Milla Jovovich: How To Get Ahead In Illuminati Hollywood

Milla Jovovich is a 37 year old actress and model born in the former Soviet Ukraine. Her father, Bogic Jovivic is a Serbian pediatrician and her mother, Galina Jovovich is a former Russian actress. Her paternal great-grandfather was a flag-bearer for the Vasojevići clan and an officer in the guard of King Nicholas I of Montenegro; Milla was named after his wife Milica. Her paternal grandfather was also connected to the military, read more at wikipedia. At age five, Milla’s family left the Soviet Union for London then moving to America and finally settling in Los Angeles. Milla’s parents soon divorced after arriving in America. Milla’s mother struggled to find acting work in the US, so she and Bogic resorted to providing housekeeping services for Hollywood elite director Brian De Palma (and other Hollywood homes) to get by. “Even then, Milla showed a knack for attracting the attention of powerful lensmen; she appears in some of De Palma's old home movies, frolicking in the pool.”

In the past Milla has candidly described her mother as "pushy". In a sense, Galina lived out her own ambitions vicariously through her daughter. She enrolled Milla in her first drama class when she was 9. Milla shot her first horror scene when she was 10, in a movie that was never completed: She played a little girl molested both by her father and the devil. In the absence of a special-effects budget, her mother improvised as the Antichrist. "My mom was Satan, which is true in a lot of respects," she says. Then: "But I love her anyway."
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Milla’s father was arrested and sentenced to 20 years for participating in health-insurance fraud. “This was no run-of-the-mill fraud - it was reportedly the biggest in American history, involving more than $1 billion in claims. Bogich pleaded guilty to 7 fraud-related counts and was sentenced to 20 years in prison… "I don't want to spill my sob story to the world." "A lot of my history is based on survival," she says. "I mean, it's sort of the Russian way of thinking.""

At age 12 she had already been taken out of school to focus on modelling, but began auditioning at age 9 and was handled by child modelling agency, ‘Prima Modelling Agency’. Illuminist photographer Richard Avedon noticed her at age 11 (he took the Nastassja Kinski snake photo I've posted several times; photographed Marilyn Monroe, George Bush Snr etc) and she was then included in his "The most unforgettable women in the world wear REVLON" advertising campaign pictured above (he was the head of marketing at Revlon at the time). The models not looking particularly happy to say the least. Calling an 11 year old girl an "unforgettable woman" seems inappropriate to me, and has clear sexual maturity connotations that should not be associated with an 11 year old girl. Never mind dolling her up to be used as an object to sell cosmetic product. The reference to forgetting may also be euphemistic of programming (being dissociative/amnesia/highly "forgetful"); but if that is reading too much into it then their 'dead', expressionless, tranced looking faces is perhaps indicative of programming. The magazine wanted to remove Milla when they found out she was only 11 years old but Avedon threatened to prevent them from using any of his photographs in the future so they caved to the Illuminist tool.

A photograph of "elite" photographer Richard Avedon, covering his right eye in what I am sure is an entirely coincidental pose...

A couple of other modelling photos from 1986 of Milla aged 11.

Milla's first magazine cover was in 1987, still 11 years old the magazine called 'Lei' featuring Milla looking relatively tranced on the cover with the pink words 'E LOLITA' .

Jovovich's Lolita status in the fashion/media world is shown by her other photo shoots from this early period (1987-1990) below.

Note above possibly intentional use of one eye covering.

Wearing a Hells Angels top at 11/12

Above Milla appears to be wearing magickal pentacles in this shoot from 1990 (14).

What do you think the double meaning behind this 'Seventeen' magazine cover is? [Clues: "Sexual abuse", dehumanization, black/white, pink etc]

Confirming her status as one of the media's 'Lolitas'. In 1990 (she is 14 here) she was featured in a French Vogue spread with a David Lynch favourite, Harry Dean Stanton (who appeared in her 'The Gentleman Who Fell' video further down the page) playing a Humbert type figure and Milla, obviously as the elite's favourite Lolita archetype.

In 1988, following her unfinished Satanic ritual abuse film she had a small part in the highly sexual 'Two Moon Junction' (pictured below in the film), note the poster's symbolism with the vesica pisces and intertwining roses (the stems only pass through the O letters; most of this is esoteric sexual symbolism).

