Digital Jihad: Inside Islamic State’s Savvy PR War — Spiegel Online


By Christoph Reuter, and Samiha Shafy

Published by Spiegel Online

Islamic State’s methods may be medieval, but the group’s propaganda is second to none. The Islamists target their professionally produced videos at specific audiences — sometimes to spread a specific message, sometimes merely to terrify.

Last Monday, the now weekly Islamic State television show pronounced its verdict on Barack Obama’s latest speech about the group: “Disappointingly predictable,” the anchorman intoned. “America is good, the Islamic State is bad,” he said, parodying the US president’s strategy. “And they will be defeated using aircraft and a motley collection of fighters on the ground.”

US allies in the Free Syrian Army, he went on, were an “undisciplined, corrupt and largely ineffective fighting force.” The Islamic State, the anchorman intoned, “welcome meeting Obama’s under-construction army.”

The speaker, pale and thin but bathed in professional lighting as he sat calmly at a table like a real anchorman, is a hostage. “Hello there,” his show began, “I’m John Cantlie, the British citizen abandoned by my government and a long-term prisoner of the Islamic State.” The cameras changed perspective frequently, from a frontal view to a lateral one, and zoomed in on his unshaven face. Cantlie, in effect, was speaking for his life. After about six minutes, he closed: “Until next time.”

The weekly videos featuring Cantlie, in which he argues on behalf of those who likely intend to kill him, are among the most perfidious productions created by the terrorist group Islamic State. Indeed, not long after Cantlie’s latest episode, Islamic State released another video, allegedly showing the beheading of Cantlie’s countryman Alan Henning, a 47-year-old taxi driver and aid organization worker who was kidnapped in Syria nine months ago. He is the fourth Western hostage that Islamic State has decapitated.

In recent months, Islamic State has become known for its adept video production and its fighters are widely present on all manner of social media sites, including Twitter, Facebook, Tumblr, YouTube, Instagram and SoundCloud. If their accounts get closed down, they just register under new names.

But the group’s marketing gurus do much more than simply repeat the same message ad infinitum on different platforms. They design each video and each message to correlate exactly to the target audience. For Western observers, they are cool, clean and coherent. For locals, they are bloody, brutal and fear-inducing.

Bringing People Together

When it works to their advantage, they exaggerate their own massacres. Sometimes they falsify the identity of their victims. The thousands of fellow Sunnis they killed in Syria were branded simply as “godless Shiites” on television. They even market themselves to kids, manipulating popular video games such as Grand Theft Auto V so that Islamic State fighters and the group’s black flag make an appearance.

In short videos from the series “Mujatweets,” an apparently German fighter talks about his supposedly wonderful life in the Caliphate. Such scenes, depicting the multicultural Islamic State brotherhood, are clearly meant for Muslims in the West. “Look here,” the message is, “everyone is equal here!” The images suggest that jihad has no borders; that it brings people together and makes them happy. Other blogs include women gushing about family life in wartime and the honor of being the widow of a martyr.

Islamic State’s propaganda offers something for every demographic — it is so professionally produced that al-Qaida looks old-fashioned by comparison. It is, as the New York Times recently dubbed it, “jihad 3.0.”

Their strategy is best illustrated by two almost simultaneously released videos from several weeks ago. One was produced to publicize the killing of American journalist James Foley, who had been kidnapped in November 2012. The second was likely never intended for a Western audience.

In the first, Foley’s captors had him deliver a message to the world. In the soft light of morning, Foley — dressed in Guantanamo orange — blamed the US for his death, expressed his regret at having been born American and absolved his murderers of all guilt. After he finished speaking, the masked Islamist standing next to him placed his knife on Foley’s throat and began moving it back and forth as the picture went dark.

There isn’t a single drop of blood to be seen in the video, making it seem as though his on-camera beheading was merely simulated. Experts have puzzled over the meaning of the staging, given the captors later show Foley’s bloody and detached head lying on his body. The most plausible explanation is that the video was designed to be tolerable for Western viewers — its most important message isn’t the murder itself, but Foley’s statement and that of his murderer just prior to the beheading. Those who attack Islamic State, the hooded killer threatens, must bear the consequences. He speaks English with a British accent.

