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Heaven Knows What Evil Lurks in the Hearts of Jews


“I mean, I’m not Jewish or anything.”

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.”

Heaven Knows What Arielle Buddy

Left to right: Buddy Duress, Ben Safdie, Arielle Holmes, Josh Safdie

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. …

Heaven KNows What Ilya

Caleb Landry Jones as Ilya in Heaven Knows What

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.

HER: Yeah?

HIM: Yeah, yeah, it’s okay. It’s good. Are you high? You high?

Heaven Knows What Harley

Arielle Holmes as Harley in Heaven Knows What

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.

HER: Okay.

HIM: Enjoy, get high.

HER: Okay.

HIM: Get high.

HER: Thank you.

HIM: Yeah. Baruch HaShem [i.e., blessed be the name (of Yahweh)], yeah?

Heaven Knows What Jew

“Excuse me, hello? Are you high?”

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.

Heaven Knows What Poster

Pouty in Pink

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.

Heaven Knows What Skully

Ron Bronstein (aka Necro), as Skully, tries to put the moves on the heroine after her release from Bellevue in Heaven Knows What.

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.

Rainer Chlodwig von Kook

(as seen at Slate!)


About icareviews

Author, Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies

16 comments on “Heaven Knows What Evil Lurks in the Hearts of Jews

  1. icareviews
    June 4, 2016

    Reblogged this on icareviews.


  2. BMan
    June 4, 2016

    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.


    I don’t think so. That’s why I read your critiques on these “movies”.

    Liked by 1 person

    • icareviews
      June 4, 2016

      Heaven Knows What is actually a very competently made and stylistically vibrant experience if all a viewer happens to care about is stuff like that. At one time I probably would have thought it was a great film. The only problem is that it also happens to have been made by people with evil minds.


  3. kerberos616
    June 4, 2016

    Reblogged this on Kerberos616.


  4. Pingback: Heaven Knows What Evil Lurks in the Hearts of Jews | Hipster Racist

  5. Don Logan
    June 4, 2016

    I’m guilty. I dig some Ariel Rosenberg. Kooky little fucker. He’s like a combination of Zappa, Brian Wilson, Syd Barrett & New Wave. “As seen at Slate!”

    Liked by 1 person

  6. smartwhiteguy
    June 5, 2016

    Sounds like more crazy assed jew shit alright.
    I know the scene where the jew pays the shiksa to get high made some kind of impression on you, but in my experience jews usually try to get the goyim to pay for THEIR drugs!
    Once I had to leave a lot of my art in the care of a jewess. I found out later she sold a number of pieces for drug money!
    אוי געוואלד !

    Liked by 1 person

    • icareviews
      June 5, 2016

      I hope I didn’t give readers the impression that I think there’s some plague of Jews giving money to derelict whites to get high. I do think there is a certain emblematic significance to the scene, though, in its depiction of Jewish money as the source of corruption and Jewish culture as the source of so much of our degradation.

      Liked by 1 person

      • smartwhiteguy
        June 5, 2016

        I’m starting to suspect you may be a little antisemitic.
        (Don’t worry, your secret is safe with me!)

        Liked by 1 person


    Ariel Pink: “AP: You know what, I am whatever everybody thinks I am. And Jews . . . Jews just like to be called Jewish. That’s all that they care about. They’re fucking stupid. The ones that are like, not in Israel, they’re just so stupid. They’re all like, beefed up with national pride and all that kind of stuff. It’s just bullshit. I’m totally against all that. I think you’re a man of the world. Worldly. We’re all from the same DNA strand, you know. It’s like potatoes are our brothers. So, so, so silly.”

    Ariel Pink has actually criticized Jews quite a bit.


    • icareviews
      November 21, 2016

      Postracialism and internationalism are just Judaism by other means. “I think you’re a man of the world. Worldly. We’re all from the same DNA strand, you know.” We’re all Africans, in other words, so how can you not let droves of them into your nice, white country?


      • I hear you. I’m just saying Ariel Pink does a lot to speak out against Jewish supremacy and Zionism. I think we’re already so far gone that we’re not going to be able to deal with the Jewish problem just by uniting whites alone.
        I was also wondering if you’ve seen the interviews with the directors of the film who are two Jewish brothers. They seem like pretty sleezy guys to me. Thanks for the article and the reply!


      • icareviews
        November 24, 2016

        I read an interview with one or another of those brothers. One of them actually expressed approval of my review on Twitter, which was surprising.

        Anti-Zionist Jews and “good Jews” generally are fine as far as they’re useful for spreading information in non-threatening ways, but I think there tends to be an ulterior motive with them. Gilad Atzmon even turned out to be related to one of the figures most likely involved in the Mossad end of 9/11 – a topic about which Atzmon has been fairly reticent.


      • In this interview Ariel Pink touches on the Jews and goes on to say people need to be secretly controlled by groups of people they are unaware of.


  8. Pingback: White Girl ***1/2 | icareviews

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