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Joyland: Taboo-tackling Pakistani film makes history at Cannes

AZADPAKISTAN2009

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Typically sought out Topics in Western Media

The general image which is associated with Pakistan

a) Feminism lack of it
b) Showing Most People in Muslim countries are wife beaters
c) Honor Killing is a topic very poplar
d) Violence at home
e) Terrorism
f) "This crap" is just one of those delusional obsession


This is old story -Worth no two cents


They will never see
a) The father who works 12 hours
b) The husband who provides for whole family
c) The women that looks after family after husband's death
d) The Couple who are married for 60 years
e) The Youth who stops Terrorist at door of School
f) The lady who teaches under the road bridge


Obviously they will never cover the "Freedom March" / Azadi March



Turning off the news or tv is best thing to do when it comes to such delusional history
 
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kazaki

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Joyland: Taboo-tackling Pakistani film makes history at Cannes​

Director Saim Sadiq talks to Al Jazeera about his film Joyland, the first ever Pakistani entry at the Cannes Film Festival.


View attachment 849195
Director Saim Sadiq, cast member Alina Khan and producer Apoorva Guru Charan pose in Cannes [Sarah Meyssonnier/Reuters]
By
Suparna Sharma

Published On 27 May 202227 May 2022

Cannes, France Pakistani writer-director Saim Sadiq says he just kept sobbing as the premiere of his debut film, Joyland, at the Cannes International Film Festival on Tuesday received a lengthy standing ovation.
Amid all the emotion, he was not sure how long the clapping lasted.

“Somebody told me 10 minutes, somebody told me seven. I don’t know what to believe. I know that I had enough time to hug my whole team of 40 people twice,” Sadiq told Al Jazeera.

Standing ovations are a tradition at Cannes, and each minute is a measure of the audience’s love for a film. Debut films by young directors are always special, and Joyland even more so because it is the first Pakistani film to be selected as an official entry at the world’s most prestigious film festival, which ends on Saturday.

Joyland is up for two awards at the festival, including Un Certain Regard – “a certain glance” – which celebrates emerging directors and films on marginal themes.
Joyland, which tackles gender and sexuality issues that are taboo in Pakistan, stars a transgender actress, Alina Khan, as the lead.

“Joyland is sheer joy for Pakistan … There are very few moments in Pakistan’s cinematic history that we can all be proud of. I know that in 2012, when I brought the country’s first Academy Award home, the nation united in its understanding that we too can be champions of cinema,” Sharmeen Obaid-Chinoy, Pakistani filmmaker and two-time Oscar winner in the best documentary short category, told Al Jazeera over the phone.

“And I think Tuesday in Cannes was another such moment for Pakistan.”

Cast members and crew of Pakitsani film Joyland pose in Cannes

Director Saim Sadiq, cast members Alina Khan, Ali Junejo, Sarwat Gilani, Sania Saeed, Rasti Farooq and producers Apoorva Guru Charan and Sana Jafri pose in Cannes [Stephane Mahe/Reuters]

Pakistani cinema – which has been affected for decades by political intervention, religious commandments and bureaucratic apathy – finally having its glorious moment on the world stage was “magical”, says Sarwat Gilani, a well known Pakistani actress who stars in Joyland.
She said that the hugs and tears that flowed at the premiere during the extended ovation were not just an expression of joy, but also an acknowledgement of the struggles artists face in Pakistan.


“In our wildest dreams we could not have thought [we would be] here and represent Pakistan with a debut film,” she said.

Joyland’s journey​


Set in Lahore, Joyland tells the fictional tale of a middle-class family where a wheelchair-bound ageing but stern patriarch controls the lives of his two sons and daughters-in-law. He wants his sons to give him grandsons, but everything changes when his younger son, Haider, becomes a background dancer for a transgender dancer, Biba, played by Alina Khan, and they fall in love.


Speaking with Al Jazeera a day after his film’s preview at Cannes, Sadiq, 31, said he was still processing it all and had yet to call his parents.


He said he has long been interested in themes of “patriarchy, gender constructs and the idea of identity”. Joyland’s story was an idea that he worked on while doing his masters in fine arts at New York’s Columbia University.


