Saturday, October 29, 2016

Eye of the Phoenix

http://video.overdrive.com/watch?c=ofs&m=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%3D&s=92e04787f01c1e64308af644c68cdbefac8c4284


Product Description

This high quality History Channel type documentary proves the following points about the two Seals on the back of the One Dollar Bill with clarity and precision: 1) The two Seals are Egyptian and Luciferian 2) The two Seals were introduced by Freemasons, in 1782 3) Masonic President Franklin Roosevelt, aided by his Secretary of Agriculture/Vice President Wallace, ordered these Seals to be placed on the back of the Dollar Bill in 1935, having been urged on and advised by the Russian channeler/mystic, Nicolas Roerach.
Doc Marquis was a former practicing Satanist before he came out of the Craft. He provides knowledge of the symbolism of the One Dollar Bill which he learned while practicing the occult - facts only an insider would know.Marquis demonstrates that the two Seals on the back of the Dollar Bill contain three (3) hidden hexagrams surrounded by a circle, the most evil of all Witchcraft. These hexagrams also spell out a '666' and the word, "Mason"

Product Details

Adullam Films' director, Christian J. Pinto has completed work on the new film, Eye of the Phoenix: Secrets of the Dollar Bill, which is the third volume in the Secret Mysteries of America's Beginnings series. With our crashing economy, the big question is: what is the future of American currency? As with the rest of our series, we believe the past will help us to understand the future.
Eye of the Phoenix documents the bizarre history of the design of the dollar bill, exposing the occult activity surrounding the FDR administration. There is perhaps no other period in U.S. history when so many people were so deeply involved in the occult, and held positions of power that reached all the way to the White House. Phoenix focuses specifically on the years prior to World War II leading up to 1935, when the Great Seal was taken out of obscurity and placed on the foundation of America's currency.
According to official records from the State Department, FDR and his Secretary of Agriculture, Henry Wallace, specifically chose to use the Great Seal because, as Freemasons, they believed the “Novus Ordo Seclorum” (which they equated with the New Deal) could only be fulfilled under “the eye” of the Great Architect of the Universe (the god of Masonry).
Two heavily influential occultists during the FDR era were Manly P. Hall and a Russian mystic named Nicholas Roerich. Manly Hall's writings influenced Freemasonic presidents FDR and Harry S. Truman. It is even said that Hall was responsible for the number of stones on the pyramid of the Great Seal, and for the identification of the eagle as a phoenix.
  1. Crystal
    EVERY documentary by Adullam Films is AWESOME - i urge EVERYONE to go to Adullam Films' website and order the entire "Megiddo" series and the "Secret Mysteries of America's Beginnings"series - also "They Sold Their Souls for Rock N Roll" - i consider them mandatory viewing for every Christian - you will never be the same after you view this material. there's so much info in them, you have to watch them several times to absorb it all. however, their documentary "Kinsey" had such an impact on me that i will never watch it again.
    1. Keith
      This is interesting, I am quite fascinated by the story of Roerich. I think there is likely to be truth in much of this, peppered throughout. However, I think it's unhealthy to obsess over spiraling into detail after detail. The human mind wants to find patterns, so if we look they will be like looking into a fractal - just reducing and reducing ad infinitum. To whatever degree any of this is true, we'd all be better off just living our lives, loving others, and for the Christian, being obedient to Christ. Also, that Doc Marquis guy strikes me as a total fraud who has made explaining endless minutia of conspiracy theory a way of life because he desperately needs to be known and appreciated. Just a hunch.
      1. jodee
        why do people fall for these guru;s,look at the russian guru who manipultated himself in to the russian zar family and look what happened to his family after ,also related ,the russians zar did not want to the rothchilds to print russian money,they wanted to keep there own currancy,and then a shortly after the poor were finance to revolt against the regiening power,look who were those who took power after under what disuse,what peple are there befor and after.
        1. Roschachmoloch
          I think you can agree though, that people who mislead others often come across as sincere and kind. They present themselves in the best appealing way as they possibly can. They can be anything, from a good father, friend, work colleague, business partner etcetera. Yet when the opportunity arises (as humans) we do the most despicable things to each other even our loved ones.
          True that man cannot control the elements because he cannot control himself. So, does man let the elements control him instead? If I understand humanity very well, I think I would be right to state that, we will do anything (given the opportunity) to make names for ourselves, whether or not it is beneficial to our fellow man.
          Whatever vision Mr Hall had, great as it might have been, isn't simply lost. It wasn't his in the first place. He was merely part of the work force even though he stood to benefit from whatever contributions he made. The real people behind the vision are in obscurity and even they are also just part of the workforce.
        2. I have not read any writings by Madam Blavatsky, but she does sound like my grand mother. Why summon some spirit to run the affairs of the living? Why seek its inspiration? (which is an understatement) why seek guidance from a spirit? Who is this spirit? And what does the spirit stand to benefit in all of this? And is it really true that the entire world is one family?
          I do not deny that it is possible to become one family, but given the state of affairs and also looking at the history of mankind, I think I can confidently say, becoming one family is just a pipe dream, a blind alley belief, achieving the "one family dream" can only be achieved by suppressing others, giving up the freedoms, choices and rights that we're already losing. Now what kind of family would that be?
        3. God help us all if we ever become one nation under the so called "New World Order"
          There are greater forces at work than we can imagine or wish to believe. The only thing we have as humans is hope and the choices we make.
          1. Michael S Clifford
            Yes. In fact the Freemasonry was called the Mysterious Force upon its foundation by the second King Herod mentioned in the Bible shortly before his death (Acts 12:23). It went extinct until the Protestants revived as the Freemasonry. Their goal is what it was the first time: destroy the Catholic Church. The Church change her fraternity the Knights Templar into the Knights of Columbus because the Freemasonry change her fraternity the Knights Templar into the Knights of Columbus because the Freemasonry started their own fraternity called the Knights Templar so the church took the appropriate actions to separate herself. History has shown that throughout the millenniums she has been attacked from the outside and from within. The Ku Klux Klan is part of the Freemasonry. The highest level in Freemasonry is the 33°. K=11, 11x3=33. The Freemasonry is now part of the Illuminati which was founded by Adam Weishaupt in 1776. No need to worry though. Jesus promised us that the gates of Hell will not prevail against His Church (Saint Matthew 16:18)!
        4. THE RECURRENCE OF 13 

