All this, the idyllization, the insistence on sending messages without precise content, the half-conscious criticism that lacks analytical rigour but abounds in clichéd language and thought (to which the sloppiness of the film's cinematic language perfectly corresponds), the will to action that resorts to privatist escapism, all this may be read as an uncannily accurate (or accurately uncanny) - albeit unintentional - depiction of a current state of public and political affairs. Uncanny however it is - and the film finally twists away from its Habermasian hopes in a last movement that may be read as its surprise Utopian turn. But apart from the fact that the film seems more interested in the twist than its Utopian potential, this Utopia of a return to politics itself takes the uncanny form of another escape, the uncanny form of a private idyll (the three protagonists cuddled together in bed) and even the political action takes its cue from one of the more conservative and simple-minded critics of Western civilization. "The Edukators" in the end sends a message from Neil Postman. So much for its politics.

aus Jump Cut.

Der Film erscheint diskussionswürdig, was ihn aller Kritik zum Trotze wohltuend von anderen Filmen unterscheidet.