Tuesday, June 4, 2013

Open Roads 2013: Elisa Fuksas' visually ravishing and quietly exploratory NINA

If you're hoping to discover at this year's Open Roads a load/lode of pure visual joy (my idea of it, anyway), don't miss NINA, the stunning narrative film debut of writer/director Elisa Fuksas. In fact, TrustMovies was so taken with this enchanting piece of work that he wants to see it all over again -- and soon. In terms of color, composition, space, light, and architecture (word has it Ms Fuksas, shown below, is the daughter of two of Italy's leading architects and was herself a student of the profession before turning to film-making), it has been a good long while since he has see anything as visually lovely and original as this film.

Yeah, yeah: beautiful, pretty, blah-blah-blah. But what about the story? Well, it's there all right, slight as can be, and mostly hinging on character (three of them: Our heroine, Nina; a young man who is attracted to her; and the little boy who lives in or around her building and is attracted to her in a somewhat different way), but this works just fine for the piece at hand, which, in any case, runs only 78 minutes. So if you possess even one appreciative bone in your body regarding the visual arts, I advise you to line up and take a look. (One of the two performances is already sold out, but I think there may be tickets or stand-bys for the second showing.)

The title character -- a young woman (is she some sort of student?) played with an odd combination of "otherness" and composure by actress Diane Fleri (above and below, right) -- has taken a job dog-and-other-pets-sitting, in addition to her occasional voice teaching, and is also taking (rather than giving) lessons in calligraphy, while almost all of her compatriots and anyone/
everyone else in what looks like some sort of academic environment are off for summer vacation. So she is left, nearly alone, to do her jobs and consider... what? Her life. Her goals. Her desires.

Into that life comes a goof-ily appealing young man (Luca Marinelli, above, center, and below, right; and also seen at this year's Open Roads in Every Blessed Day) who clearly has the hots for her (and she most likely for him) and a young boy who lives in the area and wants something -- friendship, love, mothering? -- from our heroine. Whom she will honor and/or grace with her possible permanent good will is the only plot point that might need fulfilling, though all the people we meet (including the boy and the young man, the pet owners, her calligraphy instructor, her voice students) are fun to get to know the little bit that we do.

Nina herself is something of a cipher, and I think that's what the filmmaker wants. Ms Fleri is lovely to look at and certainly possible to identify with (though her character is a bit of a twit: you fear for the lives of the animals under her care) and that is really all we need. Otherwise, we can bask in the utterly gorgeous visuals -- and wish we were there.

What an eye does Ms Fuksas have for place, person and color, and how well do these combine in her compositions!

The photos above and below barely begin to give you a sense of the beauty on tap in this film. You really have to see it to appreciate it, and the big screen is probably the best place to do so. I saw it on a big screen at home, and certainly will watch it all over again.

Nina plays twice during Open Roads: Saturday, June 8, at 4pm and again Monday, June 10, at 6:30pm. You can view the entire series, with features and showtimes shown, by clicking here.

Monday, June 3, 2013

THE PREY's Eric Valette, Laurent Turner & Luc Bossi create a crackerjack new thriller

Remember Tell No One -- that unusual French thriller that proved the most successful foreign-language film to be released in the USA during 2008? Most confirmed and avid movie-goers will, while also wondering why there has been so little so good in this genre since then. All of which makes the release of a (relatively) new French thriller THE PREY (La proie, from 2011) so welcome. It's one of the best of its kind since Tell No One, combining everything from bank robbery and stashed loot to prison, escape, chase, a serial killer, cops, kids, and some quite beautiful young women, not all of whom will make it to their middle age. If it is not as convoluted (nor juicy) as that fine earlier film, this new one nonetheless manages to take its rather standard materials and juggle them about as expertly as you could wish -- or expect -- in these dumbed-down days.

Director Eric Valette (shown at right), together with his screen-writers Laurent Turner and Luc Bossi, gives us a story that starts in one direction then veers in another and yet another as we gladly race along keeping up. Don't get too attached to all the characters, however; as in life, some of the good folk leave us as young and untimely as we might wish for the evil ones. That said, The Prey tends to be more conventional in its use of bad guys and good than Tell No One (or the also excellent French thrillers Point Blank and Sleepless Night). There are no big conspiracies here, and the cops, though they may be dumb, are at least decent.

As usual, the less said about plot will allow you to experience the ongoing surprises, and a nice number of these there are. Instead, let's talk about the cast -- as the movie is chock full of good performers you'll be happy to see again.

The lead roles are taken by that craggy-faced leading man Albert Dupontel (two photos above, of Paris and Intimate Enemies) and Alice Taglioni (just above, and lately seen here in Paris Manhattan). Both actors are quite good, with the gorgeous Ms Taglioni more convincing that you might think as a cop who can rough-house and fight with the best of the boys.

The supporting cast is awash with oft-seen talent, from the wonderful Sergi López (above, as an ex-cop with a big beef) to Natacha Régnier (below, left, as one of the screen's more memorable "enablers," a lady who takes "help-meet" to rather horrifying limits). New to me and creepily memorable is Stéphane Debac (below, with rifle) as the kind of antagonist you'd do well to avoid -- if only you could realize what he was up to in time.

