Kattniss Molotov Part 2: Mom & Pop

Film Treatment – Kattniss Molotov 2: Mom and Pop

Genre

Dark Satirical Action / Political Comedy

Logline

Armed with Molotov cocktails and righteous fury, Kattniss Molotov, her partner-in-chaos Comrade Jozo, and a ragtag army of far-left protestors declare war on corporate franchises—turning cities into flaming battlegrounds while rallying behind the slogan: “Back to Mom and Pop Small Business!”


Act I – The Fire Returns

The film opens with a chaotic montage of cities flooded with neon-lit logos: McDonald’s, Starbucks, Amazon Go, Walmart—giant corporations dominating every street corner. Small businesses close down one by one.

Kattniss Molotov, now an underground legend after the fiery events of the first film, is in hiding. But when her childhood neighborhood’s last family-run bakery is bulldozed for another Starbucks, she vows to ignite a second revolution.

She reunites with her loyal ally Comrade Jozo, a philosophical ex-Yugoslav revolutionary who believes “capitalism kills culture one latte at a time.” Together, they begin recruiting young anarchists, union workers, climate activists, and punks into a guerrilla movement.

Their rallying cry:
“Back to Mom and Pop Small Business!”


Act II – Flames of Revolt

The movement launches with symbolic Molotov raids on major franchises. In a stunning action set-piece, a convoy of delivery trucks filled with fast-food supplies is ambushed. Protestors rain bottles of fire over golden arches and green mermaid logos.

The public reaction is polarized:

  • Working-class families cheer the attacks as “Robin Hood economics.”
  • The corporate elite label Kattniss a domestic terrorist.
  • Social media memes turn her into a folk hero.

But the movement isn’t without cracks. Some protestors want chaos for its own sake. Others push for peaceful boycotts. Kattniss struggles to hold the group together as Comrade Jozo warns:
“Revolution without discipline burns itself out.”

The government forms a Corporate Security Task Force, armed with drones, riot cops, and surveillance. The city turns into a war zone—independent coffee shops and bookstores become secret bases, while every Starbucks window is a potential target.


Act III – Mom and Pop or Bust

As the revolution escalates, Kattniss and Jozo discover a chilling truth: corporations are lobbying for a new law that would ban independent businesses outright under the guise of “consumer safety.”

The climax is a massive showdown at a corporate expo, where CEOs unveil their “franchise-only future.” Kattniss and Jozo lead thousands of protestors in a fiery siege, raining down Molotovs in a surreal spectacle of fire and glass.

But at the heart of the battle, Kattniss makes a choice: keep burning until everything collapses, or channel the movement into rebuilding a world where Mom & Pop shops can thrive.

In the final shot, as smoke clears, Kattniss delivers her manifesto over hacked screens:
“We don’t want your clown burgers or your siren lattes. We want our neighbors back. Back to Mom and Pop!”

The screen cuts to black with the roar of protest chants echoing.


Themes

  • Anti-Corporate Resistance: a critique of monopoly capitalism and the erasure of small businesses.
  • The Fire of Revolution: satire on both left-wing radicalism and corporate greed.
  • Community vs. Consumerism: what’s lost when local shops are replaced by soulless franchises.

Tone & Style

Think V for Vendetta meets Fight Club, but with the biting humor of Sorry to Bother You. Explosive action sequences balanced with surreal satire, graffiti slogans, and punk-rock energy.

Cell Phones in the Congo

MOVIE TREATMENT
Title: Cell Phones in the Congo
Genre: Political Action Drama / Humanitarian Thriller
Tagline: “The war behind your screen is about to go global.”
Starring: Joe Jukic, Nelly Furtado, Angelina Jolie, Kanye West
Based on true events—twisted by courage.


LOGLINE

Three rogue UN Peacekeepers—Joe Jukic, Nelly Furtado, and Angelina Jolie—defy orders and race against time to rally an African-led peacekeeping army, with Kanye West as their unpredictable commander, to stop the blood-mineral trade exploiting Congolese children and fueling the world’s cell phone addiction.


ACT ONE: THE FALLEN SIGNAL

Eastern Congo, near Bukavu – UN Peacekeepers Joe Jukic, Nelly Furtado, and Angelina Jolie operate a small, underfunded detachment meant to observe only. But when a drone captures footage of armed rebels forcing children into mineral mines, the team breaks protocol and intervenes, saving a small group of boys.

Instead of medals, they’re reprimanded. The UN command warns: “We’re peacekeepers, not saviors.”

Joe, a Croatian-Canadian ex-journalist turned peacekeeper, is furious. Nelly, who left her music career to fight for justice after visiting Congo with UNICEF, is emotionally devastated by the children’s trauma. Angelina, hardened from years of diplomatic failure, coldly declares:
“If the system won’t save them, we’ll build one that can.”


