Review: ‘Green Border’ is an unflinching look at Poland’s migrant crisis, one with global resonance

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As a passionate film enthusiast, I have had the privilege of witnessing a diverse range of cinematic masterpieces that leave an indelible mark on one’s soul. Among these, Agnieszka Holland’s “Green Border” stands out as a hauntingly powerful testament to the human condition and the devastating consequences of political turmoil and societal unrest.

In Agnieszka Holland’s “Green Border,” the unfortunate characters live with weary and hollow eyes. This is a heavy drama that sheds light on Europe’s refugee crisis, a topic also tackled in brilliantly crafted recent Oscar-nominated films like “Flee” and “Io Capitano.” The film explores this complex issue through three distinct viewpoints: the experiences of a migrant family, a band of dedicated activists, and an unyielding border guard.

Despite sharing identical sad expressions, the goal of these films is to give a relatable human perspective to unfathomable hardships. They invite us to walk in the shoes of society’s most defenseless, but what sets Holland apart is her compassionate lens that embraces all: oppressors and oppressed alike. Each character, in their unique ways, has been affected by this crisis – they are all casualties, vulnerable to something ominous lurking beyond their sight.

In October 2021, on the border separating Poland and Belarus – a boundary marking the divide between democracy and dictatorship – the grayscale film “Green Border” begins. A Syrian refugee family, headed by father Bashir (Jalal Altawil), arrives in Belarus via plane. Eager yet weary, they embark on a journey towards Poland, aiming to be reunited with a relative in Sweden. Alongside them is an older Afghan woman named Leila (Behi Djanati Atai), also seeking asylum in the European Union and choosing to accompany Bashir’s family for companionship during their potentially challenging trek.

After being met at the airport by an unremarkable van, Bashir, Leila, and their companions encounter a surprise roadblock in the wooded hinterland. A far-off crackle of gunfire causes them to panic and dash towards a barbed-wire boundary fence, where their belongings are carelessly tossed over by guards as the van flees. This is Poland, or so they thought, but it seems the locals aren’t too welcoming. Instead, they are brutally escorted back into Belarus. No one wants these outsiders unless they can be drained of their finances; armed men demand bribes for even basic needs like water.

An alternate version could be: In the film’s second storyline, we follow Jan (Tomasz Włosok), a friendly Polish border guard who’s been manipulated by his superiors into believing that all refugees are potential terrorists planning to harm Poland. His commander cautions him, “One slip-up, and in six months, there will be a bomb on the Warsaw subway.” As Bashir and his family desperately flee for safety, Jan is preparing to start a new life with his young wife. He tries to keep the refugees’ struggles out of his thoughts.

Monika Frajczyk in the movie “Green Border.”
(Agata Kubis)

To conclude, Holland introduces the character of Julia (Maja Ostaszewska), a Polish psychiatrist who is a widow and committed to assisting refugees in their search for safety. However, her friends are hesitant to join her cause: One friend, identified as a Polish liberal, refuses to lend Julia his van and warns her, “What if they blame us and hold us responsible?” It’s not only the border guards who have become hardened; even those with supposedly compassionate hearts seem to have lost their willingness to help.

Film director Agnieszka Holland, known for her bold political statements and exploring heavy topics like the Holocaust in “Europa Europa” and “In Darkness,” strongly condemns the current humanitarian crisis as equally disturbing. The three-time Oscar-nominated filmmaker, who recently turned 75, maintains her fierce anger and readiness to challenge norms with her latest production, “Green Border.” This film critiques Poland’s mistreatment of migrants, sparking controversy and backlash from the Polish government before its Venice premiere. Ridiculously labeling it as akin to Nazi propaganda was their reaction.

Some government officials who were once in power were defeated in the recent elections, but “Green Border” remains undeterred: a harsh reality portraying a seemingly impossible situation. When the optimistic Julia joins forces with some passionate young activists, such as the practical leader Marta (Monika Frajczyk), they come to terms with the challenges of effecting change. Despite their best intentions, refugees continue to face perilous conditions, unable to carry heavy loads to safety and constantly under surveillance. They cannot save everyone. It’s a matter of choosing which battles to fight, many of which they may ultimately lose.

Through each distinct storyline, a sense of melancholy pervades the characters, subtly portrayed by the understated acting. Holland chose actors with personal connections to their roles; Altawil is a Syrian refugee in real life, and Ostaszewska has assisted refugees at the border. The script, penned by Holland and a co-writer, is based on true events, yet the intricate plot lacks grandiose scenes or lengthy speeches. Similarly, Naumiuk’s cinematography in black and white captures clean, unpretentious images.

The persistent feeling is one of shared despair and the intricately orchestrated chaos of anger, destruction, and mortality. Occasionally, these storylines interweave, resulting in unexpected dramatic ironies that clash with the raw, unfiltered violence and mayhem. “Green Border” becomes most captivating when it surrenders to the senselessness of the world depicted, as characters strive in vain against a larger system of oppression and intolerance. In this portrayal, Altawil skillfully conveys Bashir’s fear and panic while Włosok expertly captures Jan’s moral transformation: his complicity, once a reliable source of income, metastasizes into a malignant spiritual growth that consumes him from within.

In simple terms, an endless number of Julias cannot mend the deep-rooted issues in society. The novel “Green Border” explores how commonplace acts of cowardice and fear fuel the migrant predicament. It’s the farmer who extends a helping hand to Leila but later betrays her by calling the police. It’s the woman at the market who vehemently opposes extending compassion to refugees. It’s the subtle bigotry masquerading as national security concerns.

Holland is deeply moved by Bashir and Leila’s plight, yet she refrains from portraying them as mere objects of pity. Instead, she highlights the subtle signs of Jan’s moral awakening and his growing awareness that he too is expendable, just like the migrants he sends away. Holland aims to provoke viewers into questioning their own roles in these atrocities by continuing to occur, and encouraging them to take action instead of remaining passive.

At a particularly distressing moment, Leila cries out to the uncaring border guards, “Why are you treating us this way?” However, her question goes unanswered. The lack of response at the Polish border or any other border is profoundly quiet and condemning.

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2024-07-18 18:33