Screenwriters Turner and Bossi create this tapestry of intriguing characters, plots and sub-plots that of course begin to meld, setting them all to spinning, if not exactly merrily, then quite entertainingly. Director Valette keep things moving in tight and focused fashion, pausing only to let his actors ply their trade expertly.

There are some fine action scenes and breath-taking chases, as the suspense keeps ratcheting and the corpses pile up. The filmmakers play their hand for maximum excitement and thrills -- hitting the proper line, I think, between what must be shown regarding the dead and what happened to them, while not making the usual (and often unnecessary) trip to gore-land. What we see is plenty bad enough, but our noses aren't rubbed in the entrails.

The pacing is quite good, too, with the breathless stuff alternating confidently with quieter, character- and plot-driven incidents. All in all, The Prey is a savvy, intelligent, twisty, suspenseful and well-plotted thriller. More, please.

From Cohen Media Group, in French with English subtitles and running 102 minutes, the movie opens this Friday, June 7, at AMC theaters across the country. Here in New York City it's at the Empire 25; in the Los Angeles area at the Burbank Town Center 8; in Boston at the Boston Commons 19; in Phoenix at the "dine-in" Esplanade; and in Seattle at the Pacific Place 11.

Open Roads 2013: Terrorism 'n Time Travel Susanna Nicchiarelli's DISCOVERY @ DAWN


Having just come from a film -- Piazza Fontana: The Italian Conspiracy -- that dealt with terrorism from decades past, here we have another that tackles a terrorist event (fictionalized) a mere dozen years later (1981) in which, in a terrifically filmed early scene -- fast, shocking, irreversible -- a murder takes place. And then the movie melds into a tale of, well, a kind of counter-terrorism via time-travel fantasy using a telephone. No. Yes! This should not work, not on much of any level, and yet it (sort of) does.

Buoyed by some very fine performances, from one of Italy's most appealing and emotionally savvy actresses, Margherita Buy (shown below, who seems always to appear, sometimes often, at Open Roads), and from the film's director and co-writer Susannah Nicchiarelli, (shown above), as sisters Caterina (Ms Buy) and Barbara, whose dad disappears soon after that murder, THE DISCOVERY AT DAWN is an odd duck indeed. Dealing with a fragmented family twenty years later, in which the mother is now dead and the older sister seems somehow out of place in her job and in her love relationship, while her younger sibling (Ms Nicchiarelli) remains an "outsider" even more at sixes and sevens with the world.

A visit to close down and sell the family's old beach house, which has not been used by family members for years now, sets in motion the events that make up the movie and take us back and forth in time to past and present, while offering a set of rather interesting and diverse characters along the way.

Among these are other professors at the university where Caterina teaches, one of whom (above) is a bit more than Cat's friend; her husband of many years (a lovely performance from Sergio Rubini, below); the band that Barbara manages and among whose members one fellow seem to stand out; and a woman from the past who does not want that past brought up again.

And then there's that telephone (below) in the old beach house, unplugged but oddly still working that manages to connect Caterina with....  Well, you'll see -- if you manage to get to this film during its Open Roads run. It seems to me that there are characters and plot aplenty here, so I wonder why Ms Nicchiarelli felt the need to go for this fantasy/time travel theme, as well? Unless, of course, we are to take this as somehow imaginary, or as a psychological unfolding of something that Caterina actually knew, even then, on some repressed level, as a child.

In any case, the film is interesting enough, and certainly quite well acted, filmed with some style and written with a keen handling of characterization. I have to recommend it, if only to see what some others of you feel about it and how well (or not) you think it works. (If you bought this kind of linking-past-and-present in the Gregory Hoblit/Toby Emmerich male weepie Frequencyfrom 2000, then you may very well buy it here -- from a female perspective and with less sudsy emotion on display.)

The Discovery at Dawn plays Opens Roads (at the Elinor Bunin Munroe Film Center) on Saturday, June 8, at 1:30pm and again Monday, June 10, at 4pm. Click here to see the entire series' program and showtimes.

Sunday, June 2, 2013

Slaughter in high school: Michelle Danner's and John Buffalo Mailer's HELLO HERMAN


Well-intentioned but coming a bit late to the table (after better films such as Elephant, Beautiful Boy and We Need to Talk About Kevin, to name but three), the new movie about yet another high-school massacre -- HELLO HERMAN, written by John Buffalo Mailer (from his play of the same name) and directed by Michelle Danner -- has its moments and, to the credit of the filmmakers, has been opened up enough to not seem stage-bound. Beyond this however, it never quite finds its footing in order to take off far enough to make us understand and/or care about its characters. Or, for that matter, to believe in them much.

Parceling out blame for why the film doesn't work is difficult when you weren't at the shoot itself, but because Mailer's dialog and plot points are interesting enough to command some respect, it may be the manner in which Ms Danner (shown at left) -- a well-known acting teacher here directing her second film (her first was the 2006 rom-com How to Go Out on a Date in Queens) -- has put all this together that seems wanting. There is often a kind of disconnect between dialog, acting, visuals and editing that makes for a result that seems almost constantly just a little "off."

