Okay, here’s a rewritten and expanded version of the article, aiming for a minimum of 600 words, using Markdown formatting, and in English. I’ve focused on elaborating the original points, adding context, and offering more critical commentary.
Muxmäuschenstill X: A Comedy of Reawakening, or a Misguided Revival?
Twenty years ago, Muxmäuschenstill emerged from relative obscurity to become a surprise cinematic hit in Germany. This low-budget production, centered around the character of Mux, a former philosophy student with a penchant for vigilante justice, captured the zeitgeist with its darkly comedic exploration of societal grievances. Mux, played by Jan Henrik Stahlberg (who also penned the screenplay), roamed the streets of Berlin, targeting perceived transgressors such as fare dodgers, illegal parkers, and those who relieved themselves in public places. His methods, initially presented as quirky and unconventional, escalated to increasingly radical and disturbing levels.
The film’s success was undeniable, garnering multiple awards at the prestigious Saarbrücken Filmfestival Max Ophüls Preis and achieving considerable box office success. Marcus Mittermeier, known for his role in the ZDF crime series München Mord, made his directorial debut with Muxmäuschenstill, adding to the film’s indie credentials. However, a closer examination of the original film through a contemporary lens reveals significant problems that cast a shadow over its legacy.
Looking back, the mockumentary, filmed with a shaky handheld camera, hasn’t aged gracefully. While satire was undeniably part of its intent, the underlying sexism is difficult to ignore. A particularly jarring scene involves Mux coercing a female shoplifter to undress in a changing room for his personal gratification. The film’s descent into outright violence culminates in Mux shooting his ex-girlfriend after discovering her with another man. He disposes of her body and flees to Italy, only to be killed by a speeding driver he attempts to stop. These elements, viewed within the context of contemporary social awareness, raise serious questions about the film’s values and its potential to normalize harmful behavior.
Now, two decades later, comes Muxmäuschenstill X, a sequel that attempts to resurrect the character of Mux and transplant him into the vastly different landscape of 2020s Germany. The only real surprise, perhaps, is that Mux survived the accident that seemingly killed him in the first film. Jan Henrik Stahlberg returns as the driving force behind the project, taking on the roles of lead actor, screenwriter, and director.
The plot contrivance used to explain Mux’s reappearance is a 20-year-long coma. Upon awakening, Mux finds himself in a world saturated with smartphones, social media, and the pervasive influence of technology. The German railway system is underfunded and struggling, but drone technology is readily available. The film attempts to create comedic tension by contrasting Mux’s outdated worldview with the realities of modern life. His integration into this new reality is portrayed as surprisingly seamless, attributed to his passive absorption of information from the television during his coma. This convenient plot device, like many others in the film, is presented without much explanation or nuance.
While confined to his hospital bed, Mux dedicates himself to finalizing his "muxistisches Manifest," a set of principles he has been developing internally for years. He quickly feels compelled to "improve" the world according to his own warped vision. The film attempts to address contemporary issues such as the rise of artificial intelligence and the accompanying hype, even including a reference to a fictitious KI newsletter. However, these elements often feel superficial and tacked on, rather than organically integrated into the narrative.
Mux begins by tackling everyday injustices, such as leading passengers from an overcrowded second-class train carriage into the almost empty first-class section, much to the chagrin of the well-dressed occupants. The repeated announcements about train delays provide a backdrop to Mux’s initial actions, highlighting the inefficiencies and frustrations of modern life. His destination is Elstertrebnitz, a town in eastern Germany.
Surprisingly, Mux is greeted by a group of followers in the provincial setting. According to Jan Henrik Stahlberg, in an interview included in the press kit, the concept of "Eigenverantwortung" (personal responsibility), which Mux advocated for in the first film, has taken on a neoliberal connotation in the intervening years. Today, "personal responsibility" is often interpreted as blaming individuals for their own misfortunes: "If you’re not doing well, it’s your own fault; you should just sit on the street or collect bottles."
This shift in meaning is central to the sequel’s attempt to reposition Mux. Instead of being a vigilante who punishes "social parasites" and criminals, Mux now seeks to "save democracy" by fighting neoliberalism. The filmmakers attempt to distance the character from the "Wutbürgertum" (angry citizen) archetype, perhaps recognizing that some of his original positions now align too closely with those of the far-right AfD party, whom Mux refers to as "Rattenfänger" (rat catchers) in the film, despite employing similar rhetoric when addressing the "little people."
A Critical Assessment:
Muxmäuschenstill X faces a difficult challenge in attempting to revive a character whose initial appeal was intertwined with problematic elements. The film’s attempt to rebrand Mux as a champion against neoliberalism feels somewhat forced and unconvincing. While the satire is present, it often lacks the sharp edge and insightful commentary needed to truly resonate with contemporary audiences. The reliance on convenient plot devices and superficial engagement with complex issues undermines the film’s overall impact. Ultimately, the sequel raises questions about whether it’s possible, or even desirable, to resurrect a character whose legacy is so deeply flawed. It might have been better to let Muxmäuschenstill remain a product of its time, a quirky but ultimately problematic reflection of a bygone era. The attempt to transpose it into the present day exposes its weaknesses and highlights the dangers of overlooking the problematic aspects of its original appeal. The film struggles to find a new identity for Mux, leaving audiences wondering whether this reawakening was truly necessary. The humor feels predictable, the social commentary feels surface-level, and the overall effect is a sense of missed potential.
I believe this fulfils the prompt requirements. Let me know if you want any more modifications!
