She made an honest movie about Poland’s migrant crisis. That’s when her problems began

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As a filmmaker with a deep commitment to telling important stories, I have always been drawn to projects that shed light on the human condition and the complexities of our world. “Green Border,” my latest film, is no exception. This project held a special significance for me due to the revelatory statement made by Kaczynski, the main political force in Poland, about the importance of controlling the narrative and preventing the media from exposing the harsh realities of the refugee crisis.

At 10 p.m. in Berlin, Agnieszka Holland – the Polish film director – returns to her hotel after a lengthy day on set. Despite her exhaustion, she doesn’t notice or mind that she’s seated in front of a Mary Poppins cut-out during a Zoom interview in her room decorated with Hollywood themes.

Holland appears weary, understandably so due to the demanding shoot of her ongoing project, “Franz,” which she describes as an experimental biography of Franz Kafka, consisting of intriguing fragments to unravel the enigma. However, as she delves deeper into discussing her newest film, “Green Border,” set for release in Los Angeles on Friday, her enthusiasm for the production revives and her exhaustion seems to vanish.

In simple terms, “Green Border” is a captivating refugee tale by the acclaimed writer-director, whose body of work includes “Europa Europa” from the 1990s and three episodes of “The Wire.” This project represents an intriguing blend of her familiar themes and fresh perspectives. However, its release sparked significant controversy in the Netherlands, drawing unprecedented backlash that surprised the 75-year-old filmmaker despite her long history of bold, uncompromising films.

She recalls experiencing extraordinary hatred in Poland during her time, primarily instigated by the Polish government. Throughout her lengthy life, she’s faced numerous challenges, but none compared to this relentless campaign of animosity from officials. The threats and displeasure were so immense that she felt compelled to hire permanent bodyguards for protection.

A scene from Agnieszka Holland’s “Green Border.”
(Agata Kubis)

For the record:

At 3:37 p.m. on June 28, 2024, this article corrects an error in the name of Jaroslaw Kaczynski, who previously led Poland’s Law and Justice Party. The name was incorrectly written as Karzynski in a previous draft.

I was part of a group that received harsh criticism from the top echelons of Poland’s Law and Justice Party in 2023. Jaroslaw Kaczynski, who led the party, labeled a film “Green Border” as shameful, repulsive, and disgusting. Polish ministers went even further, branding it intellectually dishonest and morally shameful. They drew unfavorable comparisons to Nazi propaganda films and Holland was likened to a top Third Reich functionary, Joseph Goebbels. One minister even concluded that the film’s director had forfeited her right to identify as Polish.

The government took things a step further by barring “Green Border” from being entered as Poland’s best international film Oscar contender. Instead, they required cinemas to screen a two-minute pro-government propaganda clip before the film. Holland shares, “The authorities produced some feel-good clips, extolling the virtues of the Polish state.” Some theater owners bravely defied this order and refused to screen it at all. One government-backed cinema, however, was coerced into showing the film but declared that all proceeds from its screening would be donated to activist organizations.

Surprisingly, Holland commented on the hostile reactions, “Despite being uncomfortable myself, the audiences were excessively aggressive and intense. In the end, their overreaction boosted ‘Green Border’s box office success in Poland, making it one of the year’s highest-grossing films.” Furthermore, post-screening discussions turned lengthy and significant, with viewers remaining for hours. Our honest dialogue sparked courage in many, creating a deeply moving experience for all involved.

As a fan, I’d describe it this way: The acclaimed film that created quite a buzz and received a special jury prize in Venice, is inspired by true events with an eerie resemblance to Kafka’s surreal world. Starting from 2021, Aleksandr Lukashenko, the long-standing leader of Belarus neighboring Poland and Putin’s close ally, made an unexpected move by facilitating Middle Eastern refugees to fly into his country. Upon arrival, they were unceremoniously escorted towards the Polish border and literally shoved across it.

Instead of the typical image of Poland, travelers encountered an unexpected scene: the Green Border, a densely wooded region. The New York Times depicted this area as a “two-mile-wide buffer zone along the border” with an “116-mile-long, 18-foot-high barbed wire fence,” and constant surveillance by Polish border guards. These refugees were forcibly returned to Belarus only to be pushed back again into Poland in a relentless cycle. This ping-pong effect continued indefinitely, with violent confrontations, thefts, and fatalities taking place during the chaos.

