Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
One of the critical causes célèbres of last year’s art film festival circuit was the Safdie brothers’ Jew-infested drug drama Heaven Knows What, based on the experiences of its star, Arielle Holmes, who plays a fictionalized version of herself named Harley. Those who have seen movies like The Basketball Diaries (1995), Bully (2001), and Spring Breakers (2012) will have some idea of what to expect from Heaven Knows What, which benefits from garish, psychoactive soundtrack contributions from Paul Grimstad, Isao Tomita, and Ariel Rosenberg (alias Ariel Pink). Joshua Safdie, who co-wrote the film with Jewish supremacist rapper Ronald Bronstein (alias Necro) and shared directing responsibilities with brother Ben Safdie, cuts an unabashedly Hebraic figure, as evidenced by this promotional interview and profile published by The Jewish Journal:
It’s not the first time Josh and Benny Safdie, 31 and 29, respectively, have combined fact and fiction in their work. Their 2009 film, Daddy Longlegs, was inspired by their childhood with their unpredictable father, a Syrian-born Jew who was a compulsive amateur videographer, a distant cousin of the famed Israeli architect Moshe Safdie and who worked for a time as a runner in New York’s diamond district.
One late afternoon in May 2013, as Josh Safdie was researching a prospective film based on his father’s years as a nonreligious Jew in that predominantly Orthodox industry, he chanced to spot Holmes swiping her Metro card in the subway near 47th Street. At the time, she was well dressed, and, Safdie recalled, “There was a star quality to her that pulled me gravitationally.”
Safdie asked Holmes if she would consider starring in his diamond movie, Uncut Gems, and didn’t know she was a homeless drug addict until they met to discuss that film in a restaurant in Chinatown some time later. “She was dressed like a street kid, and she kept nodding out,” Safdie recalled of the second meeting. The filmmaker learned that the day he met Holmes, she had awakened on the steps of a Buddhist church, washed her hair in a public bathroom and had donned the only dress she owned. While she was working as an unpaid intern designing jewelry in the diamond district, most of her money came from panhandling and from working as a dominatrix at a club called Pandora’s Box. Often she slept on the steps of various churches or in Central Park on the Upper West Side.
Intrigued, Safdie began hanging out with Holmes and her friends and met Holmes’ abusive lover, Ilya, a charismatic, if violent, Russian Jew whose idol was the misanthropic Greek philosopher Diogenes. “She described their love as epic, operatic,” he recalled. “She was like a member of the Manson family cult talking about Charles Manson. And I’m very interested in relationships where love breeds that kind of totalitarianism.”
After Holmes disappeared for two months, Safdie learned that she had been admitted to the Bellevue psychiatric hospital after Ilya goaded her into attempting suicide by slashing her wrist to prove that she loved him. “She seemed to be like a walking prophet or a tortured saint,” he said. “And that was the moment that this film project was born. …
Vulture adds these details to Safdie’s first impression of Holmes:
“I was like, Oh, there’s a classic Russian Diamond District girl,” he recalls. He approached her, expecting broken English and a hard-knock immigrant tale. Instead, there was a Jersey accent. She — this girl with the long brown hair and the big, sad eyes — said she’d never acted before, but she’d always thought she’d be good at it.
With distribution from The Weinstein Company, furthermore, there should be little lingering doubt as to Heaven Knows What’s predominating ethnic provenance – which makes one particular moment in the Safdies’ shock-fest all the more mindblowing. Harley is camped out on a street, reading a book while soliciting alms for her heroin habit, when a grinning, scraggly-bearded Jew in a yarmulke walks up and engages the tramp in conversation:
HIM: Excuse me. Excuse me, hello? Are you high?
HER: I’m sorry?
HIM: Are you high?
HER: No, I’m not high.
HIM: It’s okay to be high, it’s good, it’s good, it’s good to be high.
HIM: Yeah, yeah, it’s okay. It’s good. Are you high? You high?
HER: Yeah, I’m high.
HIM [handing her a $20 bill]: Here, here. Here, this is for you.