‘Look At the Knife’

The second video couldn’t be more different. Heavily pixelated, it depicts Islamic State fighters murdering a group of rebellious clan members not far from the Syrian town of Deir ez-Zor. It is difficult to find adequate words to describe the 11-minute movie. The victims are lying on the ground, staring upwards with eyes full of fear, before their throats are slit one after the other and their heads are chopped or torn from their torsos. Their butchers laugh as they kill, saying things like “Hey, he’s really got some meat on his cheeks!” or “Hey you, you should look at the knife when I cut your head off!” The killers speak Arabic with Moroccan and Egyptian accents.

This video is aimed at a different audience, people living in the regions under Islamic State control, particularly those who might dare to resist — such as the men from the al-Sheitaat tribe that were massacred on camera. According to various sources, up to 700 tribesmen were killed in the slaughter. And the message appears to have been heard: The tribe’s sheikh responded by begging Islamic State for forgiveness and mercy.

For those against whom Islamic State is fighting, the message is always the same: Be afraid! The panicked fear they spread has become a real weapon for the jihadis, in light of the fact that they are often outnumbered by their opponents. It has worked well in many Syrian and Iraqi towns and villages. At the beginning of August, for example, Kurdish Peshmerga fighters abandoned almost all of their positions in the face of advancing Islamic State fighters.

To spread panic even further, Islamic State often exaggerates its own bloody excesses. After the battles between June 11 and 14, when Islamic State took control of Sunni areas in northwest Iraq, the group’s PR division released videos of its atrocities. They claimed the clips showed Islamic State jihadists killing 1,700 pro-government Shiite soldiers in Saddam Hussein’s hometown of Tikrit, a number that quickly found its way into international media reports.

But the videos, brutal as they were, showed the murder of a few dozen captured soldiers at most. People visited several large Iraqi cities on the search for evidence of the massacre, but no mass funerals or mourning ceremonies were observed. Activists from Human Rights Watch studied high-resolution satellite photos for fresh excavation sites that could indicate mass graves. They found evidence of two mass graves, and their initial study concluded that the number of dead was between 160 and 190. The group suspects that other mass graves exist, but no proof for a higher number of casualties has yet been found.

The West has tended to take Islamic State claims of barbarity at face value, primarily because it seems so unlikely that anyone would exaggerate one’s own cruelty. But the Islamic State was likely trying to reap benefits from its own seeming exaggerations.

‘The Law of the Jungle’

The jihadists’ PR experts are adept at altering reality to best fit the message it is attempting to propagate — either by overstating its murderousness or by changing the identities of its victims. Islamic State claims to be protecting and representing the interests of Sunni Muslims. Nevertheless, the jihadists in Syria have killed thousands of Sunnis who refused to submit to their ruthless claims to power. So as to stay on message, Islamic State propagandists simply claimed in video text that those killed were “Shiite soldiers of Assad’s.”

From a technical perspective, the group’s digital jihad has “exponentially improved” in the last year and a half, says Christoph Günther, an Islam expert at the University of Leipzig. Since 2007, he has been monitoring the group’s PR strategy. At the beginning — before it adopted the megalomaniacal name “Islamic State” and proclaimed the establishment of a “Caliphate” — its presentation was modest. “Earlier, the image quality of their videos was terrible,” Günther says. Often, hours-long speeches in Arabic were simply uploaded to the Internet.

Today, he says, the situation has changed significantly, thanks partly to the companies that Islamic State now operates in the territories under its control. The improvements have also stemmed from the influx of foreign fighters who can now spread the group’s propaganda in English, French, German and other languages.

One thing, however, remains unclear: What is Islamic State’s religious message? Osama Bin Laden and his followers made an effort to justify their deeds both before and after Sept. 11, 2001, says Fawaz Gerges, a terrorism expert at the London School of Economics. “They came up with theological justifications, they pointed to the suffering of the Palestinians or they claimed they were defending Muslims.” For Islamic State, though, he says, justifications hardly play any role at all. Its only message is violence and it is aimed even at their own fellow Sunnis. “There is nothing,” Gerges says. “It’s an intellectual desert.”

