MEDIA. The following report gives an overview of the progress on the documentary series featuring Ursula Haverbeck and Vera Oredsson, which Henrik Pihlström believes has led to the emergence of a new category of filmmaking. How has the work been going and what can we expect going forward?
In September 2023, a carefully selected group travelled to Germany with Vera Oredsson. The purpose of the trip was to give the 95-year-old icon a special experience and to document events for future film productions.
Financially, the project reached its goal thanks to enthusiastic donors. This fundraiser not only paid for the September trip, but also for the equipment required to digitise historical images and film from the Nordic Reich Party (NRP) spanning four decades. This work is now complete.
Moving images from 8mm tape reels have been digitised and restored. A number of slides have been digitised in excellent quality. Binders of photos and text have been copied via careful photography. This historical material both complements the story in the films and serves as archive material for the future.
To give the films the dignity they deserve, the time-consuming procedure of digitisation has been necessary. The film script was not complete from the beginning, as the camera in Germany captured spontaneous events. It was about being there when things happened. Like when Ursula Haverbeck first opened her door in Germany to her Scandinavian visitors. Nothing is staged and there is no rehearsed acting. The reactions are genuine, allowing the audience to see the reality.
I view this project as a new category of filmmaking. Historical flashbacks with Vera Oredsson and the Nordic Reich Party are interspersed with contemporary meetings where nothing is planned or predicted, which makes the whole thing more interesting. I also believe that many people have never seen how different the street scene looked in 1973, which we can observe from the restored material.
The dangers of mass immigration the NRP warned about have come true with a vengeance. Their methods of operation can be recognised in later nationalist movements, some of which may think they “were first”. Instead of imposing an opinion on the audience, let the material speak. This applies to the meetings with Ursula Haverbeck in Germany and the various scenes we see with Vera Oredsson. The personal portrait lends a human face, which stands in contrast to the propaganda and dehumanisation after 1945. The architects behind the media and cultural life in our democracies have outlined who is evil and who is good. It is a sort of moral compass rooted in the concept of the so-called holocaust. One result of this is that Ursula Haverbeck served a prison sentence for defying the official narrative.
The first film will be limited to focus mainly on the meeting in Germany with Ursula Haverbeck. While the audience waits for the premiere, I’m pleased to report that the documentary series is taking shape and that everyone involved has their sights set on making the film experience inspiring and exciting. Regarding the question of how long we have to wait, no final date can be promised. For it to be of the required quality, we are talking in terms of months. However, I calculate that the Resistance Movement’s media group can issue a more concrete indication of time at the end of this month.
