Tekst jest traktowany jako integralna całość, można go cytować, ale zgodnie z prawem z podaniem źródła, tzn. autora książki i jej tytułu, osoby udzielające wywiadu, no i tłumacza amatora:). Tłumaczenie jest moje (z pomocą Google Translate), dlatego jest pewnie w nim dużo błędów:), pro publico bono, całkowicie bez wynagrodzenia.
Only the truth is interesting
with Maciej Pawlicki
In films such as “History of Kowalscy”, “Life for Life”, ”Priest from All Saints”, or “Stella”, for which you received the 2015 main prize of Janusz Krupski at the VII “Niepokorni, Niezłomni, Wyklęci” Festival, you raise the topic of Poles saving Jews during the Holocaust. What prompted you to engage in the theme of the Polish Righteous?
I don’t use the phrase "Polish Righteous" because I am making films about those who are not Righteous because they haven’t been honored with the "Righteous Among the Nations" Medal by the Yad Vashem Institute in Jerusalem. So far, around 6.5 thousand medals have been awarded to Poles, but the vast majority of Poles involved in saving Jews didn’t receive these medals. I know from Professor Tomasz Strzembosz and many other historians that Poles saving Jews were much more. According to the former head of the Jewish Historical Institute, Prof. Feliks Tycha, Poles involved in the rescue Jews were two hundred thousand, according to Władysław Bartoszewski, maybe three hundred thousand. Professor Strzembosz and several other historians of the Institute of National Remembrance even speak about a million Poles. Certainly it was several hundred thousand, and therefore those 6.5 thousand Polish "Righteous" with Yad Vashem medals constitute only one hundredth part of all Poles saving Jews. The Yad Vashem Institute has its rigorous criteria for the selection of relationships and its procedures. He has the right to do so. These are, however, the criteria and procedures of the State of Israel, and the Polish state should honor Poles who saved Jews using their own criteria and own procedures. So I am careful in using the term "Polish Righteous." However, it can’t be concealed that the problem exists. I have talked about it many times with prof. Jan Żarynem, who totally shares my view that the current nomenclature is insufficient and, unfortunately, diminishes the Polish participation in saving Jews. My friend Wojciech Tomczyk has written a series about it, which he called “Who saves one life ...” but TV changed him title to “Righteous”. Another friend of mine, Grzegorz Górny, wrote about the Poles who saved the book the title of the Righteous, although he writes about very many Poles who didn’t receive this title.
Also the film directed by Michał Szczerbic is entitled Righteous. The titles of such documentaries as the “Righteous Among the Nations of the World” by Dariusz Walusiak, “Polish Righteous” by Juilia Popławska, or the documentary by Janusz Kidawa from 1968, the “Righteous”, can still be cited here. There is also a documentary directed by Mariusz Pilis “Ulma - the Year of the Righteous”. Although he has received no funding from the Polish Film Institute, but President Andrzej Duda took his patronage of the, so it should be completed. In any event, despite the ever new books and films about Poles who save Jews, whose titles use the term "Righteous", Poles still die in the mass of other Righteous Among the Nations, and thanks to the film by Steven Spielberg, Schindler's List, for the symbol All the Righteous are Germans, Oskar Schindler, who wasn’t only threatened with the death penalty for helping Jews, but also for a long time he drew profits from their forced labor. The Institute of Remembrance of Martyrs and Heroes of the Holocaust puts Oscar Schindler in one line with Irena Sendler or Jan Dobraczyński, who rescued Jews completely unselfishly and which was punishable by the death penalty.
It is true. The world doesn’t know that in the West, saving of Jews was reasonably safe, there were rarely any unpleasantness, and in Poland it was possible to be burn alive with children. And we entered this story and use the word "righteous" to describe the whole phenomenon. However, it doesn’t - without bad intentions - but radically diminishes the image of Poles' commitment to saving Jews. At the Jewish Historical Institute or the Museum of Polish Jews, there are different categories of help given to Jews. They call them "The Rescuers". They weren’t recognized as "Righteous" because there are no direct Jewish testimonies, the Jews they saved didn’t ask for it, or - most often - these Jews simply didn’t survive. Knowledge about this is documented, but too slowly breaks through also to the public.
Maybe we should create our own term that would fully reflect the phenomenon of saving Jews by Poles who were threatened with the death penalty? Or maybe the term already exists?