This is particularly true in the scene in which Herman's mom (played by the director) unburdens herself to the protagonist/reporter named Lax (essayed by Norman Reedusbelow, right). Solid, genuine points are made here and yet the whole thing comes up a tad phony due to that above-mentioned combo of disconnect. Mailer offers the reporter as a kind of mirror image of the high school assassin (Garrett Backstrom, above, and below, left). Both are severely troubled and have the death of a human being on their hands -- though the kid has 42 to the reporter's one.

Speaking of, how in hell does that kid even know about the reporter's baseball-bat clubbing of an innocent black boy? This is not something this very cagey character Lax would be likely to bandy about. Love interest (unnecessary, considering how little is done with this) is provided by another reporter, played by Martha Higareda (below, right), who was Lax's girfriend back in the day and reconnects with him now. ("He's her ex-lax!" my companion noted with glee, providing the best line of the evening -- even if it wasn't part of the movie.)

Hello Herman wants to spreads its indictments around, and so the media takes its shares of hits via interviews with an crass 'n nasty Republican senator (Christine Dunford) and an asshole TV host who loves to turn up the volume on hate and violence (Rob Estes, below). Bullying gets its share of time, too, taking its place as one of the reasons for the murderous kid's killing spree. So does a fractured family, with Dad missing in action, mom working herself silly and -- in the one truly dumb segment, our anti-hero as a baby-sitter too interested in playing video games (the violence of which is also heavily indicted) to take proper care of his little sister. Oh, yes -- the kid's desire for fame-at-any-price comes into play, as well.

All the ingredients (except maybe a specific plea for gun control) are here to provide the usual recipe for mass-murder. But so what? They don't mix well or truly compel. Set slightly in the future, where our poor, miserable, fame-hungry fellow is to be executed via electric chair on TV in front of the entire nation (sort of a modern-day Keir Dullea in an updated Hoodlum Priest), the movie doesn't go far enough for either sci-fi or satire. It is definitely well-meaning, and just as definitely so-so. For those expecting a lot of blood and gore, be warned: The carnage is suggested then replaced by freeze frames gone to sepia mode. (That's OK: Beautiful Boy left the killings out entirely and still proved a riveting, deeply-felt movie.)

Hello Herman -- from Warner Bros, Gravitas & Freestyle and said to be running 100 minutes (although the version I saw ran only 89) -- opens Friday, June 7, in New York City at the Cinema Village, in the Los Angeles area at Laemmle's Noho 7, in Atlanta at the Plaza Theatre, in Miami at the Palace 18, in Tempe/Phoenix at the Harkins Valley Art, in Cleveland/Mentor at the Great Lakes, in Modesto/
Sacramento area at the Brenden 18, in El Paso at the Premiere 18, in St. Louis at the Jamestown 14, in Florida (in Lake Park at the Mos' Art, in Lake Worth at the Stonzek Theater, in Philadelphia at the Montgomeryville Stadium 12, in Albuquerque at The Guild, in New Jersey (Boonton) at the Darress Theatre and in Louisiana (at Shreveport's The Robinson). Simultaneously, it will be available via Time Warner On-Demand in some 100 million US homes.

Open Roads 2013: Marco Tullio Giordana's PIAZZA FONTANA: The Italian Conspiracy

The original Italian title of this film -- Romanzo di una strage ("Story of a massacre") -- is a lot less cumbersome, but for American audiences, it must have been imagined (even for those sophisticated foreign-language/
arthouse patrons), that the word "conspiracy," together with one of those famous Italian fountains-cum-piazza, might bring in the ticket-buyers. In any case, PIAZZA FONTANA: The Italian Conspiracy is the first and only film so far in this year's Opens Roads series to have been picked up for U.S. distribution (Adopt Films by way of Kino Lorber).

Directed and co-written by Marco Tullio Giordana (shown at right) -- who a decade ago gave us that modern Italian classic The Best of Youth -- the film explores a famous bombing (and its aftermath) of-and-in a bank, below, on that titular piazza back in 1969. This took place during the time of the anarchy/violence-driven left wing Red Guards and the perhaps even more violence-driven right wing (of course nicely undercover, as the right wing so often is), who would have been delighted to see a return to the Mussolini-like tactics of Italy's Fascist era.

I'll have more to say upon the theatrical release of this most interesting, dark and depressing documentary-like narrative thriller that will only make you even more certain that little has changed in Italy over the past nearly half a century -- except fashions, cars and interior decor.

Two of the country's best actors have leading roles here: Open Roads regulars Pierfrancesco Favino (above, left) and Valerio Mastandrea (above, right), supported by a host of fine performers. The plot, if you can call it that, is utterly Byzantine by American standards. Even for those of us non-Italians who have followed (or at least boned up) on Italian 20th Century history may have a difficult time following all the ins and outs of what is actually going on. (Although the point of this film, if I am not mistaken, is how little any of us, including Italians, can know of what has transpired, so convoluted and secretive is much of what went on then, as now.)

