JEW SÜSS 2.0
FROM NS TO ONLINE-ANTISEMITISM
CO-PRODUCTION WITH ARTE/RBB AND ORF
Anti-Semitism is on the rise worldwide, and everyday hostility towards Jews remains frighteningly topical. As a side-effect of the global COVID pandemic, anti-Semitic content on video platforms and social media has significantly increased. Anti-Jewish online radicalization leads to violence and attacks. “Jew Süss 2.0“ documents the visual roots of this new anti-Semitism, taking a historical look back at the visual propaganda of the Nazis: Do clichés, stereotypes and narratives from Nazi films such as “Jew Suess“, “The Rothschilds“ or “The Eternal Jew“ continue to have an impact today? Where are the continuities between the film language of these Nazi propaganda works and the content on right-wing platforms or in election campaigns of far-right politicians? And also the controversy about the images, exhibits and films at the documenta 15 has shown how topical and explosive anti-Semitic imagery and visual language are still today.
With: Julia Ebner, Talya Feldman, Carl-Eric Linsler, Jean-Marc Dreyfus, Christiane von Wahlert, Stefanie Schüler-Springorum, Lea Wohl von Haselberg
Writtem & Directed by: Felix Moeller
Director of Photography: Alexander Vexler
Editor: Erec Brehmer
Visual Effects: Hannes Gerl
Composer: Marco Hertenstein
Postproduction Services: B.O.A. Videofilmfunst
Producers: Amelie Latscha, Felix Moeller
A Blueprint Film Production in co-production with Rundfunk Berlin-Brandenburg and Österreichischer Rundfunk, in cooperation mit ARTE. Funded by FilmFernsehFonds Bayern and Hessen Film.
TV Premiere: ARTE on January 18, 2022
World Sales: NEW DOCS.
“One achievement of 'Jew Süss 2.0' is to make the modernization of these atrocities tangible. What used to be stories, postcards or walking sticks with 'Jewish' hooked noses are now memes and codes on the Internet. (...) The film examines the continuities and highlights the relevance of the topic. And it also gives an idea of the threatening extent of this agitation, which is fragmented into myriads of micro-channels. Without, by the way, and this is to the credit of the documentary, assigning anti-Semitism to a particular political camp.” Spiegel Online
“An insight as illuminating as it is disturbing.” Filmdienst
“Moeller's compilation of material is impressive and frightening at the same time.” Münchner Merkur
“A rousing documentary.”
“The documentary shows how old Nazi symbols of infiltration and alienation are not only modernized in radical right-wing conspiracy narratives, but also used in current European election campaigns.” Bayerischer Rundfunk
“The film impressively traces the parallels in the defamation strategies, dissects the mechanisms of agitation from then and now into its components, and demonstrates that certain stereotypes have never completely disappeared from our cultural consciousness.” Deutschlandfunk Kultur