Certainly, the Polish state, officials, historians and politicians should use the Polish historical narrative, speaking about the Poles who saved Jews. Yes, as the Museum in Markowa talks about.
We certainly would like a public debate on this topic. Currently, the Poles who were the first to defend themselves against Hitler and didn’t collaborate with the Third Reich of the government, and were the first to notify the world about German crimes on the Jews and additionally fought against the Third Reich on all fronts of the Second World War, are accused of being Hitler's allies in the extermination of Jews. It is hard to find a nasty calumny and a greater historical schizophrenia. However, similar things are heard even from the mouths of political elites, such as the mouth of the head of the FBI.
That's why I took care of this topic. When I was in the United States in the years 1989-1990 I saw how extremely harmful, even disastrous, there is the image of Poles and Poland. I came across such a monstrous ignorance and such horrible distortions about the behavior of Poles during the WW2 that I decided to act. I was aware that historians know how it was, only information on this subject doesn’t break through to international opinion and even to the Polish public. I decided to make films about it. The direct impulse was my friendship with David Preston, an American journalist, son of a Polish Jewess, Halina Wind, who was saved by Polish workers in the municipal sewage system in Lviv. At David's request, I translated his letters from Polish into English, which she wrote in 1946-47 to her brother in the USA and in this way I got to know this story. Twenty years later, Agnieszka Holland made a film about the story “In the darkness”. David's mother, traveling for years with lectures around the United States, repeatedly told about her saviors Leopold Sosza and Jan Wróblewski, who in the canal for a dozen or so months kept her and a dozen other Lviv Jews. I decided to tell these stories and translate them into a universal language understood by the broad audience, in the form of a film. I wanted to show a picture of the heroism of thousands of Poles, a picture in the West completely unknown.
The actor of the main role in the film Laszlo Nemesa, “Son of Saul”, Géza Röhrig, responding to the question about Polish anti-Semitism, said "Fact": is an unfair and stupid stereotype that I often hear in America. I am outraged when people say such unjust things that the Poles were worse than the Germans, I am correcting them. This is due to ignorance. The President of the United States spoke about Polish death camps a few years ago. Hungarians, the Austrians just let the Germans in, and you fought, shed a lot of blood, you should respect. If any country suffered, it was Poland. (...) I believe, however, that the world slowly learns the truth and someday stop repeats the stupidity that Poles are genetic anti-Semites". For the world to know the truth, the first thing you need to do is try to reach it through movies and books. For this, a well-thought-out and efficient historical policy is needed. As a Polish director and creator, do you feel somehow responsible for shaping and implementing Polish historical policy?
Of course. The notion of "historical policy" wasn’t so fashionable when I started, but I think that this is the very purpose, tomorrow I will participate in the meeting of the National Development Council with the President of the Republic of Poland, where Andrzej Nowak asked me to speak on this subject. I am trying to participate in the creation of Polish historical policy, but I think that this term doesn’t reflect the essence of the task ahead: historical policy sounds like a past, and meanwhile, referring to the past, we talk about our future. for rebuilding Polish identity, for rebuilding what in the last twenty-several years with the great effort of Gazeta Wyborcza and its satellites has been devastated. The pedagogy of shame was practiced in relation to Poles, telling them that they were murderers, evil histories, fools, that they were a worse, ugly maid. That they are a filthy part of Europe that must be ashamed of itself. This is absurdly the total reversal of characters. It is Poles who have a decent, honorable and just behavior on this scale, a gigantic advantage over the majority of European nations, certainly over the neighbors from the west and east, but also over the French, Italian or Dutch who flocked to the SS. A propaganda war has begun with us. In particular, our Western neighbors, who want to throw off their responsibility for war crimes and push it towards the Poles, make up for it. The German mass propaganda of lies requires our very strong reaction. Not only should this be done internationally, but we should also do it in the hearts of our children and adolescents so that they know who they are and know how their fathers behaved. How it all looked against the background of everything the world did in the 20th century. And that they would be proud of the behavior of the Poles and build their future and their ambitions. That they would build a place for themselves, which they are worthy, and not filled with a sense of guilt and shame.