For years, Gerges has been monitoring the man who claims to be Islamic State’s “official spokesman.” He calls himself Abu Mohammed al-Adnani and the US State Department added his name to its terrorist list on August 18. Adnani, from the northern Syrian town of Binnish, is thought to be around 37 years old and is among the earliest members of Islamic State. He is one of Islamic State leader Abu Bakr al-Baghdadi’s closest confidants and was among those sent to Syria in 2011 to gain a foothold there. Today, Adnani is considered to be the right-hand man of al-Baghdadi’s, the self-proclaimed Caliph. A speech he delivered after coalition air strikes against Islamic State began — in which he called US Secretary of State John Kerry an “old uncircumcised geezer” — was translated into seven languages.

One anecdote about Adnani is particularly insightful, Gerges says. Two years ago, Gerges relates, representatives from various Islamist groups met near Aleppo to talk about conflicts among their groups. The others agreed that a religious council should be founded to solve the conflicts in accordance with Islamic law. But the Islamic State spokesman, so the story goes, merely looked at them disdainfully. He then said: “The only law I believe in is the law of the jungle.”

Ukraine Crisis Today + Democracy caught on camera

1. Ukraine Crisis Today Democracy caught on camera

Ukraine Crisis Today: Democracy caught on camera (this will never be shown on mainstream media)

Rebirth of Fascism. U.S. warmongers along with EU/NATO politicians have installed (through violent, artificial revolution) a pro-fascist government in Ukraine and are now trying to start a civil war within the country.

Over 900,000 Ukrainians have already left the country within 2 months of EuroMaidan and fled to Russia. 2,500 fled to Belarus. This is just the beginning.


2. Ukraine Crisis Today- Democracy caught on camera (this will never be shown on mainstream media)

[Exclusive footage] Rebirth of Fascism. U.S. warmongers along with EU/NATO politicians have installed (through violent, artificial revolution) a pro-fascist government in Ukraine and are now trying to start a civil war within the country.


3. Nazi Refuges in the Mediterranean

Don Juan de la Carlina, the Dark Side of Léon Degrelle
Documentary for acquisition
GENRE History DATE 2008 FORMAT Digibeta RUNTIME 1 x 55’ LANGUAGE Spanish, French SUBTITLES English DIRECTOR José Mª Borrell PRODUCERS Imago Producciones, Malvarrosa Media PARTICIPATING Ministry of Culture of the Government of Andalusia (Spain) BROADCASTERS Canal Sur Televisión, TVV, IB3 (Spain) LOCATIONS Spain, Belgium, France COUNTRY Spain DISTRIBUTION TVE (Spain), Hi TV (Mexico), RED MEDIA (Russian Historic Channel) (Russia, Armenia, Azerbaijan, Belarus, Estonia, Georgia, Kazakhstan, Kyrgyzstan, Latvia, Lithuania, Moldova, Tajikistan, Ukraine, Uzbekistan and Turkmenistan), VODI (Canada and Dominican Republic).

Operación Kobra

El 20 de abril de 1969 el general croata Vjekoslav Maks Luburic, responsable de los campos de concentración de Croacia durante la Segunda Guerra Mundial, incluido el de Jasenovac, fue asesinado en Valencia, España. Luburic fue uno de los líderes del régimen pro-nazi instaurado en Croacia por Ante Pavelic en 1941. El asesino fue rápidamente identificado, pero nunca fue detenido.
El responsable de la muerte de Luburic fue Ilija Stanic, un joven croata que durante dos años se había ganado la confianza del general, pero que en realidad, según se dijo, era un agente enviado por el régimen comunista de Tito para matar al general Eustachian.
Este plan secreto fue conocido como Operación Kobra.
Cuarenta años después, Ilija Stanic abandona por primera vez su anónimo retiro para contar ante las cámaras los detalles de unos hechos que, a día de hoy, continúan siendo un misterio.

