The Eternal Jew is a 1940 antisemitic German Nazi propaganda film. Its title in German is Der ewige Jude, the German term for the character of the "Wandering Jew" in medieval folklore. At the insistence of Nazi Germany's Minister of Propaganda, Joseph Goebbels, the film was directed by Fritz Hippler. The screenplay is credited to Eberhard Taubert. The film consists of feature and documentary footage combined with materials filmed shortly after the Nazi occupation of Poland. At this time Poland's Jewish population was about three million, roughly ten percent of the total population. Actor Harry Giese (1903–1991) narrated.

A British film of the same name had been produced by Gaumont-Twickenham studios in 1934. Unlike the later Nazi film, the British production portrayed the Jews in a favorable light as the victims of unjustified persecution throughout history, in the Spanish Inquisition, for example. The Goebbels film appears to have been intended as a violently anti-Semitic version of this previous British film.

The movie was produced in the style of a documentary, the central thesis being the immutable racial personality traits that, according to Nazi doctrine, characterize the Jew as a wandering cultural parasite. Throughout the film, these supposed traits are contrasted to the Nazi state ideal: while Aryan men are shown to find satisfaction in physical labor and the creation of value, Jews are depicted as finding pleasure in money and a hedonist lifestyle. While members of the Aryan race live healthily, rich Jews are shown as living in bug-infested and dirty homes, even though they could afford better. The footage to convey this was actually captured in ghettos, where living conditions were very poor and unsanitary surroundings were virtually inevitable. While Germanic/Nordic man has an appreciation for Northern culture and imagery, Jews are alleged only to find satisfaction in the grotesque and decadent. Many things that run contrary to Nazi doctrine are associated with Jewish influence, such as modern art, cultural relativism, anarchist and socialist movements, sexual liberation, and the "obscure pseudo-science" of Albert Einstein[3]. The film criticizes Jewish religious practices and criticises kosher slaughtering (shechita) in which animals bleed to death, as inhumane, contrasting it with Nazi laws requiring that animals be anaesthetized prior to slaughter.