The first scene of the color film shows two arrogant, rather simple men (who later turn out to be self-appointed “supermen”), both wearing the same mask, having a discussion in a shabby kitchen. The slightly erratic text is rife with swearwords and is rather hard to follow (subtitles aid the understanding). It serves as an ironic take on far-right, doctrinaire, authoritarian, fascistic ideology. The film’s title is actually a reference to the cleansing, ghettoization, or liquidation of “parasitic” social groups—children, the elderly, artists, Roma people, minorities. The sarcastic tone also prevails in the choice of film language: the image does not simply illustrate the text, but depicts it one-to-one. The film has a framed structure: the first and last shots, taken in a bus stop, are black-and-white. The last scene shows how pettiness, combined with jumbled ideologies, is doomed to failure; one of the main characters is beaten up by another young man, who is probably of the same conviction.