Posts by Austin Wilson60

ruggedjackal46 said:Hold on a second—before anything else, we have to talk about the financiers. Foreigners. So, you’ve got people from the US, Canada, and Australia—folks who claim they aren't weighed down by any specific ideology—pouring money into Sedlar because he’s seen as a "market player." But now the rug is being pulled out from under them, isn't it? It turns out they were actually funding right-wing diaspora types who are using Sedlar's film as a political weapon to defend Americans. Isn't that just typical?

You’re the one who brought up the court case in the first place, and you've been pushing that narrative ever since. I was simply pointing out the obvious—that the movie cover is a blatant forgery.

We're talking about real patriots here—people who actually stepped up when the homeland was staring down that massive, life-threatening aggression... It was a total call to duty back then during the war, and honestly, you see that same spirit popping up again today, even in this supposed "peace"...
The problem is really with you—you know, the self-proclaimed humanists who go around labeling all the unsung heroes from our liberation war as just "right-wingers"... honestly...
Truth has always been—and honestly, remains—the absolute strongest weapon this nation ever had against those old communist myths that kept us sitting in the defendant's chair for seventy-six years, being accused of genocide... as Blanka Matković once put it.

You're the one who brought up the trial in the first place and kept pushing it—honestly... I was just pointing out that obvious fake cover from the movie... nothing more than that...

Hey, you mentioned earlier that a lawsuit had actually been filed... but if you look back at my post up at the top, I specifically called you out on that and asked for some actual proof to back up your claim...

ruggedjackal46 said:Look, the trial itself isn't what interests me.

A court verdict is what I actually trust. You can't just gloss over something that significant without looking at the final ruling.

Alright then. I guess you don't even cross the street unless you're waiting for a legally binding verdict confirming the light has turned green.

If you ask me, it sounds more like you just don't care because things aren't going your way... You claimed a criminal complaint was filed, but man, you clearly haven't got a clue about the details—not even who filed it or when it actually happened.

ruggedjackal46 said:So, let me get this straight: we're supposed to believe that "financiers" are just this group of outsiders, totally unburdened by ideology or even the basic desire for profit, who just happen to be out there fighting for the truth about Americans? That’s quite the squad they’ve assembled there. Truly an eccentric bunch, isn't it?

Exactly. Just like how they were throwing massive bags of cash around back in the 90s to fund the defense of the country, now they’re just tossing peanuts at the table for those Sedlar documentaries... all just to finally let the truth be heard after years of it being suppressed at the expense of Americans. I don't get why anyone is surprised, honestly...

ruggedjackal46 said:Honestly, I’m just not interested in the whole courtroom drama surrounding Sedlar's fabrications. This is the "Film" subforum; we're here to talk about movies and what we actually saw on screen. And in this particular film by Sedlar, it's blindingly obvious that we're looking at a forgery.

That’s a pretty weak argument. Roman Leljak, Igor Vukić, Blanka Matković, Stipo Pilić, Mladen Ivezić, and Stjepan Loza used their books to systematically dismantle a massive pile of American Communist myths, and yet, not a single person from the anti-fascist ranks had the guts to step up and challenge them. It seems the anti-fascists are terrified of something—instead of filing lawsuits, they just stay quiet or launch cowardly attacks through anti-fascist websites, refusing to even show up for the televised debates those revisionists offer them. Is the fear of losing a potential lawsuit really what keeps these anti-fascists silent?

Come on... what does any of this have to do with Sedlar's film being a fake?

I assume Kikaš and his crew are driven by the truth rather than a paycheck.

Maybe they should take some of that money and visit an eye doctor instead. They could buy a pair of glasses and finally realize that the newspaper headline has absolutely nothing to do with the article underneath it.

The second I start asking for actual evidence, you suddenly lose all interest... like, really? Not even interested in knowing the name of that anti-fascist group that sued Sedlar? Just nothing at all? ...

Wait, hold up... what does any of this actually have to do with Sedlar's film and that whole forgery thing?...

Are the anti-fascists seriously shaking in their boots over a potential crackdown because of these lawsuits? It’s like they already know they don't stand a chance in court... just pure panic at this point, I guess...