She then made a Disney Channel film in ‘The Night Train to Kathmandu’ which has the central theme of Eastern Mysticism, which is an important aspect of the occult and Theosophist's in particular. Her life is quite similar Brooke Shields (click for post), Milla was known in the media and within the fashion industry as the new Brooke Shields or the "Slavic Brooke Shields". She appeared as the underage female sex-object in The Blue Lagoon's sequel Return to the Blue Lagoon. These films are just mild titillation, bordering on soft-core underage pornography (she was fourteen at the time of filming) and is indicative of the perverse predators that make up Hollywood's establishment some of whom had their houses cleaned by the Jovovich’s (which is no doubt how she became introduced to the Hollywood/fashion world). It is no coincidence that she plays a Lily in her first official film for Disney (Kathmandu), and then in Blue Lagoon she also plays a Lily, 'Lilli'. I have covered the name Lily (Lillith + symbolic flower, flower of death etc; MK associations with a victim being like a flower coming into bloom, deflowering etc) in older posts. Brain Krause, who was 22 at the time played the male counterpart, has been in some interesting roles. She also appeared in a Married with Children episode where she played a foreign exchange student and underage lolita.

Below from a magazine piece titled "The Most Sexy Lolitas of the Moment" to emphasise her as a Lolita (the below US flag shots were also in the set).

Below comes from Rolling Stone magazine 1990 (so at the oldest 14).

She also did an advertising shoot with Monarch slave Michael Jackson when he was under a great deal of Monarch mind control. Milla Jovovich and Michael Jackson have the same initials, M. J. Probably coincidence, but a synchronicity nonetheless.

Here is a clip from one of her earlier films 'Dazed and Confused' with Milla singing about aliens then Rory Cochrane saying (paraphrased): "This country was founded by people who were into aliens man, George Washington man, he was in a cult and the cult was into aliens man." Which isn't actually far off the truth at all (referring to the Masonic cult many of the 'founding fathers' were members of). She had a brief marriage to actor Shawn Andrews from this film, which was annulled by Milla’s mother two months later.

Above is a video of Milla performing the song from her sporadic musical career, it appears she is performing in an altered state based on the look in her eyes and flashing the horns signal, 0:42 (she clearly intentionally flashes the hand signal just after the line "Oh look it's flashing").

Her music career has produced only one official album, entitled 'The Divine Comedy' giving it immediate occult resonance as it is named after Dante's 'Divine Comedy', which influenced occult societies and helped popularise the association of Lucifer as Satan. The cover (designed by Russian artist Alexis Steele) reminds me of depictions of Lilith or Eve, note the serpent coiling between her legs as she reaches up to the light/Heaven from her place in Hell (note the fallen angel/Lucifer in the red hooded robe to the left of the image). I'm sure someone more familiar with the Divine Comedy could identify the specific scene depicted; whatever the scene, it is undeniably occult themed.

The covers for her apparently unauthorized release 'The Peopletree Sessions' also feature occult symbolism with Milla's eye covered by a pentagram and even more occult below with the pentagram's interior lines included. This occult pentagram is the logo for the record label that Milla signed for in 1988 when she was around 13, SBK Records (wiki) which was part of EMI.

One song of note is 'Secret Society' with it's lyrics:
"1,2,3,4 (x3) [tempo count, hypnotic/trance induction, hence the "I can't remember"]
what was that?
um..I can't remember
hahahaha

let you alone
let you alone
all the crazy people
let you alone
all the crazy people
secret society
secret society..."

She has more recently collaborated with Puscifer (Pussy/Lucifer), from the 'Tool' (lots of occultism in their work) lead singer Maynard James Keenan (from his interviews he seems like a fairly aware guy). Above image is cropped from Puscifer's official site, note the spiral, all seeing eye [like a stone arch also], checkerboard floor, spiral serpent etc (+ more symbolism on the site, like the intro page star).