This documentary reconstructs the secret life of Léon Degrelle in Spain through the testimonies of people who knew him and Korentin Denis, the French historian who has done more research on Degrelle’s Spanish biography.



Guantanamo’s double agent program Penny Lane, Snowden’s Toronto G20 revelations, NSA’s porn strategy, NSA’s Zombie networks, China mines the clouds, Checkpoint DNA sampling, Secrecy Law in Japan touted as recreation of fascist state, Exodus of the Pacific sea creatures, The War on Guns continues, WHO medical codes adopted by US include death by guillotine, Trans-Pacific Partnership the coup de grace of the coup d’etat, GMO’s puncture holes in the cells, Ukraine reverses course on the EU, Greeks self infect with HIV to get benefits, China declares Air Defence Identification Zone in East China Sea around disputed islands, military planes enter zone, Chinese carrier on South China Sea mission, The Ring of Fire roars to life, DARPA and the power of thoughts. On Conspiracy Cafe it’s The Chopping Block.

5. ROYAL NAZI TIES: Prince Charming and the SS

St. Vincent On Her New Album – Interview + Videos


Annie Clark. Photo: Renata Raksha/Courtesy of the artist

Teased late last year in a series of cryptic , the forthcoming self-titled album from is one of the most anticipated of 2014. In a conversation with All Songs Considered hosts Bob Boilen and Robin Hilton, singer and guitarist Annie Clark gets into the stories behind the new record, .

Though her look on the cover suggests an evil overlord, Clark says the songs on St. Vincent were born in vulnerable moments — a chemical-induced hallucination starring a dead civil rights activist, and a standoff with a snake in which she literally couldn’t have been more exposed, just to name a few. Read an edited version below, or click the audio link to hear the full interview, including exclusive previews of brand-new music.

Q: You start off this new record, basically, by taking your clothes off and running around the desert. It almost seems like a true story, the way it was written and sung.

A: It is, in fact, a true story. It’s a song called “Rattlesnake.” I was in far, far West Texas, at a friend of mine’s cattle ranch, a place that’s been in her family for years and years and years. And I was walking around, and I was alone, and I thought that it would elevate the experience to take my clothes off and be one with nature and all these things. Of course, I’m such a city girl that I don’t know anything about nature without Google at my fingertips — but I was feeling inspired. So I took my clothes off, and I was having this commune with nature, when, all of a sudden, I heard something. I stopped and I thought, “Okay, maybe that’s the wind. Maybe that’s just a little squirrel scampering through the brush.” And then I heard it again, and it was very distinct: It was a rattle. And I turned my head just slightly, and out of the corner of my eye I saw a rattlesnake. And I just took off running.

Q: Did the making of this record overlap with Love This Giant, the project you did last year with ?

A: I went and did a year of touring on my last record, Strange Mercy, and that bled right into touring Love This Giant with David. And then I had a little window of time, October to December, and I thought I was going to take that off and just learn how to make soup or whatever — I mean, just be a person. But I did not do that. I got home and I started writing this record about 36 hours after I finished a year of touring.

Q: Workaholic, Annie?

A: No, never! I just can’t think of anything better to do. … Being on tour is sort of like being in the midst of a tornado, and then all of a sudden you’re dropped down and everything is sort of askew in pieces around you. I mean, I love it. I don’t mean to paint it like it’s a bad thing; it’s not at all. But I think, actually, the healthiest thing for me to do was to try to process the past year and a half’s worth of experiences. I’d been collecting ideas, and had melodies that I woke up singing in dreams. I had all this stuff that really wanted to finally have a chance to get down on paper.

Q: When I listen to your records — and this is a good thing — I have a hard time distinguishing the sounds. You know, I don’t know if I’m hearing a guitar or a synth. And I think of you as such a fantastic guitarist. Is that a line that you’re intentionally blurring when you play?

A: I love playing guitar, and I’ve been playing it for more of my life than not — but I’m not as interested in kind of recreating the old lexicon of rock guitar. It’s great, and it’s an amazing history, but I’m interested in what else a guitar can sound like. And I think that’s the general vibe on this record. It’s all organic sounds; it’s all people playing in a room for the most part, especially the rhythm section. But the sounds get processed to the point where they sound inorganic, so you get kind of the best of both worlds: You get the feel of a human, but the sound of a machine.

