The recent decision of the German Film Classification Authority (FSK, or “Freiwillige Selbstkontrolle der Filmwirtschaft”, an organization of “Voluntary Self-Control of the Film Industry” that deals with the classification of films, directed by the “Spitzenorganisation der Filmwirtschaft” – SPIO “Supreme Organization of the Film Industry”, a semi-governmental legal entity with the type of limited company based in Wiesbaden, Hesse) to refuse an age classification to the action film “Citizen Vigilante” by director Uwe Boll, starring Armie Hammer, has provoked strong reactions – an unacceptable decision that in practice amounts to total prohibitive censorship, as it excludes the film from cinemas, physical media and direct broadcast platforms. (streaming) in the country.
The film tells the story of a wealthy businessman who turns into a ruthless vigilante after the senseless brutal murder of his mother, targeting violent immigrant criminals and the corrupt government officials who support them—a modern take on the 1974 classic “Death Wish” starring Charles Bronson. Director Uwe Boll has stated that the script is partly inspired by real events, such as the gang rape of a 15-year-old German girl by nine heterosexuals in Hamburg’s “City Park” in 2016, a case in which the perpetrators were sentenced … with a suspended sentence, a fact that he himself invokes to strongly criticize the gratuitous, lenient and hypocritical attitude of the German judiciary.
The reason of the outrageous decision of FSK
It is truly outrageous, unwarranted and arbitrary that the same authority that had absolutely no problem approving films such as the American sentimental-erotic film “50 Shades of Grey” (which provoked separate theoretical reactions for the script, plot and sadomasochistic scenes of bondage, discipline and domination), refused approval to this film solely because it “depicts immigrants as criminals”, as if this were not the case in Germany or throughout Europe.
The ridiculous FSK, the organ of “occupied” Berlin, supposedly “justified” its unjustified decision by claiming that the film promotes self-justification. This flimsy argument was categorically rejected by Boll, speaking openly about absolute political censorship and a cruel attempt to silence any alternative voice on the issue of crime and immigration.
He is obviously right: the level of violence in the film is no different from previous successful, fully licensed American productions, such as the four sequels to “John Wick” (2014-2023) by Derek Kolstad starring Keanu Reeves or the three sequels to “The Equalizer” (2014-2023) by Michael Sloan and Richard Lindheim starring Denzel Washington.
The only difference is the “politically incorrect” content of the film—and that is apparently enough to activate the “top-down” international censorship mechanism. In response, the director, with the support and republishing of Elon Musk, uploaded the entire film for free on X (owned by the South African-American Croisos) for 48 hours, thus bypassing all local restrictions and providing the public with the opportunity to judge for themselves without being influenced.
The political leaderships in Europe, puppets of the International Overlords, continue to restlessly ostrich, blatantly ignoring an extremely serious and survival issue that concerns millions of immigrants who arrived uninvited and irregularly on the Old Continent, often with an unknown criminal past. At the same time, their attempt to impose extreme Islamic views on native Europeans is already triggering reactions in Ireland, Britain and Germany, reactions which, according to regime analysts, could easily lead to very serious, irreversible and unsolvable situations in the near future.
The prevailing reality in Germany and Europe
Approximately 5.5 million Afro-Asian Muslims live in Germany today, a large part of whom are already second or third generation and many of whom are “German” citizens, while extensive and serious studies express great concern about the growing fascination and attachment of a significant portion of young Muslims to religious rules contrary to the very German Constitution that benefited them, as well as about their acceptance of the use of “justified” violence against natives.
The active proselytizing and supportive presence of established extremist organizations that promote political Islam has already led the German authorities to ban organizations such as the harshly anti-Israel “Muslim Interaktiv” (2025), as well as to take stricter security measures. Obviously, the critical social issue is increasingly fueling the clear electoral rise of parties such as the AfD – “Alternative for Germany”, which, among other things, calls for a ban on the various sizes of Islamic headscarves (hijab, niqab, burqa and chador). While this reality is suffocatingly bloated, the governments of the European puppets prefer, by turning a blind eye and turning a deaf ear, ……to censor a film rather than confront the problem it depicts.
The film belongs to the same vast administrative apparatus that had arranged its screening. It was presented as “entertainment,” yet every scene carried the curious precision of an official memorandum whose real author could never be identified. The notorious Hamburg gang rape case appeared not as the beginning of history but as a document already sealed, filed, and filed in the appropriate office.
The attack, the suspended sentences, the carefully measured attempts to “humanize” the “vulnerable” perpetrators, each resembled less historical events than exhibits chosen to produce a predetermined emotional response. Justifiable indignation was not allowed to roam freely. It was escorted down a corridor to a destination that had been aristocratically prepared in advance.
This destination became increasingly apparent as the film unfolded. At a time when the … “great rulers” who rule the Western world seem to be losing their unquestioned authority, when distant capitals meet without asking permission from Euro-Americans, and peripheral nations, once accustomed to obedience, begin to speak in unfamiliar voices, the film patiently reconstructs the old map. Civilizations are simplistically divided into opposing files.