She sang in Puscifer's 'REV 22:20' ('He who testifies to these things says, "Yes, I am coming soon." Amen. Come, Lord Jesus.'; the song may reference the antichrist which synchs up with her earliest non-released film role further up):

Don't be aroused by my confession,
Unless you don't give a good goddamn about redemption
I know Christ is coming
But so am I
You would too if the sexy devil caught your eye
She'll suck you dry
But still you'll cry to get back in her bosom
To do it again
She'll make you weep
But the more you'll cry to be back in her bosom
And do it again

Jesus has risen to no surprise
Even he would martyr his momma to ride to hell between those thighs
Pressure is building at the base of my spine
If I've got to sin to see you again
Then I'm gonna lie lie lie
She'll make you cry
Please suck me dry

She'll lie lie lie
PRAY! (4x)

She'll lie lie lie
PRAY! (5x)
pray...PRAY!...pray...PRAY!...pray...
PRAY!...pray

She has produced two music videos for the same song (one in colour, one in black and white), 'The Gentleman Who Fell'; while there is nothing particularly overt about this first video, it has quite dark undertones.

First of all dissociation is shown (this is a speculative interpretation) as a sleeping Mila goes 'out of body' and spins round, transforming into a little girl (Milla as a child/child alter/memory fragment) who also spins (showing it's herself) and then dances with an older man playing the violin, presumably supposed to represent her father, as an adult Milla looks in on the scene looking sad.

Milla is shown in the traumatised pose of sitting in the corner in the fetal position. Milla symbolically turns on the light (+ some symbolic lines are sung i.e. 'blinded by the light'), her character (in a hallway/rooms internal structure) looks into another doorway (symbolising access to another part of the mind where these types of dissociated memories or splits, are housed) and sees another suggestive scene.

It appears to be the little girl (again Milla as a child) wearing black/white (there is some duality symbolism in the video) in a room with two men, a creepy looking old guy who I think is a David Lynch favourite Harry Dean Stanton (see further down the page where he randomly does a Vogue shoot with Milla playing the part of 'Lolita' and Harry as Humbert) and a younger guy, note the little girl is in a fixed/frozen position (hands clasped together, frozen in fear) between the two men.

Flower petals are dropped and other symbolic imagery flashed (the light bulbs swinging, dead leaves blowing in the wind [symbolising transformation; change in the seasons] and such); the tempo picks up and Milla, wearing black has a white veil wrapped around her by the two men. This also happens to the little girl (symbolic Milla as a child, because it symbolises childhood dissociation), effectively mummifying and cocooning them which is extremely symbolic.

A few shots of her mouth gagged with masking tape are shown (which she symbolically removes near the end). This is cocoon symbolism is confirmed as when the 'veil is lifted'/the cocoon broken apart we are shown an image of Milla with wings at the end. This video is all about programming; the transformation of the little girl into the beautiful butterfly (whatever the desired product of the programming) inside a 'cocoon'.

The second, black and white version of this song has symbolic themes in it as she hallucinates seeing herself sitting at a table, a cat eating bugs, a few all seeing eyes, disorientation, tarantula (related to spider tortures), death waiting in her bedroom with a mirror over his face, Milla appears to be trying to go through a mirror and a few other relevant scenes.

Milla's other ventures include a now-defunct fashion line 'Jovovich-Hawk' with Carmen Hawk, a former model (they met when they were both young models) whose modeling photos from the 90's I can find none of. The above shot is a common MPD symbolic photograph with each half of their respective faces blocking out the other's half face (split mind, note Milla's black feather mask too), similar to this cosmetics ad featured in Deeper Insights Illuminati Formula and below is fairly self explanatory (Carmen giving the horned one hand signal in front of a horned beast.

After her small part in ‘Dazed and Confused’, Milla’s next notable film production was Luc Besson’s ‘The Fifth Element’ in which she played Leeloo (similar to the Lily character names from her previous roles). The film has various occult concepts in play (spoiler warning), Milla plays the personification of the “Fifth Element” (or “quintessence”) which is considered to be the Spirit (or aether) on the Pentagram (the other elements points being the earth, air, fire and water; just as they are in the film). Note in the film’s posters Milla’s face is symbolically half covered in shadow.

