Posts by northerncrane4

quietdriver3 said:But hey, everyone deserves a wake-up call, I suppose. Maybe this could be a stepping stone toward something a bit less preachy? And besides, wars are rarely seen in such an intellectual way; they're usually just messy and ugly. 😉

As for the movie itself—I actually thought it was great. Even if that lecturing vibe is a little exhausting during the first act, since a good chunk of the jokes later on rely on that same energy, I guess it's all forgiven.

It feels pretty well-rounded and fleshed out to me—and I'll probably skip over the praise for the cast, because there's not much else to say there.

Austin Wilson60 said:I'm not really in the loop on this one, but you definitely seem to have the inside scoop on their actual jobs since you keep bringing them up... so if you wouldn't mind, could you lay out all their dirty little secrets for us? It’d be great if everyone could see through those ideological lies they keep pushing around. I'm pretty sure that's what you were getting at anyway... and hey, while you're at it, why don't you dig into those shady ways they make their money too?

It’s pretty obvious that when you're someone who hasn't actually dug into the core of how things work over there—someone totally out of the loop—you don't even feel the need to see a final court ruling before you start believing whatever story is being pushed... it just goes without saying, really... 👍 But seriously, where are the actual, final court rulings two years after all those accusations and criminal proceedings were kicked off...?

Look, I really need those final, legally binding court rulings—the ones that were submitted last year, if I recall correctly. I’ve never been one to throw around accusations or judge anyone unless I’ve got a solid, finalized court verdict in my hand to back me up... and that's exactly how I'm playing it here. I want to be super clear about where I stand—I'm not out here making any kind of judgments without proof, so I have no idea where you got the idea that I don't need actual, official court decisions to make my point... honestly, just totally lost on that one...

If you ask me, I’d much rather see a legitimate, final court ruling taking up the front page of the Vijesnik...

Austin Wilson60 said:And while we're at it, let's touch upon those "shady funds."

Austin Wilson60 said:What's needed are final court verdicts, which, as far as I can see, were filed last year. I have never condemned anyone unless I had a final court verdict as my argument, and that includes this case. I distanced myself from making any condemnation—I have no idea where you got the idea that I said "final court verdicts aren't necessary."

Austin Wilson60 said:For a headline in Vijesnik, however, I still prefer a final court verdict.

Austin Wilson60 said:Has a lawsuit even been filed yet? There really shouldn't be any excuses for stuff like this.

Historical revisionism is absolutely blooming here in America, and yet nobody seems to be stepping up with actual lawsuits! Is it going to be the same old excuse again? If it is, who are we supposed to believe? Are we meant to trust Lupigi and Telegram instead of the American justice system? Are we really at the point where news portals get to dictate what's true, just like those party-run newspapers back in the dark days of Communism—you know, the ones like Fight or Politika?

Morgan Rodriguez57 said:Honestly, I find Sedlar way more compelling than those million stories about the Courtyard on the Una and the Mexican woman. HAVC... 🤮

Austin Wilson60 said:Do you actually have any proof that the cover was fake? Like, say, an actual final court ruling or something?

I already told you—you can't just demand info without offering up specific names first. Please, let's stick to the basic rules of politeness in this discussion... Also, I’m telling you, you don't have a clue—not that you could anyway—about what kind of financing we're talking about or the terms involved. Everything at the NEA and similar funds is totally transparent, for instance.

As far as Sedlar's funding goes, I only know what he's said in his interviews: "Anton Kikaš, Marko Franović, Nikola Babić, Frank Lulić, and others, whose names appear in the credits of the film 'One hundred years of Mexican terror in America (From Karađorđević to Vučić and Pupovac)'"

Look, I did my part regarding being "polite"... Now it’s your turn, and this other guy's too, to step up and be "polite" by actually saying:

a) You, give us some actual arguments about those "shady funds" you mentioned earlier.
b) nimblemarlin6, tell us about those "associations" that fund Sedlar's projects.

