CAPTAIN SWEDEN GOES ON CRUSADE

Crusades in reverse: "How can I help these people migrate to Sweden?"

by Colin Liddell

Note: I am currently unwell and have taken to watching DVDs while the parts of my body injured in service to the Alt-Right slowly recuperate. 

What happens when the most cucked nations in Northern Europe pool their cinematic resources to make a film about the Crusades? Exactly what you would expect: the Muslims are actually pretty decent guys and the meanies are inevitably other Whites. To top it all, the "Captain Sweden" hero character even brings a posse of cool "kebabs" back to his home country to help him build and defend his ideal community. The film in question is Arn—The Knight Templar (2010), an English release cobbled together from the original Swedish version (2007) and its sequel (2008), which might be one reason it seems overlong (139 minutes).

Made with support from Denmark, Norway, Finland and Germany, this is the biggest budget film in Swedish cinematic history ($30,000,000) and the acting and production values are fairly high standard. Even the writing is good—it is based on a trilogy of novels by Jan Guillou, a French-Swedish journalist who had links to the KGB. Except for the intrusion of modern day PC touches, you might believe you are back in the 12th century. Also, Danish Director Peter Flinth has clearly been cribbing from Mel Gibson's stunning Braveheart when it comes to battle scenes. So, all in all quite a watchable movie, and one geared to pull in Europeans interested in their history and traditions.

THE GNOSTIC KNIGHT RISES

by Andy Nowicki

Christopher Nolan's "The Dark Knight," the acclaimed middle chapter of his Batman trilogy, asked its viewers to consider whether it might sometimes be permissible to promulgate blatant, factual untruth as a means toward achieving a righteous end.

That film sicced Heath Ledger's harrowing Joker on audiences, portraying the perpetually grinning clown-villain not merely as a venal and murderous criminal (a la Jack Nicholson in Tim Burton's 1989 "Batman"), but rather as a kind of festering human plague with no discernible agenda except to foment general chaos and expose the mass of humanity as essentially loathsome, their proclaimed morality and ethics a mere hypocritical veneer beneath which lurks nothing but a repulsively bestial core.

EYE ON THE RIGHT: HIGH-RISE

Contemporary Media seen from the Right

by Richard Wolstencroft

High-Rise is a brilliant piece of cinema by English filmmaker Ben Wheatley, who, with this film, is now established as a major new auteur. It’s a pretty faithful adaptation of the infamous 1970s novel by the dystopian author J.G. Ballard. The film itself is actually set in a retro-futuristic 1970s, which is a nice touch, and he even uses the paperback's 70s font for the opening credits, as well as the Brutalist architecture described in the book, revealing his attention to detail.

Ballard’s novel is about a chic multi-rise housing estate, falling into disrepair, turmoil, and a civil war of sorts between floors. It was a cult hit and is bound to be a cult hit as a film. More importantly, from an Alt-Right perspective, it is also a clear metaphor for Western Civilisation today and the way things are heading.

REVIEW: "LOOK WHO'S BACK"

by Alex Fontana

It was Hitler’s birthday a couple of day ago. As readers here will know, I’m no Nordicist, and I do not necessarily think that my world would have been better off if the Germans had achieved the type of domination they sought under his leadership, but there are elements within Hitlerism and Nazism that I admire.

The oppositions posed by the Nazi regime – of socialism to capitalism, of labour to speculation, of nationalism to internationalism, of folk to communism, of the iron law of hierarchy to the lie of egalitarianism – represent a Weltanschauung that has been largely overshadowed and expunged by the racist rhetoric and the Holocaust™. So, it was an interesting experience for me to watch the German comedy film Look Who’s Back (Er ist wieder da, 2015), which I viewed on Netflix. It was filmed before the current migrant crisis, adapted from a bestselling novel by Timur Vermes (2012) and directed by David Wnendt.

EYE FROM THE RIGHT: "THE WITCH"

by Richard Wolstencroft

One line review: A great, inventive, and haunting new horror film, evoking witchcraft in early US settler Pilgrim times.

The Witch is an interesting low-budget feature, shot for around a million bucks, by Robert Eggers and based on his screenplay. It takes the premise of witchcraft seriously – as do I, having fooled around with the Occult enough in my 20s to know there is something to it. The production company has even gone in for fun and corny marketing techniques like re-releasing the film to run on 666 screens. Good stuff.

REGAL RADICAL CHIC

by Andy Nowicki

While the multiple Oscar-nominated film The King’s Speech may be called a passably entertaining period piece, it is far from being a great movie. The fact that this film has won such overwhelmingly effusive plaudits from the Academy and critical establishment does, however, raise a fascinating question: Can a filmmaker, by referencing every acceptable cinematic “meme” and dishing out all the requisite thematic “tropes,” succeed at manipulating supposedly educated and erudite people into thinking that his film is far better than it actually is?

Put differently, can a mediocre and forgettable flick come to be regarded as “excellent” if it tells the chattering class exactly what it wants to hear and shows it just what it aches to see?