Among the world’s memorable films about World War II, Jojo Rabbit, directed by Taika Waititi (2019), stands out as an emotional and distinctive work filled with both humor and sorrow.
The film portrays war through the eyes of a ten-year-old child. A similar poetic perspective on war can be found in Iranian cinema in Nafas, directed by Narges Abyar, where the Iran-Iraq War is also seen through the eyes of a sweet little girl, leading to a bitter and heartbreaking ending. Jojo Rabbit tells the story of a ten-year-old German boy named Jojo, who is an ardent admirer of Hitler. He represents the children of World War II who were brainwashed and turned into instruments of war. Although he still does not even know how to properly use a weapon, he is sent toward the battlefield.
One of the first things that captures the audience’s attention in this war film is its fantasy-like, child-centered atmosphere and its comedic musical tone. The use of warm and vivid colors reflects the passionate, energetic world of childhood. This is one of the film’s key differences from many other war movies, which often rely on heavy music and cold color palettes.
Because Jojo is unable to kill a rabbit during camp training exercises, he is mockingly nicknamed “Jojo Rabbit.” Like a rabbit among Nazis, he is fragile, vulnerable, and weak. Jojo lives with his mother, played by Scarlett Johansson. His father is absent, believed to be fighting in the war, and he has no real companion other than an imaginary friend and a boy his own age. These circumstances partly explain why, in order to escape loneliness and isolation, he feels that belonging to a powerful group such as the Nazis can somehow fill the emotional void in his life.
Like many children who create imaginary companions in their fantasies, Jojo has one too: Hitler himself. Hitler, played by the film’s director, appears in Jojo’s world as a ridiculous, clumsy, and cartoonish figure. For example, whenever Adolf offers Jojo a cigarette, Jojo—who is only ten years old—refuses his imaginary friend’s suggestion. Ironically, Jojo does not even know that the real Hitler was famously anti-smoking.
Jojo’s life changes completely when he discovers that his mother is hiding a Jewish teenage girl named Elsa inside their house. From this point onward, the story enters a far more emotional and dramatic phase. If Jojo reveals Elsa’s presence, not only will Elsa be killed, but his mother will also face execution. Gradually, Jojo approaches Elsa under the pretense of writing a book about Jews. Their growing human connection is filled with emotional conflict and inner turmoil. In the end, Jojo tries to protect Elsa, and within his innocent childlike world, he deeply falls in love with her.
Without becoming preachy or overtly partisan, the film raises deeply human questions about compassion and relationships. Jojo Rabbit is ultimately a film about the complexities of human connection—a crossroads between morality, political ideology, love, hatred, and meaningless enmity.
In several scenes throughout the film, butterflies appear as symbols of liberation and freedom. At first, a butterfly is trapped behind glass as a decorative object in Jojo’s sister’s room, symbolizing Elsa’s captivity. But as the story progresses, butterflies are seen freely flying in open spaces, foreshadowing liberation and hope.
Eventually, Jojo confronts the true face of war. He wanders helplessly through ruins, terrified by explosions, constantly running for safety, and somehow survives. “One day, all wars end, and what remains are ruins. Yet even among those ruins, life can be rebuilt; people can dance and fall in love again.” Just as Elsa had promised that she would dance on the day the war ended, she finally dances on the day of freedom.