St. Vincent – Digital Witness (OFFICIAL AUDIO)

Q: It’s funny you mention the lexicon of rock ‘n’ roll. I think about the average 18 to 20-year-old listening to music now, and so little of it is guitar-driven music. So much of it is layers and textures of all sorts of sounds that have no point of origin.

A: Yeah, I think that most of the music that people listen to today is probably not the product of three people in a room, “just feelin’ it” in a rock way. It’s more about creating worlds. A lot of it’s being made on the computer; I would venture to say that 99 percent of it is. … And I think we’re in a world where people feel like they can beg, borrow and steal from any genre and it’s fair game, and that’s exciting. You don’t want to get stuck in any one thing.

Q: You have a cut on the new record called “Huey Newton.” Tell us about that.

A: I was traveling so much last year on tour, and I was prescribed Ambien, which is a sleeping drug, just to help get over jetlag. So I was in a hotel room in Helsinki, and I took a whole Ambien. What happens if you take Ambien and you go to bed is that you sleep like a baby. But if you take it and for some reason can’t fall asleep, you just trip — I mean, you straight-up hallucinate. So I was in this hotel room, and I hallucinated that Huey Newton was there with me. And we really bonded; we kind of had a heart-to-heart.

Q: When you’re in this thing, when you’re having this dream-state conversation with this political activist from the ’60s who’s now long gone, do you think, “This is a song”? Where’s the connection between the event and starting to work on a record?

A: I wrote the words to this song in probably five minutes, in a very feverish sort of state. And it’s so stream-of-consciousness. You know when you’re online and you go, “I really need to look up the Irish potato famine.” And then, next thing you know, you make a pit stop at the Black Plague. And then you’re like, “Oh wait, what is Kate Middleton wearing?” And then you’re like, “Oh! Huey Newton.” It was sort of meant to feel like that.

Q: Describe the cover art for us.

A: The theme is “near-future cult leader.” I’m wearing this metallic dress, and my hair, I look like I stuck my finger in a light socket. … The throne that I’m sitting on is inspired by the , which is very much about elemental shapes. The other inspiration was Jodorowsky’s , which is a movie from the ’70s that features all this really intense, bizarro imagery.

Q: Do you have a favorite song on the new record?

A: I have a lot of favorites, but I’m a fan of the song “Birth in Reverse” for a few reasons — one of which is that it totally reminds me of a song, and I wish that I could get Fred Schneider from The B-52’s to do his version of it. Fred Schneider, if you’re listening, I need a remix.

St. Vincent – Birth In Reverse (OFFICIAL AUDIO)

Hardrock band Alice In Chains announced more 2013 tour dates. Watch Interview [7 videos]

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Alice in Chains have new 2013 tour dates behind their last studio album. The current jaunt kicks off October 26th in Las Vegas, Nevada and concludes November 15th in Newport, Rhode Island. Check out the full docket below.

26 Oct The Pearl (Palms Resort & Casino) Las Vegas

09 Nov Alexandra Palace London

10 Nov O2 Academy Leeds Leeds

11 Nov Manchester Academy Manchester

13 Nov O2 Academy Birmingham Birmingham

14 Nov O2 Academy Glasgow Glasgow

15 Nov Newport Centre Newport

Alice in Chains have announced U.S. tour dates behind their upcoming studio album. The current jaunt kicks off April 25th in Miami and concludes May 24th in Lincoln, NE. Check out the full docket below.

A release date and title for the band’s new album, their first since 2009′s Black Gives Way to Blue, is forthcoming. In the meantime, check out their recent video for “Hollow”.