Some people think that the charge of anti-Semitism became a truncheon for the missionaries of left-liberal ideology, which they used to compose Poles in order to compromise, suppress and, as a result of this sting, transform - based on Christian values - Polish national identity. This identity protects us against the impulses-contaminated by the virus of neo-Marxism - utopian demiurges as effectively as shield protected Captain America. Let me give you two examples here, which may point to worldview connections between practicing shame pedagogy towards Poles through accusations of anti-Semitism and an attempt to eradicate Christian values from Polish society. Well, in 2003. Sławomir Sierakowski from "Krytyka Polityczna" addressed the Open Letter to the European Public Opinion, in which he opposed, among others, the inclusion of Christian values in the European tradition in the preamble to the so-called European Constitution.24 One of the signatories of this letter was none other than Jan Tomasz Gross. Agata Trzebuchowska, who plays the main role in the “Ida” movie, in which she played the role of a nun, changed during the Equality Parade organized by the LGBT community in 2012 for the Mother of God. 25 As you can see, promoting Christian values in life isn’t the strongest point of these people, yet, or maybe because of that, they take part in providing Poles with private lessons on history and accounting for Polish Catholics from their alleged wines. With this in mind, it can be argued that applied to Poles in the field of history and culture, the pedagogy of shame is part of some kind of greater war of civilization?
I think so. It is very important that we build this story about the truth with the Jews who support us and understand that a good relationship will not be built on a lie, and today a polite Poland is needed by Jews in Israel. Unfortunately, the most is a lie among American Jews. Perhaps it is due to their remorse that they didn’t help their brothers who were murdered in Europe and didn’t do anything about it. However, we have many friends in Israel and in other countries who understand that inciting anti-Semitism among Poles is unworthy and contrary to the truth, and secondly it is completely not in the interest of the state of Israel, which should now look for allies, and many of them are in Poland. That is why after the presentation of “Nasza klasa” I let myself say a few words to Mr. Słobodzianek that in my opinion it is anti-Semitic art, because it is so furiously anti-Polish and so much lying, tendentious and written under the order of the greatest liars, that it arouses anger, grief and a sense of injustice. In this sense, it is anti-Semitic, because it harms Israel, Jews and friendship between Poles and Jews. We should act just the opposite and build on these wonderful examples, like those thousands of Poles who risked their children's lives and their own lives to help their brothers and sisters, Jews. It was completely unique against the background of Europe, because only in Poland you could look at the death of your children and after that die. In the Netherlands, you could only get a ticket or get out of work for helping Jews. The West needs to get to know this difference. This is our task
24 http://wyborcza.pl/1,76842,1716735.html.
25 http://natemat.pl/135371,matka-boska-trzebuchowska
So, treating the charge of anti-Semitism as a tool of pressure on Poles not only doesn’t reduce anti-Semitism, but it fuels and strengthens it, because anti-Semitic moods also appear among those Poles who had nothing against the Jews before?
Using lies for it - that's how it works. That's how a counterfeiter and propagandist claiming to be a historian - Jan Tomasz Gross. Słobodzianek did the same.
It is a bit like a self-winding spiral.
This, however, is done deliberately. This is the case with the famous argumentum ad Hitlerum. When there is no longer any argument, the whole conversation boils down to accusations of fascism or Nazism. The same is true for anti-Semitism. In a situation where many events from the history of Poland haven’t been accurately described, such as the case of the Kielce pogrom or the murder in Jedwabne, it is used against Poles. Krzysztof Kąkolewski proved what the Soviet provocation was, and yet it happens that even PiS politicians are repeating today the communist lies about this tragic event, which was meant to divert attention from the matter of Katyn. Just like 1968, which out of the quarrel over the power and Soviet governorship of Polish communists with communists of Jewish origin is being told today in the world as a "Polish anti-Semitic campaign". Unfortunately, there is a lot about Polish-Jewish relations, and it is important to break them off in the sense that accusations of anti-Semitism are duplicated to destroy Polish-Jewish relations and stop Poles in their ambitions and take a position other than servile and slavish to these who want to impose their opinion in Europe.
Should we take the bull by the horns and anticipate the attacks of hostile environments, create films on such difficult and sensitive subjects as, for example, the Kielce pogrom or the murder in Jedwabne?
