Brussels, Belgium—As we all know, the world is gearing up to the Oscar awards with its normal frenzy of interest. This year the Eurocrats in Brussels have a lot to be interested in.
Five of the nominees have been financially supported by the EU:
Two are documentaries, both nature films, one about penguins, “March of the Penguins,” and the other, “Darwin's Nightmare” about a monstrous fish accidentally let into Lake Victoria that has proceeded to consume everything in its path (definitely the West’s fault).
The three feature films nominated are all in the best foreign language film category.
One, “Joyeux Noël,” is a pacifist’s dream of the famous football match between the Allied and German front lines during a Christmas truce in 1914. This is a perfect Eurocrat night out—a film directed by Frenchman Christian Carion, which in the words of reviewer Matthew Turner drips with the classic EU mantra, “people united against nations”: “The message is clear enough—Carion might just as well have called the film ‘Why Can’t We All Just Get Along?’ However, Carion insists on spelling it out over and over again, just in case anyone missed it.”
The next, “Sophie Scholl: The Final Days,” is a gripping tale about the last few days in the life of a young German dissident against the Nazis in 1943. Again, ideal EU stuff—“Please remember that there were good Germans during the war”—is the message.
And then we have a film set today—a joint Dutch/Palestine Authority film called “Paradise Now” This Golden Globe-wining film about two Islamic terrorists planning suicide bombing attacks was made by an Arab Israeli, Hany Abu-Assad. However, when it won the Golden Globe, it was described by the Hollywood Foreign Press Association as Palestinian.
Of course, the EU website boasts about it as one of theirs and they are, in this instance, correct. It was funded by the German Film Foundation, the Dutch Film Fund, the German “Land” of Nordrhein-Westphalia, the German-French public television channel Arte, the Council of Europe’s Eurimages (headed by the French Euro parliamentarian and former French Culture Minister Jacques Toubon), and last but not least the European Commission itself.
When the film won the Berlin Film Festival’s Best European Film Award last year, it was an accurate description as it was the pan-European taxpayer that paid for it. And what did they get for their money? A film in which the major characters, Said and Khaled, play poverty-stricken mechanics who, as a last resort, accept the inviatation to wear nice suits and go and blow up some Isrealis to release their anger at the low employment rate on the West Bank.
Notwithstanding that most of us when unemployed find a better way round the problem than blowing people up—maybe even electing a government that supports trade and the economic growth in the region rather than mass murder as its key objective.
What happens next? Well, boy meets girl, un-named recruiter meets boys. Boys prepare to murder Israelis. Girl disapproves. Boys go off to do just that. The Israelis in the film are either soldiers, up close or in the distance, described as “the oppressors.” The one word of Hebrew in the film is “Behazlha,” or “good luck,” spoken by the fat ugly money-grabbing Jew who drives the impossibly handsome pair off to their date with destiny.
When the director was asked about the Islamic element in suicide bombing, he said, “Like, oh, maybe it’s Islam, maybe it’s I don’t know what.”
“For me it’s very clear,” he concluded, “the occupation is the cause ... [that] force these people to do it”.
He left it to his star to explain why it was that the bus that is the target is full not—as is the norm—of students, old ladies and people going about their daily business but soldiers.
The actor who plays Said, Kais Nashef, said, “The soldiers in the bus made it easier for Said to decide to blow himself up”.
When discussing the key moment where the terrorists make their suicide videos the director commented, “By the end of Take One, where Ali makes the speech, one of the organizers stopped us. I thought: Now it is over. But he just wanted to show Ali how to hold his gun correctly. … By the way, Ali's gun was theirs. We borrowed it. When Ali held it, knowing that this gun was used daily to aim at the Israeli Army, it had quite an impact on him”
So if the Academy would like to support EU funded Jihadist propaganda on March 3, then they know who to vote for. Hold on a moment. Of course they knew that that, didn’t they? After all they are Hollywood.