          Much has been written on the Internet about the number thirteen and its relationship to the secrets of the Dollar Bill. A lot of it is Interesting but some of it may take you in the wrong direction! Here is some new information. There are five numbers that repeat themselves with noticeable regularity. They are: 3, 6, 9, 12 and 13. The first four (quarters) are all linear multipliers of three (3) and represent the geometric thirds and the original Trinity. (An important concept in deep Masonic teachings; hence the title - a 33 degree Mason - the highest rank.) 

          They are also the proportions of the "Golden Mean" which was so important to Da Vinci "The Real Da Vinci Code" and the Fibonacci sequence and considered the "Natural Miracle of proportions". One source claims that this is part of the Great Secret that is only usually revealed to a "32 degree Sublime Prince of the Royal Secret" in preparation for his ascent to the position of 33 degrees.) They are also the parametres of the parallelogram grid used to design all else on the Dollar Bill. Why? Take any number in the universe and divide it by three (3) and it will repeat to Infinity. This is believed to be the Masonic interpretation of the Divine. Proof of the existence of the "Great Architect". So why was 13 so important? It dates back to the existence of two organisations - The Knights Templar and the Knights Hospitaller. Both were Christian Warrior Orders established to protect pilgrims to Jerusalem. 

          The Hospitallars stayed "Pious" and today are commonly known as St. John's Ambulance the Knights Templar introduced the first promissory currency and so became "God's Bankers". The word "Banker" originally meant "Holder of Valuables" Their power grew to such an extent that they potentially threatened both the Roman Catholic Pope Clement V and the French King Philip IV. On Friday the "13th" of October 1307 a secret order issued by the Pope to destroy the Order was carried out with vicious efficiency using the excuse of Heresy and Demon worship. Most of the Templar wealth was confiscated but a significant proportion was saved.
        5. The persecution of the Knights had been worst in France where it benefited the French King but in other countries remnants survived
        6. What happened to the wealth of the Knights Templar is uncertain. It is one of the great unsolved secrets. There is an interesting coincidence that some of the first references to the Freemasons (1390) start to appear shortly after the original persecution. There are also a number of similarities between the two organisations. Both have a physical and symbolic link to the Temple of Solomon, both have a strong belief in a supreme being, both have ritual secrets and both have a focus on living an honourable life and doing charitable works. Finally, both organisations have always seemed to been associated with banking. Terry Pratchet, in his novel "Making Money" reminds us that banks often look like temples.
        7. We could write books about the discovery of America by the Europeans and there would still be debate. It is fair to say that the actions of Christopher Columbus in 1492 - 1493 did create a wide awareness that a continent did indeed exist across the Atlantic. The years that followed saw several of the great "Old World" countries take a significant colonial interest in the "New World". Between 1492 and 1776 the Spanish, Dutch, French and British all laid claims to various parts of the land mass. During the period 1720 and 1776 two interesting developments coincided. It was during this period that the Freemason movement gained significant numbers and strength and at the same time the desire for independence was growing stronger in the American Colonies.
        8. http://www.theunexplainedmysteries.com/Secrets-of-Dollar.html
        9. THE KNIGHTS OF MALTA

