Monday, February 23, 2015

We Are What We Are & "Consumers"

While I am going to make light of this film, it is about cannibalism, so please, if you are squeamish, just skip this post. I first came across the film in October, 2013, and saw it at the library, so wanted to see if I was correct about the premise that, like the original The Hunger Games, We Are What We Are tries to describe capitalism in the US in graphic terms; I was actually right about this one. Why would the Left be so determined to depict capitalism as murdering cannibals? Because of the horrors of World War II and the Jewish Holocaust: to make people forget what socialism can cause in reality, the Left fabricates metaphors for capitalism in an attempt to erase their own guilt of what they have done.
If you will recall, The Conjuring, a smash hit, pivoted the whole horror film on a "double-meaning" of "possessions": people become "possessed" by the devil when they have "possessions" or material things; in the case of the Perron family, they (or, rather, the mother) wanted to take possession of the farm house (a farm house which looks a lot like the farm house in We Are What We Are, therefore, she was "possessed." In The Hunger Games (just the first film, this doesn't apply really to the other films) the Games are a metaphor of the "free market," where one company tries to outperform another company by figuring out what the masses are "hungry for" in consumer goods, so of course, by the Left's logic, children murdering children is a great metaphor of entrepreneurship and producing the best products possible.  In We Are What We Are, the Left continues with their "logic": if you consume material goods, you are also consuming human body parts.
We Are What We Are is a remake of the Mexican horror film, Somos Lo Que Hay. When The Hunger Games: Catching Fire opens, Katniss (Jennifer Lawrence) is hunting, and she starts to soot a turkey with her bow and arrow, and that turkey turns into a human; that's not a coincidence; in Martha, Marcy May, Marlene, with Elizabeth Olson, the people at the "commune" were not allowed to eat meat or three meals a day (I couldn't tell if they only ate once, or twice); in Darren Aronofsky's Noah, Noah tells his sons that hunters eat animals because they mistakenly think it makes them stronger, and then we see Noah-the-moss-eater single-handedly fight off 4-6 of the "hunters." The exact opposite line is taken in Divergent when Four (Theo James) tells Tris (Shailene Woodley) that, because she was living as in Abnegation, and abstaining from meat, she wasn't strong enough to defend herself and she needed more protein. The reason I am detailing this is because it demonstrates a public debate taking place about what we eat. Why is that important? It wouldn't be important, unless the Left wants the State to decide what we eat and don't eat (like with Michelle Obama deciding what will and will not be acceptable for school lunches or US troops in Afghanistan being reduced to two meals a day), in which case, it would be important for them to brainwash the masses that we shouldn't eat meat, because if we are eating meat, we will be physically strong enough to defend ourselves. 
The film opens with a radically misleading quote: we see a picture of a spider's web, and a quote, "'It is with love that I do this, God's will be done.' Alyce Parker." "Alyce Parker" is one of the characters in the film, the mother of the Parker family. The viewer doesn't know this when the film opens, but the film makes it look like a quote from an important person--in this case, some prominent religious woman--and that, the events we are going to see, is condoned by all religious people. The storm that comes is a metaphor for the "political storms" of 2008 when the communists started running the US: just as the storm in the film washes up bones, so, too, did the rise to power of Obama reveal the horrors of what the US has been doing. I completely disagree with this, personally, but this is the line of analysis the film wants to establish.
No, no, that's not human flesh, that's one of the first opening scenes in a general store where a man has brought a dead pig in for butchering. Because this is a graphic image, however, of the pork, the film sends a clear message: any eater of flesh, no matter what kind of animal it is, might as well be eating human flesh. This is re-enforced in the film when, later, we see three pieces of bacon sizzling in a skillet and the word SUNDAY comes up on the screen (three pieces of bacon is supposed to insult the Trinity, I suppose). It's not really because "animals are humans, too," but because "Humans are animals, so to eat an animal is to eat a human" (which is why it's a dog in the film that finds the first human bone from the Parker family's ritual, the dog "recognized its own" to a Liberal). The Left has to say we are animals because they have to deny the existence of the soul, and morality to any higher power, or power outside of, the State because what the State might command us to do might conflict with our religion (that happened a lot in the Soviet Union). Herein lies a classic Left logic conundrum: they put enough value on the person to make a statement like We Are What We Are, and try to make themselves look superior, morally, to capitalists, however, when it comes to moral debates on issues like abortion, sex, drug legalization and religion, they claim we are animals and people should be allowed to live by their appetites and what they want, which would make them "consumers." After Iris and Rose have killed their "lamb," and vowed they won't do that again, Marge the neighbor brings over a lasagna for them and chimes in, "It's vegetarian." Before Anders is killed in the woods, Iris and he see a dead animal on the ground, foreshadowing that he himself will be killed. Someone just sent me this article talking about the legislation to change our diets to plant-based from meat-based; unbelievable!
