The film Citizen Vigilante, shot in Croatia with screenplay, direction, and production by the German filmmaker Uwe Boll, is undoubtedly the viral cinematic and political event of these days.
A decisive role in this development was played by Elon Musk’s decision to post the film’s link on his account on the X platform. The film is now circulating for free after the German authorities refused to give it an age rating — effectively banning its theatrical release — citing “the promotion of vigilantism and its focus on crime linked to the uncontrolled migration flows in Europe.”
This move turned the film’s release into a major online phenomenon and sparked countless discussions, analyses, and comments.
For those who haven’t seen it yet, the film is an action thriller that tells the story of a wealthy American heir and former soldier who uses his resources and skills in a self-appointed crusade of revenge and justice against gangs of murderers, rapists, blackmailers, and corrupt public officials. What sets it apart from any other modern film of the genre is that the vast majority of the perpetrators who receive punishment from the protagonist belong to the ranks of (illegal) immigrants who have flooded Europe — exactly as happens in reality. The screenwriter openly highlights his disapproval of European migration policy in multiple scenes, to such an extent that the film can be described as politically committed. Additionally, it directly raises questions about the functioning and delivery of justice, corruption, the detachment of the ruling elites, and the control of the masses through fear and indifference.
All these elements form a very promising recipe for a satisfying cinematic result, especially within today’s “inclusive” Hollywood environment, where Helen of Troy must be portrayed as African in order “to meet the Oscar nomination quotas.” Given these circumstances, those who watched the film reached conclusions while wearing their ideological glasses — and that is simply the result of our deeply polarized social reality.
In the case of the writer, watching Citizen Vigilante provoked reflection that ultimately prevailed over the feeling of emotional satisfaction triggered by certain scenes of justice and specific lines delivered by the protagonist.
First of all, the sloppiness and poor aesthetic quality in the storytelling and in several scenes are reminiscent of American B-movies — the kind that flooded the market on VHS in the late ’80s and early ’90s. This could easily be forgiven if it didn’t ultimately undermine the sanctity and tragedy of vigilantism, which is the film’s central theme.
On a cinematic level, many works have elevated vigilantism in various ways — with Taxi Driver perhaps at the top, along with Death Wish, Dirty Harry, and even The Other Me (Έτερος Εγώ). In contrast, in Citizen Vigilante the protagonist is a sterilized, detached ultra-wealthy man — just as detached as the ruling elites he criticizes — who offers to dispense justice in a didactic tone of superiority on behalf of people with whom he appears to have no real connection.
Moreover, he is portrayed as an unlikeable employer who treats his employees in the best case condescendingly, and as a landlord who has no problem renting out his building as a brothel or using its services himself, as long as the prostitutes air out the place so it doesn’t get moldy.
This shallow and tasteless persona, despite the theoretically noble background of his actions, ends up resembling a caricature of Elon Musk himself — cast as an American-style superhero — rather than living up to the expectations the film cultivated by attacking the cinematic establishment with its subject matter.
By taking such a clear political stance in the script, it is perfectly logical that additional questions and reflections arise that go beyond the artistic result. It is worth noting that without the censorship and Musk’s boost, the film would have passed under the radar.
A key question is why the screenwriter, while clearly identifying the pattern of rising crime in Europe due to the mass influx of foreigners and Islamists and not hesitating to highlight it, completely avoids any similar reference to the origins of business and governmental elites on a global level, or to scandals like Epstein. Instead, the criticism of the elites remains superficial and vague — essentially on the level of “they’re not doing their job well.”
Furthermore, a major issue arises from the protagonist’s recorded message in which he says:
“I am here to help you regain that control. I am here to show you that you are no longer victims. I am here to show you that the time has come to go out and show them (…) that they won’t get away with it anymore. Remember: I’m doing this for you… until you learn to do it yourself.”
At this point, the question is whether the story of Citizen Vigilante promotes the message of training, self-improvement, activism, study, and solidarity as means of defense against victimization. The answer, unfortunately, is no. On the contrary, it seems to promote the idea that the solution is detached cowboy justice — an unorganized, disconnected, personal act of vanity that can only achieve giving justification for even more and harsher police control. And perhaps this is also the reason why this film was promoted so heavily.
Nevertheless, even just for certain scenes and certain lines, it is worth watching Citizen Vigilante. Just as the memes it inspired (and will continue to inspire), along with the reactions and comments of those who were politically and emotionally affected, are certainly worth it.
Unfortunately, what is becoming increasingly clear to those who can perceive it is the feeling that the game is completely rigged.
Christos Karanikopoulos
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