          There is another powerful and distinctive geometric shape that can be found hidden in the mesh of the One Dollar Bill. If you look at the top left hand corner at the pattern behind the letters "One" and the large numeral you can see the shape of a Maltese Cross. This is the symbol of the Knights of Malta otherwise known as the Knights Hospitallars. Their full name was (is) The Sovereign Military Hospitaller Order of St. John of Jerusalem of Rhodes and of Malta. It is worth noting that when the Knights Templar were betrayed and their order dissolved in 1312 much of their wealth found its way to the Knights of Malta. It is very worth noting that the Order's Island fortress and home of Malta was captured by Napoleon in 1798 and many of the Hospitallar financiers fled to the newly independent country of America. 
          A theory about the origins of the Dollar Bill and Great Seal is This: Many people had moved to the New world in order to live safe from the "Royal and Religious prejudice of Europe". It is highly likely that amongst these people were influential descendants of the both Freemasons and the Knights Templar. (Perhaps the Freemasons were the descendants of the Templars) Core to their beliefs was the creed that "All Men are Created Equal" and that "Liberty for All" should be part of their eternal "Constitution". The number 13, the date on which they were originally betrayed, was (and still is) built into all their works as a warning to future generations. It even dictated the original number of States.
          THE SPIDER, OWL, WEB AND WHAT SKULL?

          This is one of the most commonly known "secrets" of the Dollar Bill. Hidden in the top left curve of the shield shape that surrounds the number one is a tiny deviation from the geometric web. This shape is called the spider or sometimes the Owl. It certainly does not appear to be an accident of design but a deliberate modification of the underlying web or mesh pattern

          If you then examine the matching number one on the opposite side a simulation o a spider' web becomes clear. Neither the "Spider" nor the "Web" are perfect representations. This may be that to make them so would have revealed them too easily when the Bill was first being designed.

          It is also said that if you rotate the image it becomes the sign of Piracy - The skull and cross bones. The more we tried to enhance the image the less it looked correct. Still, you decide for yourselves
          SHIVA - THE CREATOR & 33 DEGREE GEOMETRIC PRECISION

          It has long been known that USA banknotes are designed using sophisticated geometric patterns based on powerful ancient symbols. We have so much proof of this that it is no longer in any doubt. (We have a whole new and very detailed section about this coming soon.)

          It should not be surprising that extreme close-up photographic examination of the banknote can reveal strange secrets. It's part of the "Magic" of the Dollar. This is the Shiva Secrets. At the base of the One Dollar Bill and on both sides the background web of lines and loops form a distinctive image of the Hindu God Shiva. Hindu beliefs are less structured and have variations in their teachings. Shiva is often described as the Supreme God and sometimes as Shiva the Destroyer or Transformer. The pictures to the right clearly demonstrate the point.


          http://www.aquiziam.com/portfolio/problems-with-atlantis/

          Secrets of the Dollar

          Secrets of the Dollar

          Secrets of the Dollar

          There is definitely something strange and weird about the USA Dollar. From hidden secrets and symbols to cataclysmic prophecies the Dollar has it all. Just have a look at this initial collection of bizarre findings. Please note that there are so many secrets that we’ve classified this as a “live” page which means we’ll keep adding to it.
          These secrets only seem to appear in the Dollar currency. We’ve looked for similar effects in the Pound, the Rupee, the Euro and even the Rand without any success. However, with the Dollar we just keep on finding them! After Months of study we can honestly say that the Dollar is the most complex, intelligent, intricate, mysterious and beautiful of currencies. It is the perfect representation of Art and Science.

          9/11 WORLD TRADE CENTRE

          Secrets of the Dollar: Prophecy of doom or an incitement to terrorism?

          We first saw this in an email but checked it out for ourselves. This is an ordinary 20 Dollar banknote that we had in one of our wallets. It was first printed in 1928 and is known as the “Jackson Bill”. The version shown in the images was printed in 2003 (after the 9/11 attacks but the image of the White House is essentially the same as in earlier versions). We are trying to access an original 1928 bill and to see if the effect described below is the same.
          Please feel free to try this for yourself – we did! The secrets become clear. First take the 20 Dollar Bill and fold it in half as shown in the diagram below:
          Standard 20 Dollar Bill
          Standard 20 Dollar Bill
          20 Dollar bill folded horizontally
          Fold the 20 Dollar bill horizontally in half.
          Then do a 45 degree fold to match up perfectly with the centre of the Bill’s width. (Fig 3) Repeat the same process with the opposite side and ensure that the centre line and the top of the banknote are in alignment. (Fig 2)
          An image immediately becomes clear. It is the top of a three or four story building with smoke billowing out of its central facade. It looks very similar (but definitely not identical) to the classic photograph of the Pentagon after it was struck by a Boeing 757 – Flight 77.
          Fold the 20 Dollar bill
          Fold the 20 Dollar bill as shown above
          This, in itself, is strangely disturbing but simply turning the folded 20 dollar bill to its opposite side reveals an even more concerning picture. It is a single skyscraper in the process of collapsing in exactly the same manner as the second doomed tower of the New York World Trade Centre did (WTC2).
          This alone should give you pause for thought but now unfold the banknote and the creases form an octagonal design. (Shown in the diagram with red over-lines) The exact centre point lines up with Oval Office which is exactly on the other side of the building at a 13 degree trajectory. It is widely believed that the White house was supposed to be the 3rd target of the 9/11 attacks.
          Are these “Coincidences” a 1920’s prophecy of doom or were these “strange images” the very reason that the targets were selected in the first place. Did someone show Osama the trick and say … “Hey! I know what we should attack.”
          Pentagon and the World Trade Centre
          The Pentagon and the World Trade Centre – What are the chances?

