18 • REVIEW
Weronika Peek
Understanding the Nazis
P
oland has been endlessly losing World War II ever since 1945. Year by year, film by film, the event that was once so “ours” becomes so much “theirs”. The cinema describing World War II is pensive, uncompromisingly serious, at times brutal, but most of all – overbearing. Every young Pole needs to know that they come from the lost nation. They are equipped with all the knowledge of Westerplatte, German death camps, the “cursed soldiers”, and many others. They carry on their burden, growing up in a country so acutely stigmatised by war, until one day their memory starts to fade. They remember, of course, for how could they possibly forget? This is the moment, however, when they realise that the burden on their shoulders is imaginary. These worlds don’t exist. Not anymore. Not here and not now. No soldier will ever knock on their door, and no Gestapo will pursue them. The images of all the atrocities become blurry, and desensitization follows. So is there any way to make this kind of narratives more engaging and less overwhelming? It seems like we have finally found one. Enter: Jojo Rabbit. Though the story arc may sound familiar, one of its elements undoubtedly stands out – and it didn’t take long for the general public to criticise the idea. The controversial premise of the new Taika Waititi’s film has been known for quite some time. It follows the story of a young German boy, Jojo, who dreams with all his might of becoming a Nazi. Unfortunately, Jojo’s loyalty is put to the test when he meets Elsa. The young Jewish girl hides in his attic, and
