I'd just like to interject for a moment. What you’re referring to as a 'film', is in fact, a capeshit, or as I’ve recently taken to calling it, capes plus ♥♥♥♥. Capeshit is not a media unto itself, but rather another plebeian component of a fully functioning pleb made possible by the greedy jews & vital movie components as defined by Wilder.

Many viewers watch a modified version of films every day, without realizing it. Through a peculiar turn of events, the version of films which is widely watched today is often called “capeshit”, and many of its viewers are not aware that it is basically a cash grab, designed to appeal the masses. There really is capeshit, and these people are watching it, but it is just a part of their plebeian taste.

Film is the kernel: the core in the capeshit system that allocates the viewers’s eye holes to the poor quality CGI. The cape is an essential part of an operating capeshit movie, but useless by itself; it can only function in the context of a complete piece of ♥♥♥♥. Film is normally used in combination with creative story lines & visuals: the whole system is basically meant to be enjoyable. All the so-called “movie” distributions are really distributions of capeshit or rehashes.

For my money, none of these other films can hold a candle to Michael Cimino's 1980 apocalyptic disaster. This is a movie that destroyed the director's career. This is a movie that lost so much money it literally drove a major American studio out of business. This is a movie about Harvard-educated gunslingers who face off against eastern European sodbusters in an epic struggle for the soul of America. This is a movie that stars Isabelle Huppert as a shotgun-toting cowgirl. This is a movie in which Jeff Bridges pukes while mounted on roller skates. This is a movie that has five minutes of uninterrupted fiddle-playing by a fiddler who is also mounted on roller skates. This is a movie that defies belief.

A friend of mine, now deceased, was working for the public relations company handling Heaven's Gate when it was released. He told me that when the 220-minute extravaganza debuted at the Toronto film festival, the reaction was so thermonuclear that the stars and the film-maker had to immediately be flown back to Hollywood, perhaps out of fear for their lives. No one at the studio wanted to go out and greet them upon their return; no one wanted to be seen in that particular hearse. My friend eventually agreed to man the limo that would meet the children of the damned on the airport tarmac and whisk them to safety, but only provided he was given free use of the vehicle for the next three days. After he dropped off the halt and the lame at suitable safe houses and hiding places, he went to Mexico for the weekend. Nothing like this ever happened when Showgirls or Gigli or Ishtar or Xanadu or Glitter or Cleopatra were released. Nothing like this happened when The Hottie and the Nottie dropped dead the day it was released. Heaven's Gate was so bad that people literally had to be bribed to go meet the survivors.