Yes of course. All stories are worth telling, but only the truth is interesting. Of course, we will also have to tell about the shameful behavior of Polish criminals who committed murders both on the Poles and on the Jews, or about the Poles who were German confidants. The most important thing, however, is to keep the right portion, that is how many of them were compared to the general public and how many were those who saved Jews. It is necessary to show how the Polish state has survived, whose official goal included in the founding deed (as the only state in the world!) was to help Jews. It must be shown that when the Polish state punished Polish blackmailers with death for reporting on Jews, the French state zealously captured Jews and supplied them to the Germans for transports to Auschwitz. Exceeding the limits imposed by the Germans.
The French very eagerly hide the black pages of their history. Reminding them of the collaboration with the Germans makes them angry and indignant. The truth about them is very uncomfortable for them. As the guru of the European left, Jean Paul Sartre once said, "We have never been as free as under German occupation."
It is difficult to compare the German occupation of Poland with the German occupation of France, or the Polish Underground State with the rickety French resistance movement. However, the image in the world media is different. In Casablanca, the main protagonist of the resistance movement is ... Czech. Today, we must tell the world that Karski and Pilecki were not exceptions and individualists, as Barack Obama believes, but were simply envoys of the Polish state, officers of the Polish army.
We're slowly starting to do it. A documentary film directed by Sławomir Grünberg “Karski and the rulers of humanity” was recently created. However, while the exposure and promotion of Jan Karski doesn’t face major obstacles in the world, it is completely different with the captain Witold Pilecki. As the journalist Wojciech Sumliński reported on his blog, the Hollywood producers wanted to make a great Hollywood production about Witold Pilecki. However, they set one condition. The captain's family had to agree to assign him Jewish origin. Since the son of "volunteer to Auschwitz" was about to oppose it, the project was withdrawn.
So we have to make films about it ourselves. We have no choice. As far as I know, there is an advanced project of a feature film about Pilecki Anglo-Polish, TVP is involved in it. I hope it will be a real picture. This, however, must be many different productions, not only focusing on Polish-Jewish history, but concentrating on the history of individual people and those who once lived in Poland. After all, these relations between Poles and Polish minority families were often very beautiful, though sometimes they were also difficult and cruel. However, it is our duty to tell this, because history has been horribly hypocried by the PRL and the last twenty years and by propaganda from the West. The deliberate deception of the role of Poles has been going on since the 1940s. There is such a book, “The Hollywood War against Poland”, which precisely shows who and why created an unfavorable image of Poland and Poles.
Unfortunately, Poles in American films are presented in a bad light. This was even the case in “The Fugitive” by Andrew Davis, in which the pathological Polish family from Chicago or in “The Iceman” telling history about a killer on commission, Richard Kuklinski. However, if we don’t start making films about Poles who have been successful and deserved to the world, I wouldn’t be surprised if films about such characters as American serial killers of Polish origin Tillie Klimek and John Gacy, about the killer of US President William McKinley Leon Czolgosz, about terrorist Theodor Kaczynski, or about gangsters Hymie Weiss and Alvin Karpis would be made in the near future. Certainly, these would be interesting films, as well as “The Fugitive” and “The Iceman”. However, without presenting in the films and pop culture a different picture of Poles than the negative one, they would only perpetuate the stereotypes that harm us.
The Americans betrayed Poland in Yalta, so they massively showed the world of dirty Poles so that no one in the world would regret us. In recent years, however, Germany prevails in creating a negative image of Poland and Poles. They are the ones who produce films about criminal anti-Semites from the Home Army and are moved by the fate of the sensitive boys from the Wermacht.
Perhaps, then, should an English-language document on the genesis and contemporary face of anti-Polonism be created? Or a feature film about the Poles' fight for our freedom and yours, starting with the Polish colonists of North America, who organized the first political and workers strike in the history of this continent, which in addition ended with their success? Such a film would be attractive for both Polish and American viewers. You can also tell about the The Holy Cross Mountains Brigade which saved the lives of Jews from the branch of the Flossenbürg concentration camp in Holiszów near Pilsen. In a word of gratitude, prisoners, they sang to Mazurek Dąbrowski. However, the soldiers of this brigade have never been honored with the medal of the Righteous Among the Nations. The vision of NSZ soldiers saving Jews from the hands of the Germans departs from the official interpretation of the history of the Holocaust. Similar examples are dubious and can be multiplied.
You are right. This task is so huge. We should pass our version and historical sensitivity in both feature films and documentaries and series.
