It doesn’t matter if we haven’t had a chance to see Almodóvar’s new film, we should already accept that it “delighted” us, and its record-breaking 17-minute standing ovation at the Venice festival should be given to us by now.

And please don’t ask like Gałkiewicz: “I don’t understand how much fun it would be, if not fun?” because the answer would be much less merciful than the answer from “Ferdydurke” (“This is Gałkiewicz’s personal problem. As you can see, Gałkiewicz is not intelligent. He is a people-pleaser.”) If the new film was called “The Next Room” not? I don’t please you, it means that you are not only fit for the showroom with your wit, but you are also a hateful fascist of the anti-immigrant right wing, against whom such giants of cinema as the Spanish Almodovar or the Polish Holland fight valiantly with transfers. .. profits into their accounts.

My film is a response to the hate speech we hear every day

– Almodóvar said at a press conference accompanied by Tilda Swinton and Julianne Moore, his new stars appearing in his latest production.

Left-wing oikophobic priest

As a left-wing pastor, he did not miss a few lines of his sermons directed against the detestable Spanish right-wing, which issued warnings against endless invasions of the Canary Islands: “I also want to send a message to all the young people who are trying to reach our borders and who – at least according to the Spanish right – should be confronted by the navy, because treating you as invaders is absolutely delirious, stupid and absurd. It wouldn’t be fair if I suggested otherwise.”

The Spaniards (I’m talking about the uncommunicative and normal ones) accept the director’s constant nagging while yawning, but unfortunately on the left side of the world, as in the Polish portal, “Almodovar is amazed again!” Spanish conservatives responded with scathing columns, such as one entitled “Almodovar’s hate factory”:

The director “is an example of the social lift that has operated in Spain in recent decades: coming from a Catholic and simple family from La Mancha, he reached the top by work and enterprise. But his view of Spain was always full of hatred and resentment towards his homeland. Leftists believe that they have sufficient moral superiority to determine what we should do, who we should vote for, how many illegal immigrants we should accept, and – last but not least – how and when we should die.

Mayte Alcaraz wrote today in El Debate.

The director re-educates us by doing something completely opposite to what he preaches. He doesn’t go to the public hospitals we use, because every time he needs treatment, he goes to a luxurious private hospital, even though at the same time he openly attacks private facilities. He took part in demonstrations for the poor and was trapped in a tax haven with so many zeros in his account that even the Spanish treasury envied him. He has residences in Spain and the United States, where he does not provide protection to a single immigrant, while he orders us to protect them. And finally his irresponsible defense of euthanasia.”

– he added.

Euthanasia Crusade

And in fact, in his latest, critically acclaimed film, he demands the expansion of euthanasia to all countries. Inspired by Sigrid Nunez’s novel “What Is Your Torment?”, the film tells the story of the last days of a former war reporter (Swinton), suffering from terminal cancer, who decides to end his life and wants his friend (Moore) to end his life. accompanied him in his farewell.

The director reminded that Spain is the fourth European country to implement euthanasia regulations and considers it “urgent” to extend such instruments “to the rest of the world or, in their absence, a doctor’s decision is sufficient” (!)

The Polish public’s response to such a dictum could have been empty cinemas, but unfortunately the mainstream media machine would soon present the film to us as a historical event. There is nothing more pathetic than the Vistula’s chorus of starlets and celebrities gleefully praising and imitating even the poorest Western goods, packaged in Almodovar’s glamorous style.