SOUND OF FREEDOM, THE FILM THAT MAKES HOLLYWOOD (OR HELLWOOD) TREMBLE; REVIEW AND COMMENTARY

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By Michael Carbone

The independent film, released in the US not coincidentally on the Fourth of July (Independence Day), with nearly four million moviegoers is registering record receipts, humbling on its debut, astronomically-budgeted blockbusters such as Indiana Jones and the Dial of Destiny, Spider-Man: Across the Spider-Verse and Transformers: Rise of the Beasts and Elemental, the latter by Pixar and Disney.

A satisfaction within satisfaction.

Of course, it still takes courage to watch a film like this, once you finish you will want to do everything to bring your consciousness back to the ordinariness of your everyday life and convince yourself that what you have seen is all a figment of your imagination.In truth, The Sound of Freedom does not bring to the big screen a historical episode that, because of its temporal remoteness we might consider archived, but it throws in the viewer's face the stark reality of what happens on a daily basis. You will never be the same as before. It is becoming more and more evident that the satanic, Zionist Hollywood industry is at the end of its rope.

The plot overall is simple although as the minutes pass it becomes increasingly layered. The film begins by telling the story of a Honduran father who is inducted by a woman, who is said to be a representative of a young talent agency capable of guaranteeing the youngsters a bright future in show business. The sinisterly seductive offer - for evil tempts there where one is most fragile - pushed by a woman, well aware of the fate of those little ones, hurts the viewer deep in his (residual) current certainties.

Unfortunately, the bait works to perfection, even leveraging the two little brothers--the eyes stand out, especially in this film, and in this fragment it is those of the little sister who are dreaming stars--the parent will realize too late that he has offered his little ones on a silver platter to the worst possible fate: the agency, in fact, turns out to be a front for child traffickers.

This is where agent Tim Ballard comes in, played by the excellent Jim Caviezel, already known for his role in Mel Gibson's The Passion (a masterpiece film that Gibson himself, however, had to deal with as Zionist film critics polemicized and accused the film of "anti-Semitism"). It is with Ballard, a special agent with the Department of Homeland Security, that the film begins to sketch the various nuances of good and evil, right and wrong. 

It immediately jumps out at how potentially emotionally destructive it is for Ballard-and it would be for anyone-to fight the trafficking of innocent little ones, and the inner effort is one of the symbolic pillars. One of the opening scenes in which the agent is asked to examine VHSs in which violence perpetrated against children, including one as young as three years old, is visually eloquent.

"They abused the boys until their bodies were broken," this in the words and especially in the eyes - made brutally true by Caviezel's acting - of Ballard, who, shattered by those scenes, feels the atavistic need to get back in touch with something healthy: his large family (he has nine children, two of whom are Chinese adoptees)

In that context Ballard symbolically embraces his children only to be consoled by his wife Katherine, whose subtle but presence symbolizes the inescapable armor the protagonist must wear in the face of the rot that awaits him, the same Katherine who in reality will be the one to encourage Ballard to leave his assignment as a special agent and devote himself, body and soul but as a private individual to fighting child trafficking.

The film is thus based on the true story of agent Tim Ballard, the facts, including a few seconds of authentic kidnappings captured by security cameras, reconstructed in the film are not figments of the imagination but is what happens every day, a brutal awakening for those who bask daily in the soporific and indoctrinating circus of induced consumption and do not care much for the existence of evil.

Ballard's face, after having worked undercover for more than a decade and now having become planetary known, is no longer expendable for the delicate operations to which he had lent himself, and after leaving his historic employment, the former agent in 2013 founded O.U.R. (Operation Underground Railroad), which counts Tony Robbins among its major donors. The organization was involved in as many as 4,000 operations that resulted in 6,500 arrests.

All that attention attracted Mexican actor and producer Eduardo Verástegui, who strongly wanted to turn Ballard's heroic story into a film.

The film's exceptional sponsor is of course Mel Gibson, Caviezel's close friend.

Even Donald Trump championed the film a few days ago by organizing a private screening of the film at his Mar-A-Lago residence in Florida featuring lead actor Jim Caviezel.

If until a few years ago that of human trafficking was considered only "conspiracy theory" now thanks to this film that certainly will not be perfect but certainly strong and impactful the masses can also have a clearer picture of this sad and horrible reality that unfortunately has existed for decades thanks to the cabal. 

In addition to the boycott by the top Hollywood movie houses also came promptly the boycott by the corrupt liberal and leftist media who obviously labeled the film as "extremist" and close to pseudo-terrorist circles. All lies in order to discredit the film and obviously downplay the issue of child trafficking, the elite fears that it will be talked about. Among nationalists fortunately the film has been a success, hopefully the film will also reach Europe, though probably with the usual censorship.