Even if we create interesting film productions, we can have big problems with their proper promotion. Hollywood is interested in films about the Holocaust only when there is a narrative of the Jewish sacrifice in them, which often differs significantly from the Polish narrative. “Ida”, directed by Paweł Pawlikowski, in which one of the protagonists was inspired by the figure of the communist of Jewish origin, Helena Wolińska-Brus, who oversaw the investigation of General August Emil Fieldorf, was, for example, a film in which the true perpetrators of the Holocaust were completely omitted.
“Ida” is a beautiful visual film, but in its ugly meaning. Because it hides Jewish murderers, it is a kind of Holocaust denial (Holocaust Denial). He talks about the fear of the Jews, they hide from someone, but nobody knows whom. What kind of law threatens them, what state, what system? It isn’t there. The conclusion for the viewer is obvious that the Poles are hiding Jews ... from other Poles. Then to murder them. In this historical film about the Holocaust, Germany doesn’t appear at all, and the democratically built, German criminal state which has decided, planned and handled hundreds of thousands of Germans efficiently performed the Endlösung der Jugendfrage, the Final Solution of the Jewish Question. Ida's film was an absolute world record in the insolence of a historical lie. Germany is delighted. The Holocaust without Germans is the ultimate solution to their problem.
At one point, it was postulated to include subtitles in the film, which would at the very beginning inform the viewers about the real perpetrators of the Holocaust and point out the historical context in which the film's action takes place. What do you think about this idea?
It was a just call, but it was late. Of course, the director has the freedom of artistic expression and the right to subjective belief, however, the film in such a false form shouldn’t receive public funding in the first place. Because the Polish Film Institute financed this production, it means that he accepted this story of the Holocaust, in which there are no Germans at all and the only problem is Poles. It is disgraceful.
The films that get an Oscar have enormous impact. Anyway, nominations for the Oscars clearly show that Polish cinematography is promoted and rewarded usually when it bends to the expectations of Hollywood. Over the last 35 years, three Polish films nominated for an Oscar in the category of the best non-English film, in two of them the main theme were Jews. In Hollywood, some topics are desirable and others are not. It seems that “Ida” became the Polish Oscar candidate, received the nomination and won the Oscar, mainly for the fact that it fit in with Hollywood's expectations. Outstanding, unparalleled to “Ida” – “Papusza” directed by Joanna Kos-Krauze and Krzysztof Krauze, which tells the story of a Gypsy poet with a story of extermination of Gypsies in the background, wouldn’t really arouse such applause in Hollywood as the film about Jews and Polish anti-Semites. Unfortunately, the extermination of Gypsies by the Germans is still out of the way of the history of the WW2 and can’t escape the shadow of the Holocaust.
The topic of Gypsies, just like the Armenian genocide, isn’t as strong as the subject of the Holocaust, so “Papusza” had a much smaller chance of winning an Oscar. However, I wouldn’t care about Oscar nominations. How many people really watched “Ida”? Of course, opinion-forming, university, media and political circles are important. I think, however, that we should have greater ambitions and create powerful productions that will be shown on big television around the world, because they are very good and very interesting. We direct our productions to a mass audience. Let's do series, such as HBO does, or Netflix, which people all over the world will want to see themselves. And these productions will be about Poles, with their heroism, courage and love of freedom have saved this Europe a few times, and maybe even the world. These stories. We have plenty of histories from the 15th, 16th, 17th and 20th centuries. Let's make great TV series that young people around the world will watch and fascinate with the characters' attitudes.
Maybe, following the success of the “Witcher” in the world, should we try to promote Polish history and culture through computer games?
Certainly. Let's do our own. If we make good films and good TV series, they will sooner or later appear in the world. I also think about Polish English-language productions. Everything is in the future.
And are not you afraid that our film productions will fall into a simplistic, intrusive propaganda? After all, subordinating the artistic vision to the expectations of power and the historical policy of the state can have the opposite effect.
There is always such a threat, which is why I wouldn’t put the main burden of the film on spoiling the image of Poles, but I would do it casually, telling about the wonderful history of Poles. The fact that Jews were expelled from everywhere and they found shelter in Poland is also a completely unknown story in the West. This is why the Museum of the History of Polish Jews was created. We must build a feeling among our children that we are a valuable nation that has great merit and a great task to do, and so come back with the heart and head to this place, which we should occupy. A nation that must understand its interest and its raison d'etat. There must be permanent, normal patriotic education, as was the case in the Second Polish Republic. We were able to transform the sense of community of national interest into beautiful attitudes of Poles during and after the WW2.