          CROSS HAIRS & THE ENTERED APPRENTICE

          Secrets of the Dollar

          There is a further oddity. The lines of the folds overlay two of the same large letters twice -“EA EA”
          This is said to represent the first level of the Masonic Rite and stands for Entered Apprentice.
          Trusted Owing?
          It’s also interesting to note that if you take the letters “In God We Trust” and rearrange them then the spell out “Trusted Owing” the very heart of the concept of money.
          The Third Target
          The Third Target

          THE RECURRENCE OF 13

          Secrets of the Dollar

          Much has been written on the Internet about the number thirteen and its relationship to the secrets of the Dollar Bill. A lot of it is Interesting but some of it may take you in the wrong direction! Here is some new information. There are five numbers that repeat themselves with noticeable regularity. They are: 3, 6, 9, 12 and 13. The first four (quarters) are all linear multipliers of three (3) and represent the geometric thirds and the original Trinity. (An important concept in deep Masonic teachings; hence the title – a 33 degree Mason – the highest rank.)
          They are also the proportions of the “Golden Mean” which was so important to Da Vinci “The Real Da Vinci Code” and the Fibonacci sequence and considered the “Natural Miracle of proportions”. One source claims that this is part of the Great Secret that is only usually revealed to a “32 degree Sublime Prince of the Royal Secret” in preparation for his ascent to the position of 33 degrees.)
          They are also the parametres of the parallelogram grid used to design all else on the Dollar Bill. Why? Take any number in the universe and divide it by three (3) and it will repeat to Infinity. This is believed to be the Masonic interpretation of the Divine. Proof of the existence of the “Great Architect”. So why was 13 so important? It dates back to the existence of two organisations – The Knights Templar and the Knights Hospitaller. Both were Christian Warrior Orders established to protect pilgrims to Jerusalem. (Please bear with us and do your own research as we are trying to cram a thousand pages into a few paragraphs.)
          • 13 stars above the eagle
          • 13 steps on the Pyramid
          • 13 letters in ANNUIT COEPTIS
          • 13 letters in E PLURIBUS UNUM
          • 13 vertical bars on the shield
          • 13 horizontal stripes at the top of the shield
          • 13 leaves on the olive branch
          • 13 berries on the olive branch
          • 13 arrows




Eye of the Phoenix

Thursday, October 27, 2016

Which Way Home

http://video.overdrive.com/watch?c=ofs&m=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%3D&s=90c22386faa92877fa0ccd3d61eb96709352ad7d

Which Way Home

From Wikipedia, the free encyclopedia
Which Way Home
Which Way Home.jpg
Directed byRebecca Cammisa
Produced byRebecca Cammisa
Music byJames Lavino
Cinematography
  • Lorenzo Hagerman
  • Eric Goethals
Edited by
  • Pax Wassermann
  • Madeleine Gavin
Production
company
Distributed byHBO Films
Release dates
  • January 31, 2009
Running time
90 minutes
CountryUnited States
Language
Which Way Home is a 2009 documentary film directed by Rebecca Cammisa. The film follows several children who are attempting to get from Mexico andCentral America to the United States, on top of a freight train that crossesMexico known as "La Bestia" (The Beast). Cammisa received a Fulbright Scholar Grant to make the documentary in 2006. The film premiered on HBOon August 24, 2009.

Sypnosis[edit]

Each year, thousands of Latin American migrants travel hundreds of miles to the United States, with many making their way on the tops of freight trains. Roughly five percent of those traveling alone are children. As the United States continues to debate immigration reform, the documentary Which Way Home looks the issue through the eyes of children who face the harrowing journey with enormous courage and resourcefulness.

