Mondo Farage? Mondo Farrago more like!” declares top film critic Ken Commode with regard to a new documentary which purports to expose the ‘truth’ about the UK’s supposed immigration problem. “The whole thing is clearly fabricated – a third rate copy of a fourth rate Italian ‘Mondo Movie’!” Mondo Farage has split critics, with some dismissing it as crude extreme right-wing propaganda, others believing that it is, in fact, an elaborate parody, deconstructing the delusionsal world view propagated by the extreme right, as personified by former UKIP and Brexit Party MEP Nigel Farage. Daily Norks film reviewer Kirsty Krapper is firmly in the former camp, feeling the film to be a deeply offensive peddling of crude racial stereotypes in pursuit of a repugnant anti-immigration narrative. “Just look at the way it portrays immigrants – they are all black, all non-English speaking and violent,” she points out. “On top of tat, the whole thing is utterly inept, with many of the supposedly documentary sequences staged for the cameras.” The film follows Nigel Farage as he travels around England, exposing illegal immigration, the government leniency which encourages illegal immigrants and the deleterious effect this immigration is having upon English society.

The film opens with the cameras following Farage as he confronts a boat load of illegal immigrants landing on a Kent beach, waving his arms and bellowing at the startled group to ‘Go back where you came from!’, before throwing stones at them until they get back in their boat and paddle away. Turning to the camera, he explains that this just demonstrates the need for firm action to stop these incursions – action the government isn’t willing to take, so instead groups of concerned citizens, like himself, are being forced to maintain the integrity of Britain’s borders themselves. There follows several sequences showing the work of these so-called ‘citizens’ groups’, as they chase alleged immigrants back into the sea and, at one point, organise a day trip to France, during which they wreck several small boats and dinghies at a small coastal resort, so as to sop them from being used by immigrants to sail across the channel. “For God’s sake, those people in that boat that he accosts at the start – they are clearly just holiday makers trying to get back to the beach after an outing in their boat!” claims Krapper. “Just look at how bemused and startled they are at the sight of this lunatic running down the beach waving his arms and shouting at them! Not only that, but none of them even look ‘foreign’, other than having heavy sun tans!” She is equally disparaging of the sequences involving Farage’s ‘citizens’ groups. “Look, these thugs are just vigilantes,” she opines. “What the film doesn’t show is them patrolling the beaches with baseball bats and beating up anyone who looks ‘foreign’. In fact, according to police reports, they don’t just confine themselves to the beaches, violently attacking anyone they suspect of being an immigrant miles inland, as well.”

The film subsequently moves on to follow Farage as he tries to book into an hotel, only to find it fully booked with immigrants, courtesy of the British taxpayer, he claims. Pushing past staff, he and his entourage move upstairs and burst into one of the hotel rooms to show how public money is being abused by the immigrants staying there. A group of what appear to be African tribesmen are seen in what he claims is a ‘luxury suite’, surrounded by sheep and chickens, with one of the latter being slaughtered prior to it being cooked in a large cauldron suspended from the light fitting, over a fire blazing in the waste bin. In another room, we see what is claimed to be the ‘Chief’s harem’ – a dozen bare breasted African women, some of them suckling children, others being painted in preparation for some kind of ‘sex ritual’. Krapper is aghast at these scenes. “I mean, where do we start? They are asylum seekers and therefore legally entitled to stay until their cases are heard,” she claims. “As for the idea that they are staying in ‘luxury suites’, what we see are clearly economy-style rooms – if indeed they are rooms at that or any other hotel and not studio sets.” Indeed, Krapper is convinced that these scenes have actually been spliced in from a porn film. “Just look at how much grainier the film stock is,” she points out. “Not only that, but I’m sure that I recognise one of those ‘Africans’ as seventies porn star Arnold ‘The Tool’ Flusher.”

The movie’s focus then switches to look at the purported effects of immigration upon English society, through the use of footage supposedly obtained via hidden cameras. The scene moves to what we are told is an estate in South London with a large immigrant population. As bongo drums play on the soundtrack, we are then shown footage of black men dressed in grass skirts and headdresses, armed with spears and bows and arrows hunting local pets, taking them back home to cook and eat them during wild celebrations held in the estate’s communal areas. When police try to break up the goings on, they are repulsed by ‘tribal warriors’ in war paint, brandishing shields and spears, while the narration tells us that the estate has become a ‘no go’ area for the authorities, with the ‘tribe’ now erecting a ‘village’ in a local park and imposing its own laws and justice. In a final piece of especially incendiary footage, we cut to the front room of a council house, where an altar of some kind has been erected, to be shown ‘secretly filmed’ footage of a ‘tribal’ fertility ritual. A white woman – kidnapped, we are told, from a neighbouring estate – is dragged, screaming, into the room, stripped, tied to the altar and raped by the ‘tribal elders’ before being ritually sacrificed. The ‘elders’ then proceed to dismember their victim and eat her.

“For God’s sake! If it wasn’t so offensive, it would be funny,” declares Krapper. “This footage is obviously faked! Those ‘tribesmen’ are clearly blacked up white guys – the cocoa powder, or whatever they used, comes off at several points! As for the sacrifice and supposed cannibalism – it is the most obviously faked gore I’ve seen outside of an Italian zombie film! Oh, and that ‘victim’ – I’m sure I saw her as an extra last week in Hollyoaks!” Ken Commode, however, refuses to be outraged by Mondo Farage, arguing, in his regular Sunday Bystander film review section, that the film is a parody. “Is that even the real Nigel Farage in it, or just a lookalike?” he asks. “Isn’t all the fakery just too obvious? Surely the point of the film is to expose the views of these right wing crackpots as being completely delusional? In the final analysis, it hardly paints a flattering picture of Farage: someone who once led, not one, but two, political parties hailed as mould-breaking, who played a key part in Brexit, now reduced to being a sad old man wandering aimlessly around Britain, shouting at ‘immigrants’ through a megaphone? The message is clear: having achieved his life’s ambition, there is nothing else left for him. His life is empty.” Mondo Farage will be released to streaming platforms next week.