Article by Leo Zagami
“Omicron” is not only the latest variant of concern of the never-ending COVID-19 saga but a 1963 Italian science fiction-comedy film directed by the late Jesuit student Ugo Gregoretti, who takes pride in having studied with the Company of Jesus for 13 years.
Ugo Gregoretti (1930 –2019) was an Italian film, television, and stage director, actor, screenwriter, author, and television host, mainly characterized by a sensitivity to political and social issues combined with a peculiar use of irony and satire. He directed 20 films during his career and this one that entered the competition at the 24th Venice International Film Festival, was one of his most obscure movies, mainly due to the unusual use of a science fiction theme for political satire.
In the film that outlines the reality of a Quantum universe, where there are no coincidences, only synchronicities, an alien takes over the body of an Earthman to learn about Earth, so his race can take it over, quickly concluding that due to the present social system, his alien race from the planet Ultra (like MK-Ultra), can easily take over the planet by taking over only the bodies of people belonging to the elite.
The unusual movie produced in Italy by Paramount films in 1963, that stars Renato Salvatori and Ugo Gregoretti himself, who was trying to join “La Nouvelle Vague,” the French art film movement that emerged in the late 1950s, that was characterized by its rejection of traditional filmmaking conventions in favor of experimentation and the spirit of iconoclasm.
Born in Rome, Gregoretti started his work in the theatrical world in a stronghold of the Company of Jesus (Jesuits) in Naples called the Pontano Institute, a place where he later became the president of the amateur dramatics of St. Ignatius, a learning experience that as Gregoretti states, formed his education and helped his future.
The Pontano Institute is a Catholic middle and high school run by the Company of Jesus (Jesuits) in Naples. It is named for Giovanni Pontano (1426-1503) the humanist and poet active in Naples for many years. There are approximately 500 students; the curriculum is traditionally humanist and religious, but the school has both a Classical and Scientific Lyceum. The Institute is located on Corso Vittorio Emanuele at the “Cariati” section of the road, which has taken that name from the original name of the building where the institute is now housed, the Villa Cariati. The building was first a 15th-century farmhouse, then transformed into a private residence in the 1700s by Giovanbattista Spinelli, Prince of Cariati. It was acquired by the Jesuits in 1921 to be the new premises of the Pontano Institute.
The institute itself came into existence in 1876 and before the definitive move to Cariati, had been housed at four or five other sites in the city and had other names. The foundation of the institute is interesting when viewed within the context of the entire relationship between the Jesuits and the Kingdom of Naples and then with the successor state (after 1861), the new Kingdom of Italy.
By the 1870s, the Jesuits had a long history of getting themselves expelled from various places in Europe, including Naples: from Portugal in 1760, France in 1762, Spain in 1767, and Naples in 1777. Then, of course, Napoleon closed all religious orders. The Jesuits came back into Naples after the Crowned Heads of Europe were restored (1815); however, in the tumultuous year of 1848, they were expelled from Naples again. When Garibaldi took over Naples in 1861, he confiscated whatever the order had left. Yet, the Jesuits hung in there and worked in Naples knowing the strategic importance of this city to get at least some property back in the face of the extreme anti-clerical stance of the new Italian government. The result was the San Luigi Papal Theological Seminary of Southern Italy, and the Pontanto Institutethat from that moment onwards that even Gregoretti admits, shaped the future elite of the south of Italy.
Now, if we follow the main theme of the film in question, where there are no coincidences, only synchronicities, it seems rather ominous that the World Health Organization (WHO) named the new coronavirus variant, Omicron. They skipped the fourteenth letter of the Greek alphabet that just-so-happens to have the same spelling of a certain tyrannical world leader’s name who just so happens to be involved with the initial spread of the virus that we should actually call a biological weapon. Given that the variant names jumped from “Mu” all the way to “Omicron,” skipping “Nu” and “Xi” respectively, people on social networks started to say that the WHO was ordered to do so, as not to offend Chinese communist dictator Xi Jinping, and they might be 100% correct in saying so.
The corrupt WHO has been placating China since the beginning of the pandemic by either failing to hold them accountable for unleashing the virus on the world, or outright covering for the Communist country. As Der Spiegel reported in May of last year, German intelligence strongly believed that Xi Jinping personally asked the head of the WHO, Tedros Adhanom Ghebreyesus, to delay key warnings about the Chinese coronavirus, laying the basis for the worldwide crisis that will facilitate the infamous Great Reset controlled by evil elite figures like Klaus Schwab. Yes, Klaus (not Claus, as in Santa) the insane tyrant who heads the World Economic Forum could very well be possessed by a demonic alien, just like the protagonist of “Omicron,” as his plan is to put an end to human autonomy, and merge us with machines. The “fusion of our physical, digital, and biological identity” will produce a transhuman monstrosity that will help the demonic takeover of Earth.
Schwab explains with excitement how upcoming technology will allow authorities to “intrude into the hitherto private space of our minds, reading our thoughts and influencing our behavior.” In this context, the film “Omicron” seems to be a dire warning, rather than simply an obscure Sci-Fi movie, because after the elite reaches their Great Reset goal, we are all going to become slaves to those demons we call aliens.
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Leo Zagami is a regular contributor to Infowars and the author of the groundbreakingbook Confessions of an Illuminati Vol. 6.66 The Age of Cyber Satan, Artificial Intelligence, and Robotics