Je Suis Karl

It seems difficult for so many to watch a movie these days simply to be entertained. I found the acting, story line and production to be top-notch. It's not a documentary folks. Just enjoy it!

Let's first start with the most important thing: don't look at the rating.

First, look at the comment and you'll understand why the general rating is so low: people obviously didn't get it and decided to put a 1/10 just because of it.

The truth is: this movie is a very good one.

People say the acting is bad: I hope those saying that are actually producers, actors, writers because: how can they judge ? Especially knowing the actors have both very good references, as well as the creator.

People say the story is bad: well if you don't get the details and the story behind, maybe.

But if you do, what a movie!

The true face of the far-right, far from what you would initially think. How someone can come from an extreme and reach the total opposite due to a single event.

The kind of movie that will make you think about the society, politics, and maybe even yourself.

I rated this film 6/10 because of its sensitive and believable build up of how someone might be drawn into "the scene".

Radicalisation of any kind starts with either desperation or charm. The film builds this up slowly and sensitively, with a youth scene which is attractive and seemingly advocating a "new" right movement. This part was well handled and explained. The ending seemed glib, rushed and unbelievable. The actors were charismatic and deserve credit.

Not an easy subject matter - but the message is clear. And violence never is the answer ... uncertainty isn't either. But it is something that some people are able to tap into. If you are afraid, if you think certain things may happen, if the press is reporting on things ... you may be subject to something ... you may be used for something ... and you may become the face (or name, no pun intended) - unintentionally.

Rough on the edges and within, this has quite a few issues - again no pun intended. I wanted to watch this at the cinema, but was not able to go there. So now that it was released for home viewing, I did just that. Maybe in cinemas I would not have noticed some of the flaws, but I reckon I would have there too. The pace is a bit all over the place - still the issue at hand is more than important.

Summary

Christian Schwochow's film is a disturbingly topical dystopia, an incursion into the renewed modes and operations of the new neo-fascist youth movements in Europe and which find their replicas in other parts of the world, such as the so-called "libertarians" of Argentina. For instance. A pan-European phenomenon with TED conventions and progressive clothes and manners that will reveal, with the excuse of insecurity, his white supremacist motivations against immigrants and his vocation for power. And that raises a question: how solid do our principles stand when we become victims?

Review

After suffering a family loss, Maxi, a young student (Luna Wedler) is seduced by Karl, a young far-right activist (Jannis Niewöhnner) and introduced into a European neo-fascist youth movement.

Maxi is seduced by the beautiful Karl (a Machiavellian Jannis Niewöhnner, in a character reminiscent of the protagonist of Hater) and invites her to meet Re / Generation, an organization for "change". To what extent will someone who is processing a grief allow themselves to be used? Will it follow the path of the protagonist of the film Hadewijch, by Dumont? What ideological changes can the condition of victim produce? Luna Wedler (the protagonist of the Biohackers series) deals with an ambiguity that makes her character very interesting. The opposite of her is Alex, her father (great performance by Milan Peschel), who has other ways of processing a duel that will distance them.

Beyond some script weaknesses, Christian Schwochow's film is a disturbing foray into the renewed modes and operations of the new neo-fascist youth movements in Europe. It should be noted that the phenomenon is not limited to the Old Continent, since it finds its replica in the so-called "libertarians" of Argentina, for example.

We are far from the world of proletarian neo-fascists sons of German reunification. It is now about organizations (in this case the fictitious Re / Generation; attention with its logo) to which middle class young people adhere, many of them students, who organize conventions with TED talks and new age airs, making intensive use of social networks and who spuriously seize slogans, topics and ways of the progressive left. The mask of false progressivism does not take long to fall and show its true face, its obsession and its fanaticism: a pan-European white supremacism whose target is immigrants and which agitates the issue of "insecurity" and "change"; It is a phenomenon that does not end in watertight nationalisms because "they - immigrants - are everywhere." The film, focused on young people, leaves out of the field the economic interests that move behind and that sustain these movements and groups, very organized and with a vocation for power, and who do not repair the means to achieve it.

Je suis Karl describes a real state of affairs and goes one step further, painting a disturbingly topical dystopia.