This unlikely movie is a concentrate of all the stereotypes the controlled medias daily feed to their public. Here are some of the most preposterous suggestions it attempts to hammer into the viewer's mind: - The German far-right scene is entirely composed of wild, loud, unreasoning skinheads only suited at getting drunk and exercise mindless violence. Just on the contrary, most neonazi militants are perfectly articulate persons with job and family, apt to argument their political views.Only people with an unbalanced familiar background and childhood problems enter the right scene. This idea is so dull that I won't even expend words to counteract it.By contrast refugees are pleasant, quiet, balanced persons who only come to Europe to be reunited with their family. I once lived two months close to a camp full of this... humanity, and I heartily recommend such an experience to anybody approaching this outrageous movie. As a side remainder and according to official (if well-hidden) statistics, 90 % of drug dealing in Germany is managed by immigrants.The conclusion is one of the movie's most weird moments. I won't spoil it for you, but it serves the director's intent in impressing one more cracked stereotype: people in the right scene live and die by futile, pointless violence.In the final grotesquerie, the dying protagonist devotes her final words to explain how wonderful democracy is. Not only the idea is so trite, but hey - everybody expects people suddenly shot in the abdomen to sputter a lecture of regime's political humbug.The movie is technically well-done and enriched by the two female protagonists' excellent acting. Regimes lavish their best efforts on means of propaganda like this one. And that's what the film is: a blatant, straightforward piece of political indoctrination aimed at slandering the Establishment's political opponents. This movie is pretty everything Western free-thought cant reviles... as long as it is performed by its opponents.

"Kriegerin" (German term for a female warrior) is a 4-year-old 105-minute movie written and directed by David Wnendt. The best way to see this is not as a film which will tell you accurately about life as a Nazi or life in a Nazi community, but as a character study of two females and what factors caused them to end up in this company of right-wing extremists. It has a lot to do with the behavior from their parents including emotional and physical (the cigarette scene) abuse by those who are supposed to protect them and help them finding their place in life. The way these two girls developed during the movie makes it obvious that they do not necessarily believe in the ideal of Nazis, but their acting in accordance with them is really more a consequence of wanting to belong somewhere and being accepted the way they are. However, quite ironically, they are changing in order to be accepted and they willingly do so. I am not really sure if I found Levshin's or Haase's character more interesting. However, it is obvious that Levshin's character sees parallels to herself in Haase's character. And as she becomes more tolerant (also thanks to the boy), she tries to be a helping hand to Haase's character and maybe prevent her from making the same mistakes she did.This was the big breakthrough film for Ukrainian-born Alina Levshin. She won a German Film Award for it and is since considered among the top actresses of her generation on the German market. And it was also one of Haase's breakthrough films. David Wnendt won a German Film Award as well for his screenplay and the film itself was honored as the third best movie of the year. Wnendt went on to direct the heavily-discussed "Feuchtgebiete" (based on Charlotte Roche's novel) after that, an in my opinion terrible film that couldn't be more different from "Kriegerin". Still, somehow I expected more from "Kriergerin". I really do not believe the screenplay is that good. It's almost entirely Levshin's performance which holds this film so well together. At times, especially at the very final scene near the sea this film could have done with tome more subtlety in my opinion. But Wnendt went for over-the-top showiness instead sadly. Also, I would have preferred an approach which not only displays the women in the Nazi community as victims or as somewhat good people. Maybe one of the guys helping the girls would have been nice as well. It's almost sexist. With some slight alterations, this could have been an actually great film and not only a decent one. Still, all in all, I recommend watching it.

The topic of right wing extremists in Germany is a very hot one. The movie tries to stay as real as possible with its depiction of the characters it portrays and the world they are living in. It's not an easy watch and it especially isn't easy to play. Main actress does a fabulous job here.The morality is clear and that is why the movie does not emphasize on certain things. You'll either like this approach or you'll think it's takes the matter too lightly. Whatever the case don't expect your usual mainstream approach. The movie will not resolve everything or not in a satisfying kind of way. The acting alone is worth watching it of course.

This excellent film is about young adolescents, who painfully discover that their modest intellectual capacities do not match the high standards of today's complicated Western society.The disappointment & frustration, fed by their failure to connect, result in political extremism. German neo-Nazism unites them in hatred, providing emotional shelter as well as a channel to demonstrate their views. Inevitably it all leads to a dead end.'Kriegerin' (= German for 'female warrior') stands out for two reasons. First, the excellent acting of lead Alina Levshin; second, the way this film is shot.'Kriegerin's picturing is very sober. No menu to start with, no trailer, no interviews, no deleted scenes; just the film. When on its way, we find the film's picturing done from a pretty narrow angle. Forcing you to concentrate on its action & interaction, leaving out any opportunity to enjoy a panoramic landscape or whatsoever. In this way 'Kriegerin's picturing connects with the limited views on life & society by its participants.