Yesterday and in the first hours of this day I watched, on Netflix, the latest film by the Mexican Alfonso Cuarón, Roma, which alludes to the Colonia Roma where Cuarón lived as a child, not very far from where I also lived as a child in Mexico City.
Surely some visitors of this site will wonder how a phenotypically Creole family looks like in Mexico; that is to say, a family with little or no Amerindian blood. The autobiographic Cuarón recreates, in a black-and-white film, the daily life of one of these families in the great Mexican capital of the late 1970 and 1971 (a period that I remember so well).
Before talking about the film, I must say that I feel outraged by the awards that the Mexicans Alfonso Cuarón, Alejandro González Iñárritu and Guillermo del Toro have received by cinematographic institutions and film critics. Although none is Jewish, their films navigate the same currents of the anti-white Zeitgeist of our time.
Of Cuarón, who has a huge talent for the seventh art, I would only recommend Harry Potter and the Prisoner of Azkaban: the film with fewer bad messages for the Aryan cause. In Children of Men and Gravity the bad messages are more conspicuous, and let’s not talk about the 2015 film, The Revenant by González Iñárritu, which won three awards in a Hollywood dominated by Jews.
Exactly the same must be said of Guillermo del Toro, whose monstrous The Shape of Water gave him the Oscar for best director last year. Also, his 2006 Pan’s Labyrinth sides the wrong guys of the Spanish Civil War.
As I said, the film Roma portrays a white family in Mexico City (Cuarón and I even went to the same High School, the Colegio Madrid). As to the plot, I do not know a single father of any of these white Mexican families who, in addition to abandoning his young children and wife, has no intention of seeing them again! From this point of view, the message of Roma is analogous to del Toro’s The Shape of Water, where a typical American man of the 1950s, father of a white family, is the bad guy in the movie.
In Roma the heroine is a Mixtec Indian woman who, by at the end of the film, saves two children from drowning in the sea, putting her life at risk. This image represents the culmination of the Mexican movie with the white kids and the mother embracing the heroic Indian.
My mother has had a legion of Indian maids, and my dear grandmother was a great confidant of them who actually loved them. Needless to say, I never heard of a case in which an Indian maid risked her life to save a white child. Thus Cuarón’s heroine is the counterpart of which I’ve never heard: that a father of a white family in Colonia Roma, or another similar district in Mexico City, abandons his children to the degree of not wanting to see them again. Did Cuarón’s father did exactly this to his children? The autobiographic Cuarón doesn’t specify this in the interviews.
In both Hollywood and in art films, the cultural war against the Aryan is absolute. It bothers me that, in the white nationalist forums, these Mexican directors are not seen for what they are: little Jews even if they do not have a drop of Jewish blood. Even Greg Johnson under a penname recently wrote a review of Children of Men without fully understanding the toxicity of these acclaimed films directed by talented Mexicans.
Cuarón shows his true colours in this interview in Spanish, from which I translate the essential pronouncements:
To the liberal interviewer he said: ‘La perversa relación que existe en nuestro país entre raza y clase’ (‘The perverse relationship that exists in our country between race and class’) in a context in which Mexico’s poverty is blamed for this ‘perverse relationship’: a phrase that Cuarón repeats twice throughout the interview. On the second occasion, he says that ‘por el color de tu piel también estás determinado socialmente’ (‘by the colour of your skin you are also socially determined’ in Mexico).
He also said: ‘¡México es clasicista y bien racista!, y al mexicano le cuesta mucho trabajo aceptar eso… Si queremos una verdadera transformación, todo empieza con la autorreflexión’ (‘Mexico is classicist and very racist! And the Mexican has a hard time accepting that… If we want a true transformation, everything starts with self-reflection’).
Isn’t it crystal-clear now why the anti-white System has overfilled Cuarón with so many international awards?