When Mrs. Parker leaves the general store, she's sees a photo of a young MISSING woman, who is possibly a minority (the film is literally dark so it's hard to see her skin color); blood starts coming out of Mrs. Parker's mouth; why? Supposedly, she sees the picture of a girl and is remembering how she ate that girl, and the thought of what she has done has made her sick, or, in some mystical act of justice, the girl is taking revenge on Mrs. Parker. Mrs. Parker drops the bag of supplies she has, supplies (presumably) to take another victim, but because Mrs. Parker could go into a store, and freely purchase the things she would need for their ritual, the act of being a consumer (purchasing the supplies) and eating another human being, are totally connected by the film makers as one in the same act. When she dies, just a moment later, we can clearly see that Mrs. Parker acts as a symbol for the "motherland," America, and all her traditions and culture (which have been selectively re-interpreted by the film makers).
What happens in this scene, is utterly comical! As Mrs. Parker tries to get into her truck, as the rain comes down, she gets knocked backwards--again, some mystical act of justice?--and hits her head on this pipe sticking out of the ground and lands in this pool of water, like a condemnation of Baptism, with blood coming out of her mouth, and she flops around and dies. This scene has an important element: no, not the bag with the flashlight and twine, but the truck itself. We will see this in Mad Max: Fury Road, but Liberals also hate that Americans have independence and can go and do what we want by virtue of our cars. The first victim we see is when Frank is driving that night and he sees a car with its hazard lights on and he stops, and we know this person doesn't have a chance. What's the moral of the lesson for a liberal? Don't own a car.
It might surprise someone that the Parkers don't have a dryer, or electricity, but this demonstrates yet another segment of American society the Left needs to wage war against in order to successfully entrench its policies, those who are self-sufficient and living off/or trying to live off the grid. From making local laws to not allowing people to use solar panels, grow their own food or collect rain water, to prohibiting the selling of fresh milk and eggs, the government does not want anyone to be able to take care of themselves, but everyone to be dependent upon the government for everything, because that gives the government power. Which is why the issue is quietly brought up that the father, Frank Parker, won't let any of them go to a doctor, and, as a result, Alyce was a victim to the early stages of Parkinson's disease, as revealed by the autopsy.
This image is actually from Man Of Steel, and above is young Clark Kent saving his drowning school bus from the flood waters. For a brief second in We Are What We Are, we see a small TV, with an image of a school bus driving through flood waters like this one in the image; seeing the TV, this is exactly what I thought of; why would We Are What We Are reference Man Of Steel? Remember what Mr. Kent (Kevin Costner) said to Clark when Clark asked, "What was I supposed to do, let them die?" Mr. Kent said, "Maybe." Would a conservative have even begun to entertain the idea of letting those children die, just so others wouldn't know how great his own kid is? No, that is another form of socialism the film was exploring in addition to the others symbolized by General Zod (Michael Shannon). So, why is We Are What We Are quoting Man Of Steel in this scene? Because they would have let all the children die. You bet they would; why? Because that would prove that Liberals are victims, the most "holy" think in all of Liberalism, is to be a VICTIM and anyone who doesn't let them be a victim is a racist and a bigot and a, etc., etc., etc. Liberals have to demonstrate that they are victims, otherwise, their shanty view of reality shatters and there is no justification for the government taking care of them and taking control of their lives. The two most evil people to a socialist are people who do not want them to be victims or save them from being victims, and people who refuse to identify their own selves as victims (as in the awesome film Beasts Of the Southern Wild, where, in spite of the big storm, they take care of themselves and each other; the government is clearly interfering in their lives). Again, this is a sour break-down in liberal logic, between them wanting to be victims, but wanting to blame conservatives/capitalists for making them victims. When someone like Al Sharpton screams, "You're a racist!" he is really saying, "I am a victim!" and he loves it! That's why they yell it as often as they possibly can. This is inconceivable to conservatives, and someone like Clark Kent, who is above so much--even when he himself is the victim of being bullied--is a true "horror film" for socialists.