HER: What’s this for?
HIM: For you, to take and get high.
HER [hesitant]: Okay. I mean, I’m not Jewish or anything.
HIM: Well, it’s okay. There are mitzvah [i.e., commandments] for goyim, too.
HIM: Enjoy, get high.
HIM: Get high.
HER: Thank you.
HIM: Yeah. Baruch HaShem [i.e., blessed be the name (of Yahweh)], yeah?
This exchange is nothing short of astounding in a film distributed by a major Hollywood player like the Weinstein Company. Had Mad Mel Gibson or any other non-Jewish filmmaker independently financed and directed a movie containing such a scene, it not only would never have gotten distribution without censorship of the triggering content, but probably would have resulted in the permanent blacklisting of the offending party. Here is a Jew – the only character explicitly identified as a Jew in the entirety of Heaven Knows What, and therefore representative – plying an ostensible shiksa with cash and encouraging her in her self-destructive behavior. This, he insinuates, moreover, is a “commandment” for the goyim, that they rot their brains and ruin their bodies with pharmaceuticals.
Holmes, whatever the murky specifics of her genetic makeup, reads visually as a woman of Northern European blood, at least as photographed in Heaven Knows What – particularly with her dark hair dyed blonde. The context is also interesting to note, as the scene with the Jew immediately follows a shot of Harley listening to a Burzum song online. Burzum is the musical project of the neo-pagan white nationalist thinker Varg Vikernes – a circumstance that implicitly enhances Harley’s apparent Aryanness vis-à-vis the Jew. It is this impulse to Europeanness, however inarticulate still, that must be neutralized.
Joshua Safdie, as quoted in The Jewish Journal, however, attempts to misrepresent the scene of Harley’s exchange with the Jew:
In one bizarre sequence in the film, based on a true incident, a Chasidic Jew naively gives Holmes’ character $20 so she can get high. “It’s a funny scene because there’s a major miscommunication going on there,” Safdie said. “He says, ‘It’s good to be high,’ but he’s high on God, and she’s high on heaven knows what.”
There is no miscommunication, however, and the Jew does nothing “naively”. The fuzzy-faced creep gives the girl the money precisely because he knows she will use it to buy brain-addling chemicals. In a moment of selflessness, Harley decides the considerate thing to do would be to bring around some liquor to share with her lowlife buddies. She is too young to buy it herself, though, and so she persuades the disgusting Jew to go into the liquor store and get it for her.
Are the Safdies and the Weinstein brothers attempting to warn the goyim about the dangers of Jewish influence – about the contemptuous spiritual imperative of Judaism to bring the gentiles to ruin? Hardly. This is nothing but chutzpah – nothing but gross Hebraic hubris and peak Jew method revelation. “I also felt morally conflicted about how we were going to actually film the shooting up of drugs,” Safdie explains to The Jewish Journal, “to not glamorize it in any way, and at the same time not to judge these people.” This, too, is subterfuge, however – as the subconscious take-away for so many young women who watch Heaven Knows What will not be the horrors of drug addiction as memorably rendered in the film, but the extra-filmic Cinderella significance of the junkie-dominatrix-turned-Hollywood-starlet success story of Arielle Holmes. “Arielle Holmes was a homeless junkie when she was ‘discovered’,” enthuses Vulture writer Amy Larocca. “Now she’s the lead in a movie based on her own life, and thinking maybe she’ll give this acting thing a go.”
Holmes’s newest movie, American Honey, which purports to concern itself with “wild parties, drugs, booze and sex”, has been awarded a “Special Commendation” by the Cannes Film Festival’s Ecumenical Jury, a critical institution founded by Christian filmmakers to “honor works of artistic quality which witnesses to the power of film to reveal the mysterious depths of human beings”. Mysterious depths, indeed.
Aryan Skynet readers are encouraged to pick up, sniff, and examine Heaven Knows What like the dripping gutter artifact that it is – but, it ought to go without saying, not to actually pay for such a dubious privilege.
(as seen at Slate!)