Director on alien beings, government cover

If you do not yet believe in aliens, you are behind.

The United States has secretly worked on catching UAPs-not-geïtified deviation from the phenomena, the more formal term for UFOs, since in 1947, according to many high-ranking figures in the government, military and intelligence community. There is evidence and documentation of all kinds of findings that feel such as the stuff of sci-fi: vehicles that seem to disobey the laws of physics, difficult to express interference in American military activity and, indeed, the bodies of intelligent, non-human beings. Multiple types, on that.

If you feel overwhelmed by all that info, get a breath. Yes, there are 80 years of covered research to catch up. But then Farah, director of the SXSW documentary ‘The Age of Disclosure’, has spent the last three years of his life interviewing as many sources involved and putting together all the most important information in a ‘attempt to make the most definitive, credible film about what can be made legally’ around the subject, to bring people to the height.

Legal is a keyword here. An enormous amount of what has been discovered in the decades since the US started studying non -human intelligence is still classified, which means that many of Farah interviewed in the documentary know much more than they could share with him without violating the law. At the same time, a considerable part of the information is available to the public that is simply not talked about, for reasons that the documentary dives into. That is why Farah decided to create a source to make people aware of what he calls’ the basic facts’: ‘The fact that we are not alone in the universe. The fact that there has been a recovery of technology of non -human origin. The fact that other countries also restore this technology and that we are in a race to reverse engineer. ”

That breed is a large part of the reason why certain information remains classified and is considered by the government to be unsafe to make known – everything that is shared with the American people is also shared with the rest of the world. “I certainly didn’t think about it in the beginning. I had something like: “If this stuff exists, why don’t they tell us?” “Says Farah. “And then I learned the answer: there are all these good things that can come out, but this technology can also be used by bad actors to cause considerable destruction.” The documentary chooses China and Russia in particular as opponents in the competition to study UAPs.

At the same time, important figures are of the opinion that the government has chosen an outdated approach to disclose information about UAPs. The most important voices in “The Age of Disclosure” are Jay Stratton, former civil servant of the Defense Intelligence Agency and director of the UAP Task Force of the Government, and Lue Elizondo, a former official of the Ministry of Defense and member of the advanced Aerospace Threat Identification). Both have devoted almost two decades to navigating very secret ways of the government to find out as much as possible over UAPs and to distribute everything that has not been classified. What they say they have learned, along with factual proof of non-human beings and technology, is that the covering around the subject has been misled and fatal.

Stratton and Elizondo believe that the stigma around extraterrestrial creatures and UFOs are a national threat of security, Americans miserably unprepared for developments that can change the process of humanity. And furthermore, Elizondo claims to have heard about high-ranking intelligence officers who have considered killing him to stop his disclosure inspections, which began in 2017 when he resigned from the Pentagon to protest against UAP-related secrecy and talk to the media to put the congress to seriously.

Farah met others with similar fears while filming ‘The Age of Disclosure’. Although 34 people with direct knowledge about UAPs appear in his completed film, he says he met about 10 more who agreed to have conversations with him, but eventually refused to be filmed.

“Some high -level politicians were afraid of how it could affect their reputation or influence them politically,” he says. “And some intelligence officials believed legitimate that their lives would be in danger if they participated in the film. After long conversations with their significant others, they decided it just wasn’t worth it. That was an eye opening for me. The more you go through the rabbit hole, it quickly becomes clear that this 80-year-old covering of the truth has been enforced with threats. “

Elizondo’s media campaign has led to the crumbling of the cover-up that gives “The Age of Disclosure” its title. It is the reason that the documentary is just as much aimed at the mechanics of the government that the UAPs itself does. “I realized from my conversations with Jay and Lue,” says Farah, “that it is not a question of whether it is real. It is a matter of what our country should do about it.”

That does not mean that “the age of disclosure” does not take time to show you how real UAPs are. One of the astonishing findings is that UAPs apparently apparently activated and deactivated nuclear weapons caused by humans. It has also been observed that they move and accelerate at rates that seem impossible, from complete silence to the immediately disappearing of the horizon, and without the combustion on which vehicles made by man trust. It has been observed that the crafts travel on clear bulbs, and scientists now believe that space and time function differently in those bubbles. That is how these beings could survive to move at tens of thousands of kilometers per hour: in the bubble those speeds would feel normally. Intense internal scars and multiple deaths are recorded in people who have come in the vicinity of those bubbles. It is as if you are under a jet in the middle of the takeoff, but more exponentially more powerful, because the energy that a UAP needs to move so quickly requires 100 times the amount of power that the United States generates in one day.

So there is a lot to fear here. But “The Age of Disclosure” also gives reasons to hope. There is the fact that humanity should not be destroyed if it seems that these forms of life could certainly have removed it if they wanted to. And interesting is that UAP research is also considered a humanitarian and ecological cause. If people succeed in using the clean, combustion -free energy source that UAPs use, we can eliminate the need for fossil fuels that cause climate change.

“There is an analogy that different interview topics said to me: would we have won the Space Race if the president had not stepped to the microphone and said,” We’re going to the moon? ” Probably not, “if people don’t really know, how to spend their brain power?

When asked about the impact he wants ‘the era of disclosure’, Farah points to something that Elizondo says at the end of the documentary. “He says he wants him to be able to share more, but that he feels a huge pressure to share what he can do now, because he knows that there will be a time that people want them to know the truth earlier,” says Farah. The fact that people still do not believe in non -human is “a hindrance to a clear young spirit in our country that could contribute to this front.” In other words, getting the right information in the right hands is a matter of urgency.

And moreover, as Elizondo repeatedly emphasizes in the film, there is the idea that the fundamental truths about our universe should be of everyone, not just one organization or government. Humanity has wondered about other worlds for centuries – take a look at the art we make.

“What has brought me to the subject is what many people of my age have received in the subject: I am a child from the 80s and 90s, and I grew up with films such as ‘ET’ and ‘Close meetings’,” says Farah. “The power of those two films probably put me on the way to this film more than anything.”

He is far from the only citizen on that path. The trailer for “The Age of Disclosure” reached tens of millions as soon as it was released, and the film reached a coveted premiere slot in the Paramount Theater in Austin, Texas – the largest location at SXSW. That alone is a milestone for the movement of disclosure: the subject needs eyes.

“The more I talk to leaders in the government, the more I realize that they only pay attention to where the audience wants to pay attention,” says Farah. “You have people in the government who want to pay attention to this, but they need the public to get caught up. The film is just the tip of the iceberg. There are currently dual efforts that trigger more disclosure and to declassify certain information, and I think this film will help to adopt those laws. “

And what happens afterwards? For now that is classified.