The obvious religious extremism practiced in the film isn't something any Christian would recognize, except in the grossest of terms. At the start of the film, the title card FRIDAY is displayed, and the kids abstaining from food until Sunday, in a sick, Liberal interpretation of Good Friday and Easter Sunday, is, of course, misinterpreted and intentionally so. When Iris goes to warn people at the trailer park of the flooding creek, Rose puts a light in the window; yes, you guessed it, it's a reference to "One if by land, two if by sea," at the start of the American Revolution. This sequence of events is important because it reveals how liberals bind Christianity and the American Revolution together: to do away with one, will be the successful doing away with the other.
The film opened in a very limited number of theaters and went straight to disc, but taking place in Delaware allows the film to accomplish two things: first, Delaware is a Democrat-run state, so it's population is liberal, and will mostly agree with the images they see in the film as applying to Republicans, Christians and anyone else they deem a threat to their agenda. The second advantage is, Delaware was the first state to ratify the Constitution, earning it the nickname of "The First State," so people who still believe in the importance of the Constitution, like myself, see themselves in the Parker family and we know that we are being targeted. The watch that Frank repairs when we first meet him, and he's in  the shed, is synonymous with the "historical account" that Iris and Rose read aloud from the book Frank gives to Iris; why? Watches and clocks symbolize history, and Time in general. Frank has made himself the "keeper of Time" in the family by insisting on the family tradition continuing to be practiced and upheld by the members of the family. This is being mocked because socialists don't like history, so the history of the US has to be made "unpalatable" so the history of socialism doesn't look as bad in comparison to this fabricated history of Christianity and the US.
As Iris and Rose go through old photographs, and Iris reveals that she is ready to "take care of them," i.e., the victims for their ritual, Rose says, "What if we refused? What if we just stopped?" and that's a fairly typical kind of socialist query. The point is, in the US, socialists are free to go and start their little communes, and keep them going as long as they possibly can; as we saw in Martha, Marcy May, Marlene, they can't. Someone doesn't work enough, someone takes too much, and at some point, they resort to crime, on the small, individual level, or on the larger, national level. But in socialist societies, people are not free to practice their religion or capitalism if they want, so it's not a reciprocated system. Rose saying, "What if we just refused?" is fine: you have that freedom in America to refuse to participate in capitalism, but--as we know--Liberals don't want their own way in their own life, they are intent on forcing it upon everyone else, also.
Rory, pictured above, isn't just hungry from the fast: he's hungry because he's a "consumer." Rory is the sign of hunger in the film, from wanting his Snap Pops cereal, spitting out some bean or something his father made him spit out, to breaking their fast to have Rose put some Snap Pops in his milk and take a handful for herself and then sucking and biting the hand of the neighbor Marge (Kelly McGillis, Top Gun). This isn't the first time we have seen "cannibalism" in films for the last couple of years: in The Lone Ranger, Tonto (Johnny Depp) has been grilling some rabbit meat; he takes some and throws it to the rabbits, who transform into something out of Monty Python and the Holy Grail, and the rabbits fight each other to devour the rabbit. Also in The Lone Ranger, the villain of the film eats the organs of those he has killed. In Jack the Giant Slayer, the giants eat the people; now bring in all the zombie films, such as Warm Bodies and World War Z (which shows the Constitution being taken away, and never brought back) and there is a growing "body" of work the Left is putting together about how Americans are cannibals.
When Iris begins reading the book, the date is December 24, 1781, and within the writing, she reads, Papa has brought us to "a land that knows not the industry of men": why would that be important? The Industrial Revolution was in full swing, and with the boom in industry, there came a boom in capitalism. The colonies became an important source of raw materials for the British industry that was erupting, and a source of wealth for those living here and trading their goods. The "diary" Iris and Rose read, beginning on Christmas Eve, is meant, like the film beginning on Good Friday, to "expose" Christians as actually being demonic... which is weird, because liberals don't believe in demons.
