COVID Conspiracies Exposed: ‘Blame’ Director’s Eye-Opening Documentary

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During the initial phase of the COVID-19 pandemic, Oscar-nominated Swiss director Christian Frei found himself reflecting that those who issued warnings might eventually face blame. This realization, which he terms an “epiphany,” is central to the film titled “Blame,” premiering at the Swiss documentary festival Visions du Réel on Friday.

As a film enthusiast captivated by scientific mysteries, I’m drawn to the gripping narrative of “Blame,” which chronicles the journey of three researchers: Linfa Wang, Zhengli Shi, and Peter Daszak. These dedicated professionals delved into the roots of the SARS epidemic that erupted in China back in 2003.

Notably, Peter Daszak served as the former president of EcoHealth Alliance, a non-profit organization that championed numerous global health and pandemic prevention initiatives. In a shocking turn of events this year, the U.S. Department of Health and Human Services decided to withdraw all funding and impose restrictions on EcoHealth Alliance after an eight-month investigation into its inability to effectively oversee the activities at the Wuhan Institute of Virology (WIV).

Frei’s movie opens by depicting the initial SARS outbreak in 2003, showing how a team of scientists spent the following twenty years attempting to prevent further pandemics, only to have their credibility undermined when misinformation and fake news about the origins of COVID-19 started circulating.

Frei’s film commences by portraying the first SARS outbreak in 2003, demonstrating how a group of scientists dedicated themselves to halting subsequent pandemics over the next two decades, but ultimately saw their reputations tarnished due to misinformation and false news stories about the origin of COVID-19.

In discussing the delicate topic of “Blame,” Frei informed EbMaster that he felt “significantly more at ease” when he chose to tackle it as a traditional news story. He further mentioned his intention for it to be narrated with an understanding and documentary perspective. He wanted the subjects to have space to express themselves, but also aimed to resist oversimplification – a challenge from a commercial standpoint.

The movie director acknowledges that resisting simplification can potentially decrease a film’s commercial success, yet he emphasizes that he holds a significant advantage due to his work within a nation boasting a robust film financing system, which grants him creative autonomy over his films. Furthermore, as a producer, writer, and editor, he has complete control over all his projects, expressing immense gratitude for this ability.

Frei, who has been fascinated by contentious topics like the ethics behind war photography, as depicted in his Oscar-nominated film “War Photography” (2001), and space tourism, shown in “Space Tourists” (2009), refers to these subjects as the “geological shifts of humanity.” He explains that he is compelled towards these narratives. Despite growing up in a typical middle-class family without any particular reason to venture into war zones or space, his interest remains undeterred. What he takes pride in is how his films have aged gracefully over time. They continue to be relevant and meaningful even after three decades.

When questioned about whether “Blame” will continue to be relevant, the director expresses confidence that it will, as the movie isn’t solely focused on the COVID-19 pandemic but also explores “the way we are drawn to sensational stories.

As traditional media blurs with sensational online content, he emphasizes his efforts to present authentic narratives that may astonish audiences. These aren’t portrayals of villainous characters hidden in labs, but rather real individuals. Sometimes, their actions may be puzzling, but they are still people deserving of our attention. They aren’t perfect, and yes, they can make mistakes, but it’s crucial to hear them out.

The appointment of Robert F. Kennedy Jr. as the U.S. Secretary of Health and Human Services by President Trump has sparked criticism due to Kennedy’s past involvement in propagating conspiracy theories about the origins and effects of the COVID-19 pandemic, such as suggesting that the virus was intentionally engineered in Wuhan and discriminating against certain ethnic minorities.

Frei stated about RFK Jr.’s appointment, “I wasn’t thrilled at all that he was approved, yet I wasn’t entirely shocked either.” Frei believes that a significant portion of Trump’s cabinet recognized the dynamic Steve Bannon had created: uncertainty isn’t our foe; it’s our ally. This appointment offers them an opportunity. While Frei doesn’t claim COVID-19 is the sole factor, he wonders if Trump could have returned to the White House without the pandemic, and his suspicion is that he probably couldn’t.

The director emphasizes that this particular mindset isn’t limited to the United States; instead, it’s gaining traction globally, particularly in Europe. He expresses concern about the state of democracy, questioning if it’s struggling. He feels we should rediscover constructive disagreement. He clarifies that the movie doesn’t present the truth, but rather suggests a return to fact-based perspectives and discussions. In an era where facts seem irrelevant, he believes anything can happen.

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2025-04-04 15:47