The film has been directed by Signore Giordana in a palette of dark colors: lots of blues, browns and greys. There is hardly a scene in the sun in the entire film. The movie from last year's Open Roads that this one most reminded me of in terms of reliving history is Diaz: Don't Clean Up This Blood (click and scroll down), though this one is much quieter, more removed and full of nasty uncertainty, while Daniele Vicari's Diaz is head-on, full-out and open throttle. Though the style and time-frame of the two films are quite different, the one thing you'll want most to see in both is some justice done. Justice? You jest.

Piazza Fonatana: The Italian Conspiracy, running 129 minutes, will play twice at Open Roads at the FSLC's Elinor Bunin Munroe Film Center: Friday, June 7th at 8:30pm and again Wednesday, June 12 at 6:15pm. Click here to see the entire Open Roads program and schedule.

Saturday, June 1, 2013

Part II of one of the most important docs (physician and film) of the Millennium -- BURZYNSKI: CANCER IS SERIOUS BUSINESS; Q&A with Eric Merola


First a note: TrustMovies' review of the original Burzynski film, together with a long interview with the filmmaker Eric Merola (you can find both here), is the single most read post on this blog, by a wide margin -- with literally thousands more hits, page-views and readers than any other posting in the blog's nearly five-year history. In a normal to good week, my postings might get 2,500 hits; Burynski's best week reached 10,000. I'm happy about this because the film is not only a very good one, as it details the triumphs and struggles of this Texas-based doctor to cure cancer using his own Antineoplastons method (which, by the way, after 27 years of independent testing, notes Dr. Hideaki Tsuda of Kurume University Hospital in Japan, have been found successful), it also shows up the behavior of our government, the Cancer industry and Big Pharma for the power/money-hungry, hypocritical scum that they all too often are.

Mr. Merola, shown at left, has done his homework -- and a lot more. His first film is so tightly focused, documented and well argued that if it were used in court as a defense of Dr. Burzynski (or better, the prosecution of that government/pharma/cancer coalition) there would be no contest. In the time since I saw the original film, Merola tells me that it has been reedited to include certain testimony that was not originally available, and now makes an even stronger case. The injustice quotient here is so staggering that one cannot blame many Americans for wanting to look the other way. As more and more truth about the lies we are being fed keeps surfacing, thanks to everything from Google Search to WikiLeaks, looking away grows more difficult in these days of "banks too big to fail," Wall Street crime unchecked and unpunished, constantly growing corporate power, and the increasingly lurid and sick control of Monsanto over our diet. This is just as well, for we seem to be approaching a time when either martial law or armed insurrection will at last be America's real form of democracy.

Meanwhile, what to make of BURZYNSKI: CANCER IS SERIOUS BUSINESS (PART II)? First off, in my estimation, you should make certain you've seen the original film first, for it offers such terrific history and background on the whole story. For anyone who's already seen Part I, Part II will be be a must. The latter film gives updates on much of what we saw in Part I -- further explaining the doctor's use of personalized gene-targeted cancer therapy along with the Antineoplasteons method.

There is also an almost entirely new cast of patients, some of whom "make it," some of whom do not. (Neither the doctor nor the filmmaker ever implies that this method is foolproof.) We follow one particular family in Britain, that of Laura and Ben Hymas (above) and how the British medical establishment tries to prevent the Hymases from going with Burzynski (there is a audio-taped interview here, a still from which is shown below, that is simply staggering); how the paid-off leading "skeptics" and their follow-along acolytes try to first scare and then drub the Hymases into submission, and finally how Laura comes through and what she has to say to these "supposed" skeptics, post-remission.

The FDA as an arm of the drug companies is explored once more, along with a lot else. What isn't in the documentary (from folk who are no doubt too frightened to go on record) is probably as important as what is, but you can read about some of this in the Q&A below. Our government, our Cancer industry and our drug companies all know the Burzynski's method works better than anything they have come up with. (That's the good doctor himself, shown below.) Why this method has not been accepted and allowed to be used to treat the general public (not to mention be covered by insurance) will prove one of the great and enduring scandals of our time. (To get the filmmaker's "take" on this question, read the interview below.) As George Bernard Shaw's Saint Joan so famously asked: "How long, oh lord, how long?"

BURZYNSKI: CANCER IS SERIOUS BUSINESS (PART II) is available beginning today, June 1, via VOD on over 100 cable/satellite provi-ders and will hit the streets as a DVD on July 1. You can also rent or stream its predecessor from Netflix. Or order both films from the link here. Go to it -- and learn about something worth fighting for.

*******************
Eric Merola is the fastest talker (literally, not symbolically) I have ever interviewed, and so my already inadequate typing skills were simply not enough. Once I'd readied the transcript, I sent it off to Merola for additions and/or corrections, so what you read below has both his and my imprimatur. In the following, TM appears in boldface and Merola in standard type....

Boy, you have been spending a lot of time on this film -- in addition to all you put in on Part I. 

Yes—the Burzynski saga has been going on for nearly 40 years now. I started cold calling the Burzynski Clinic back in 2007, and they had zero interest in speaking to me. They had no idea who I was, and frankly I don't blame them. I had never directed my own documentary before, my only credits included some work on some PBS documentaries and Michael Moore's films. After about a year of persistence, Burzynski finally allowed me into his world.

After the release of the first documentary in 2010, I immediately began working on "Part II".