That resulted in a short film, Darling. Starring Alina Khan as a struggling transgender dancer, it won the Orizzonti Award for Best Short Film at the Venice Film Festival in 2019.


Sadiq jokes that “one makes shorts only because one can’t make a feature”, and adds that a full-length feature film was always his goal.

Joyland director Director Saim Sadiq poses

Joyland’s story was an idea that Sadiq worked on while doing his masters in fine arts at New York’s Columbia University [Sarah Meyssonnier/Reuters]

Los Angeles-based Apoorva Charan, Sadiq’s friend from their days at Columbia University, and now one of Joyland’s producers, says funding was not easy to come by – although they eventually secured most of the funding from United States backers.


“I think the challenges were: first-time feature director, first-time feature producer, non-English language film with a Pakistan focus,” she told Al Jazeera.


Sadiq says Joyland’s journey has been long, but the film is “blessed”.


As well as being in the running for the Un Certain Regard prize, Joyland is also a contender for Caméra d’Or (Golden Camera), an award given to a first-time director. The results will be announced on Friday night.


If Sadiq is nervous, he does not show it.


“Whatever happens is just icing on the cake. We have a cake already,” Sadiq said with a smile.


Against the odds​


Obaid-Chinoy, who was on her way to the US for the launch of the Ms Marvel series that she has co-directed, said Pakistani filmmakers have the odds stacked against them.


“To make a film in Pakistan is to make a film on your sheer perseverance and stubbornness because the infrastructure and the ecosystem does not support cinema in this country,” she said.


Apart from funding and infrastructure, what is also lacking in Pakistan is a cinematic lineage that young filmmakers can learn from.


“Like almost every Pakistani kid,” Sadiq says he too grew up on Bollywood films, and it was only in his late teens that he discovered world cinema. He counts Iranian filmmaker Ashgar Farhadi, American director Paul Thomas Anderson, and Krzysztof Kieslowski’s Three Colours trilogy among strong influences.


“I had a relationship with almost every country’s cinema except my own because, when I was a teenager, there was no [Pakistani] cinema,” he says.


While documentaries from Pakistan on subjects such as women, honour killings, acid victims and terrorism have been celebrated at international film festivals, and at home television soaps have a massive audience, Urdu commercial cinema has long struggled.


Every few years a film emerges that draws the audiences back to cinema halls, rekindling hope that more films will follow. In 2007, it was Shoaib Mansoor’s Khuda Kay Liye. In 2011, it was again Mansoor’s Bol. In 2013, it was Farjad Nabi and Meenu Gaur’s Zinda Bhaag, which also became Pakistan’s first Oscar entry after a gap of 50 years.


However, the energy is never sustained and in Pakistan’s Urdu-speaking middle class there is little culture of going to the cinemas with family and friends. And for cinema owners, banking on Pakistani films is not smart business.


A law in Pakistan stipulates that cinema owners must give precedence to, and more than 80 percent of the screens, to Pakistani films over foreign films.


But earlier this month some filmmakers in Pakistan held a press conference to complain that cinemas were not giving screens for their new films that were released during the Eid weekend, preferring instead the Marvel Studio’s money-spinner, Doctor Strange in the Multiverse of Madness.


Both Gilani and Obaid-Chinoy say that Joyland and its success at Cannes could change that – especially as a new generation of Pakistani filmmakers have studied or spent time abroad and been exposed to the possibilities that lie beyond Pakistan and the Indian subcontinent.


“To have a Pakistani film for the first time premiere at Cannes – a story that is germane to Pakistan, that is produced by Pakistanis, where the major cast and the crew come from this country, really shows the strides that this generation of filmmakers have made,” Obaid-Chinoy said. “I think that Saim’s film at Cannes is going to open the floodgates for many filmmakers who will now realise the possibility of creating films that can shine on the international stage.”


Joyland has already been acquired for a theatrical release in France, but releasing the film in Pakistan may be a challenge. Gilani, who starred in a 2020 feminist detective web series, Churails (Witches), that was banned in Pakistan, anticipates challenges, criticism and several cuts by censors if the film gets permission for a theatrical release.