"Let's collect money for one, two or three great Hollywood films that will show how reality was in Poland during WW2, films with actors and directors well known in the world. I assure you that you will be able to change this disastrous image, which is intentionally created against us - because we have the phenomenon of anti-Polonism in the world today. "- said Jarosław Kaczyński at the party convention in Legionów. Unfortunately, we didn’t have on the other side of the Atlantic Polish Woody Allen, Martin Scorsese, or Spike Lee, who wouldn’t only tell in their films about the vicissitudes of Americans of Polish descent and their contribution to the culture and power of the United States, but also create films about the history of Poland. Perhaps after painstaking search we would find a director abroad, like the creator of "The Invincible", who, like Peter Weir, would be interested and fascinated with Polish history. However, most of the well-known directors in the world are far from understanding the meanders of Polish history and feeling Polish sensibility. Of course, the names of Hollywood directors and actors, as well as the creation of international film co-productions, would certainly help us to better promote our story and achieve greater commercial success. However, before public money is spent on it, you must first consider all pros and cons. How do you see this? Do the stories of Poland really should tell - as suggested by Jaroslaw Kaczynski - foreign directors, or Polish money should go to Polish artists, as was the case with the “City of 44” Jan Komasa? Do we have enough potential and possibilities to create Hollywood movies?
Of course we have. An example is the triumphs of Polish operators and musicians. So the potential is huge. However, we must finally believe in ourselves and, step by step, develop our productions. No Scorsese was fired right away. Spike Lee's success in the world is moderate. I think a lot more than Spike Lee did for the Negroes Bill Cosby at the Bill Cosby Show. He was present in all the television sets in the world. It is known that now his assessment has changed, but then he completely changed the perception of blacks in the world. Who don’t refer to the color of their skin at all, but their ambitions look the same as whites. This propaganda assumption was very well made. Imagined a Negro family who has ambitions and includes a well-educated, intelligent, witty, cheerful and nice people of success. Anyway, many times in the history of film productions had the task of building a certain idea. American patriotic films arise a lot. They are better, sometimes worse, but Americans are not ashamed to support their national and state community with films about the message that builds this community, about the values that unite it.
American Jews also build and promote their ideas through cinematography.
The film can be taken away and win people for the idea. I think that over a dozen or so years we are also able to produce many valuable films that will conquer the world.
But what to don’t to throw money away and repeat such film failures as the “Battle of Vienna” by Renzo Martinelli or the “1920 Warsaw Battle” by Jerzy Hoffman, but to succeed and to interest the world with our history, as Turks did with the TV series Magnificent Century?
This "relief" was actually a disaster. You have to learn from this. The Battle of Warsaw, on the other hand, had some basic errors. There were good assumptions there, but basing the entire story on the actress, loved by the director, rather than building it on the national uprising, these were mistakes at the script level. However, there were also production errors. For such productions should be taken people who will know what to do. The producer of the Battle of Warsaw didn’t know this, since he persuaded Jerzy Hoffman of the most important scene, that is, the triumphal entry into Warsaw of the Polish army after the victory over the Bolsheviks. This scene was in the script and was to be realized. The most important scene of this film, which would save it to a large extent. However, she wasn’t there.
What do you think about the screening of the biographies of people who link the history of Poles, Jews and Americans, ie Maksymilian Faktor, Józef Rotblat, Leopold Tyrmand, Rafał Lemkin, or Artur Rubinstein, or about building patriotism among Polish Jews through films about such characters, like Michał Lande, Berek Joselewicz, or major Henryk Floyar-Rajchman? The Polish Jews should also followed by appropriate patterns.
That's true. I am involved in the project Legiony, premiere in the autumn of 2018, the 100th anniversary of Poland's regaining of Independence. Of course, there will also be a Jewish thread there, because in Legions there were 650 legionnaires of Jews, more than all other minorities put together. And the film about Floyr-Rajchman, colonel Ignacy Matuszewski and their action to save 80 tons of Polish gold from the Germans and the Soviets is a ready-made scenario. For sure it will be a great movie.
February 12, 2016