The four elements combine after Bruce Willis proclaims his love for her allowing the Fifth Element (spirit/aether) to combine the four elements (fire, water, earth, wind; red, blue, green, yellow respectively) thus releasing her ‘Divine Light’ and destroying the ‘Great Evil’. The ‘Divine Light’ being white, these colours match up accurately with the classical elements used by occultists and in Freemasonry). For more occult symbolism in the film check out this analysis on YouTube, usual sun symbolism seen in Besson’s films (I picked up on this symbolism also in his film Leon).

Milla and Luc Besson would go on to marry in 1997 before getting divorced two years later. Luc Besson’s relationships may suggest that he is a handler of MK’ed actresses as he married another, Maiwenn Le Besco when she was 16 (they met when she was 15). She played the blue alien opera singer in the film, in which she is killed (sacrificed) so the “supreme being” (Milla) can save the universe as the elemental stones are contained within her body (an interesting way to effectively end a relationship in real life!).

Anne Parillaud was another of his wives, whom he directed in ‘Nikita’ then divorced soon afterwards. In the film she played a drug addict who was transformed/programmed into a government assassin which she describes as being an intense experience (bordering on an alternate personality), “For a while she was in me like a demon. I would do things I normally would not do. She was awkward, depressed, full of despair.” 'Nikita' has had a couple of TV shows made based on it, including the more recent 'Nikita'.

His current spouse is Virginie Silla.

Milla would then go on to marry Paul W. S. Anderson, most famous for his video game film adaptations like the Resident Evil series where the two met in 2002 filming the first and then married in 2009. They have one daughter together, Ever Gabo Anderson.

Moving back to Milla’s films, she played Joan of Arc in Luc Besson’s ‘The Messenger: The Story of Joan of Arc’ and an abused prostitute in Spike Lee’s ‘He Got Game’. In the 2001 comedy ‘Zoolander’ she plays an evil henchwoman called Katinka who helps to brainwash the model protagonist Derek (Ben Stiller) to become a programmed assassin by administering electroshocks when he questions the programming. She played another Kat in the 2007 film '.45'.

She then got the part of Alice in the aforementioned ‘Resident Evil’ film, based on the video games of the same name and has spawned several sequels. Note the symbolic cover above for the Blu-ray collection.

In the film she awakens with amnesia to a symbolic scene, in which firstly her one eye is focused on, then it is revealed that the bathroom has a checkerboard floor with twin pillars either side of her.

Alice in Wonderland is constantly referenced throughout the films, in particular the first which can be viewed as a metaphor for Milla tumbling down the rabbit hole (the Hive facility). Her name ‘Alice’ is taken from Lewis Carroll’s surreal work which is a favourite among mind control programmers because of its dissociative themes (tumbling down the rabbit hole into an alternate reality full of riddles and confusion). The fact that she starts with amnesia is suggestive of dissociation and her initial nemesis in the film is the ‘Red Queen’ (although this changes), an artificial intelligence who is in charge of security in ‘The Hive’. The ‘Red Queen’ is depicted as a hologram of a little girl. At the end of Resident Evil: Extinction, White Rabbit is played in the credits (a remix by Collide of Jefferson Airplane’s White Rabbit).

I have only seen the first of the films so cannot comment on the sequels' content but the ‘Umbrella Corporation’ logo is worth commenting on. Ostensibly it is just an umbrella mixed with the medical cross, it is also quite similar to the Templar Cross worn below by the Pope (Francis, a member of the Jesuit order who are one of the big string-pullers in the secret society hierarchy) at his inauguration (also worn by Ratzinger)

Moving on to Milla’s more recent films, 'Faces in the Crowd' featuring her shattered on the official posters. The shattered mind symbolism emphasised by the film's psychological theme of Milla's character who, after a traumatic experience of witnessing a serial killer commit a viscous murder she falls from a bridge and is knocked unconscious: "When she awakes in the hospital, she can't recognise family, her boyfriend or even her own face in the mirror. She is diagnosed with prosopagnosia, or ''face blindness''. "This is a real neurological disorder, caused by a lesion of the temporal lobe, the part of the brain that allows us in a heartbeat to compare someone's face with all the faces stored in our memory. She is incapable of recognising the same face twice."