But Sadiq is hopeful. Recalling how he and his team wept on Tuesday, way past the standing ovation, he said: “Everything felt more emotional, because it felt like the start of something.”



View attachment 849197
Saim Sadiq's 'JOYLAND' debuts with a perfect 100% score on Rotten Tomatoes.


'Joyland' Review: Pushing the envelope​

Joyland marks a strong debut, not just for its director Saim Sadiq but for Pakistani cinema at large at the Cannes Film Festival​


View attachment 849198
Pakistanis should make film on ertugrul ghazi .
 

lastofthepatriots

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@Sainthood 101


Let’s enter the Cannes festival next year for showcasing brutal and harrowing ordeal for the monitor lizard that was gang raped in India through film. We need to bring international awareness about the plight of monitor lizards and how they face sexual abuse on a daily basis in randia.
 

Maula Jatt

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Joyland: Taboo-tackling Pakistani film makes history at Cannes​

Director Saim Sadiq talks to Al Jazeera about his film Joyland, the first ever Pakistani entry at the Cannes Film Festival.


View attachment 849195
Director Saim Sadiq, cast member Alina Khan and producer Apoorva Guru Charan pose in Cannes [Sarah Meyssonnier/Reuters]
By
Suparna Sharma

Published On 27 May 202227 May 2022

Cannes, France Pakistani writer-director Saim Sadiq says he just kept sobbing as the premiere of his debut film, Joyland, at the Cannes International Film Festival on Tuesday received a lengthy standing ovation.
Amid all the emotion, he was not sure how long the clapping lasted.

“Somebody told me 10 minutes, somebody told me seven. I don’t know what to believe. I know that I had enough time to hug my whole team of 40 people twice,” Sadiq told Al Jazeera.

Standing ovations are a tradition at Cannes, and each minute is a measure of the audience’s love for a film. Debut films by young directors are always special, and Joyland even more so because it is the first Pakistani film to be selected as an official entry at the world’s most prestigious film festival, which ends on Saturday.

Joyland is up for two awards at the festival, including Un Certain Regard – “a certain glance” – which celebrates emerging directors and films on marginal themes.
Joyland, which tackles gender and sexuality issues that are taboo in Pakistan, stars a transgender actress, Alina Khan, as the lead.

“Joyland is sheer joy for Pakistan … There are very few moments in Pakistan’s cinematic history that we can all be proud of. I know that in 2012, when I brought the country’s first Academy Award home, the nation united in its understanding that we too can be champions of cinema,” Sharmeen Obaid-Chinoy, Pakistani filmmaker and two-time Oscar winner in the best documentary short category, told Al Jazeera over the phone.

“And I think Tuesday in Cannes was another such moment for Pakistan.”

Cast members and crew of Pakitsani film Joyland pose in Cannes

Director Saim Sadiq, cast members Alina Khan, Ali Junejo, Sarwat Gilani, Sania Saeed, Rasti Farooq and producers Apoorva Guru Charan and Sana Jafri pose in Cannes [Stephane Mahe/Reuters]

Pakistani cinema – which has been affected for decades by political intervention, religious commandments and bureaucratic apathy – finally having its glorious moment on the world stage was “magical”, says Sarwat Gilani, a well known Pakistani actress who stars in Joyland.
She said that the hugs and tears that flowed at the premiere during the extended ovation were not just an expression of joy, but also an acknowledgement of the struggles artists face in Pakistan.


“In our wildest dreams we could not have thought [we would be] here and represent Pakistan with a debut film,” she said.

Joyland’s journey​


Set in Lahore, Joyland tells the fictional tale of a middle-class family where a wheelchair-bound ageing but stern patriarch controls the lives of his two sons and daughters-in-law. He wants his sons to give him grandsons, but everything changes when his younger son, Haider, becomes a background dancer for a transgender dancer, Biba, played by Alina Khan, and they fall in love.


Speaking with Al Jazeera a day after his film’s preview at Cannes, Sadiq, 31, said he was still processing it all and had yet to call his parents.