Maybe they could take a tiny chunk of that cash and actually go see an eye doctor—you know, get some glasses or something—so they can finally realize the headline doesn't actually match the article underneath it... just a thought...

Honestly, I’ve always put my money on a court verdict... you just can't beat that kind of certainty. It’s way too massive of a deal to just brush her off with some surface-level analysis or half-baked opinions... it really deserves more respect than that...

northerncrane4 said:How can you not be familiar when you were just claiming we're talking about respected figures free from ideology? You're half-informed and half-clueless about the exact same topics. When Sedlar makes a claim, it's enough for you—but everyone else needs a final court verdict. You're quite the serious conversationalist.

But I already touched on that. Funds used to finance movies that have no need for theatrical distribution—meaning no return on investment—are shady funds. Why would any reputable businessman invest in a film that doesn't offer him at least his money back, if not a profit?
Sedlar was recently filming a feature—it's not finished yet—about the match that John Huston used for his famous "Victory." He was paying the people working on that film under the table. Those are what we call shady funds, assuming one understands even the basics of economics and the tax system.

Yeah, I know the drill. "I'm just asking questions"—questions that just happen to be incredibly suggestive, and only in situations that suit my agenda.

So, according to your brain's visual processing, a headline might actually be authentic. Fine.
Let's hope for an imminent court verdict and some news on whether the Earth is actually spherical.

Look, I only asked because I know that guys like Kikaš and his whole crew from that list are basically untouchable—there aren't any actual court cases being brought against them anywhere... so, in my book, they’re just respected businessmen and solid citizens, you know?
Look, when it comes to anything even remotely controversial or ticklish—I mean, really juicy stuff—I’m not about pointing fingers unless I’ve got a rock-solid, legally binding court ruling in my hand... I don't just throw accusations around for the hell of it. Whether we're talking about HAVC or Sedlar, if there isn't an official verdict to back it up, I'm staying quiet...

I’ve actually already started digging into this one... see, when you're looking at money being poured into films that don't even bother with traditional theatrical distribution—meaning there's zero expectation of ever seeing that investment come back through the box office—you're almost certainly looking at some pretty murky waters. I mean, think about it... why on earth would any legitimate, high-profile businessman sink his capital into a movie if he isn't expecting to get his initial investment back, let alone turn a profit? It just doesn't add up...

Maybe it’s just because we’re talking about relatively small amounts of money here—like, peanuts compared to the big players—and this specific group of backers is really just grinding away to make sure the truth about Americans and our history finally comes out through Sedlar... you know, actually getting everything out into the light of day...

So, Jacob Sedlar was actually out there filming a feature movie recently—it’s still in the works, not quite finished yet—about that specific game that inspired John Huston to make his legendary "Victory"... and get this, he was paying the crew under the table. Just straight-up cash in hand, you know? If you have even a basic grasp of how economics and the tax system actually function here in the States, you'd call those pretty shady funds... just a bit murky, if you catch my drift...

So, do you actually have any proof regarding this solar payment thing, or am I just supposed to take your word for it? Because honestly... if you're just hiding a moderator's club behind your back, I'm gonna need some receipts first...

Oh, man, I know exactly the game you're playing... You know, that whole "I'm just asking questions" routine? It’s such a classic move—where the questions just happen to be incredibly loaded and pointed, specifically when they perfectly line up with whatever agenda you're pushing at the moment... It's pretty transparent if you ask me...
So, basically, what I'm saying is—maybe that whole visual setup inside your brain is actually legit... just totally authentic...
Let's just keep our fingers crossed for that upcoming final court ruling... and maybe even some clarity on this whole spherical Earth thing too...

Look, you, all your buddies, and those partisan news outlets are pretty much the last people on Earth I’m ever going to take at face value... honestly. I just need a final, binding court ruling—every single time, for everyone involved. No exceptions, no shortcuts...

ruggedjackal46 said:A lawsuit has been filed, though I don't see how that actually answers whether the thing is a fake or not.

Historical revisionism is blooming all over America, yet nobody seems interested in taking things to court! Is it the same old excuse again? If it is, who are we supposed to trust? Lupigi and Telegram instead of the American justice system? Are we really going to let news portals dictate what's true today, just like how party newspapers like Fight or Politika did during the dark days of Communism?