Aside from the general mind control themes of shattered mind and facelessness/loss of identity, psychological disorders akin to prosopagnosia can possibly be manifested in Monarch victims through programming (via hypnosis/drugs/trauma). I would suggest that this is done in particular to deeper, extremely dissociative alters; so that, should they enter a place with people they don't want the slave recognising they will trigger that alter. So, for instance if a Presidential Model was being brought to a powerful person, this alter programmed with prosopagnosia (or something similar to "face blindness") will be triggered so they have no idea where (and who) they are and are unable to recognise said face. That is just speculation based on my research into mind control so feel free to dismiss it.

As she falls from a bridge and has a traumatic brain injury causing her “face blindness” half her face is in darkness symbolising the split in the mind that caused the condition (the lesion of the temporal lobe). Below, her bag has a butterfly attached to it which is consciously focused on, and below that of course the obligatory shattered mirror sequence (shattered mind). Her name in the film, 'Anna' is symbolic of MK due to its symmetrical, mirrored nature (along with Hannah and others).

In 2014 she will be appearing in 'The Winter Queen'; A remake of 'Azazel', a Russian film based on the book, named after the Hebrew term (+ Azazel is synonymous with Satan in the Islamic faith), often depicted as a desert goat demon which is where we get the term scapegoat from (Hebrew ritual of sending a goat off into the wilderness for the demon, carrying with it their sins) and is important to the Kabbalah (note the dualistic/hermaphroditic description of it's creation in the Zohar: "The unholy filth grasps THE MALE above and THE FEMALE below. Here, male and female join together. They are the rider ON THE SERPENT and the serpent, which is the secret of the male and female. This is the secret of Azazel, WHICH INCLUDES THE MALE AND FEMALE OF DEFILEMENT." [their emphasis, read this link for context/details]).

Azazel is connected to the goat-headed hermaphroditic Baphomet and Lucifer (Azazel being associated with fallen angels). The book is by a Georgian Jewish author called Grigory Shalvovich Chxartishvili under the pen name 'Boris Akunin' (Akunin meaning 'villain', he describes it as meaning 'one who creates his own rules' which comes across as quite Luciferian; a fallen angel rebelling against God). In the book (set in Imperial Russia) Azazel is the name of a terrorist organization involved in a global conspiracy; which invokes secret societies' occult (hidden) goals.

Notice in the above early official poster for it the subliminal goat/ram horns (on the stylised crown and coming out of the Q), mirrored/butterfly-shaped twin guns. And speaking of Azazel, sacrificial goats and whatnot, in her movie 'A Perfect Getaway' Timothy Olyphant (the genetically engineered clone Agent 47 in 'Hitman', in this he plays an ex-special forces operative with a titanium plate in his skull) invokes the ritual Azazel demon as he kills the sacrificial goat (with a bow and arrow invoking Artemis/Diana, Apollo) in the wilderness and brings it to camp on his back.

It would be hard to discuss the MK themes in this film due to it being the film's central plot twist (so stop reading this paragraph if you want to avoid spoilers). Basically it involves Milla and her boyfriend (Steve Zahn) who are crystal meth addicted murderers (Milla's boyfriend forced her originally to participate in the murder before becoming his accomplice, at the end of the film she turns on him realising he has altered her) who assume the identities of their victims, going as far as wearing their clothing, jewellery and also memorising and mimicking what their victims had said, their speech patterns and their mannerisms (this is shown in a predictable symbolic scene in front of a mirror, with the screen compartmentalised/"split"-screen pictured below, symbolising their split/fractured/etc minds as they assume their new personality).

Milla the transformed blue morpho butterfly.

Her 2009 film, 'The Fourth Kind' covers the alien abduction mind control programming theme to a large degree. Far from being an exposé on the alien abduction and ancient astronaut phenomena, I felt the whole thing was insincere, more an exercise in seeing just how suggestible the cinema-going public are, with regular use of hypnotic, dissociative cinematography. One example of this is at the very start, which you can sort of make out in the above trailer (it's more noticeable in the film) where Milla (as herself talking to the viewer) walks up to the camera and then the background behind her starts to spin while she remains still with the camera remaining fixed on her. The effect here is spinning disorientation/dissociation (hypnosis), attempting to pull you the viewer slightly under (watching TV/movies you are already in a relaxed low level trance, alpha state anyway) whilst Milla implants the suggestion that this is all real and true (acting as herself, giving her words authenticity pulling you out of the fiction of the film), trying to convince you that this fantasy is reality; an important part of mind control (I am talking about the film here not the alien abduction phenomina in general).

