**_A humorous piece of political satire that isn’t afraid to be serious_** We live in troubling times. With the rise of political regression, racists, xenophobes, neo-Nazis, white supremacists, and fascists seemingly back within mainstream culture, preaching hate and intolerance under the guise of terms like "nationalism" and "patriotism," it's easy to feel overwhelmed. Politicians often validate these groups by failing to condemn them outright ("_very fine people on both sides_" and so forth). Far-right political parties have gained a foothold in many European countries, exploiting fears about outsiders, spreading disinformation, and playing on the lack of factual information in public discussions, and the current administrations in the US and UK haven't helped. Anti-establishment sentiment is growing as people reject traditional politics; think of Brexit, Donald Trump’s election, the _Movimento 5 Stelle_ in Italy, or the _Alternative für Deutschland_ in Germany. Scholars suggest that hateful right-wing ideologies are more accepted now than at any point since the rise of fascism in Italy and Spain decades ago—a comparison inevitably drawing parallels to the Third Reich in Germany. It's therefore fitting that a film exploring this environment, arguing that kindness and tolerance can overcome hateful indoctrination, has arrived when it has; because although set in Germany in 1945, it’s really about today. Based on Christine Leunens’ 2004 novel _Caging Skies_, _Jojo Rabbit_ is a political satire from New Zealand filmmaker Taika Waititi (_Eagle vs Shark_; _What We Do in the Shadows_; _Hunt for the Wilderpeople_; _Thor: Ragnarok_). The film sparked controversy upon announcement (a comedy about Nazis? Really?) and sharply divided critics, but it has resonated with audiences and earned six Academy Award nominations, including Best Picture. Waititi follows in the footsteps of filmmakers like Charlie Chaplin (_The Great Dictator_), Mel Brooks (_The Producers_), Roberto Benigni (_La vita è bella_), and even Quentin Tarantino (_Inglorious Basterds_), attempting to disarm Nazi ideology by exposing its absurdity and mocking it mercilessly. Marketed as an "_anti-hate satire_", the film faces a difficult task: using Nazism as a backdrop for what is essentially a _bildungsroman_ without seeming exploitative or disrespectful of those who suffered real harm. Waititi manages this tricky balance remarkably well. The humor and slapstick are genuinely funny, while the more serious moments deliver an emotional punch. It could have easily failed—if it wasn't funny, if the emotions felt forced, if the serious parts seemed manipulative, if the whole thing just felt disrespectful—but Waititi navigates these dangers skillfully. _

Source on TMDB