Six years on, he has succeeded in filming around fifty undercover shoots. Documentarian Peter Ohlendorf filmed Thomas Kuban on his journey across Germany and Europe to revisit venues where Kuban had secretly filmed. The film focuses on political decision-makers, authorities and ordinary citizens.

What’s the greatest threat to German national security? Islamic terrorism, according to the Interior Ministry. That’s no surprise in a lingering post-911 climate of tensions between religious ideologies and oil. Okay, so what’s next? Left-wing extremism. But what about the rising Right? This is the central question posed by undercover journalist Thomas Kuban in the documentary “Blood Must Flow” – Undercover Among Nazis, which investigates the clandestine community of far-right-wing rockers across Germany’s rural areas. In recent news, ten murders in Germany – nine men (most of them of Turkish origin) and one policewoman – have taken place since 2000, but the neoNazi gang blamed for their deaths has emerged only recently.

The National Socialist Underground (NSU) had been undetected for years, prompting criticism of police and intelligence services. But only last November, when two suspected founders were found dead and another gave herself up to police, was its existence confirmed. In February of this year, a ceremony took place in Berlin and a minute’s silence was held across the country to remember the victims. With the German government being called upon to address the Nazi violence, it’s too bad that, as a film, Blood Must Flow falls just short of becoming a truly important work. With engaging content and shocking undercover footage, the film has the potential to shake this issue out of the shadows where it has lain dormant. But it fails in its construction and stylistic approach to give the subject the professional platform it needs to address the urgency of what we’re seeing.

Using the pseudonym Thomas Kuban, the protagonist must remain unknown and undercover after having widely exposed his face in the underground neoNazi rock scene for the past six years. His ‘daytime’ disguise, while he’s traipsing around press conferences in Berlin in attempts to draw the government’s attention to his findings, is so outlandish and downright gaudy that it takes a certain immediacy away from the issue. Apparently, the aim of the guise is to address the way in which society responds to him as an individual. And the way they respond to him is as a lunatic. Why, with proof of the encitement of racist hate crimes in your briefcase, would you enter the Berlin Parliament looking like a suspicious screwball yourself? Yet still, it cannot be ignored that Kuban’s undercover work is both courageous and critical to the case against right-wing extremism among youth culture. And for its truism and authentic rendering of a very active scene, the film is a must-see that is much deserving of all the media attention it can get. It should also be mentioned that Blood Must Flow received no financial support from funding bodies.

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