He said he has long been interested in themes of “patriarchy, gender constructs and the idea of identity”. Joyland’s story was an idea that he worked on while doing his masters in fine arts at New York’s Columbia University.


That resulted in a short film, Darling. Starring Alina Khan as a struggling transgender dancer, it won the Orizzonti Award for Best Short Film at the Venice Film Festival in 2019.


Sadiq jokes that “one makes shorts only because one can’t make a feature”, and adds that a full-length feature film was always his goal.

Joyland director Director Saim Sadiq poses

Joyland’s story was an idea that Sadiq worked on while doing his masters in fine arts at New York’s Columbia University [Sarah Meyssonnier/Reuters]

Los Angeles-based Apoorva Charan, Sadiq’s friend from their days at Columbia University, and now one of Joyland’s producers, says funding was not easy to come by – although they eventually secured most of the funding from United States backers.


“I think the challenges were: first-time feature director, first-time feature producer, non-English language film with a Pakistan focus,” she told Al Jazeera.


Sadiq says Joyland’s journey has been long, but the film is “blessed”.


As well as being in the running for the Un Certain Regard prize, Joyland is also a contender for Caméra d’Or (Golden Camera), an award given to a first-time director. The results will be announced on Friday night.


If Sadiq is nervous, he does not show it.


“Whatever happens is just icing on the cake. We have a cake already,” Sadiq said with a smile.


Against the odds​


Obaid-Chinoy, who was on her way to the US for the launch of the Ms Marvel series that she has co-directed, said Pakistani filmmakers have the odds stacked against them.


“To make a film in Pakistan is to make a film on your sheer perseverance and stubbornness because the infrastructure and the ecosystem does not support cinema in this country,” she said.


Apart from funding and infrastructure, what is also lacking in Pakistan is a cinematic lineage that young filmmakers can learn from.


“Like almost every Pakistani kid,” Sadiq says he too grew up on Bollywood films, and it was only in his late teens that he discovered world cinema. He counts Iranian filmmaker Ashgar Farhadi, American director Paul Thomas Anderson, and Krzysztof Kieslowski’s Three Colours trilogy among strong influences.


“I had a relationship with almost every country’s cinema except my own because, when I was a teenager, there was no [Pakistani] cinema,” he says.


While documentaries from Pakistan on subjects such as women, honour killings, acid victims and terrorism have been celebrated at international film festivals, and at home television soaps have a massive audience, Urdu commercial cinema has long struggled.


Every few years a film emerges that draws the audiences back to cinema halls, rekindling hope that more films will follow. In 2007, it was Shoaib Mansoor’s Khuda Kay Liye. In 2011, it was again Mansoor’s Bol. In 2013, it was Farjad Nabi and Meenu Gaur’s Zinda Bhaag, which also became Pakistan’s first Oscar entry after a gap of 50 years.


However, the energy is never sustained and in Pakistan’s Urdu-speaking middle class there is little culture of going to the cinemas with family and friends. And for cinema owners, banking on Pakistani films is not smart business.


A law in Pakistan stipulates that cinema owners must give precedence to, and more than 80 percent of the screens, to Pakistani films over foreign films.


But earlier this month some filmmakers in Pakistan held a press conference to complain that cinemas were not giving screens for their new films that were released during the Eid weekend, preferring instead the Marvel Studio’s money-spinner, Doctor Strange in the Multiverse of Madness.


Both Gilani and Obaid-Chinoy say that Joyland and its success at Cannes could change that – especially as a new generation of Pakistani filmmakers have studied or spent time abroad and been exposed to the possibilities that lie beyond Pakistan and the Indian subcontinent.


“To have a Pakistani film for the first time premiere at Cannes – a story that is germane to Pakistan, that is produced by Pakistanis, where the major cast and the crew come from this country, really shows the strides that this generation of filmmakers have made,” Obaid-Chinoy said. “I think that Saim’s film at Cannes is going to open the floodgates for many filmmakers who will now realise the possibility of creating films that can shine on the international stage.”


Joyland has already been acquired for a theatrical release in France, but releasing the film in Pakistan may be a challenge. Gilani, who starred in a 2020 feminist detective web series, Churails (Witches), that was banned in Pakistan, anticipates challenges, criticism and several cuts by censors if the film gets permission for a theatrical release.


