Disturbingly relevant, this movie is an incredible and incredibly dark drama whose antihero reveals horrors about our world that are, sadly, too easy to comprehend, but difficult to confront. This antihero, Tomasz, evokes antiheroes past and present like Travis Bickle, Alex DeLarge, and, when his crocodile tears really start to flow, even Saul Goodman. The societal ironies and ethical gray areas of these three iconic anitheroes are on full display in Tomasz, and for days after viewing it, it's easy to get lost in wondering whether the sociopathy was there all along, created by society, or if it's a case of both. True, this has been a debate viewers have been having since at least The Sopranos, but these dichotomies are heightened when an antihero like Tomasz gets to operate in a world where the internet, technology, and social media are tearing us apart just as much as they bring us together.
It's fair to call The Hater the Taxi Driver of the 2020s. There are plenty of similarities -- a disconnected loner alienated in the world and obsessed with a woman -- and the jump from the mayoral candidate in The Hater to one Senator Charles Palatine isn't that far. And in the same way that Taxi Driver is as unforgettable a portrait as any of the decadent dying NYC of the 1970s, The Hater captures the precarious zeitgeist of this era of reemerging fascist/nationalist movements in Europe and the United States in the political world, and our growing technological disconnect (as beautifully conveyed in the scene at the "Silent Disco" of dancers in a club each with their own headphones) in our personal worlds.