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taj film mi je totalno nejasan, postavlja se mnoštvo pitanja, ali najbitnije je gde su ta deca posle završila? inače, jedan interesantan review hrvackog nacionaliste na IMDB, koja luda perspektiva 1. There is no explanation in the movie how Diana Budisavljevic saved ten thousand children, except for some foggy indication that some "good Nazis" made the Ustashas something 2. The film does not mention doctors sent by the Ministry of Health or other activities of the Ministry of the Association. No mention is made of the deceased nuns and other infected children while assisting them. There is no mention that railways and the entire NDH state system are in the rescue. There is no place for Kamilo Bresler, one of the civil servants with an important role in the placement of children 3. The Serbs seek to connect and smuggle in their "truth" with the tragic fate of Jews in World War II 4. Depicts Stepinac as a coward, a shaky and "Ustasha confessor" which is complete nonsense 5. Julije Budisavljevic shows an ID on which he writes "Serb 498", which was, like, issued to him by a state institution, which is a fabrication because it was simply not a practice at the time 6. The fact of Diana's diary that the Orthodox Savo Besarovic, a friend of the state chief, was in the Government of the NDH is overlooked and that later partisans sentenced him to death 7. It is alleged that Diana Budisavljevic was reported to have sent a truckload of goods to the partisans 8. Violence of police agents in Diana Budisavljevic's apartment is being invented, it does not exist in the Dnevnik (Diary) 9. Diana explains to the feldwebel (sergeant) that she is conducting a "private action" of aiding and abetting. A private! In totalitarian NDH? How did the director get away with this praise? 10. One grandmother says, "The hardest part was choosing who would go to the hospital and who to go to Sava!" That with river Sava is one of the worst fabrications from the communist propaganda arsenal, dating back to the Yugoslav era 11. The film's author suggests that Eugene Dide Kvaternik's mother killed herself because she was shaken by what her son was doing to Jews and Serbs. Quaternik's mother, Olga, died on August 31, 1941, and her connection to the Jewishness that the film insinuates is also unclear In the end, at the check-out of the movie, it says: Diana's file was never found again. This is not entirely true either. In the Croatian National Archives there is a Children's File, which belonged to the Ministry of Association and Caritas. There are about 28,000 cards in 56 drawers with the names of the children cared for during World War II. Diana Budisavljevic, as she writes in her diary, also made copies for the Ministry of Association when drafting her file. Another time, she would transcribe their cards for her records, etc. Therefore, part of her file can also be reconstructed through archival material, which does not need to be searched for ten years. Part of the data is in the AFZ archive material, also in the Croatian National Archives. This material was kept for years by communist officials such as Marija Bakaric, the wife of Vladimir Bakaric, and thus probably prevented some refugees from finding out in time what happened to their relatives. Now this material is available, but our movie researchers did not have time for it.

Srbi

pola Amera tvrdi i da su videli male zelene meni je svakako taj Gejts odvratan lik, ne čudi me da neko s psihosmetnjama razvije posebne umišljaje u vezi njega pa on nikad nije ni bio ispred ili iza dragstora, iza pogotovo, tamo bi ga gospoda prebila

ko to tvrdi uopšte... valjda će samo da zaradi pare

Jaganjce bih i ja svrsto u horor. Pa sad, nisu čisti, imaju elemente horora, kao što akcije imaju elemente komedije, i šta su onda, koji žanr... e sad, strava i užas, horror znači "an intense feeling of fear, shock, or disgust". Frankenštajn reko bih nimalo nije fear, prosto je groteskan i zapanjujuć ali strašan teško mene iznenađenje više vodi u hororima, jeza manje-više, one džampskerove ne volem

jasno, kad sam reko horor nisam mislio na jezu horor uključuje sve negativne emocije, gađenje recimo ili morbidna atmosfera ali da, ovde svakako nema scary momenata, čak ni u finalnoj sceni, gde je moglo biti nije ta vrsta horora i to jest sad problem jel žanr tim proširenjem gubi ili dobija

https://www.b92.net/info/vesti/index.php?yyyy=2020&mm=04&dd=26&nav_category=78&nav_id=1678439

Šta, Egers ne razume srednjevekovni witchunt problem, nije upućen već falsifikuje istorijski kontekst, to je nesporno. Postajanje vešticom kod Perkinsa je zapravo realnije. One su se pojavile nakon epidemije kuge kao slobodne žene i Perkinsova veštica to pokazuje. Egers priredi gomilu lažnjaka de jedu malu decu i unose razdor u familiju i black phillip. Sve je to krasno al je falsifikat i ideološki fejk. Ja ne volim horor koji nema nikakvog smisla u stvarnosti, bez obzira što je fantazija, mora biti realno utemeljeno. Ovaj Egers konstantno brlja, o Lighthouse da ne pričamo, teški promašaj.

Na TV uhvatio klasike Papillon i Cross of Iron. Ovako više ne prave filmove, nažalost. Vrhunski ugođaji, blagoutrobni. Ne mogu se ni porediti s današnjim smećem.

Nije mu ga dao po hororu više, moja glavna zamerka. Scenario malo praznjikav, ali čuda je činio s njim. Po meni, Perkins bi s Egersovim budžetom bio bolji od njega. Ovako ga produkcija osakati ali vidi se potencijal. Perkins razume status veštice, Egers falsifikuje istoriju i ideološki je fejk. Perkinsove dve horor scene su mu bolje nego ijedna u VVitch, ali film kao celina nije, zbog scenarija i produkcije.

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