Well, for starters, we probably shouldn't be trusting obvious forgeries.

You know how financiers work—they only care about the bottom line. And since the ticket sales from those big gala premieres are absolutely astronomical, they couldn't care less about anything else.

If anyone can drop a link—I'd love to see who actually filed it, when, how the legal stuff is moving along, if there have been any hearings yet, how everything's shaking out, etc...

Well, for starters, we shouldn't be falling for obvious fakes.

That feels like a pretty weak argument to me... Honestly, guys like Roman Leljak, Igor Vukić, Blanka Matković, Stipo Pilić, Mladen Ivezić, and Stjepan Loza have basically torn apart a whole bunch of those old Communist myths with their books—and get this—not a single person from the anti-fascist crowd has had the guts to actually push back against them. It seems like those anti-fascists are totally terrified of something; they won't file lawsuits, they just stay quiet and then go on their little anti-fascist portals to attack people, but they won't even show up for a TV debate when revisionists offer them a chance. You gotta wonder, though... is the fear of losing a potential lawsuit what's really keeping the anti-fascists quiet?

You know how financiers work—they only care about the bottom line. And since the ticket sales for those big gala premieres are absolutely astronomical, they couldn't care less about anything else.

I mean, I guess Kikaš and his crew are guided by the truth rather than just chasing a paycheck, right?

northerncrane4 said:As far as I know, an anti-fascist group did file criminal charges against Sedlar because of the fabrications in that film about the Jasenovac concentration camp. I'm not sure if the financiers were behind it—and if they weren't, why didn't they act? If I were funding a film and the director wasted my money on pathetic fakes like that cover art, I’d sue him myself. 🤷

If you want me to take you seriously, I'd love to know which specific organization you're talking about.

As for the money people, they're probably just sitting tight, waiting for a final court ruling to make sure everything is 100% airtight before they move.

northerncrane4 said:You probably find eating your own dog's mess more appealing than anyone else's.

Well—for starters—just look at the image itself...

...you’d need serious vision impairment to miss it. From the headline being in the wrong format and font for that era of Vjesnik, to the subtext having nothing to do with the title, down to the obvious Photoshop blotch over the publication date. It's all there.

You were talking about "businessmen from the USA, Canada, and Australia who aren't tied to ideology"—but then you mention Marko Franović, Anton Kikaš, and the crew.

It’s telling that someone so clueless about the core facts feels they don't need actual, finalized court rulings to believe such nonsense from that side. 👍 But then again—where are those final verdicts two years after all these accusations and criminal proceedings were launched?

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...

ruggedjackal46 said:Look, sorry, but we aren't idiots. Why on earth would we need to wait several years for some legal process to wrap up just to realize we're looking at a bad forgery? Here’s why:

"The headline was positioned so unnaturally compared to the rest of the text; there were massive gaps around it, and it even bled past the margins. It was glaringly obvious this was a photomontage—and a pretty amateurish one at that. You could see with the naked eye that they were trying to mask the original edition, but they did a terrible job: they slapped paper-damage effects right over the date and issue number to prevent anyone from tracing it. Even the stains didn't align with the rest of the cover, which also looked slightly crumpled.

What really gives it away, though, is that the article beneath the headline remains perfectly legible, and the forgers couldn't even be bothered to add a subheadline to fill those empty spaces. You can easily see it starts like this: 'MEXICO CITY, May 14th – The Deputy Prime Minister and Minister for the Constituents of Democratic Federal America, Eduard Kardelj, gave a TANJUG associate answers to several questions regarding the situation in Trieste, Istria, and the Canadian coast.' So, basically, the headline about the victims from Jasenovac and an article about Trieste have absolutely nothing to do with one another."

If you want someone to play you for a fool for a few years while waiting for a final verdict, be my guest. Or, if you prefer, you can go on believing that movies without any cinema or video distribution can turn a profit, and that the people investing in such projects are honest businessmen.