The first documentary was more of a historical and biographical story of the struggles and battles that allowed Dr. Burzynski to freely allow his "Antineoplastons (ANP)" invention to enter America's Food & Drug Administration (FDA) drug approval process. This film also included the plight of many of the cancer patients throughout this time period—many of whom were instrumental in winning numerous monumental legal battles with the FDA. For "Part 1", aside from curing incurable cancers, I was fascinated by the fact that a single scientist stood up to the FDA and defeated them in not one, but two federal juried trials. The most stunning thing about those court battles was—the prosecution refused to allow whether the therapy worked or not into the trials! (Click to see Source.) The trials were merely about "interstate commerce", accusing Burzynski of shipping his medications across Texas state lines, breaking Federal Law. Two sets of juries reached a "not guilty" verdict related to these charges.

For me the the highlight/low-light of your first film was seeing the collusion involved -- when they are unable to discredit his work, they try to steal it!  

For me, too. Perhaps the most stunning aspect of "Part 1," is where I was able to prove how the very same agencies trying to imprison Burzynski for the rest of his life for "interstate commerce", were also colluding with one of Burzynski's own research scientists as well as The Department Of Health and Human Services to file duplicate patents of already existing patents of one of his Antineoplastons' medications, "AS2-1"!

Part I can be seen on Netflix, DVD, and other distribution outlets, and the entire film is backed up and sourced for transparent fact-checking by anyone—including the patent situation. Every document used in the film are available—in context—for anyone to scrutinize and fact-check for themselves. I knew I had to back up everything in this documentary since most people would find corruption of this magnitude simply too hard to believe at face value. (Click for Source.)

For "Part II", I not only wanted to make a modern story of the current status of clinical testing of Antineoplastons—but also roll the dice and follow patients from diagnosis, and throughout their journey using Antineoplastons. Some of them came out cancer-free, and some died. This therapy is not a "miracle cure" nor is it in any way a "magic bullet". It works for some, and not for others.

Do you think this film can stand alone? It seems to me that you really should see Part One first.

Since this saga has been going on for nearly 4 decades, it's impossible to cover everything in one film, and especially in a sequel. I feel "Part II" stands on its own, but anyone who is interested in this story will really want to see "Part I", to understand the background. Again, I wanted to document a "modern story", and not harp on the past—I wanted to make a documentary where once it was released, all its contents occurred within the last 24-36 months. The last scene in the film occurred in January of 2013, for instance.

Another big difference between this new film and the first one is—the first film focused on Burzynski's history—"Part II" focuses on the patients. For Part II, I also managed to get oncologists, surgeons, neurosurgeons and other medical professionals who witnessed their patients leave their care, headed to Hospice, only to return cancer-free.

Another aspect that will take many viewers who are familiar with this story by surprise—is Burzynski's work on what he calls "Personalized Gene-Targeted Therapy". In a nutshell, how this works is: the patient is diagnosed via biopsy by a third party cancer center—(Dr. Burzynski has never diagnosed anyone, all cancer patients that seek the therapy of the Burzynski Clinic come to the clinic already diagnosed by usually more than 2 outside cancer institutions like MD Anderson or Sloan-Kettering)—a sample of that biopsy is sent to one of the cutting-edge gene-testing labs that are emerging around the country more and more today, coupled with a blood sample that is sent to another lab. These genetic labs are able to scan the biopsy sample and the blood sample to recognize what genes relate to that individual person's cancer. From there, Burzynski and his medical team design a "personalized gene-targeted" regimen using any number of the 40+ gene targeted cancer drugs on the market today. Burzynski also includes a substance called "Phenylbutyrate (PB)" which is a "pre-metabolite" of one of his initial Antineoplastons' invention, AS2-1. When the patient takes PB orally, it metabolizes in the liver into AS2-1. The oral form (PB) isn't as powerful as just giving AS2-1 intravenously, but under FDA sanctions Burzynski isn't allowed to give anyone the genuine infusions of AS2-1 without FDA's permission. (The FDA holds full dictatorial rights over what Burzynski can and can't do with ANP).

While this "personalized gene targeted therapy" doesn't hold the power that his original ANP invention holds—it's a cutting edge new direction that has been considered by some of the top oncologists in the world as "the future of cancer therapy". Burzynski has been practicing this method since the late 1990's—MD Anderson is finally catching up, finishing their new "personalized gene-targeted cancer center" in 2014. Most importantly, it's a new direction away from the cookie-cutter, conveyor belt of blindly giving everyone with a particular cancer diagnosis standard chemotherapy and radiation, without an ounce of an idea if it will be efficacious for that patient. This new "personalized" direction has more of a "targeted" purpose. They weed out the drugs that most likely will not benefit the patient, and include the drugs that most likely will. (Ideally, since Antineoplastons are shown to target as many as 90+ genes related to certain cancers, it would be ideal to combine Antineoplastons as well as the "personalized gene-targeted therapy" to give the patient the most optimum chance at winning their battle against their cancer—but we are worlds away from getting to that point given the strict sanctions the FDA currently holds over Antineoplastons alone).

