“Elysium” is called by the “Rolling Stone” reporter Peter Travers (PT) “Hell-raiser with social conscience”. For those who still remember popular revolutions and their consequences “hell-raising” is not associated with one’s conscience, but rather with despair and frustration which are not good advisers as what to do. Hell-raising is more related to blind destructiveness and usually result of the impossibility of finding ways out of unbearable social situations.

The film is simultaneously a drum-beat revolutionary and cowardly not in a dystopian but in the very present day sense. It calls for attacking the establishment ruled by the one-percenters, and it represents this establishment as a remote future (we see those who serve the “one-percenters” in a satellite station over earth. They‘re called droids: robots who rule earth in the name of the financial elite and spy on people to prevent mutiny). The main character, Max (Matt Damon), is one of the constructors/engineers of the droids/robots, who at the same time “cannot resist pissing them off” (PT). Max’s noble acts of dissidence, in other words, are “to piss off the managers of life, the representatives of those in power.” It is not just youth slang; it is how young people today, the target audience of the film, understand what political resistance consists of – “to piss the bosses off”. “Elysium”, in other words, represents the fight for human rights and democratic principles on the level of adolescent sensibility. Instead of helping the young people by providing them with real analysis of today’s political and financial situation in our country and the world and use this information to explain them realistic ways of resisting the financial elite, the film stimulates the young to behave like fifth grader towards a hated teacher or the school principal. Simultaneously it glorifies high-tech weapons by parading Matt Damon through tough situations as super-heroic super-marine.

The leader of droids is played by Jodie Foster who started her career in films which were much closer to the truth of life as it is, instead of projecting this truth into simplified future in a masked (embellished by clichés) – mythologized/infantilized form. Delivering the truth in a style of animation cartoon is distorting the truth and seducing the young minds to non-realistic ways of perceiving what’s going on in their country. The basic trick of the film is to represent us living today, as those who already have survived the rule of the one-percenters, who are invulnerable to whatever the decision-makers do and intellectually grow on Hollywood-like images until revolution will breakout in future by the effort of a bunch of super-heroic individuals armed with super-machineguns. “Elysium” makes its audiences even more childish. It magically liberates us from all our problems in the very moment it depicts them to us.

The director of the film is a South African film-maker. It is very sad that making a career in Hollywood kind of commercial film-making is more important for some people than to be occupied with analysis of real events and their meanings in the life of real people, the task that today attracts many young Americans and foreign talents.