Past Alice in Chains 2013 Tour Dates
04/25 – Miami Beach, FL @ The Fillmore
04/30 – Birmingham, AL @ BUCC Concert Hall
05/01 – Augusta, GA @ William B. Bell Auditorium
05/05 – Norfolk, VA @ Norva
05/07 – Bethlehem, PA @ Sands Event Center
05/08 – Pittsburgh, PA @ Benedum Center
05/14 – Sioux Falls, SD @ Lyons Fairgrounds
05/15 – Milwaukee, WI @ Eagles Ballroom
05/18 – Philadelphia, PA @ Susquehanna Bank Center
05/21 – Ft. Wayne, IN @ Embasy Theatre
05/22 – Evansville, IN @ Aiken Theatre
05/24 – Lincoln, NE @ Pinewood Bowl Amphitheater
06/14 – Donington Park, UK @ Download Festival
09/13 – Rio de Janeiro, BR @ Rock in Rio
09/14- Sleep Train Amphitheatre Chula Vista, Chula Vista
09/15 – Sleep Train Amphitheatre Chula Vista, Chula Vista
09/15 – 15 Sep Irvine Meadows / Verizon Wireless Amphitheater, Irvine

The Devil Put Dinosaurs Here is the fifth studio album by the American rock band Alice in Chains, released on May 28, 2013. It is the band’s second reunion album. Following a worldwide tour in support of its previous album, Black Gives Way to Blue (2009), Alice in Chains began work on a new album. The making of The Devil Put Dinosaurs Here lasted for more than a year and the release of the album was delayed numerous times. The band entered the studio in July 2011 to start work on their fifth album. During the writing and recording sessions, guitarist Jerry Cantrell underwent shoulder surgery, which resulted in the delay of the album. The recording sessions of The Devil Put Dinosaurs Here were completed in December 2012.

Peaking at number two on the Billboard 200, The Devil Put Dinosaurs Here was well received by music critics and “Hollow”, “Stone” and “Voices” were released as singles to promote the album. The album also reached the top ten in the national albums charts of Australia, Finland and Norway.


Video interview in seven parts with hardrock band Alice In Chains. FaceCulture spoke to Jerry Cantrell and Sean Kinney about Nona, how it begun, persuading Layne Staley, being homeless, horrible lyrics, finding the sound, experience, Layne’s legacy, a tough decision, reactions on Layne’s death, new stuff and hard life.


Interview: Alice In Chains – Part 1


Interview: Alice In Chains – Part 2



Interview: Alice In Chains – Part 3



Interview: Alice In Chains – Part 4



Interview: Alice In Chains – Part 5



Interview: Alice In Chains – Part 6



Interview: Alice In Chains – Part 7



Interview Alice In Chains – Jerry Cantrell and Sean Kinney about Layne Staley


Video interview with hardrock band Alice In Chains. FaceCulture spoke to Jerry Cantrell and Sean Kinney about Nona, how it begun, persuading Layne Staley, Mike Starr, being homeless, horrible lyrics, finding the sound, experience, Layne’s legacy, a tough decision, reactions on Layne’s death, new stuff and hard life.

Bands On Rolling Stones – ‘They’re Going To Own Glastonbury’

Bands On Rolling Stones – ‘They’re Going To Own Glastonbury’

NME talk to bands ahead of the Rolling Stones headlining Glastonbury 2013. Sitting down with 30 Seconds To Mars, Imagine Dragons and more NME look ahead to the Rolling Stones set at Glastonbury 2013 and Enter Shikari explain why they’re pissed off with the old rockers.


Rolling Stones Glastonbury 2013 It ll Be A Massive Moment

The Maccabees, Fidlar, Jake Bugg and more look forward to the Rolling Stones headline set at Glastonbury 2013 and explain why it 39 s going to be so special.

Cannes Film Festival: Beyond Memories – Lexus Short Films (+ Behind the scenes)

Cannes 2013 Poster

Cannes 2013 Poster

The 66th annual Cannes Film Festival took place in Cannes, France, from 15 to 26 May 2013.  Steven Spielberg was the head of the jury for the main competition. The New Zealand film director Jane Campion was the head of the jury for the Ciné fondation and Short Film sections. The French actress Audrey Tautou hosted the opening and closing ceremonies.