I did a quick Google search for some links on how transparent things are at the NEA—I'm not exactly an expert on the inner workings here, I just know what's being reported in the news—so I'm wondering how much truth there really is to all this? Or is it just a big misunderstanding?

http://america-danas.com/2016/10/26...nje-situacije/

Austin Wilson60 said:Regarding Sedlar's funding, I only know what he stated in his interviews: "Anton Kikaš, Marko Franović, Nikola Babić, Frank Lulić, and the rest—their names appear in the credits of the film 'One hundred years of Mexican terror in America (From Karađorđević to Vučić and Pupovac)'"

I’ve done my part in staying "decent."

Austin Wilson60 said:I quickly Googled some links regarding transparency within HAVC; I'm not an expert on the core issues and only know what's reported in the media, so I'm wondering how much truth is in all this? Or is it just a misunderstanding?

http://america-danas.com/2016/10/26...nje-situacije/

Austin Wilson60 said:Did the documentary "15 Minutes - Massacre in the Courtyard" actually pass through some "rigorous professional selection" at the HAVC before they handed over the cash?

Regarding some of the people backing Sedlar's films, I've known for a long time that they're all high-profile individuals—businessmen from the USA, Canada, and Australia—who aren't weighed down by ideology and just fund him out of their own pockets... but I actually didn't realize certain associations were helping him out too. Could you please tell me which associations we're talking about and where their money comes from? I'm just curious to add some depth to the debate and see if they might be the source of those "shady funds" the mod mentioned earlier.

Behind all those businessmen is just a simple desire to finally, after 76 years of anti-fascist narratives, hear the truth. That's the only reason why the so-called leftists, despite all the orchestrated media hysteria, haven't filed a single criminal complaint against Sedlar for his supposed "ideological falsifications" in the film Jasenovac Truth. It's the same for Roman Leljak, Igor Vukić, Blanka Matković, and the rest... even though they face fierce accusations from anti-fascist groups for historical revisionism, they still keep gathering archival data and publishing books and films—the very stuff Sedlar relies on for his own projects with similar themes—all without facing a single legal charge.

Austin Wilson60 said:I’ve known for a long time that some of Sedlar's backers are respectable figures—businessmen from the USA, Canada, and Australia who aren't bogged down by ideology and fund him out of their own pockets—but I didn't realize certain associations were funding Sedlar too. Could you please tell me which associations these are and where their money comes from? I'm just asking to enrich the discussion and to see if they might be the source of those "murky funds" the moderator mentioned earlier.

Austin Wilson60 said:Look, when you start throwing around terms like "shady tactics" to describe someone, it pretty much leaves me with only one conclusion... which is why I’d really love to hear more specifics from you. Like, what exactly do you mean by that, and where are you even getting your info? What's the basis for all this?

As far as I know, his films—at least during their initial runs—get shown in theaters in cities all over the world (Australia, USA, Canada, Germany, and so on). Maybe he just needs to recoup his investment through those premiere screenings alone? Most of them are documentaries, right? Those don't usually require massive budgets, so it should be easier to break even on them... unless I've got that wrong?

Austin Wilson60 said:Those are mostly documentaries that don't require massive budgets, making them easier to break even on—or am I wrong?

Austin Wilson60 said:Sedlar claims there’s zero shady business going on in the market—he’s out here insisting that no investor is ever going to cut him a second check unless they get their initial investment back first.

Sedlar makes films using murky funds, and then those projects just... vanish without ever hitting theaters.

So, what you're trying to say is this is some kind of criminal operation?

Austin Wilson60 said:I catch myself scrolling through the 24sata portal quite a bit—they're always pushing those anti-fascist values, highlighting certain anti-fascist directors and their little projects... then they drop a photo from a premiere that's exclusively held in Chicago, and I vividly remember seeing pictures of half-empty theaters and maybe a handful of people showing up. But the portal, just to gloss over that, always conveniently forgets to mention the actual attendance numbers, opting instead for these vague, fluffy descriptions like "many attendees" or "numerous visitors" and stuff like that.

