Yesterday evening, Friday, November 25, 2022 in Naples (Planet Earth), the screening of the film “The Scream”, scheduled for the Human Rights Festival, was interrupted after only 20 minutes (out of 80 in length) due to the intervention of some active characters. In the alleged non-governmental organizations, which forced the technicians to suspend the screening, took a microphone, in apparent change, began to accuse the contents of the film (moreover, through the slaves of immigrants in Libya) and the director.
But let’s take a step back how the evening was born. A few weeks ago I got a call from the festival director, Maurizio del Buffalo, who said excitedly that he wanted to invite me to this out-of-competition show on the recommendation of two people he appreciated.
When he told me what kind of themed evening it would be, i.e. an apotheosis celebrating the right to bailout (as they call it) or the right to gimmick (as I call it), in the presence of some eminent exponents of Italian NGOs I pointed out to him that my film was not exactly the most suitable post this evening . Surprised, he asked me: “Why?” I replied, “Because a lot of migrants in Libya who express themselves during the film accuse NGOs.”
The answer was that he was always with dialogue and comparison and that in any case everyone would have come out richer from it. Given these premises, I accepted the invitation.
The 20 minutes of examination
As said at the beginning, after only 20 minutes the film stopped showing due to the evasive intervention of a group of people.
But what triggered this decomposing reaction?
Judging by the noise in the front rows of the room (where the NGO leaders were sitting), the build-up of impatience had three stages. The first is when a migrant in Libya says: “Many here want to go home, but you Europeans want instead to get them to risk their lives again in the Mediterranean.”
This seemingly innocent and harmless punishment is in fact a bomb in the head of an NGO activist, because in simple words it shows without the possibility of denying the existence of the “pull factor”, that is, it is true that the slaves of migrants in Libya suffer from the propaganda of NGOs, from During social networks, they are therefore invited to leave (and risk their lives).
This is one of the points that, if proven (and proven), brings down the whole castle of their fairy tales.
The second moment of intolerance was when Giacomo Sferlazzo said in his film: “Let’s open the borders. But what are you doing? To take masses of desperate people from Africa to Europe? To do what? To play the drums in a club?”.
The third and final moment of intolerance was when Daniel Corbaria said in the film, “I dealt with my work with the Open Society Foundation.”
At that point, as mentioned, a short circuit occurred and the projection was interrupted. Too bad, because many of the other migrant slaves in Libya in the remaining 60 minutes could have expressed themselves and might have told another story.
After the show is interrupted and the first insults, one of the organizers takes the microphone and tries to explain that the film cannot be interrupted, and that the festival is responsible for choosing the film, but the show must be completed and whoever does not want to watch the film can always sit and wait outside the hall.
The attempt fails because at this point other NGO advocates also reach for the microphone and increase the dose.
Meanwhile, I was anxiously wandering around the back of the room, waiting for at least one of the organizers to give me a chance to speak, invite me to the microphone, and have no intention of throwing myself into the paddle.
Meanwhile, on the contrary, all the NGO representatives bring a dossier in front of the microphone, who not only support and justify the boycott, but also indulge in statements like “everything I heard in these 20 minutes is wrong” (even what the immigrant-slaves said in Libya obviously), “The director went to be greeted with great pomp by the Benghazi criminals”, “This work can only be shown at Casa Pound”.
From the hall, which was empty in the meantime, someone tried to protest, saying that he had come to see the movie and that what was happening was censorship. been silenced.
Father Alex Zanotelli also rushed to bless the film’s censorship and the director’s execution, stating, “This rubbish cannot be shown at this festival.”
After 20 minutes of listening with composed indifference from the back of the room to the degenerate accusations of the aforementioned, having received the news from the regulators that they were physically unable to regain control of the situation, I left the room.
Not before hearing these words from the voice of director Maurizio Del Buffalo (in video communication with the auditorium, at that time uncomfortable at home despite his illness): “Michelangelo insisted on making this projection, I told him we should not stumble upon his documentary I apologize to the leaders of the NGOs for their wrong choice of film and for not defending the work and the author who advocated for it.
The solidarity of many people outside the hall continued.
That’s it. A video of what happened will be uploaded soon and all possible measures will be taken to protect my business and my person.
Further considerations will be expressed later.
I feel a moral force because of what happened last night, but I am sad and indignant as a citizen of the spectacle I witnessed.
Shout: Slaves for Oil: What They Don’t Tell You About Libya and the Migrants
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