Directors dream of getting their movies screened on the Sundance Film Festival.

For Meg Smaker, that dream curdled right into a nightmare, however there could also be a contented ending in any case.

Smaker’s “Jihad Rehab,” a considerate examination of Guantanamo Bay detainees and their makes an attempt to return to society, earned glowing opinions from the competition circuit.

The pre-release buzz proved deafening, Smaker told National Review.

“EVERY gross sales agent that noticed the movie needed to rep it … EVERY PR agency who noticed the movie needed to rep it. EVERY large competition we utilized to, we bought into, besides Cannes and Berlin.”

Snagging a Sundance slot earlier this 12 months, although, appeared the last word triumph.

The hassle started when critics attacked the movie on a number of ranges, regardless of many by no means having seen the movie. Some mentioned the 5 prisoners weren’t totally capable of grant their consent to being interviewed, although Smaker had secured their approval.

Others argued a white filmmaker shouldn’t inform a narrative about Arab detainees, regardless of her in depth expertise within the Muslim world and the plain fallacy of that Identity Politics argument.

Even the movie’s title got here underneath assault, seen as stereotyping Arab tradition as violent.

Smaker’s movie world collapsed on her. Sundance apologized for displaying the movie, saying the screening “harmed” the group with out offering specifics. Two Sundance workers stop in protest of the movie’s choice.

Other festivals dropped “Jihad Rehab” from their lineups. Distributors equally deserted the movie.

Far-left activist Abigail Disney, who served as an govt producer on the function, backpedaled in dramatic fashion.

I failed, failed, and completely failed to grasp simply how exhausted by and disgusted with the perpetual illustration of Muslim women and men as terrorists or former terrorists or potential terrorists the Muslim individuals are. That was a failure of empathy and respect on my half—and due to this fact the gravest of failures.

Previously, Disney praised the movie in a missive to Smaker, shared by National Review.

“This movie is SOOOO good and SOOO gorgeously shot and SOOOO properly edited that you have to take on this one factor earlier than you learn on: WOW WOW WOW. You have made one thing nice.”

Disney’s subsequent apology helped crush the movie’s future. 

That’s when Smaker took her struggle public.

She arrange a crowdfunding campaign to safe cash to distribute the movie herself. That effort yielded nearly four times her budgeted goal

of $200,000, partially because of the help of podcaster and writer Sam Harris.

The movie, now generally known as “The UnRedacted,” will display screen throughout California this month – Dec. 10 in Los Angeles in addition to Dec. 9-15 in Santa Monica and Dec. 13 in Malibu.

The Dec. 10 screening is noteworthy.

The occasion is being sponsored by, a far-Left information website masking all issues Hollywood. Editor-in-Chief Sharon Waxman will host the post-screening Q&A.

TheWrap is one in all many information shops that embraces Cancel Culture. The website hosted a collection on the topic final 12 months, with audio system cheering the far-Left ideology with few caveats.

Waxman wrote about Smaker’s comeback story, citing a stunning purpose for its resurgence.


Media shops routinely facet towards canceled figures. Reporters have hounded J.Ok. Rowling, Dave Chappelle, Roseanne Barr, Morgan Wallen and others lately, siding with social justice warriors within the course of.

National Review, a right-leaning outlet, rapidly rallied to Smaker’s facet after “Jihad Rehab” bought canceled. So, too, did The Atlantic, The New York Times and, later, The Atlantic’s report referred to as out Sundance’s cowardice. 

Seeing three liberal bastions rally behind Smaker had an impression. Except Waxman’s report on the film’s comeback couldn’t acknowledge an inconvenient reality. The overwhelming majority of Cancel Culture assaults hail from the Left.

Waxman pretended in any other case.

And so “Jihad Rehab” – renamed “The UnRedacted” as Smaker hoped to quell objections to the movie – grew to become the most recent sacrifice to cancel tradition, this time from the left [emphasis added].

Cancel Culture rages on. While some free speech victories emerge, the poisonous pattern reveals little signal of abating. That may change, although, if journalists rose up, en masse, as they did within the case of “The UnRedacted.”

The documentary’s comeback reveals how the media can cease Cancel Culture in its tracks. Now, the one query remaining is easy.

Do sufficient journalists need that to occur?

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