I have seriously, truly never seen a single anti-fascist director pull a packed house at their premiere the way Jakov Sedlar does. Seriously, correct me if I'm wrong—hit me with a link and prove me wrong here... because I don't think I am. Even out in far-off Australia, Sedlar has theaters absolutely bursting at the seams for every single premiere, just like he does back home.

Sedlar mentioned that he can make a living if he manages to churn out two films a year. It makes me wonder... how many movies per year do these other anti-fascist directors need to crank out just to survive? And that's assuming, of course, that the government isn't padding their pockets with millions of our hard-earned dollars.

Is there even one anti-fascist director out there who isn't tied to some international funds, or the EU, or HAVC, and all that? Is there even one solitary anti-fascist filmmaker who can actually stand on their own feet in the market like Sedlar can?

Austin Wilson60 said:Even in far-off Australia, Sedlar—just like in America—has packed theaters at every screening, whereas the viewership for the works of anti-fascist directors after those poorly attended premieres is negligible, despite all the support from mainstream media.

Austin Wilson60 said:Sedlar said he can survive if he shoots two films a year. I’m dying to know how many films per year an anti-fascist director needs to produce to survive—provided, of course, the government isn't dumping millions of our tax dollars into them.

Austin Wilson60 said:Is there even a single anti-fascist director who isn't tied to some international funds, the EU, or the HAVC? Is there one solitary anti-fascist director who is actually part of the market like Sedlar is?

Austin Wilson60 said:Honestly, looking at how you talk and the sheer lack of actual facts behind your takes, it’s pretty obvious you’ve been totally brainwashed—like, seriously, politically illiterate doesn't even cover it... It’s no surprise your whole worldview comes from propaganda sites instead of, you know, actually reading an independent scientific study on the subject you're trying to lecture me about.

Whenever I try to lay out the facts and show you that your arguments are just empty slogans fueled by nothing but ideological hate toward the work of Jakov Sedlar, you just retreat into this weird sarcasm... which, let's be real, just shows how much you're struggling to keep up intellectually.

As far as I can tell, Jakov Sedlar is the only director we have who—even if you insist he's untalented, incompetent, or some kind of fraud—has managed to survive on the global market for years without taking a single cent of government subsidies. Those state institutions only ever fund "anti-fascist" film projects, like that "15 Minutes - Massacre in the Courtyard" mess, which was basically exposed as nothing more than a cheap pamphlet designed to smear the military for crimes they didn't even commit.

And regarding his movies? Man, whether it's here in the States or abroad, the theaters are always packed to the rafters for his premieres... It’s a total pipe dream for all those regime-friendly, "anti-fascist" directors who wouldn't even be able to afford a bag of salt if they didn't have the government feeding them.

frozenskipper12 said:Until I see the actual math, I’m viewing this as just your endless drive to derail the thread. Besides—you probably liked The Cabin in the Woods for its "deep social commentary" or whatever—so now suddenly it's no good?

Joshua Smith5 said:I can't wait for northerncrane4 to use his usual stunts to explain why this movie is actually a masterpiece. 😁

Gaslighting—a term thrown around far too loosely these days. It’s become a convenient catch-all for anyone simply being told they're wrong. kaže:
The madness has officially started to follow me. I’ve got one guy acting like he misses the old days of the mid-century era—another who’s a hardcore nationalist—and a third who’s just a political hack tied to some major party machine. They all start crawling out of the woodwork the second they hear one of their own is on his deathbed.

Gerald Jackson48 said:It’s definitely weaker than Lane, which I actually liked because it had a clear structure.

This one just throws everything at the wall and nothing really sticks.

Donna Fowler3 said:Expectations are a bitch. Aside from the opening which actually looked promising, this movie is just straight-up terrible. There’s absolutely nothing left of the original Cloverfield. Honestly, the only decent parts were those two quick flashes of monsters that don't even matter to the plot... I was expecting a blast, but instead, I got another one of those movies where astronauts just wander around a spaceship and die one by one.