Neill Blomkamp’s Elysium isn’t as interesting as his history of fooling the critics:
I’ve read over a hundred reviews of Blomkamp’s two movies, and virtually no critic has noticed that he does not share their worldview.
Not at all.
Blomkamp’s 2009 Best Picture-nominated District 9, in which the black residents of his native Johannesburg demand that their black-run government clear out millions of feckless illegal space aliens, was universally praised by American critics as an apartheid allegory. Yet Blomkamp has relentlessly insisted in interviews that it’s really about “the collapse of Zimbabwe and the flood of illegal immigrants into South Africa, and then how you have impoverished black South Africans in conflict with the immigrants.”
Similarly, Elysium is another Malthusian tale about open borders, set in a dystopian 2154. By then, Los Angeles has been completely overrun by Mexicans, who have turned it into an endless, dusty slum that looks remarkably like urban Mexico today. (Blomkamp filmed for four months in Mexico City.)
Blomkamp, a gun-loving Afrikaner whose movies are based around his fear that the rapid breeding of Third Worlders threatens to bring down civilization, says Elysium originated in a disastrous visit to Mexico in 2005. While shooting a Nike commercial in lovely San Diego, the Boer crossed the border one evening to see Tijuana, where he was abducted by corrupt Mexican cops who shook him down for $900 in return for not killing him.
Despite the obviousness of Blomkamp’s parable about Mexican immigration’s catastrophic effects, Elysium has been universally interpreted as preaching the need for amnesty, open borders, and Obamacare.
Sailer also mentions John Milius and Christopher Nolan.