Characters[edit]

  • Kevin: A fourteen-year-old boy trying to reach America to be able to support his mother back in Honduras. Eventually, Quickly finds out that life there is equally difficult in different ways.
  • Fito: A thirteen year old boy trying to find work in America. He leaves his hometown in Honduras with Kevin, also hoping to find a better life away from his grandmother and absent mother.
  • Yurico: A seventeen year old boy, who leaves ChiapasMexico in hopes of finding a family that will adopt him in the US. Having no family, he lives on the streets begging in Chiapas and strikes up a close friendship with Fito on the journey to the border. He struggles with an addiction to huffing glue.
  • SYNOPSIS

    As the United States continues to build a wall between itself and Mexico, Which Way Home shows the personal side of immigration through the eyes of children who face harrowing dangers with enormous courage and resourcefulness as they endeavor to make it to the United States.
    The film follows several unaccompanied child migrants as they journey through Mexico en route to the U.S. on a freight train they call "The Beast." Director Rebecca Cammisa(Sister Helen) tracks the stories of children like Olga and Freddy, nine-year-old Hondurans who are desperately trying to reach their families in Minnesota, and Jose, a ten-year-old El Salvadoran who has been abandoned by smugglers and ends up alone in a Mexican detention center, and focuses on Kevin, a canny, streetwise 14-year-old Honduran, whose mother hopes that he will reach New York City and send money back to his family. These are stories of hope and courage, disappointment and sorrow.
    They are the ones you never hear about – the invisible ones.
  • MEET THE CHILDREN

    Kevin, a canny, 14-year-old Honduran, who is traveling through Mexico to get to the United States. His reason: to find a job and send money back to his mother, Lupe. Kevin hopes to buy her a house so that she can leave an abusive relationship. Lupe hopes he will find work, or some U.S. citizen will adopt him. Kevin wants to go to Manhattan. But the trip he takes is a revelation to Kevin – he was prepared for the harshness of the journey, but the violence that he experiences and witnesses takes its toll. Unexpectedly, he reexamines the high cost migrants pay for their common dream of a better life in the United States.
    Fito, 13-year-old Honduran whose mother abandoned him when he was very young, lives with his impoverished grandmother, who has a job making cigars. He is traveling to the U.S. to look for work and hopes to be adopted.
    Yurico, a 17-year-old Mexican who ran away from his mother, has lived on the streets of Tapachula, Chiapas since age seven. Yurico proclaims that his life has been spent begging and sleeping on streets, thieving and abusing drugs; sometimes he makes money by washing buses at the city depot. Yurico wants a life free of drugs and violence, and is traveling to the U.S. to find a loving family.
    Jairo, a 14-year-old Mexican whose father never accepted him. He has lived on the streets of Chiapas since his mother was killed a year ago. Schooling is very important to him, but he cannot currently afford to continue his education. Jairo has decided to go to Laredo, Texas to find employment, and then return to Mexico with money to hire a tutor.
    Jose, a nine-year-old Salvadoran, lives with his aunt, and has not seen his mother Rosa since she left to work in the U.S. three years ago. Hoping to live with her, he traveled through Mexico on a bus with a smuggler. When Mexican immigration officials boarded the bus, the smuggler abandoned Jose, who was then taken to a detention center.
    Olga and Freddy, nine-year-old Hondurans being taken to the U.S. by smugglers, travel on Mexican freight trains. Olga is trying to get to her mother and sisters in Minnesota, while Freddy wants to reunite with his father. Both have witnessed many accidents while riding the trains, and hope that God will bless their journey.
    Juan Carlos, a 13-year-old Guatemalan, left a letter for his mother Esmeralda, stating that he was going to the U.S. to help her and his siblings. Juan Carlos' father abandoned the family years ago, so he feels it is his responsibility to provide for them. He also wants to find his father in New York, and confront him about why he's forgotten them.
    WHICH WAY HOME also features the families of two young migrants who did not survive their journey. The bodies of 13-year-old Eloy and his 16-year-old cousin Rosario were found separately in the desert. Their deaths, along with the other stories of those featured in the film, underscore the extremely dangerous journey undertaken by these often-invisible children, who are making adult decisions to change their lives.
  • ABOUT THE FILMMAKERS

    Rebecca Cammisa

    Director/Producer

    In 2003, Rebecca Cammisa founded Documentress Films, teamed up with Mr. Mudd Productions, and began developing the 2010 OSCAR®-nominated documentary, “Which Way Home,” for which she received a 2006 Fulbright Fellowship for Filmmaking.
    “Which Way Home” aired on HBO and was nominated for a 2010 Independent Spirit Award for Best Documentary, and received four EMMY nominations. The film won the 2010 News & Documentary Emmy Award for Outstanding Informational Programming and also received a 2010 Imagen Award for Best Documentary on Television.
    Ms. Cammisa co-directed, co-produced, and shot the feature documentary film, "Sister Helen," which aired on HBO, and won the Sundance Film Festival's 2002 Documentary Directing Award, was nominated for both a 2004 EMMY Award for Outstanding Cultural and Artistic Programming, and an Outstanding Directorial Achievement in Documentary Film Award by the Directors Guild of America. Rebecca has worked on various films and television series for IFC, A&E Films, and the History Channel.
    In 2010, Rebecca was honored with a John Simon Guggenheim Fellowship for Filmmaking, and the Robert F. Kennedy Journalism Awards Grand Prize. In 2012, Rebecca directed and produced the OSCAR®-nominated documentary short, "God is the Bigger Elvis."

