Manichaeism about refugees
The notion that contract killings exist in the real world is widely contested in cinema, and a prominent filmmaker even questions the premise. In conversations about film and crime, the idea of hiring a stranger to take a life is dismissed as implausible; police responses would be swift, a hired killer treated as nothing more than someone hired to mow a lawn. This line of thinking frames a broader inquiry: why do hitman stories captivate audiences so deeply? The question resonates across cinema and culture, inviting viewers to explore what fiction reveals about fear, morality, and the human longing for clear boundaries between right and wrong.
Based on real or near-real events, a notable book begins with a 2001 article by a journalist about a university philosophy professor who moonlights as a collaborator with law enforcement in Houston, Texas. The professor’s episodic encounters with a would-be killer unfold through a simple yet effective method: a potential client is lured into a conversation that confirms an intention to kill. Once the interview closes, agents who have been listening step in, detaining the client and recording the exchange. This setup lends itself to a film that blends noir, lighthearted comedy, romance, detective intrigue, and a thoughtful meditation on how adults can reshape their own psychology—and what that implies for self-identity and the pursuit of self-actualization through transgression. The narrative is marked by its understated wit, moral tension, and a willingness to ask uncomfortable questions about whether people can truly change.
Green Border and the refugee crisis in Europe
Another striking entry juxtaposes a veteran director’s latest work with the unfolding drama at Europe’s frontiers. The film, selected for competition, follows the perilous journey of people attempting to cross the border between Poland and Belarus. It aims to present multiple perspectives: the experiences of refugees, the responses of law enforcement, the roles of activists, and the everyday reality of civilians affected by border policies. The director’s ambitious approach seeks to illuminate the humanitarian stakes from several angles, offering a varied mosaic of human stories rather than a single, simplified narrative.
In practice, however, the film often presents its subject with stark clarity, sometimes leaning on explicit confrontations rather than subtlety. Critics note that the portrayal reflects the harsh realities surrounding migration and state power, while also highlighting the involvement of ordinary people who try to help. Depending on the viewer, the work can feel exhausting or illuminating, but it consistently raises questions about the ethics of border control, the responsibility of institutions, and the capacity of individuals to respond with compassion. The intent appears to be not merely to document but to provoke reflection about how societies defend borders and how those choices shape human lives.
Another competition entry, a drama directed by a filmmaker whose family legacy is well known in cinema circles, follows the rise and fall of a young person connected to a parent figure in the industry. Critics describe the film as bold, but some viewers perceive it as overworked, a cinematic experiment that struggles to translate its ambitions into a compelling narrative. The pacing carries a harsh energy, and the visual style seeks to evoke emotion through a flurry of intense dialogue and stark imagery. While it may not be everyone’s favorite, the film fuels a broader conversation about ambition, legacy, and the costs of chasing a creative vision. The assessment at the festival remains mixed, with conversations continuing about what the work contributes to the larger landscape of contemporary cinema.