Director: Erik Eger, Magnus Oliv
Screenplay: Erik Eger, Magnus Oliv, Joacim Starander, Olly Blackburn
Cast: Jon Rekdal, Jordi Almeida, Jack Frankel, Andrea Sooch
Producers: Erik Eger, Magnus Oliv, Joacim Starander, Jonas Kellagher, André Robert Lee
Print Source: Raven Banner
We were told that Adolf Hitler died in the war. We’ve been lied to. Recently surfaced footage appears to indicate that the abominable mass murderer, perhaps one of the most evil men ever to have lived, came to America after the war, possibly with the help of the CIA, under the assumed name of Adolf Munchenhauser. Once here, the master propagandist gravitated towards work in the fields of entertainment and business, ultimately influencing much of today’s pop culture and what has become known as Corporate America. Among other things, Hitler created the modern soap opera. Fast food too. Every now and then, according to those who knew him, someone would joke to Munchenhauser about how closely he resembled Hitler, much to the man’s grumpy dismay. Norwegian documentarian Skule Antonsen risked life and limb to dive deep into accounts that initially appeared to be urban myths, but have ultimately proven themselves upsettingly true. Throughout the making of this film, he was followed, threatened and assaulted by various shadowy figures who would prefer that the world remain blind to the astonishing truths behind so much of what Western society has become. Now, in spite of the terrible risks, all will be revealed.
Up for a little historical revisionism, kids? The correct answer is “yes”! Described by its makers as a “deceptively comedic film,” ONE HUNDRED YEARS OF EVIL has been likened to such works as Woody Allen’s ZELIG and Peter Jackson’s FORGOTTEN SILVER as a smartly-staged comedic trip of history-smashing mockumentary moviemaking. Swedish co-directors Erik Eger and Magnus Oliv have pulled off something mighty impressive here, a film that plays both as a falsified doc narrative and a surprising process-of-discovery thriller, complete with the occasional action sequence! While the film’s execution is slick and calculated to the nines (the amusingly doctored archival footage really impresses), it was actually a very low-budget, independent affair — albeit one shot on Super 16mm — so low budget that the crew regularly slept in the production van on location because there was no money for hotels! DONKEY PUNCH director Olly Blackburn swung in with some scripting, alongside Eger, Oliv and Joacim Starander, the latter also being the film’s soundtrack composer. The four of them have re-carved documented fact into an absurdist what-if that’s been blowing the minds of festival audiences across Europe, while bringing Christmas in early for history buffs and conspiracy theorists alike.