The festival opened with The Great Gatsby, directed by Baz Luhrmann and closed with Zulu, directed by Jérôme Salle.  The film poster for the festival featured Paul Newman and his wife Joanne Woodward.  The Bling Ring, directed by Sofia Coppola, opened the Un Certain Regard section.

We were especially attracted to a short film, Beyond Memories, directed by Cristina Molino,  We were absolutely spellbound by the brilliant lead actress Jolene Anderson and how she managed to film some scenes in the cold waters of Long Beach, California, and the origin of the idea of  Cristina Molina for her short film.

So, we decided to share this film with you.

About Lexus Short Films:

Lexus wants new car shoppers to see the brand as representing sophistication and a design-centric philosophy, and recently launched a new campaign to help get the message across.

As part of the campaign, the Japanese automaker launched a new lifestyle magazine and announced it would be sponsoring art and design exhibitions. It also teamed up with The Weinstein Company to create a series of arty short films.

The first of these, titled Beyond Memories, was premiered during the recent 2013 Cannes Film Festival in France.

According to Lexus, the short film is about the struggles of a young woman trying to get over a past love.

Unlike past short films we’ve seen from the major automakers, like BMW’s pioneering The Hire series as well as Jaguar’s more recent Desire, Lexus’ new short film shows no relation to its actual cars.

This, however, may change for the forthcoming films in the series. They will be released on the 4th, 11th, 18th and 25th of June.

Beyond Memories – WATCH THE FILM

Beyond Memories | LEXUS SHORT FILMS
This is a very unique short film that blurs past, present and future for director Cristina Molina’s characters. Sophie believes that forgetting is the only way of moving on with her life, but one day she realizes that she can’t make memories from a previous life completely disappear. All those memories are still there, hidden inside her mind.

Directed by Cristina Molino

Find out more:
Film & Animation

Go behind the scenes to watch the making of BEYOND MEMORIES. In this clip we are in Northern California running through the woods with actors Colin Branca and Jolene Anderson. Director Cristina Molina discusses Jolene’s character in this Lexus Short Film and shares her vision of this red-haired woman.

Published on Jun 14, 2013
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Go behind the scenes to look at the making of Timeless Wardrobe, the Cold Plunge and The Majestic Forest of Beyond Memories.

Published on Jun 11, 2013

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BEYOND MEMORIES. In this clip we take a behind the scenes look at the wardrobe with costume designer Bobbie Mannix.

Published on Jun 9, 2013

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For the Lexus Short Film, BEYOND MEMORIES the location department needed to find a majestic place to film this timeless couple played by Colin Branca and Jolene Anderson. They found the perfect place in the redwood forests of Northern California where the old growth trees create the ideal backdrop for this story.

Published on Jun 4, 2013

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For Cristina Molina’s film, BEYOND MEMORIES, her lead actress Jolene Anderson had to brave the cold cold waters of Northern California. In this behind the scenes look we see Jolene filming on location and in a water tank in Long Beach, California to capture the underwater elements on the sequence.

Watch the Director’s Vision video clip. Cristina Molina’s film Beyond Memories.  Go behind the scenes to look at the making of the film.

Published on Jun 4, 2013

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Director Cristina Molina talks about the origin of the idea for her Lexus Short Film, BEYOND MEMORIES. Cristina discusses the special significance of objects in her film as we see a behind the scenes look at the making of the film.


Cristina Molino is a Spanish director and cinematographer from Madrid Spain. She trained as a photographer at Efti School and as a Cinematographer at Madrid’s Film School, ECAM, where she was awarded with first-class honours and received an award sponsored by Kodak, Technicolor lab and Camara Rental. After working as a photographer and several projects as a Cinematographer, she initiated herself also as a film director. ¿Te vas? (Are you leaving?), a work that has been awarded in fifteen film festivals including the International Film Festival of Locarno, was the first short film that Cristina directed. Soon after she directed her second short film, Retorno (Return) and recently her third, Nada (in post-production). In addition to her own film projects, she is currently working as a commercial director and cinematographer for the Spanish production companies Think Mol and Lee Films International as well as the American production company Red Magma Media.