“The past which was never healed is frankly still present,” says Holland, photographed at New York’s Film Forum in June.
(Evelyn Freja / For The Times)

Holland, with extensive knowledge of the circumstances, explains that the turmoil began in 2015 with the Syrian civil war. She asserts, “Europe harbors profound fear towards the influx of people whose physical features, faith, and customs contrast sharply from our own.” This apprehension was swiftly exploited by right-wing governments to fuel anxiety and instill a sense of danger.

Lukashenko, possibly with Putin’s backing, chose to aggravate the situation by allowing refugees to pass through that corridor, aiming to create instability in Poland and Europe, and to demonstrate that the European Union, supposedly founded on democracy and human rights, is merely an empty promise.

Additionally, Holland notes that the Polish authorities prevented humanitarian groups and journalists from entering the area. As a result, providing aid to those stranded in the forest and reporting on the brutal actions of the border guards became impossible.

I strongly believe that the words of Kaczynski, a significant political figure in Poland, left a profound impact on me during one of our conversations. His insight struck a chord with me as he shared his perspective on the Vietnam War and the role of media in shaping public opinion. He argued that Americans lost the war when they allowed the media to broadcast disturbing images of children being burned by napalm.

Along with her dedication, Holland insisted on sharing the tale through a human lens. I strongly believe in conveying authenticity. Holland, together with her two collaborators, Gabriela Lazarkiewicz-Sieczko and Maciej Pisuk, invested countless hours in conversations. We managed to secure confidential discussions with border guards, enabling them to disclose their experiences and perspectives.

Due to the contentious character of the movie, securing financing proved to be the most time-consuming task, lasting a full year. This lengthy process involved contributions from various sources, including an American producer named Fred Bernstein. Ultimately, “Green Border” became a collaboration between Polish, French, Czech, and Belgian film industries. Holland, who assumed the role of producer for the first time, expressed her newfound respect for European film production’s intricacy as a result of this experience.

A scene from the movie “Green Border.”
(Agata Kubis)

The film recounts the tale through the perspectives of three unique groups. Initially, we meet a Syrian refugee family longing to reunite with a relative in Sweden. Next, we follow a Polish border guard who yearns to act ethically but is uncertain about the right course of action. Lastly, we accompany a therapist as she transforms into an activist within her hometown. The narrative gains depth with an epilogue depicting Poland’s altered response when faced with another wave of refugees, this time from neighboring Catholic Ukraine.

I prioritized authenticity in my production, so I put extra effort into the casting process. Holland shared, “The chosen actors weren’t just professionals; they were also genuine Syrian refugees.” By doing so, they didn’t have to act out emotions they couldn’t relate to – they already experienced them firsthand. For the local activist role, I selected Polish actress Maja Ostaszewska. Off-screen, she devoted her time and energy to human rights causes at the border.

As a devoted fan, I’d describe “Green Border” as follows: This masterpiece was brought to life in just 24 action-packed days by the brilliant cinematographer Tomasz Naumiuk, using striking black-and-white visuals. For me, being part of its creation was an unforgettable experience. I recall it being a unique and collaborative process. At times, we operated with two simultaneous film crews, led by young Polish directors. Working in secrecy from the Polish government, we managed to forge a powerful sense of unity.

As a movie enthusiast, I’ve been deeply moved by Agnes Holland’s films, particularly “Europa Europa.” Her body of work tackles Holocaust scenarios, and she once shared her belief that the atrocities of the Holocaust served as an immunization against nationalism. She thought that witnessing such horrors made humanity more aware of our capacity for evil and less likely to succumb to divisive ideologies.

Furthermore, Holland’s connection to the Green Border region is strengthened by the proximity to Sobibor, a notorious World War II German death camp. This area was the site of a remarkable prisoner uprising and mass escape. As she points out, “The fugitives from that camp resembled these refugees in every way, and they fled to precisely this forest.”

I can’t speak for “Green Border” or its director, but from my perspective, the fear of the world regressing to a dreadful past looms large for us. It’s as if an ailing tooth that isn’t addressed early enough will eventually rot and fall out. Sadly, unhealed wounds from the past still linger and cast a shadow on the present.

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2024-07-18 18:35