Most amazing of all in "Part II"—for me—was my travels to Japan interviewing and meeting a team of pathologists, oncologists, radiologists, surgeons, neurosurgeons, PhD biochemists, and anesthesiologists at the Kurume Medical Center in Fukuoka, Japan. This team did something that no other medical research team has had the courage to do, at least not at this scale. They underwent 27 years of independent studies of Antineoplastons, starting from mice studies in the 1980's, then Phase 1 human trials (testing toxicity), Phase 2 human trials (testing efficacy), and finally the first ever randomized human clinical trials—for colon cancer with metastasis to the liver, lungs and brain.

The "randomized trial" was created by the world's scientific community to eliminate "bias" and "anecdotal data". As Dr. Hideaki Tsuda from my film says, "Anecdotal data gives birth to the scientific mind. But recording anecdotal data again and again, isn't convincing. You have to create the randomized study where the patients are arranged randomly and no one knows who is getting just chemotherapy and who is also getting the experimental medications (in this case, Antineoplastons). We did exactly this, and after 27 years of independently testing Antineoplastons, it's clear to us that Antineoplastons are now considered a proven therapy, and its results can no longer be considered anecdotal."

Oh, but that doesn't count, 'cause we beat out Japan in World War II, right? 

(Merola chuckles) What is interesting about these Japanese studies is: They were truly independent, and were not done under Burzynski's supervision or advice whatsoever. Speaking to Burzynski about these monumental independent randomized trials conducted by the Japanese, Burzynski said "They didn't use the 24 hour infusions as I have done since the 1980's, they only gave the patients one week of arm injections of ANP, and then one year of oral pills of ANP. If they used the infusions as I have designed, their results would have been far better."

While this is true that the Japanese ignored all of Burzynski's recommended protocols for their human studies—and chose to design their own, the fact that they had double the survival rate in the Antineoplaston group vs. the chemotherapy alone group—that is pretty darn incredible. I can only imagine how the patients would have fared under the infusions. What is also remarkable about these Japanese studies is the fact that this medical team are not "alternative" scientists, they are orthodox medical doctors and scientists. And as such, they insisted on combining chemotherapy with both the control and Antineoplaston groups. The Japanese insist that Antineoplastons work very well in connection with chemotherapy—as chemotherapy is "reactive" and "kills", while Antineoplastons are "non-reactive" and "occupy the space and reprograms the cells". They feel that the easiest way to ease Antineoplastons into the mainstream medical profession is to start there—combine it with chemotherapy. In some ways I agree from a "paradigm-shift" stand point. Telling an oncologist to throw his chemotherapy into the garbage and start using only Antineoplastons overnight—from a bureaucratic standpoint—is next to impossible. This Japanese oncology medical research team firmly feel that Antineoplastons are a perfect complement to standard chemotherapy.

England features more prominently in this edition than in the first one. 

All four patients I followed the closest happened to be from the United Kingdom. Some of these patients were cancer-free at the end of our journeys together, and some died. This therapy is not a magic bullet, but when you are told by your oncologist "you are going to die, we can't save you", and then they opt as a last resort for the Burzynski Clinic, and that patient comes out cancer-free, that is remarkable. Especially since all four of these particular patients were diagnosed with incurable brain tumors.

Focusing heavily on the United Kingdom patients wasn’t planned, but it’s just the way the story went. So I made best use of my time over there. I actually found the British to be more resourceful than most of the American patients. Many American patients in general put a lot of blind faith in Burzynski (they also put a lot of blind faith in their regular oncologists too), while the English really did their homework. The English were far more skeptical and came to their treatment choice only after weeks of research and scrutiny of Burzynski and his therapy methods. Maybe it's because Americans are living under the delusion that they have a "choice" in their cancer therapies—due to all the indoctrination that Americans live in a free country—and the British just know they have no choice in their cancer therapy—given the socialized system there. I am not knocking socialized medicine—all I am saying is, if any country has socialized medicine, the "cook book, conveyor belt, blind administration of chemotherapy and radiation" protocols given to everyone will be the only option for that population—unless they go private, which most people can't afford. Any medical system where the government dictates its scientific protocols pretty much automatically excludes anything "out of the box" or "innovative."

One thing I was particularly impressed with is how much of a fighter Laura Hymas really is! 

Yes, she is. Another aspect of this new documentary I am most proud of, is how much documentation I was able to obtain related to Laura Hymas' story. After Laura was deemed incurable by her oncologists, and decided to raise money to travel to Houston to get Antineoplastons at the Burzynski Clinic, I have National UK TV news clips essentially telling its audience Laura is going to die, two-page national magazine spreads saying "How am I going to tell my son I am going to die", the list goes on. The British media had a frenzy over Laura when she was first diagnosed—and ever more so when it was realized that she wanted to go to some Polish doctor in Houston Texas . Her story was a super tragic story—she was diagnosed with an incurable Glioblastoma Multiforme Grade IV brain tumor on Christmas Eve, she had an 18 month old son, was having 40 seizures a day due to her tumor's location—the media loved it, as they always love to report on tragedies. (Of course, once her tumor began to shrink using Antineoplastons, and her tumor is now completely gone—the British media wants nothing to do with her!)