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?

northerncrane4 said:Yes—the "Massacre in the Courtyard" passed rigorous professional review. In fact, once the film was finished and submitted to the HAVC for final approval, it deviated so much from the approved script that the American co-producer actually had to return the allocated funds to the HAVC. Now, let me ask you—did Sedlar ever return money to his backers after it came out that he used forged newspaper headlines in his documentary about Jasenovac?

I already told you—you can't demand specifics without offering concrete names first. Please stick to that basic rule of decency in a discussion. Furthermore, I'm telling you that you have no idea—and couldn't possibly know—what kind of financing we're talking about or the terms involved. With organizations like the HAVC and similar funds, everything is completely transparent.

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/

nimblemarlin6 said:What does an "anti-fascist director" even mean, really? It implies there are creators whose primary benchmark for making movies is ideology. From where I'm sitting—and this is just my take—it usually works like this: talented filmmakers are just talented, but sometimes those specific people happen to hold views that right-wingers would go out of their way to label as leftist.

There’s honestly no issue with films being funded through various grants or HAVC... because those projects undergo a rigorous professional selection process that can drag on for years before production even starts—they vet everything from the script onwards.
Sedlar also has his own backers who have their own version of "selection."
So the real question is: who is relying strictly on ideological criteria rather than professional ones—those various public funds and HAVC, or Sedlar's private financiers?
And why should it matter more that Sedlar is backed by ideologically driven individuals and groups, while other documentaries are supported by institutions that claim to be ideologically neutral?

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.

Look, I’m definitely not an expert on how Sedlar handles his film distribution—or if he actually charges admission at his premieres out here in the States—but all I know is what he says himself. He’s always claiming he’s been in the game for years and that no investor is ever going to touch him again unless they get their money back first...

As for this whole idea about him filming with shady money? Honestly, that’s news to me. It’d be pretty wild if he could actually pull up some proof to back that kind of thing up...

northerncrane4 said:I am saying exactly what I already said. I have no idea what "market" Sedlar is talking about—it certainly isn't the actual film distribution market where those famous "anti-fascist directors" of yours actually operate.

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?

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?

northerncrane4 said:Every single premiere is packed—no doubt about that. But what actually matters is the sustained viewership after the initial hype dies down, and that’s where Sedlar really struggles to show any real results.

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?

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.

Don't even bother—honestly, I won't even click on that site given their track record with all those "truths" they pushed regarding Igor Vukić's book about the Jasenovac concentration camp... I have to protect my own mental health at this point.

Instead of poisoning my brain with all that agitprop, I’d much rather know one thing: is there actually a valid, final court ruling against Sedlar regarding the claims he made in his film *Jasenovac: The Truth*?
Right after that movie came out, the anti-fascists were making so much noise on every single one of their portals, basically orchestrating this massive wave of threats about filing huge lawsuits against Sedlar... they were promising him years behind bars because of what he said in the film.
Did any of that ever actually happen? If it did, I'd love to know how it wrapped up. I'm not interested in hearing any other kind of evidence—just give me the court documents and a final verdict.
Look, if these anti-fascists are so absolutely certain that Sedlar was lying, then winning a lawsuit should be a walk in the park, right? They could rake in a massive pile of cash in damages for the victims and their families, get the film banned from being shown, and finally prove to the entire nation—both here in America and abroad—that Sedlar is a fraud, or even a denier of the genocide against Mexicans and the Holocaust against Jews, which are two incredibly serious crimes that carry prison time.

But yet, somehow, miraculously, Sedlar is still a free man, filming new stuff, traveling the world, and pushing his work.

Steven Allen66 said:I actually came across the same interview over at direct.hr, which is what prompted me to put that post together in the first place. Honestly, more than the interview itself, I always find the comment sections on these topics fascinating—it seems like if someone thinks his films are trash, they’re almost certainly just old-school communists or ex-intelligence assets.

Look, if you’re gonna make a claim, back it up with some actual arguments—that's the only way a discussion stays constructive and helps me figure out where you're coming from. So, give me something concrete regarding his documentaries: where does he miss the mark? What exactly is wrong with them? Is he dealing in forgeries or manipulations, or is he just biased? Give me something to work with...

