDC Whistleblower” Dr. William Thompson’s telephone confessions that the CDC knew the MMR vaccine was causing regressive autism, and covered it up. (The Truth Barrier published text messages between Dr. Thompson, Andrew and Carmel Wakefield, which were sent to me by Andy Wakefield, and you can read them here.)
There were parents telling their catastrophic stories of how they lost their once perfectly healthy children to toxic battery by injection–a story that repeats itself over, and over, and over, and well known to everybody except those who are bribed and brainwashed by the $50 billion vaccine industry.
This film, the sequel, places the parents stories at the center, and shatters whatever may have remained of The Lie, along with the heart of the viewer. You simply can’t believe what you are seeing and hearing, in scene after scene. It’s presented very straightforwardly, and by the end, you wonder when it was exactly, that your country became hell on earth–allowing what RFK jr. calls “homicidal companies” to flat out murder and maim children for profit. When Svetlana Alexaevich won the Nobel Prize for Literature in 2015, she described why she does only one thing in her work: Listens, and transcribes. “The human voice doesn’t lie,” she said.
After the first VAXXED film, people came out in droves, to screenings, and wanted to tell their stories. There were so many parents, so many stories, that Vaxxed’s Polly Tommey one day said: “We need a bus.”
So she went and bought one. The black bus went from city to city, its sides painted with the VAXXED logo, drawing out the crowds, who lined up to tell their stories, first outside the bus and then inside it. After each interview, they would choose a spot on the bus and write the name of their child who had either been “damaged” or killed by vaccines. To date there are over 7,000 names on the bus. And in this film, a mere fraction of those stories are told–each uniquely devastating and revealing.
The film is the distillation of thousands of interviews, with parents, children, siblings, scientists, nurses, and doctors.
It is divided into segments, (different vaccines, different age groups) and within each segment, stories follow exacting patterns, making it literally impossible for the horrific injuries and deaths described to have been caused by anything except the shots.