Um, yea. The three of them are not only in strange situations like this, that are obviously,.... unnatural, but make them awkward around everyone else as well. What's the point of this? Well, probably that you shouldn't have more than one child. The Kimble girl died in the flood, but at least she wasn't eaten like poor Mrs. Stratton! The more kids you have, the more likely they are to grow up and be cannibals. That's the kind of logic this film proposes. Now, please recall, in The Conjuring, Mr. Perron has six girls, so that's eight of the them, and when Ed Warren asks him if there's any place they can go so they don't have to stay in the house, Mr. Perron says they don't know anyone with enough room for eight extra people, meaning, big families are a burden, so don't have big families, and, in World War Z, Brad Pitt's character obviously struggles with his asthmatic daughter, his wife that calls him and wakes the zombies, leading lots of men to be killed. Socialists want you to believe that families are bad, that is why abortion is so important to socialists, is to keep family size down.
When Marge tells Frank that Rory might need a doctor, he replies that it costs money they don't have, and they aren't used to sickness in the house. Then, like Alyce at the start of the film, his nose starts bleeding out of nowhere, and he interprets that as the Maker telling us "it's time." We know that Frank does have money, because we saw the poor man pay him earlier for his trailer rent before he left the county; so not only is Frank lying, but it appears he is greedy as well. This is supposed to be juxtaposed against the next part of the narrative we hear from the book Rose and Iris have been reading.
When Iris knocks the head off of Mrs. Stratton, she bleeds from the throat like a slaughtered pig; again, this is intentional, because the film makers want to equate the eating of any meat with an act of cannibalism, hence, why Marge brings over her vegetarian lasagna right before their "ritual meal." Don't forget, Marga named her dog, Kidd, as in, "human child."
When we see the young girl being given a knife to butcher the woman tied up, we hear, "I do what I do out of love. Alyce Parker." But wasn't Alyce Parker the mother who died in the beginning? Yes, but the connection the film makers want to establish is that "Alyce Parker" isn't a real person, but a type, a symbol for America, the "motherland," and what America has done and teaches Americans to do in their own turn. What socialists REALLY want to communicate through this Donnor-Party style history lesson that they have fabricated, is that, while Americans might have felt they had to become capitalists in the beginning to survive, because there wasn't an adequate government system to take care of them, since we are now enlightened and civilized, we should stop being barbaric capitalists and let the government take care of us. But, as we know, history is never the strong lesson of socialists, accidentally, or intentionally,...
Frank Parker, i.e., for "Park-inson's disease," is a white male, and hence, as we have discussed before, the ultimate evil enemy of socialists in America. Why? Because white men are the dominant power holders in America, the ones that socialist want minorities to perceive as cheating them out of their due, so films such as We Are What We Are serve two purposes. First, it tries to make white people ashamed of being white; secondly, it dehumanizes white people, so minorities will gladly rise up in revolt against them and kill them in a massive, socialist revolution, which is what a film like Django Unchained is calling for. Even though director Jim Mickle is a white guy, like director Quentin Tarantino of Django Unchained, they somehow think confessing their "white guilt" publicly absolves them of wrongdoing and they will be allowed to live in the bloody revolution against white people they are calling for, with Al Sharpton. Think I am wrong? The manner in which Frank finally dies is an apt description of what is happening to America: several factors are bringing him down, but it's ultimately that his own children turn against him (revolution) that kills him, and that's exactly what socialists want (remember what Valentine [Samuel L Jackson] was wanting to do in The Kingsman: the Secret Service?).
Those who came to settle in America came for economic freedom and prosperity; those who wanted to continue to be taken care of by "masters," stayed in Britain and Europe. Most of the earlier settlers were bound to the land and their landlords in England and other parts of Europe--the way the film depicts Mr. Parker being a landlord for the trailer park tenants--and those coming here wanted to risk everything to get out of that system and be free of economic restraints. In the film's depiction of Alyce Parker, they want to make us believe that they were worthless and completely helpless, and had to result to cannibalism, i.e., capitalism, because the government was too far away. Never, ever, trust the "history lesson" that comes from a socialist. But speaking of "history lessons,..."
