Victoria Chilap as Sophie Scholl The Big Lie/D’Souza Media
Death of a Nation
A look into the Democratic Party, past and present.
by Bob Brown
Al Gore did not invent the propaganda film. Fake-news flicks date back at least to The Birth of a Nation, the 1915 racist drama that conservative pundit Dinesh D’Souza credits with revitalizing a nearly kaput Ku Klux Klan. President Woodrow Wilson, a Democrat, screened the silent picture at the White House, D’Souza points out in his new documentary, Death of a Nation (rated PG-13 for thematic material and language).
As one-sided as Michael Moore, but more solemn, D’Souza aims to prove the political left’s favorite labels for President Donald Trump—“fascist” and “racist”—come closer to describing the political left. And always have. Drawing on historical records, interviews with academics, and material from two of his recent books, D’Souza explains that racism has existed at the Democratic Party’s core since its founding, and remains entrenched in progressive politics today.
The 20th century’s worst villains, D’Souza also alleges, took their cues from Democrats. For example, the Nazis modeled their exclusionary Nuremberg Laws on southern Democrats’ segregation policies. In fascism, the state tightly controls industry and commerce, and is the ultimate arbiter of the rights of individuals. D’Souza maintains the Democratic Party and its influential allies (Margaret Sanger, George Soros) have voiced similar principles.
“How do we fight the tyranny of the left?” D’Souza asks. Trump is not D’Souza’s savior. Rather, D’Souza expresses his answer through a short dramatization of the life of Sophie Scholl, whom the Nazis guillotined in 1943: It was her strong Christian faith that guided her anti-Hitler activities.
A gospel choir closes the film with the final verse of the “Battle Hymn of the Republic”: “Christ … died to make men holy / Let us live to make men free.”
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This Is Congo
War film offers a bracing look at the civil war in Congo
by Bob Brown
This is Congo: Mortar rounds fired from a military truck scream in flight, sending villagers on a dirt road diving into the brush for cover. A water tanker pulls into a tent-strewn displacement camp, where a throng carrying buckets and pans rushes to meet it. A woman takes a bag of semiprecious gemstones by motorcycle across the border for an illegal transaction.
The new documentary This Is Congo dares the front lines of the civil war in the Democratic Republic of Congo. Director Daniel McCabe plies vivid cinematography and gutsy camerawork, doing all the filming himself, at times as shells explode nearby and bullets hiss overhead. Two officers in the Congolese national army speak on camera: the lanky, youthful Mamadou Ndala, and the pseudonymous “Col. Kasongo,” his voice and face disguised. Gen. Makenga, the leader of the M23, the main rebel group, comments as well. Destitute and uprooted Congolese civilians testify to the hardship of the 20-year conflict. “It seems that God has forgotten us,” laments Hakiza Nyantaba, 58, a tailor who ekes out a living with his portable sewing machine.
Congo possesses a wealth of diamonds, gold, and other mineral resources. Makenga alleges President Joseph Kabila manipulates his country’s commodities trade for personal benefit. Makenga also contends the rebellion would end if Kabila would reinstate and compensate the rebels, many of whom deserted the national army because of poor pay. Ndala lauds Kabila and preaches unity, while Kasongo claims forces from neighboring Rwanda and Uganda are stoking tensions. Who is to be trusted? Everyone has an answer, but no one does.
The unrated film’s continual cycling through conflicting opinions, scenes of dire poverty, and disturbing war images left me exhausted and confused. Imagine how the Congolese people feel.
The documentary’s shocking ending suggests peace isn’t coming soon: Jealous colleagues assassinate one of the three interviewed military leaders. For this is Congo.
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Pope Francis CTV, Célestes, Solares, Neue Road Movies, Decia, PTS ART’s Factory
A close-up with the pope
In new documentary Pope Francis: A Man of His Word, the pontiff talks poverty, environment
by Bob Brown
Since taking his place at the Vatican five years ago, Pope Francis has labored to open wide the doors of the Roman Catholic Church. He’s reached out to homosexuals, divorced individuals, and non-Catholic faith groups. In Pope Francis: A Man of His Word, producers Wim Wenders and David Rosier, past Academy Award nominees, document this effort, assembling clips from the pope’s public speeches. Pope Francis also pontificates (fittingly) on important issues for the filmmakers’ camera. The pope’s (subtitled) words often convey love for the outcast and reveal political acumen, but at times might cause viewers confusion, even consternation.
The greatest concerns on the heart of Pope Francis (or Wenders and Rosier, at least) seem to be poverty and the environment.
“As long as the church is placing its hope on wealth, Jesus is not there,” Francis says. “Poverty is at the center of the gospel.” Well, Jesus, who fed the hungry and blessed the poor in spirit, is the center of the gospel, but the pope’s point is well-taken.
Figuring out the pope’s point can sometimes be challenging. He asks, “Who’s the poorest of the poor?” and responds, “Mother Earth.” Throughout the documentary, the pope laments the “culture of waste” that has produced a “sick and polluted earth.” OK. But he calls the Biblical story of Creation “obviously a mythical form of expression.”
The 90-minute film includes Pope Francis’ comments addressing immigration crises and the Catholic Church’s sex abuse scandal (briefly), though not abortion. Of “gay seekers,” he says, “who am I to judge?” The documentary won’t dissuade critics who charge the pope with relaxing the church’s moral standards. Supporters, however, can maintain he’s merely finding common ground with outsiders who might, thus, be drawn to the church.
Pope Francis does draw a crowd wherever he goes, but it’s disconcerting to watch many practically swoon at his touch. Still, the pope’s remarkable attentiveness to the sick and imprisoned, as segments show, is worthy of emulation.