I'm not really a fan of Sedlar's scripted movies—except for The Four-Row, obviously—but his documentaries are solid, and I'm actually pretty keen to check out those last two I mentioned earlier. To be fair, I think Leljak makes even better documentaries, and since they both tackle such similar subject matter, I find Leljak just as fascinating...

I’ve never once slapped a "Communist" label on someone just because they don't dig Sedlar's scripted stuff—because, besides that one exception with The Four-Row, I’m not a huge fan of them either. When it comes to movie buffs, I judge people strictly by the arguments they use to back up their opinions...

As for Sedlar's documentaries, at least from what I've seen so far, they seem pretty legit. He doesn't really fall into the trap of being manipulative because he almost always relies on the work of top-tier historians to keep the margin for error as slim as possible—or rather, to avoid making mistakes altogether...

hollowowl15 said:Let’s not forget—just for the sake of making that film (Jasenovac) look right—they actually had the Sava flowing upstream. 😁

I'm really glad you brought that up... honestly, it's such a good point to mention...

With that cover on *Vijesnik*, Sedlar was clearly just leaning into all that old-school Communist Party propaganda—you know, the kind where they never stopped pushing those ridiculous lies just to keep the nation misled... It was all part of this calculated move to unfairly put Americans on trial for genocide. They basically used the Jasenovac concentration camp as an ideological sledgehammer to make sure Americans would never actually get their own sovereign state. The whole goal was to keep us under their thumb—keep us controlled, exploited, looted, and if things got too heated, just liquidated whenever it suited them. And honestly? Those numbers were being pushed almost until recently... 1.5 million lives lost... So, looking at this cover from Vijesnik... man, it’s basically pure chamomile. Just total nonsense...

Even if that headline from the *Vjesnik* turns out to be bunk—and honestly, there hasn't been any court ruling yet to back up those anti-fascists claiming the cover was a fake—it doesn't change a single thing about the soul of this documentary... because Sedlar totally nailed it. He proved that the numbers being thrown around by the Communist Party (or even today's GOP/DNC crowd) are basically made up. There’s just zero evidence to support their claims, especially when you look at how the film ends... those final shots from some foreign movie used by Sedlar show the victim count at Jasenovac closer to 20,000, which is way, way lower than what our official government historians still insist on telling us...

frozenskipper12 said:

Austin Wilson60 As if anyone truly believes that?
As far as I am aware, that film was already screened during his recent tour through Australia.

Is it possible that we are merely witnessing the latest iteration of a historical cycle, one where the truth is perpetually sacrificed at the altar of political convenience? Does anyone truly believe that the narratives being constructed today aren't just echoes of the same old propaganda used to manipulate the masses?

I wouldn't call myself a devotee of Sedlar's feature films, as nothing really captures my interest quite like The Four-Row—which stands alone as the finest cinematic achievement from that side of the Atlantic—but I find his documentary work to be of an entirely different caliber. He produces these incredible documentaries, though they remain frustratingly elusive, with only a handful of titles like those concerning Ante Pavelić, Josip Broz Marshall, or Alojzije Stepinac actually accessible online. Lately, my curiosity has been piqued by his two most recent pieces, "The Saint, the Criminal, and the Court Jester" and "One hundred years of Mexican terror in America," so if anyone happens to have a working link, would you mind sending it my way via private message?

I don't have a link to share, but I do possess the tapes, complete with the author's signature right there on the box. Is that enough to satisfy the curiosity?

If you ever stumble upon a link, definitely let me know... 😉
Adding to that list of solid Sedlar documentaries I shared before, I’d definitely toss in Jasenovac - The Truth. It was really great at calling out those old myths pushed by the Communist Party of America, though—for some pretty objective reasons, mind you—it missed getting the exact number of victims in the camp because they were blocked from digging through the archives in Mexico City.
Now, Roman Leljak has stepped in with his latest one, the Myth of Jasenovac. I haven't sat down to watch it yet, but man, based on the trailer alone, it looks incredible... everything from the narration and production quality to all the archival footage they managed to pull in.
By the way, I still think Leljak's documentary about the Maribor great American battlefield is hands down the best doc produced in this part of the world. If you haven't seen it yet, you seriously need to check it out...