I have now seen the much anticipated VAXXED ll: The People’s Truth, which hits theaters on November 6. I watched it last Friday night, starting out as a human being and winding up as a fossil of grief, immobilized. It’s now Monday night, and the words I need are still nowhere at hand.
By Celia farber | The text has previously been published on Truth Barrier
What did I just see?
Somehow I have to find words for this.
In the Tarkovsky film “The Sacrifice,” two professors sit in a house in the countryside. Outside the window, a milky nuclear holocaust rages and one asks the other, “So then, what is evil?”
The reply comes back: “Everything that is not necessary.”
72 vaccines for every American child, born perfect–not even this number is where it stops. It stops nowhere, that’s the horror. We no longer “fight disease,” or even, “profit from vaccines,” we just create a new Aztec Godhead that must be fed, fed, fed. More vaccines. We’re still not safe enough.
Totalitarian Germ Theory, divorced from nature, at war with mothers, families, children, and reality itself. A diabolical dystopia.
The pharmaceutical industry spends more on lobbying than any other industry–twice as much as oil and gas. They own the media, the courts, Congress, the medical profession, medical journals, tech companies, academic research, entertainment, TV, Hollywood, and the entire political discourse. They have blanketed the nation with violent pro-vaccine propaganda and enlisted talk show hosts and journalists to mock, harass, and defame suffering parents of vaccine injured or dead children.
And yet–this film, shot inside a bus with barely any production–just cameras on human faces– eclipses it all.
This film stops the lie, which producer Polly Tommey, calls “…the biggest lie ever told,” namely that vaccines are “safe and effective,” in its tracks, and renders it an obscenity. I have no doubt that this is the most dangerous film ever to emerge about the catastrophe that is the American vaccination agenda. “The film they can’t let you see,” is the tagline. “This film is a reality check for our democracy,” says executive producer Robert F. Kennedy Jr.
As I write this, 8 days before the film’s grassroots national premiere in over 100 theaters on November 6, the clock is ticking toward what is likely to be cinematic war: The vaccine Stalinists, led by Adam Schiff and Big Tech, have already blocked and banned it, so far from: Facebook, Vimeo, Hoople, MailChimp and Instagram. They’ve disabled the two most common hashtags: #VaccineInjury and #Vaxxed2. Being that this is a sequel to Vaxxed 1, the team is well versed in digging and outsmarting censorship. You can already buy tickets at the website, but the locations remain top secret, and will be revealed at the last moment. Many of the viewings are already sold out.
VAXXED: From Coverup To Catastrophe, which came out in 2016, and which I covered extensively here at The Truth Barrier, unleashed a tsunami of truth that only grew with each act of censorship, starting with the famous pulling of the film from Robert DeNiro’s Tribeca Film Festival. The first one centered on Brian Hooker’s teasing out of the “CDC Whistleblower” Dr. William Thompson’s telephone confessions that the CDC knew the MMR vaccine was causing regressive autism, and covered it up. (The Truth Barrier published text messages between Dr. Thompson, Andrew and Carmel Wakefield, which were sent to me by Andy Wakefield, and you can read them here.)
There were parents telling their catastrophic stories of how they lost their once perfectly healthy children to toxic battery by injection–a story that repeats itself over, and over, and over, and well known to everybody except those who are bribed and brainwashed by the $50 billion vaccine industry.
This film, the sequel, places the parents stories at the center, and shatters whatever may have remained of The Lie, along with the heart of the viewer. You simply can’t believe what you are seeing and hearing, in scene after scene. It’s presented very straightforwardly, and by the end, you wonder when it was exactly, that your country became hell on earth–allowing what RFK jr. calls “homicidal companies” to flat out murder and maim children for profit. When Svetlana Alexaevich won the Nobel Prize for Literature in 2015, she described why she does only one thing in her work: Listens, and transcribes. “The human voice doesn’t lie,” she said.
After the first VAXXED film, people came out in droves, to screenings, and wanted to tell their stories. There were so many parents, so many stories, that Vaxxed’s Polly Tommey one day said: “We need a bus.”
So she went and bought one. The black bus went from city to city, its sides painted with the VAXXED logo, drawing out the crowds, who lined up to tell their stories, first outside the bus and then inside it. After each interview, they would choose a spot on the bus and write the name of their child who had either been “damaged” or killed by vaccines. To date there are over 7,000 names on the bus. And in this film, a mere fraction of those stories are told–each uniquely devastating and revealing.
The film is the distillation of thousands of interviews, with parents, children, siblings, scientists, nurses, and doctors.
It is divided into segments, (different vaccines, different age groups) and within each segment, stories follow exacting patterns, making it literally impossible for the horrific injuries and deaths described to have been caused by anything except the shots.
For example, the triplets–two boys and a girl. They were healthy, happy, and connected to one another. They held hands, smiled, laughed, cuddled. Then they got a pneumococcal pneumonia shot. From that moment, they never again did any of the above. They lost everything. One of them, a girl, the mother describes, “looked like she’d been hit by a bus.” They became non-responsive to one another, their parents, and the outside world. They didn’t even have a startle reflex anymore. Their mother said she dropped a heavy book behind them and they didn’t budge or turn to look and see what it was. Nothing. Toys, cake, birthdays–none of it elicited so much as a smile. Now they are 8, severely autistic, and “non verbal.”
The babies who die, they die fast, mercifully. Within hours or at most days of a round of vaccines. They grow quiet, sleepy, and are found dead in their cribs, usually with blood coming out of their nostrils–the telltale sign. ‘SIDS’ correlates with–guess what? “Well baby visits,” to the pediatrician.
In the middle of the film, when you think it could not get any worse, we meet the victims of Gardasil: Teenage girls in wheelchairs, on crutches, with tubes in their noses–one explains that the tube delivers her food since her stomach is completely paralyzed. Prior to Gardasil, they were all sporty, active, and healthy. Two of them got cervical cancer from the vaccine.
A teenage boy sits in a mechanical wheelchair next to his mother, with a brace holding up his head. You’d think he was in a car that was hit by an 18-wheeler, but no, he got the Gardasil vaccine. To make him non infectious for HPV when he became sexually active, one supposes.
“It does suck not being able to play sports anymore,” the boy, Colton, tells interviewer Polly Tommey in a voice that has not yet dropped. He smiles bravely. “I did do a lot of sports, it was my favorite. …Now I have to sit on the sidelines and watch everybody.”
Then he adds: “But, I’m getting used to it so it’s not as bad anymore.”
His mother that one thing about him is “he does always smile…he’s an awesome kid that way. He doesn’t complain.”
“You’re good huh?” she says to him, and again he smiles, but this time he is deeper in his secret thoughts.
“Yeah, I guess.”
What was in that teenage boy’s seemingly absent minded “I guess…” was tragic, in the full meaning of the word.
“Tragic” is a measure of the human capacity to suffer–to understand our fate and to actually feel it. It’s not a word that applies to a mere accident, though we use it that way.
You will never see a more tragic film, or a more important one.
Buy your tickets here.