Dissociation is a massive theme in the film, while not explicitly mentioned most of it is about the repressed memories of the Doctor's patients, which have been dissociated due to the trauma of the "abduction". When Milla listens to an audio recording of herself (the "actual audio" of the "real life" doctor, so the film claims), she (to her surprise) hears her own abduction by the ancient Sumerian alien gods (likely the Annunaki/Nephilim) and the moment the traumatic scream along with a penetrating surgical drill sound we are given a clearly (it cuts to it the moment the piercing scream is heard, immediately after the below clip finishes) intentional symbolic close-up shot of Milla's half face symbolizing her split mind from the trauma, this is a common use of symbolic cinematography you can look out for in many films (half face/one eye shots during scenes of trauma) though will often not be used with any sinister intent.

In the above clip Milla, is put under hypnosis to access the repressed, dissociated memories of her 'abduction', another example of hypnotic cinematography is shown here (before the clip starts, screencapped below). As the psychologist uses the countdown hypnotic induction method the camera spins above Milla, moving in a downward spiral towards her (again, like the spinning background effect at the start of the film this is symbolic of hypnosis, spiralling into trance, hypnotic trances being dissociative states hence why it is used to access dissociated memories).

Some of her abductees report often seeing a white owl in the window and the abductions would occur at 3:33. The symbolic owl (which people in reality have reported seeing in relation to abductions) and a symbolic number, are all good for triggering those who have been "abducted by aliens". The owl is a multifaceted ancient symbol adopted by numerous secret societies (including the Illuminati), it's "all-seeing" symbolism is most relevant here though as the owl's eye is juxtaposed with the camera's lens (all-seeing eye) in one scene.

In reality, many/most of which who genuinely believe they have been abducted by aliens may have been tricked and were really programmed by intelligence agencies/military, in what has become known as MILABS (while I try to stay 'on the ground' I do not discount UFO, Ancient Astronaut or actual alien abduction theories too by any means).

Split-screen scenes are used to give the fake "archival footage" an air of authenticity, though the "real" footage is also played by an actress.

Moving away from Milla’s acting. As we have seen with many of these actresses they 'become' or 'channel' the archetypal original "Presidential Model" Monarch slave Marilyn Monroe, and Milla does not deviate from this formula. For instance above she channelled Marilyn Monroe by singing ‘Happy Birthday’ on a giant cake (reminiscent of the Tower of Babel) sitting on a pentagonal platform below a giant all seeing eye. This occurred at Shakhtar Donetsk 75th anniversary event, note their crest has a vesica pisces shape with a flame motif on the top half.

In one of her earlier shoots (age 13) she invoked Marilyn Monroe taken by photographer Helmut Newton (whose photography portfolio includes models as robots and mannequins; one of his shoots with these themes featured in the Nastassja Kinski post), the Monroe association is described in the picture (“recapture the immortal spirit of its star, Marilyn Monroe”) as it was shot at locations from her film. The three colour photos below are from the same shoot but in a different magazine.

She became Marilyn Monroe in the usual way in this photo shoot below taken by Ellen Von Unwerth. Vigilant Citizen wrote an interesting two part piece on the original Monarch Mind Controlled Presidential Model slave Marilyn Monroe and her influence on today's celebrities, here is part 1 and 2.

 Here are some predictable shots of potential programming symbolic allusions like kitten programming, cyborg theme and the archetypal symbol for Monarch mind control, the butterfly.

The below shoot from celebrity photographer David LaChapelle is highly symbolic of kitten programming with the Marilyn Monroe images and the leopard print floor and Elvis (who was reportedly a programmed multiple also).

From the same LaChapelle shoot more mind control with the Wizard of Oz and other themes below.

Another Ellen Von Unwerth shoot titled, ‘Hot To Get Ahead In Hollywood’ (which the title of this post comes from) with themes of Satan and bondage… big clues on how to actually get ahead in Hollywood!

This one, also from Ellen Von Unwerth features standard one eye symbolism.