 

REVIEWS

"Tremendous - eye opening filmmaking."
Erik Price, Esquire
"Tackles the almost unfathomably complex immigration issue by zooming in on some of its youngest victims."
David Hinckley, The New York Daily News
"Taps into the same concept and themes of Sin Nombre, except it's all real and it's all heartbreaking to watch...A truly captivating documentary, that doesn't carry an agenda...it brings you to the front lines of a war we know very little about and turns the audience member into an expert. But, like with most documentaries, what becomes of that new chunk of brutal information is entirely up to you. My advice: Turn to the person next to you and tell them there's a great film they need to see."
Erik Davis, Cinematical
"An unflinching look at the world of Central American child migrants."
The Wall Street Journal
"Dramatically and pictorially pulls its weight...a reverse-angle on the many documentaries about decamped mothers or fathers who toil in New York or Los Angeles to send cash back to families from whom they are exiled."
Ronnie Scheib, Variety
"Despite the subject matter -- terrified children, many who haven't seen their families in years -- Cammisa never gets sentimental, and instead lets those closest to the subject do the talking."
New York Magazine
"Without resorting to any background narration, Which Way Home raises questions about cross-border immigration policies and the macro-economic causes that propel people from struggling countries to stream into developed ones."
Reed Johnson, Los Angeles Times
"Some of them make it. Some of them don't. But all of them remind us what it truly means to be brave and literally chase after your dreams."
Latina Magazine
"Exceptionally effective filmmaking."
Jennifer Merin, About.com
"What comes out of the film is a message of hope, as there needs to be a serious discussion about immigration policy by both sides of the border. Having a situation where so many children are risking their lives to try and come here is pretty unacceptable. Thankfully, Which Way Home is a film that informs and inspires - as the first step in creating real change is to give people the knowledge of what is actually happening - and that is an incredibly hopeful thing."
Gina Telaroli, TakePart.com
"Produces a powerful testimony of how absolute poverty hurls even young children into the clandestine migrant stream. It is the best film made of the undocumented migration of Central Americans into the United States."
Nestor Rodriguez, Professor, Department of Sociology, The University of Texas at Austin, Author, When States Kill: Latin America, the U.S., and Technologies of Terror
"It's an amazing film. As someone who teaches immigration courses but also does research precisely on the issue of family separation and the migration of children, I have seen many films about how migrants reach the United States. But I've never seen anything like Which Way Home. It's easily the best documentary of its kind I've seen... The film does not dehumanize or essentialize these children. Rather, the humane and sensitive lens seems to aim to present a realistic picture that can inform many about the human drama that these young immigrants and their families live...But we don't only get to hear the children's stories in their own voices, we also learn their parents' views, and get a good glimpse of the context within which the kids live and within which they make decisions to migrate...A remarkably well done documentary that will inform many students of immigration and spark important debates."
Cecilia Menjivar, Professor of Sociology, School of Social and Family Dynamics, Arizona State University, Author, Fragmented Ties: Salvadoran Immigrant Networks in America
"Heartbreaking... These stories illustrate how U.S. immigration and border enforcement policies affect families thousands of miles away who have no recourse but to migrate without documents so as to find opportunities for work. This documentary is an invaluable educational tool for all ages."
Patricia Zavella, Professor and Chair, Latin American and Latino Studies, University of California-Santa Cruz, Author, Women and Migration in the US-Mexico Borderlands

FILM FESTIVALS

U.S. Film Festivals

  • Cine Las Americas Film Festival, Texas
  • Columbus International Film & Video Festival, Ohio
  • Los Angeles Film Festival, California
  • New York International Latino Film Festival
  • Napa Sonoma Wine Country Film Festival
  • North Carolina Latin American Film Festival
  • Rocky Mountain Women’s Film Festival, Denver
  • San Francisco Immigrant Film Festival, California
  • Sedona Film Festival, Arizona
  • Traverse City Film Festival, Michigan
  • Tribeca Film Festival, New York (World Festival Premiere)
  • United Nations Association Film Festival

