MIAMI, United States.- In the shocking documentary Chernobyl: The Lost Tapes, by British director James Jones, the so-called “liquidators”, in charge of cleaning the accident site of radioactive material, are considered heroes. They receive quotas of free vodka and are dressed in incompetent uniforms that contain lead sheets and wood tied to protect certain parts of the body. At the end of the risky task they receive a stipend of 800 rubles. 82 percent of the team will die from radioactivity poisoning.
It is April 1986 and the biggest nuclear disaster that has devastated humanity had occurred in Ukraine, but the modus operandi of communism was fully deployed from the beginning: the terrible evidence was kept or manipulated. Moscow would do everything possible so that the explosion of the reactor would not have major consequences.
36 years later and keeping the distance between the seriousness of both accidents, in Matanzas the most devastating fire that the island remembers occurs, and without evaluating the dimension of what happened in principle, the Castro regime enlisted young, inexperienced recruits, without the necessary equipment Y sends them to death inescapable hell.
A dropper is revealing the identity of the deceased, in the midst of a political melee without measure or modesty. Foreign collaborators -Mexicans and Venezuelans- have been given who knows how many medals and even ridiculous replicas of machetes.
Meanwhile, the Cuban heroes, survivors of the smoke and flames, receive meager food supplies, always welcome, such as the elusive oil and the helpful chicken.
The new documentary on Chernobyl is the manual by which Castroism continues its failed indoctrination. It is estimated that 200,000 people have died as a result of radioactivity and the former Soviet Union only reported 13.
The inherent bungling of communism can be lethal as demonstrated by the nuclear reactor without the required material protection and a base of huge fuel tanks at the expense of the imponderables of nature.
The documentary Chernobyl: The Lost Tapes explores the official propaganda archives, uses diligent Ukrainian producers before the country was attacked by Russia, and interviews revealing survivors of the catastrophe, such as the pregnant woman who loses both her husband, one of the first firefighters to arrive at the accident site, and the girl who died four hours after giving birth.
This anecdote was part of the extraordinary miniseries Chernobyl, made in 2019, where actress Jessie Buckley plays Lyudmilla Ignatenko, with whom director James Jones has remained in contact in the midst of the conflagration in Ukraine.
The new documentary shows images from the year 1972 about the city that was built to serve the “largest nuclear plant on the planet”, according to official propaganda.
The average age of its inhabitants was 26 years and the birth rate had skyrocketed. Apartment buildings, schools, hospitals, parks, markets as part of an austere and tasteless urbanization where cheerful residents are shown, who continued their usual lives 36 hours after the accident that spread 400 times more radioactive material into the atmosphere.
The authorities did not want to give their arm to twist on the internal and international failure that the explosion of the reactor meant. When the neighborhood began to be evacuated they were still being let know that there was nothing to worry about and they would return shortly after.
Even the gravedigger of Soviet communism, Mikhail Gorbachev, then first secretary of the party, appeared before the cameras to lie to the people about controlling the catastrophe. He even met with widows of firefighters and promised them that their husbands would be regarded as heroes and buried in Moscow. By the way, the spouse of the pregnant Ignatenko was not yet dead when Gorbachev made the promises of “eternal glory”, because her death seemed imminent.
In the news of the time, there are doctors who deny the existence of radioactivity patients, assuring that it is only psychological affections euphemistically described as “radiophobia”.
The actuality of the documentary is paradigmatic, when it is known that a little over two years ago the Chinese authorities hid the initial damage of COVID 19 from the world and are still reluctant to reveal the truth of what happened and Vladimir Putin himself continues to manipulate the television media and social Russians about its absurd aggression against Ukraine where, by the way, it is dangerously bombing a nuclear plant.
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