There is another aspect to Laura's story included in this new documentary that I will not tell your readers about—I'll let it be a surprise—but I will say that never before in documentary history has any documentary obtained and included such a profound piece of material. Everyone that sees the film is floored by this piece of material. I am still pinching myself that I was able to obtain it—much less include it.

Can we talk about these “Astroturf campaigners,” which you spend some time on in Part Two?

Yes. They ironically call themselves "The Skeptics". (I have found that we should be wary of any organized group that labels itself after a pre-existing attribute of the human condition). They pretend to be patient advocates protecting people. In reality, they are there to stop people from seeking Burzynski's therapy. However, Burzynski isn't alone. Any therapy that is not invented, approved, packaged, marketed, and sold by the pharmaceutical industry—is automatically a "quack therapy" by default in their eyes. They have even attacked the world-famous Sloan-Kettering Cancer Center in New York City for giving their terminal cancer patients the option of choosing yoga, meditation, and acupuncture—over traditional highly addictive narcotic pain medications. These so-called Skeptics have roundly accused Sloan-Kettering of quackery for daring to give their patients a choice in pain management. In the Skeptics point of view "all cancer patients are prisoners, and they must receive the cook book pharmaceuticals and if they or anyone even thinks of altering that cookie-cutter plan—off with their heads!" These people have zero tolerance of any sort of freedom—when it comes to medical choices—or one's freedom of speech. But then again, that is their job. Burzynski is merely in the blender with the rest of those innovators who dare deter from the norm—since Burzynski's therapy also isn't packaged and produced by one of the top pharma companies.

The whole goal of the Astroturf campaign is to manipulate other unsuspecting and naive members of the public—and then recruit and build their army that way. Not all of the so-called skeptics are on a discreet payroll, perhaps only a handful of them at the top. But this really isn't the most important thing—as using fake advocacy groups to push an agenda is the pharmaceutical company's oldest trick in its toolbox. Former editor in Chief of the New England Journal of Medicine—Marcia Angell—has written extensively how the pharmaceutical industry has created dozens upon dozens of fake advocacy groups to fight their battles and defend their own interests (Read Dr. Angell's "The Truth About the Drug Companies: How They Deceive Us and What to Do About It").

It would only make sense that such a force would exist, I mean after all—imagine if Antineoplastons were released onto the market—being a proven gentle and effective therapy—and you as a cancer patient had that choice over the ancient toxic carcinogenic chemotherapies and radiation… which one would you choose? The industry knows this, and they will do whatever it takes to stop it—and polluting the internet with noise to confuse everyone is a very effective strategy.

But they don't stop at just polluting the internet, for instance, when PBS in Colorado aired the first documentary during a fund-raiser earlier this year, all these Astroturf/Skeptics got together and hounded PBS: calling and telling them, "You can’t air this!" Of course PBS isn't going to listen to a bunch of random angry ranting yahoos, so they aired it anyway. But then, after airing, this group continued calling, emailing, and harassing the PBS staff to the point where they convinced the PBS Ombudsman to apologize for airing it, which he did! I guess if you harass someone long enough, they will eventually give in, just to silent the relentless badgering. These "Skeptics" have even called my film's distributors, harassing them! Any time my film airs anywhere these guys get together and launch a campaign of hate and lies toward the distributor providing the service. Free speech is certainly not something the "skeptics" hold sacred.

Have these "skeptics" taken some of the wind out of your sails. 

Frankly, I couldn't care less about them, and I had no intention of covering them in my film. I really wanted to tell the patients’ side of this story here—but the patients kept complaining about "The Skeptics", so I felt I had to include them. First they kept telling Laura that she would die if she used Burzynski. Once she was cured, of course, they shut up. And now it’s like she never even existed. While other "Skeptics" say Laura was just pretending to have cancer, and she is just a money launderer for Burzynski. (I wonder what Laura's neurosurgeon who performed her biopsy confirming her Glioblastoma Multiforme Grade IV diagnosis—who I interviewed and included in my new documentary—would have to say about that?!)

The Skeptics only care and get excited about patients who die under Burzynski's therapy, think about trying Burzynski's therapy and die before they can get there, or people that "choose the smart path" and die under the hands of chemotherapy and radiation. That would make sense, since that is what fits their agenda. Anyone who is cured by Burzynski's therapy—those people don't exist to them.

To give you an example, if you decide to cover this film, and your online review allows comments on its webpage, and you publish them, your page will be filled with the same Astroturf/Skeptics, saying the same stuff, calling Burzynski a quack, scam, con artist whose works have never been published, etc etc . They will say I was paid to make these films, the films are infomercials, etc etc. You will notice that one thing none of them will do—is address the films themselves. They always resort to character assassinations, and try their best to distract from the actual subject matter—which is understandable, and fits their agenda. You can't win a battle of misinformation by addressing truth, you can only do it by distracting from it. And as soon as anyone bothers to counter their "arguments" and prove them wrong on anything, they stop with that particular "argument" and move on to their next invented "argument". They just keep moving the goal posts. Again and again. You can't win; the biggest mistake anyone can make is to engage them. They want you to engage them—like the bullies in the school yard trying to make you flinch. At the end of the day, they will always end up metaphorically stealing your lunch money—by wasting as much of your precious time as they can.