International Film Festivals

  • Ambulante Film Festival, Xalapa, Veracruz, Mexico
  • Bermuda Docs International Film Festival
  • Ciclo de Cine Documental, Bilwi, Nicaragua
  • CineMigrante Film Festival, Buenos Aires, Argentina
  • CineMigrante Film Festival, Bogota, Colombia
  • CNEX Documentary Film Festival, Taipei, Taiwan
  • Documenta Madrid, Spain
  • Docaviv, Tel Aviv, Israel
  • Festival de Films sur les Droits de la Personne de MontrĂ©al, Canada
  • Global Visions Film Festival, Edmonton, Canada
  • Havana International Film Festival, Cuba
  • Hot Docs Film Festival, Toronto, Canada
  • Human Rights Film Festival, Sarajevo, Bosnia & Herzegovina
  • IDFA, Holland
  • International Film Festival & Forum on Human Rights, Geneva, Switzerland
  • International Human Rights Film Festival, Mexico City
  • Istanbul International Meeting of Cinema & History Film Festival, Turkey
  • Karlovy Vary Film Festival, Czech Republic
  • Kiev International Film Festival, Ukraine
  • Latin American Film Festival, Utrecht, Holland
  • Latin Beat Film Festival, Japan
  • Marda Loop Justice Film Festival, Calgary, Canada
  • Montreal Human Rights Film Festival, Canada
  • Morelia International Film Festival, Mexico
  • One World International Film Festival, Prague, Czech Republic
  • Open Doek Film Festival, Belgium
  • 1000 Metros Bajo Tierra Film Fest, Merida, Venezuela
  • Refuge in Films, London, U.K.
  • Reykyavik International Film Festival, Iceland
  • San Sebastian Human Rights Film Fest, Spain
  • Seoul International Youth Film Festival, South Korea
  • Thessaloniki Documentary Film Festival, Greece
  • 20th Africa, Asian & Latin American Film Fest, Milano, Italy
  • UNICEF ‘s Convention on Rights of the Child Film Festival, Amman, Jordan
  • WATCH DOCS/Human Rights in Film, Poland
  • Zacatecas Film Festival, Mexico
  • Week of New Minorities, Slovakia

THE MAKING OF THE FILM

How did you meet your interview subjects?
We met our subjects in many different ways’ mostly in immigration detention centers, by the railroad tracks, and other locations where migrants converged to travel north. We felt it was extremely important to find families of children who had died migrating in the Sonora Desert, to make two points: that children are in grave danger when they migrate through Mexico, and that this practice is an urgent child welfare issue.
What aspect of the children’s journey surprised/shocked you most? Were you surprised by their age, conditions, and circumstances?
After researching this story for so long, I was not surprised or shocked by the circumstances of child migrants’ lives. However, I was taken by their utter commitment to pursing their dreams of reaching the United States. I did hold my breath when watching our young subjects hopping the trains. Sometimes, they treated the train like a playground; jumping from boxcar to boxcar, jumping off the train to run alongside it, only to jump back on again – just for laughs. They really did not have a “healthy fear” of freight trains as a dangerous means of travel.
What kind of impact did your presence have on the journey?
We wanted our impact to be minimal. As observers, our job was to document their lives while traveling with them. However, since our subjects were children, we made it a point to remind them how dangerous the road ahead could be, and we offered to help connect them with migration officials if they wanted to go home.
The realm we were filming in was full of smugglers, gang members, and corrupt officials. As a crew, we were always mindful of how our child subjects could potentially be put in danger by the presence of our cameras and ourselves. On several occasions, we decided not to travel with children when threats towards us were made.
How long was the filming? Were there gaps in between shoots? How did you track your subjects?
This film took six years to complete, and there where many gaps in between shoots. I first pitched this film idea in early 2003, and received a development grant from the Sundance Documentary Fund. In November 2004, I traveled to Mexico to research, scout locations, film child subjects, and edit a trailer for fundraising purposes. While filming in 2004, I was struck by the huge multitudes of migrants that had crossed over from Guatemala into Tapachula, Mexico, and were waiting on the tracks to hop freight trains going north. This fact made it very easy for us to meet potential subjects. Unfortunately, the development money ran out and I was forced to return to Mexico City and cut a trailer with the footage I had.
Shortly after HBO came on board, I decided to search for an executive producer. That same year, Lianne Halfon, Russell Smith and John Malkovich of Mr. Mudd stepped in. Fortunately for us, Mr. Mudd agreed to executive produce, and while they worked tirelessly to find investors, filming was halted for a year and a half. Because of Mr. Mudd’s involvement, I was able to return to Mexico to complete principal filming. In 2006, investors were found, and I also received a Fulbright Fellowship to Mexico for Filmmaking. This 11-and-a-half-month fellowship began in the fall of 2006, and helped me greatly by providing: 1) a stipend that covered my living expenses, and 2) the most important factor – a work visa, which granted me the extended time in Mexico to complete filming.
Because there were many delays in filming, most of the time we would be forced to begin again with new child subjects. Also, after Hurricane Stan struck in 2005, the landscape in Tapachula, Mexico irrevocably changed. This hurricane destroyed infrastructure, train tracks, and wiped out the train bridge that trains took north. Therefore the trains stopped running and migrants were forced to find other dangerous routes to cross. Partial funding arrived in January 2007, but by the time we returned to film, it was much harder to connect with potential subjects. Our shooting schedule lasted three weeks when bureaucratic and contractual delays forced myself, and my crew to suspend filming and leave the field again.
Six months later, in July 2007, filming continued, and we had to find new child subjects. Also, the train company that operated in southern Mexico officially folded. We did not realize it at the time, but the train we took with our new child subjects was the last one that went north. Filming halted once again for three weeks, but we were able to follow up with our child subjects in mid-August through September, and again in November 2007.
Your crew has incredible access within the governmental agencies in Mexico. How were you able to get clearance?
Gaining access and permissions from governmental officials and various agencies took many months to obtain. I was very fortunate in meeting Alejandra Liceaga, the film’s production manager. She was instrumental in making those initial contacts, building support, and pursuing the permissions until we finally received them.
I must say that we received lots of support and good will from Central American and Mexican officials, who really believed in the story we were trying to tell, and so the accesses were granted.
What is your intended impact for the film?
To make the public aware of the realities of child migration, and to provide a greater understanding of not only how but also why children are so driven to make this journey alone. Many child migrants are trying to find relatives, so one challenge is how to provide laws that migrating children and their parents can be reunified safely. Lastly, and very hopefully, that this film will serve as a catalyst to promote a dialogue that leads to creating humane, immigration policy reform in the United States.