ACT TWO: A GENERAL WITH A BEAT

The trio sets off on a rogue mission to expose the dirty pipeline of coltan and cobalt—from the mines to the smartphone factories in Asia, to tech giants in Silicon Valley.

But to stop the flow, they need an army. Not mercenaries. Not more Western soldiers. Africa must protect Africa.

They turn to a controversial figure: Kanye West, recently gone dark after a political breakdown and spiritual retreat in Ghana. Joe finds him preaching to a crowd of youth in Dakar, dressed in a cloak, calling himself “Yēsū X”.

Kanye agrees—but only if the army is African-owned, tech-powered, and uncorrupted by the UN or IMF. He wants to livestream justice. “We don’t need donors. We need a revolution… and a signal.”


ACT THREE: OPERATION BLOODLINE

Kanye assembles a legion of Congolese volunteers, ex-child soldiers, Pan-African veterans, and hackers. Nelly composes a haunting anthem—“Echoes from the Mine”—that becomes the soundtrack of resistance. Angelina uses her old contacts to smuggle in medical aid and solar-powered comms. Joe gathers whistleblowers inside tech companies willing to go public.

The enemy is powerful:

  • Multinational companies
  • Corrupt militia generals
  • A private Western PMC guarding the biggest mine, Operation Vulcan, where thousands of children dig in darkness.

The climactic battle takes place deep in the jungle, where Kanye’s legion, backed by grassroots activists, drone swarms, and guerrilla comms, storms the compound. Children are freed. Data is dumped to the world in real time.

As bullets fly and signals rise, a voice echoes over speakers:
“You wanted cheap phones. This is the real cost.”


EPILOGUE: A NEW PROTOCOL

The UN is forced to act. The Congo Child Labor Ban Treaty is signed. African Peacekeeping Forces are permanently established with full autonomy.

Joe returns to writing, penning a memoir: “Blood in the Circuit.”
Nelly opens schools throughout Central Africa, funded by her comeback world tour.
Angelina trains new peacekeepers for the African Union.
Kanye disappears—rumored to be building a solar-powered city-state in Senegal.


TONE & STYLE

Cell Phones in the Congo is a gritty, cinematic exposé with raw realism and mythic rebellion. Inspired by Black Hawk Down, Beasts of No Nation, and The Battle of Algiers, with a modern digital war overlay—where live feeds, viral music, and hacked satellites shape global conscience.


DIRECTED BY

Denis Villeneuve or Kathryn Bigelow

SCORE BY
Hans Zimmer x Burna Boy x Kanye West remixing Billy Joel’s “We didn’t start the fire”.

PRODUCED BY
Participant Media, Plan B, and Netflix Africa

RATING: R (intense thematic content, war violence, child endangerment)


“Cell Phones in the Congo”
You hold the war in your hand. Now watch them fight to stop it.

Why Dunkings Suck

Title: “We Don’t Dance for Zionists”
Joe and Bruno Jukic in dialogue


INT. EAST VANCOUVER COFFEE SHOP – EVENING

Joe and Bruno Jukic sit in a quiet corner. A dusty sunbeam filters through the blinds. A chessboard is set, untouched. The real game is words.

JOE JUKIC
You ever wonder why they keep throwing Matt Damon in every government propaganda flick?

BRUNO JUKIC
He’s been groomed since day one, man. Harvard didn’t make him. Langley did.

JOE
Exactly. The guy’s been dancing for the Zionists since Good Will Hunting. I don’t care how many apples he gets — he’s a mouthpiece.

BRUNO
Remember Mystic River? Clint Eastwood tried to show it… real subtle. Those Masonic goons, with their flip Catholic rings? They weren’t cops. They were handlers.

JOE
Taking kids from the neighborhood like it’s routine. That wasn’t fiction. That was a confession.

BRUNO
Sean Penn knew. He played along. But Damon? He’s the decoy. The distraction. While they run the trauma script, he’s running PR.

JOE
MK Ultra Hollywood branch. And don’t get me started on Ben Affleck. Argo was deep state. Straight-up psyop.

BRUNO
Meanwhile they ask us, “Why don’t you guys act?”
Because we won’t act. We won’t dance. Not for Zionists. Not for Skull and Bones. Not for a check signed in Tel Aviv.

JOE
We act with our hearts. With truth. That don’t sell in Hollywood. That sells in Sarajevo. In East Van. In soul.

BRUNO
Let Matt and Ben tap dance in the blood-soaked studios. We’ll be here — building something they can’t infiltrate.

JOE
Amen, brother. The only ring I flip… is the rosary.


FADE OUT.

Watch Mystic River again. This time, don’t watch the actors. Watch the ritual.