Cinema – “Muxmauschenstill X”: Radical Revolte

Said dead live longer – as well as Jan Henrik Stahlberg’s cult figure MUX. In Marcus Mittermeier’s mockmentary “Muxmäuschischenll”, he single -handedly punished “severe criminals” such as Beckenpinkler, black drivers and authors alike, recorded her penance on video. In the sequel “Muxmäuschenchenl X”, he returns as a radical Robin Hood figure after years in Wachkoma.

Mux, who, as always, is dissatisfied with society, tells neoliberalism through “The Manifesto of Muxany”. He starts in the deepest Mecklenburg-Western Pomerania, in Elstertrebnitz on the Mulde, this time has his actions documented by his 20-year-old long-term caretaker Karsten (Tilman Vellguth) with the cell phone. He hires unemployed for his world improvement mission. Supporters who all live in the same house receive 3000 euros a month. Thoughts like this are good for the film. Ironically, for many, the focus is not on idealism, but money. MUX uses capitalism, but not to go down, but upwards.

MUX uses capitalism, but not to go down, but upwards.

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The revolution knows the solution for problems such as long -term unemployment and the increasing greater gap between poor and rich: the solidar job. According to the motto “From 3 Mach 4”, three people should work less one day a week, so there is space for an additional position. People pay this job at the top of the wealth pyramid. The fact that this does not happen voluntarily is in the nature of the MUX. If necessary, he enforces his ideas with violence, finds tax sinners by hacking bank accounts and blackmailed them so that they buy themselves from their guilt. In addition, you must – in the truest sense of the word – spoon out the soup that you have got into yourself. They are supplied with pea soup from the table, while the needy in the star restaurant on their plates are.

To give the impression that they are authentic cell phone recordings, director and leading actor Jan Henrik Stahlberg uses poorly exposed video and sound material. Every now and then MUX appears as a narrator, who scattered his thoughts about the “neglect of the elites through self-enrichment”, but mostly steps back in favor of the fake documentary images. “Muxholes Still X” is not a typical movie, but brings imagined reality to the cinema. The figure of the psychopathic MUX is exaggerated, but not the mechanisms of how political movements are created.

Mux is looking for the closeness to the citizens, rings the doorbell and grabs the weakest member with the homeless and unemployed who supported him. In the case of delicious grilled food, he holds a political meeting, creates a kind of “we” feeling through joint activities and carefree joint evenings. Once in the film, a woman enthusiastically calls: “It starts. Something finally happens! ”This is probably not that far away from the reality of some people.

The muxists work through their white M-masks like “anonymous for the arms”. MUX is drawn like a Don Quijote figure, who has finally found out how to get a fight against windmills (windmill for windmill). MUX is a lone fighter who likes to change the whole world. As in the predecessor, he is looking for a muse and galosa figure (Sophie Roeder), which, like almost all other supporting characters, is too pale.

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Only the PR manager (Bettina Hoppe), who gives him contra as a “old white man”, stands out. The black humor from the Mux-ERRERSLING only seems to be through “Muxmäuschenchischen X” because the film follows a completely different agenda. He complains – on behalf of a petty bourgeois – tax sinner and wealth -oriented politics and, albeit a little simplified, offers solutions for current problems.

Stahlberg can entertain more than just. To show the film as many people as possible, he has been touring free film screenings by rural regions since last year. If you want, you can join the “Club of Muxist” for a fairer and solidarity in real life.

“Muxmäuschenchenl X”: Germany 2024. Director and book: Jan Henrik Stahlberg. With: Jan Henrik Stahlberg, Tilman Vellguth, Bettina Hoppe, Sophie Roeder, Henriette Simon. 103 minutes. Runs in the cinema.