Most people first heard of this movie back in mid-June when D’Souza announced its imminent release and stating that in it, he, in addition to his usual schtick of pinning the blame for all the ills of the world on Democrats, would be putting forth the argument that Donald Trump was the modern-day equivalent of Abraham Lincoln himself. This announcement raised many eyebrows and not just because that is a comparison that even those whose politics do lean towards the right might find difficult to swallow. It was only a couple of weeks earlier that Trump had unexpectedly granted D’Souza a pardon from his conviction for making illegal campaign contributions in 2012—the assumption being that D’Souza made a film lionizing Trump (presumably after Señor Spielbergo turned the project down) in exchange for his pardon. D’Souza claims that Trump knew nothing about the project when he granted the pardon and with nothing concrete to suggest otherwise, I will take D’Souza at his word regarding this. To be fair, however, if ever there was a movie that looked as if it had been slapped together in a couple of weeks as part of a quid pro quo agreement involving a dubious-seeming criminal pardon, “Death of a Nation” is that film.

During a montage chronicling the 2016 election, D’Souza himself admits that he was not exactly gung-ho over Trump (he barely rated a mention in “Hillary’s America,” though D’Souza brags that the film helped with his victory) but, in his never-ending quest to stay vaguely relevant, he has certainly quaffed the Flavor-Aid since then. He then concludes that montage by stating that outraged Democrats and progressives have created by doing everything they can to overturn the election, ranging from spreading “stories” about how Clinton supposedly won the popular vote to making countless claims about his personal life (“We knew we weren’t electing a choir boy”).

This, D’Souza states, is exactly the same thing that Lincoln, the first Republican elected President, faced when he took office and was opposed by a Democratic party that was indeed largely behind slavery and segregation. In D’Souza’s mind, this is apparently a mind-blowing revelation (even though he has made it in his last couple of movies) that history has tried to keep silent from the American people, presuming that they never actually crack a history book. Now some of you may be thinking that this thesis makes no sense because the Republicans and Democrats essentially switched positions over the years, especially in the wake of the battle for civil rights in the 1960s. This might seem like an enormous oversight, even for a guy who somehow did not realize that he was retweeting messages that included the hashtags #killthejews and #bringbackslavery, but D’Souza has a simple explanation for this—nothing changed, Democrats and progressives continue to be racist monsters and Republicans—the same group actively trying to block black voters from getting to the polls—are the real anti-racists.