Charlatan (2020), a short, incomplete and woke-aware review

Another instance of globohomo ideology being stuffed down our throats

In my bleak crusade for finding some non-compliant cinema, a few days back I gave a try to Charlatan (Sarlatan), a Polish-Czekh production from 2020 directed by Agnieszka Holland. Purportedly, it tells the biography of a Czekh citizen, Jan Mikolasek, who during the first half of the XXth century practised a sort of “alternative” medicine based on the visual appearance of his patients’ urine.

As the storyline goes, Jan was fascinated since his early youth by the medicinal properties of plants and soon became one of the most popular “healers” of the time in his country, devoting his life to treating with herbs all people, regardless of their social status, income or political orientation. Such popularity ended up irritating the Czekh authorities, who finally accused him of being a fraudster and a charlatan.

I found (what I saw of) the film to be well shot and well interpreted. It is an engaging story from the very beginning, partly because of the strong personality and interesting life of the main character, and partly because it questions the grounds of modern, Big Pharma controlled medicine. Thus, I was enjoying the movie throughout all of its first half. However, unfortunately, by around mid-film the spectator is revealed a secret: Jan turns out to be homosexual. And then I stopped watching it.

Not that I was no longer curious about what happened to him afterwards, what became of his life — but simply I can’t swallow this wokeness. For the last few decades, around two thirds of all Western cinema turns around LGBTQ, feminism or poor ‘refugees’. Why oh why?

Sure, that was a rhetorical question. Too well I know why. It is not that there aren’t any interesting, untold stories left about normal people: straight masculine men or feminine women, traditional families or values, conservative or homogeneous societies… No. It is not that the director, Agnieszka Holland, was unable to find someone else’s biography as gripping and appealing as Jan Mikolasek’s to shoot a movie about. No. The reason for chosing this historical character among so many other possible alternatives is that Western filmmaking is almost fully controlled by Globohomo, and one of Globohomo’s projects is to stuff its woke ideology down our throats by any means necessary. And I outright refuse to play by that game. No woke cinema is allowed on my screen.

So, that is all I can say about Charlatan. My uncompromising ideas and excessively critical mind prevented me from watching it through the end. Quite possibly, and notwithstanding its homosexual publicity, the second half is as interesting as the first; but if you, reader, choose to watch it regardless of my warning, do it at your own risk.