But Sadiq is hopeful. Recalling how he and his team wept on Tuesday, way past the standing ovation, he said: “Everything felt more emotional, because it felt like the start of something.”



View attachment 849197
Saim Sadiq's 'JOYLAND' debuts with a perfect 100% score on Rotten Tomatoes.


'Joyland' Review: Pushing the envelope​

Joyland marks a strong debut, not just for its director Saim Sadiq but for Pakistani cinema at large at the Cannes Film Festival​


View attachment 849198
they literally used an actual woman to play a transgender role- that's disrespectful
 

jamahir

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Dear Tableeghi, post memes where appropriate only. Don't use them to hide your lack of acceptance when I showed you the mirror.

a) The father who works 12 hours

Yes, there should be a film made on this. Why does the "Islamic" Republic of Pakistan have a Capitalist dog-eat-dog system combined with irrational desi culture where a citizen has to work for 12 hours, where only the father works and not the wife who actually studied medicine, where two young men suicided by jumping off the higher floors in two separate malls because they were rendered unemployed and the Capitalist governance of the country didn't help them and they were pressured by societal expectation "to do something to earn" because monthly or daily earning is the only way to survive in Capitalism, where a rural feudal can set his lovingly reared dogs upon a complaining peasant and they dogs will tear the peasant to death and the police not shoot the dogs and charge the feudal for murder, where in 1951 just four years after the country's formation the leftist poet Faiz Ahmed Faiz and his Communist and Socialist comrades in the military and civilian society tried to bring progressive, leftist governance in the country but sadly did not succeed and instead where in the 1980s the crook Zia ul Haq was installed into presidency by NATO and instituted research into harnessing jinn power to generate electricity and then was employed by NATO to destroy the progressive Communist system in neighboring Afghanistan... Many stories that must be told yes.

b) The husband who provides for whole family

There should be no citizen to "provide" for the family. The socio-economic system should do that or get out. Secondly, the wife should also contribute to society by being in the workforce to the best of her capacity : "From each according to capacity, to each according to need".

Producer is Randian.

Behind every gay Pakistani is an Indian. Just like bajwa and Sharif bros.

So Mufti Azizur Rehman who raped boy students in his madrassa was part of "RAA ki saazish" ?

They love themes with a degenerate side. An Iranian won best actress award for playing a journalist who solves the murders of prostitutes in the Iranian holy city of Mashad.

he film suggests there was little official pressure to catch the murderer, who ends up a hero among the religious right.
So you support the right-wing criminals who cheered the socio-economically poor man who was frustrated by his daily desperate socio-economic situation but instead of joining the Communists and bringing a progressive welfare-based society in Iran which would have been truly an Islamic thing to do and would have solved his situation he did the cowardly, easy and psycho act of taking out his frustration on a repressed and oppressed social class, the female prostitute, and probably using the excuse of acting against "fahaashi" ? The right-wing criminals who cheered this coward murderer were the ones who maintained the Capitalist system which kept him in his poor socio-economic condition. Maybe the film explores this too.
 
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nope

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why cant we make like action movies

fantasy sci fi thriller horror something different

Pakistan need heroes

its always hack making some social cometary their not talented enough to do something cringe

Pakistanis suck at everything
 

lastofthepatriots

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Dear Tableeghi, post memes where appropriate only. Don't use them to hide your lack of acceptance when I showed you the mirror.



Yes, there should be a film made on this. Why does the "Islamic" Republic of Pakistan have a Capitalist dog-eat-dog system combined with irrational desi culture where a citizen has to work for 12 hours, where only the father works and not the wife who actually studied medicine, where two young men suicided by jumping off the higher floors in two separate malls because they were rendered unemployed and the Capitalist governance of the country didn't help them and they were pressured by societal expectation "to do something to earn" because monthly or daily earning is the only way to survive in Capitalism, where a rural feudal can set his lovingly reared dogs upon a complaining peasant and they dogs will tear the peasant to death and the police not shoot the dogs and charge the feudal for murder, where in 1951 just four years after the country's formation the leftist poet Faiz Ahmed Faiz and his Communist and Socialist comrades in the military and civilian society tried to bring progressive, leftist governance in the country but sadly did not succeed and instead where in the 1980s the crook Zia ul Haq was installed into presidency by NATO and instituted research into harnessing jinn power to generate electricity and then was employed by NATO to destroy the progressive Communist system in neighboring Afghanistan... Many stories that must be told yes.