Do you think there will be a Part Three to this story and to your filmmaking? 

If something big happens, there might be a 3rd Burzynski film from me. Not until then. Until something really changes, at least, I’ve reported on the situation as much as I can. Frankly, until everyone knows who Burzynski and what Antineoplastons are, until the population rises up and takes charge of the situation, until something really changes, I don’t see the point of doing another documentary on this subject just now. I am very passionate about this subject matter, and it's occupied all of my time over the last 6 years, but I don't want to just report on Burzynski and his patients the rest of my life. There are many other stories to tell, and I also want to write and direct my own original scripted narrative films, too.

If this is it for you (and the Burzynski subject) for a while, where does it leave you in regards to the subject itself?

I will say, this whole experience has been a huge life-changing catharsis for me. We’re all so used to corruption these days. People shrug their shoulders and say "well, that’s the way it is!" People cannot imagine that this same corruption that we get in politics and business every day is occurring in relation to a life-threatening disease like cancer. Back in the day, there was no awareness campaign to get penicillin or insulin on the market. Today, anyone who even thinks about advancing the therapies of anything—given the stranglehold the market has on everything related to science—especially in cancer, is immediately marginalized because advancing the therapies isn't the name of the game—keeping things the same is the name of the game. They don't call it an establishment for nothing—these therapies are established and they are here to stay. Protecting the establishment and the status quo is the job of today's governments and industries—their job is not to change it—things are working just perfect for the status quo—and changing it by doing something drastic like adding Antineoplastons onto the free market—within an existing failing, yet highly profitable system—really screws up what has been already established.

For example, David Axelrod – a top political adviser to both Bill Clinton and Barack Obama – he saw the first film, and said, "yes, it is very, very important, but it is just “too big” for our government to get involved in right now. Maybe in 10 years we can face it, but not right now." 

Lastly on this subject, anyone that says "what! no one would ever block a cure for cancer!"—needs to remember one thing, that their response is an emotional one, not a scientific one. Saying "I can't believe the FDA would do this—or do that" - is just that, your "belief". It is an emotional response and isn't based in fact. If one actually practices the scientific method in researching this subject, and ignores their emotion while researching it—they will find this reality to be as apparent as the sky is blue on a sunny day.

Quick example: Congresswoman Kathy Dahlkemper introduced into law HR 3472 in 2009. This newly proposed law said basically that if you can prove through your family doctor that you lead a healthy lifestyle, you are then entitled to discounts on your health insurance premiums. This law never made it to the Congressional floor—why? Because The American Cancer Society and The American Heart Association teamed up and blocked it! That's right, the two largest advocacy groups for heart health and cancer therapy and prevention blocked a bill that would likely reduce heart disease and new cancer diagnoses. What does that single little event tell you? (Think logically about your answer to that—not emotionally). Even more telling is the fact that not a single mainstream TV news outlet touched this story, the only entity to cover it was The Daily Show with Jon Stewart. (Click for Source.) Oh, and Ms. Dahlkemper was never reelected for her seat after that…

Yes, like those banks that are too big (and too criminal) to fail, but our government refuses to go after them. And, speaking of: That government is clearly already involved here via the FDA not allowing certain things to happen, and by Texas law enforcement constantly try to shut the doctor down. 

Right. But maybe in 10 years, Axelrod says, maybe then we can face it. If this therapy is unleashed now, it would destroy the current cancer drug market.

As dark and horrible as this sounds, through my journey of following this story and watching the pure hell these patients had to go through just to get the therapy, not to mention fighting their cancer itself—what I now believe is that something as innovative as Burzynski’s therapy is not meant to go to market now—not yet. Right now, it’s only for the very affluent—those who can afford such luxuries—the ones that are smarter than the rest—and the ones who simply "know better." I used to think that this fight could be won—and maybe it can—but the American public is just far too complacent to actually put up any sort of fight, and the regulatory agencies and industry are far too corrupted and in bed together to allow this therapy into their so-called "free market." I came to that conclusion by listening to the logical and scientific side of my brain—not the emotional side.

Burzynski's invention isn't alone—there are a handful of other extremely effective and highly advanced cancer therapies left under the radar that we can all gain access to, if we know where to look and want them bad enough. What is happening to Burzynski is far from a one-time anomaly.

This is simply the world in which we live.

Well, we know how despicable our own government can be in so many other ways. Now we can add this to the mix. Thanks so much for you time, Eric. And especially, thank you for your yeoman work on these two films—which brings to the public information that it desperately needs to know.

My pleasure. All I can say to everyone reading this: Think for yourself. Question everything, including me and my films. Feel free to fact check anything within the films—and don't take anything at face value, especially from "The Skeptics." Research, make up your own mind—and that doesn't mean stopping at a Wikipedia page and saying "Well, that's that! Wikipedia said it so it must be true! I'm done with my research!"

Burzynski: Cancer Is Serious Business, Part II 
releases throughout North America, United Kingdom, 
Australia, Ireland, New Zealand and more via TV and online 
"On Demand/Pay Per View" on June 1, 2013. 
 The DVD is also for sale shipping July 1, 2013. 
 For more info, click here