Islam occupies one file, the West another. The conflict between them is clearly presented as ancient, inevitable, and sufficient to explain everything else. The timing is almost too perfect: Just as confidence in the current arrangement and its operations begins to wane beyond the walls of the public government building, another employee quietly brings it back from the archive, seals the issue file with the designation “Current” and places it back into the public discourse of the subject of … the next election,
Even the refusal to certify the film in Germany takes on the clear character of an official procedure whose purpose goes beyond prohibition. A film that cannot be approved acquires a different release license, a different authorization, and an informal popular legitimacy. The absence of a regular license functions as another form of advertising, while discussions about the failures of Afro-Asian integration remain confined to carefully measured limits. One gets the impression that every apparent obstacle has already been foreseen somewhere within the labyrinthine government building. Nothing escapes the process of supervision-control-suppression-elimination. Even disagreements arrive accompanied by the appropriate paperwork.
The “resolution” that was accused and the “hidden” interests
In October 2005, Nicolas Sarkozy (then Minister of the Interior of France and later President) visited the run-down Paris suburb of Argenteuil, which was plagued by riots. Addressing the residents, he used the word “racaille” (scum, vagabonds), declaring: “Are you fed up with this gang of scum? We will rid you of them.”
This statement, combined with his provocative remark that he would “clean the suburbs with a Kärcher pressure washer,” caused a storm of reactions. He was strongly accused by the left and by various social organizations of targeting second- and third-generation immigrants living in poor French neighborhoods (banlieues).
About a decade later, in April 2015, the British far-right commentator Katie Hopkins wrote a highly provocative article in the British newspaper “The Sun” about the refugee crisis in the Mediterranean. Her text was officially condemned by the “UN High Commissioner for Human Rights” (2014-2018), Jordanian Prince Zeid bin Ra’ad bin Zeid al-Hussein, who compared it to …. Nazi hate speech. In her text, she stated: “Don’t show me pictures of coffins, I don’t care… These migrants are like cockroaches, they are built to survive even a nuclear bomb.”
Throughout the film, the deeper state apparatus remains conspicuously absent,… invisible. The Punisher pursues criminals on streets that seem increasingly empty of everyone except the stupidly “comfortable” criminals themselves. Yet the institutions that benefit from the conditions that create those streets never enter the frame.
The corporations that demand endless pools of cheap labor, the financial interests that profit from deregulated markets, the officials who design immigration policy without suffering its consequences, all remain in offices whose doors the protagonist never attempts to open. His anger is directed with admirable energy, but always at those already standing in the hallway. The government building itself, the authoritarian political edifice, remains untouched.
In conclusion
The film reveals its peculiar effectiveness. Any genuine anxiety caused by immigration, crime, institutional failure and public distrust is clearly acknowledged, but only… after the exits have been quietly locked. The audience is allowed to blame cultural enemies, ideological accomplices or incompetent officials, but never the transnational political anonymous mechanisms whose functions extend beneath every visible institution.
The spectacle creates the comforting sense of rebellion, while ensuring that no one reaches the offices of the “known unknowns” from whom the instructions come. One leaves after the film believing that hidden truths have been revealed, only to discover later that the escape along the film’s path ultimately led one back to the same sad “reception” from which one’s psycho-spiritual journey began. The nightmarish conditions, the inhuman and irrational bureaucratic structures, as well as the emerging deep existential anguish that overflow in the film, are dysphorically reminiscent of Kafkaesque absurdity.
There is also a connection between Franz Kafka and cockroaches, which is one of the most famous landmarks in world literature. It comes exclusively from his masterpiece short story “The Metamorphosis” (“Die Verwandlung”, 1915). There, in the first sentence of the book, the main character, Gregor Samsa, wakes up in his bed transformed into a huge insect. In the original German text, Kafka uses the term “ungeheures Ungeziefer”. This translates exactly as “monstrous parasite”.
Kafka never explicitly uses the word “cockroach” (Kakerlake) in the text. However, the description of the body (hard shell, many thin legs, brown belly) led the general public and many translators worldwide to identify the creature with a giant cockroach. The most terrifying element is not the absurd disgusting event itself, but the fact that everyone around (including the victim) accepts it as something completely normal! When Gregor Samsa wakes up as an insect, he does not wonder why his nature has been distorted, but how he will manage to catch the train to work!
Kafka’s most direct text referring to the Arab-Islamic world is his short story “Jackals and Arabs” (“Schakale und Araber”), in which a European traveler spends the night in an oasis in the desert with a group of Arabs. At night, he is approached by a pack of jackals that speak human speech. The jackals complain about the Arabs, considering them unclean, and ask the stranger to slaughter them with a pair of scissors. When the Arab guide wakes up, he shows that he is aware of this old enmity and faces the jackals with humor.
The relationship between crime and illegal migration is one of the most complex, sensitive and much-discussed issues of contemporary social and political reality.
We all clearly know that the contemporary horrific reality exists beyond the current social perceptions and official statistical data: There are many delinquent antisocial, criminal and serial criminals throughout Europe, most of whom are third-world immigrants.
Obviously this undeniable reality does not change because a state authority decides to turn a blind eye, to turn a blind eye ruthlessly, obeying the orders of the Regime bosses.