There should be no citizen to "provide" for the family. The socio-economic system should do that or get out. Secondly, the wife should also contribute to society by being in the workforce to the best of her capacity : "From each according to capacity, to each according to need".



So Mufti Azizur Rehman who raped boy students in his madrassa was part of "RAA ki saazish" ?




So you support the right-wing criminals who cheered the socio-economically poor man who was frustrated by his daily desperate socio-economic situation but instead of joining the Communists and bringing a progressive welfare-based society in Iran which would have been truly an Islamic thing to do he did the cowardly and psycho act of taking out his frustration on a repressed and oppressed social class, the female prostitute, and probably using the excuse of acting against "fahaashi" ? The right-wing criminals who cheered this coward murderer were the ones who maintained the Capitalist system which kept him in his poor socio-economic condition.

He probably learned to fondle children from his Indian jamati counterparts.


Plus everyone knows commies are the biggest pedophiles on earth. It’s written about in numerous commie manifestos.

Marxist theorist Antonio Gramsci of Italy believed that the only obstacle standing in the way of a communist new world order was Christianity[1]. Similarly, Marxist theorist Georg Lukacs of Hungary believed that in order to conquer the West, the family unit and Christianity must be uprooted[2]. His methodology: to enact a radical sexual education for children in 1919, Hungary. To pave the way for communism, children would be eroticized, taught to be promiscuous, and guided towards a left-leaning form of nihilism.

Marxist theorists observed that sexual promiscuity education for children at young ages destabilized them. Furthermore, they noticed that this destablization worked in their favor. Destabilization and the early loss of innocence results in the destruction of the family unit. Destabilized children tend to stray from the authority of their parents and often turn to the state or other institutions for "parenting". We could refer to this tactic as something other than manipulative psychology, but Marxism is what it is and should not be sugar-coated.

In essence, an over sexualized child perceives him/herself as a participant on the sexual and relationship marketplace, resulting in the child perceiving adults as competitors and peers — hence the wedge between parental authority and childhood. Since the child is still a child and requires support, the state and institutions are where the child turns to.
https://www.linkedin.com/pulse/communism-sanctioned-pedophilia-kelly-offield
 

Novus ordu seclorum

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So you support the right-wing criminals who cheered the socio-economically poor man who was frustrated by his daily desperate socio-economic situation but instead of joining the Communists and bringing a progressive welfare-based society in Iran which would have been truly an Islamic thing to do he did the cowardly and psycho act of taking out his frustration on a repressed and oppressed social class, the female prostitute, and probably using the excuse of acting against "fahaashi" ? The right-wing criminals who cheered this coward murderer were the ones who maintained the Capitalist system which kept him in his poor socio-economic condition. Maybe the film explores this too.
Murder is murder. I don't support the murder of anyone including prostitutes. Individuals deserve fairness. I don't support far-right or far-left extremism. Communism is far-left.
 

lastofthepatriots

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Murder is murder. I don't support the murder of anyone including prostitutes. Everyone deserves fairness. I don't support far right or far left extremism. Communism is far left.

Communists are not just individual child tiddlers, but have pedophilia doctrinized. You can watch @jamahir bob, weave and try to stick a landing after the mental gymnastics he will perform, but at the end of the day he is just talking out of his ***.
 

Novus ordu seclorum

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Communists are not just individual child tiddlers, but have pedophilia doctrinized. You can watch @jamahir bob, weave and try to stick a landing after the mental gymnastics he will perform, but at the end of the day he is just talking out of his ***.
Yeah, jamahir conflated mocking the film's theme to support for the antagonist. That is extremism. His posts are communist manifestos 🤣.
 

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