By Dilma Rousseff
The country is still alive, despite the illusionists, the sellers of hatred and the scammers on duty. Now, the 2016 pro-coup narrative gains new colors, in a distorted view of history, with typical tones of fascism latent in the country.
As for telling the story of Lava-Jato (Car Wash Operation), in a series "based on real events," the filmmaker José Padilha incurs the distortion of reality and the propagation of lies of all kinds to attack me and President Lula.
The series "The Mechanism" (O Mecanismo), on Netflix, is lying and disingenuous. The director invents facts. Does not play "fake news". He himself became a creator of false news.
The filmmaker treats the scandal of Banestado, whose black market money dealer's delator was Alberto Yousseff, in an alternative timeline. Now, if the series is "based on real facts," at least one must stick to the time the facts occurred. The Banestado case did not begin in 2003, as it is in the series, but in 1996, in the full FHC government.
About me, the director of cinema uses the same inks from the brazilian press to practice reputations murder, casting lies in the TV series, some that not even part of the great national media had the courage to insinuate.
Youssef never had any participation in my re-election campaign, nor was he at the committee headquarters, as the series highlights, as early as its first chapter. The truth is that the black market money dealer never had contact with any member of my campaign.
The filmmaker bad faith is glaring, to the point of committing another fantasy: that I would be close to Paulo Roberto da Costa. This is not true. I never had any kind of friendship with Paulo Roberto, exonerated of Petrobras in my government.
In the TV series, the filmmaker still has the nerve to use the famous words of Senator Romero Jucá (PMDB-RR) about "stagnating the sangria" in the era of fraudulent impeachment in an effort to prevent investigations from reaching the scammers. Jucá confessed there the desire for "a great national agreement". The shocking thing is that the filmmaker attributes such declarations to the character that embodies President Lula.
Look. In real life, Lula never gave such statements. Senator Romero Jucá, leader of the coup, said this in a conversation with the prosecutor Sérgio Machado, who recorded it and whom he clarified about the strategic nature of my impeachment.
At that time, Jucá and Machado debated how to paralyze Car Wash investigations against PMDB members (his party) and the Temer government, which would be obtained by the arrival of the coup leaders to power, from my departure from the Presidency of the Republic in 2016.
Padilha attacks the criminalist's honor in a covert manner. The lawyer is not even alive today to defend himself. The lawyer is not even alive today to defend himself.
The filmmaker does not use artistic freedom to recreate an episode of national history. He lies, distorts and falsifies. This is more than intellectual dishonesty. It belongs to a pusillanimous in the service of a version that afraid of the truth.
It's like re-imagining the last moments of John Kennedy's tragedy, putting the murderer, Lee Harvey Oswald, accusing the victim. Or Winston Churchill concluding with Adolf Hitler an alliance to attack the United States. Or Getúlio Vargas, a friend of Carlos Lacerda, supporting the coup in 1954.
The filmmaker makes fiction in dealing with the history of the country, but without warning the public. He declares that he bases himself on real events and tries to dissimulate what he is doing, inventing passages and distorting the real facts of history to frame reality in his own way and at his own pleasure.
I reiterate my respect for freedom of expression and artistic expression. There are those who want to do fiction and have every right to do so. But it must be admitted that it is fiction. Otherwise, what is being done is not based on actual facts, but on actual distortions, in fake news.
DILMA ROUSSEFF