REVIEWS

"Tremendous - eye opening filmmaking."
Erik Price, Esquire
"Tackles the almost unfathomably complex immigration issue by zooming in on some of its youngest victims."
David Hinckley, The New York Daily News
"Taps into the same concept and themes of Sin Nombre, except it's all real and it's all heartbreaking to watch...A truly captivating documentary, that doesn't carry an agenda...it brings you to the front lines of a war we know very little about and turns the audience member into an expert. But, like with most documentaries, what becomes of that new chunk of brutal information is entirely up to you. My advice: Turn to the person next to you and tell them there's a great film they need to see."
Erik Davis, Cinematical
"An unflinching look at the world of Central American child migrants."
The Wall Street Journal
"Dramatically and pictorially pulls its weight...a reverse-angle on the many documentaries about decamped mothers or fathers who toil in New York or Los Angeles to send cash back to families from whom they are exiled."
Ronnie Scheib, Variety
"Despite the subject matter -- terrified children, many who haven't seen their families in years -- Cammisa never gets sentimental, and instead lets those closest to the subject do the talking."
New York Magazine
"Without resorting to any background narration, Which Way Home raises questions about cross-border immigration policies and the macro-economic causes that propel people from struggling countries to stream into developed ones."
Reed Johnson, Los Angeles Times
"Some of them make it. Some of them don't. But all of them remind us what it truly means to be brave and literally chase after your dreams."
Latina Magazine
"Exceptionally effective filmmaking."
Jennifer Merin, About.com
"What comes out of the film is a message of hope, as there needs to be a serious discussion about immigration policy by both sides of the border. Having a situation where so many children are risking their lives to try and come here is pretty unacceptable. Thankfully, Which Way Home is a film that informs and inspires - as the first step in creating real change is to give people the knowledge of what is actually happening - and that is an incredibly hopeful thing."
Gina Telaroli, TakePart.com
"Produces a powerful testimony of how absolute poverty hurls even young children into the clandestine migrant stream. It is the best film made of the undocumented migration of Central Americans into the United States."
Nestor Rodriguez, Professor, Department of Sociology, The University of Texas at Austin, Author, When States Kill: Latin America, the U.S., and Technologies of Terror
"It's an amazing film. As someone who teaches immigration courses but also does research precisely on the issue of family separation and the migration of children, I have seen many films about how migrants reach the United States. But I've never seen anything like Which Way Home. It's easily the best documentary of its kind I've seen... The film does not dehumanize or essentialize these children. Rather, the humane and sensitive lens seems to aim to present a realistic picture that can inform many about the human drama that these young immigrants and their families live...But we don't only get to hear the children's stories in their own voices, we also learn their parents' views, and get a good glimpse of the context within which the kids live and within which they make decisions to migrate...A remarkably well done documentary that will inform many students of immigration and spark important debates."
Cecilia Menjivar, Professor of Sociology, School of Social and Family Dynamics, Arizona State University, Author, Fragmented Ties: Salvadoran Immigrant Networks in America
"Heartbreaking... These stories illustrate how U.S. immigration and border enforcement policies affect families thousands of miles away who have no recourse but to migrate without documents so as to find opportunities for work. This documentary is an invaluable educational tool for all ages."
Patricia Zavella, Professor and Chair, Latin American and Latino Studies, University of California-Santa Cruz, Author, Women and Migration in the US-Mexico Borderlands
Which Way Home