Anders asks, "Does your dad own all this land?" Did Iris know her father was following them and planning on killing Anders? It's undecidable, really: if she didn't know, when they hear a twig break and Anders looks behind him (the moment pictured above) then why does Iris take his arm and lead him on, instead of questioning if they are in danger? If she did know, they why did she engage him in sex, only to then be discovered by her father "in the act?" I think she knew, which is why she took the knife with her, that either her or her father was going to have to kill Anders; so why did she start to have sex with him? Sigmund Freud postulated that the inherent life and death drives struggling within us lead us to having sex (preserving life) when we sense death is close by, but there is also a drive towards death in the sex act. With Iris, the mental stress she has been under, could answer why she engages Anders in sex so suddenly: she wants a new beginning. Taking Anders in sex is like taking a husband so she is no longer at the mercy of her father, but is independent of him and can make her own decisions now. That obviously doesn't happen. The blood spilling from Anders head mirrors the blood from the breaking of Iris' hymen (assuming she is a virgin, I don't know why we wouldn't) and that is meant to be the real "horror" for socialists: if you don't break free of Christianity, your father won't let you have sex whenever you want to! 
The tree toppling over at the start of the film, we know that is some kind of condemnation of the Tree of the Cross; later, when Frank sees all the bones that the uprooted tree has exposed, he knows they are going to be "found out" and it's supposed to symbolize all the people that Christianity has killed in the name of religion; why do they want to bring that up? Remember, socialists are desperate to disassociate themselves from the Holocaust, so any crimes they can accuse others of, they believe, absolves them of the millions who have been killed because of socialism.
Now, the very last point,...
We know that hair symbolizes thoughts, and Iris and Rose "switch" hairstyles as they switch roles in the film. Rose, above, wears her hair tightly braided until the last quarter of the film; after Anders' death, she pulls Iris' hair back in a clip, one that Doc Barrows' gave to his daughter. What does this symbolize? They are beginning to identify (empathize, think of) their victims, rather than their family.  Rose's extremely curly/frizzy hair, once she lets it down, becomes so frizzy because she has repressed so much for so long, she can no longer control what she thinks and feels. This is actually dangerous, because socialists don't want people to think rationally, rational thinkers are dangerous thinkers; they want people to think with their emotions because emotions are so easily manipulated, just as Frank manipulates Rose's emotions to get her to come home with him because Iris needs her. 
Frank dies in a most deliberate fashion. He could have died, like his wife, after hitting his head on the corner; no, that wasn't good enough. He could have been killed by Marge (her death is a warning to liberals that, if they don't kill the capitalists first, the capitalists will kill them, that's why she's killed on the glass of her window, the window symbolizes reflection, i.e., socialists need to "reflect" on what capitalists will do to them if they don't do it to capitalists first). Doc Barrow could have shot Frank, but no, that might have given glory and justification to guns, and heaven forbid that should happen. Rose turning on her father, and leading the other children to do so as well, in a graphic act of vampirism and cannibalism, is justified by the film makers: what Frank did was wrong, but what the children do against their father is right and commendable, because that is justice. How can we say that?  They drive off. Doc Barrow could have stopped them, but the "balance" was made even. So why does Rose have the book with her?
Saturn Devouoring His Children by Peter Paul Reubens. The graphic image illustrates the ancient call to revolution; why bring this up? Both Wrath Of the Titans and Percy Jackson: Sea Of Monsters dealt with the "resurrection of Cronos" who ate his children, but Zeus, Hades and Poseidon overthrew him and buried him so order would reign over the earth. For capitalists, we, too, have used the imagery of cannibalism to illustrate socialism, but not of the children devouring the parents, as in, We Are What We Are, rather, what socialists do to the young people who join the Party: there aren't any young people in the Democratic Party who can run for office in 2016, they are all the same old people we have seen, because all the up and coming Democrats have sacrificed their careers to save the old Democrats who commit all the crimes and sins. 
Knowing socialism, that book--the story of the first Alyce Parker--is going to form the basis of their "new life" that isn't new at all. They are going to do exactly what they have been taught, but do it against those who taught it to them. The lastest of the last note: why Parkinson's disease? As mentioned above, the Park-er family suggests they have always had it, but it's relationship to the Kuru disease mentioned in the film is a larger issue that America itself is showing signs of Parkinson's disease as we fail in "flexing out muscle" to put a stop to terrorists groups such as ISIS. In the end, We Are What We Are is a socialist statement mocking capitalists who argue, "We have always been capitalists, that is what we are, if you don't like it, move somewhere else." But socialists, as we know, won't accept that, so, they do what they do best: lie.
Eat Your Art Out,
The Fine Art Diner