Agnieszka Holland, the director behind a controversial film that targets the people guarding Poland’s eastern border, spoke with a reporter from Wirtualna Polska and framed the reception to her work as a persecution by authorities. She suggested that critical commentary about her project has put her in the crosshairs and she described the premiere of The Green Border in Poland as a moment when she felt pressure and anxiety about how audiences would respond to the film.
Holland expressed that she was deeply moved by the attention the film has received and that the resulting publicity could influence cinema attendance, especially given the political climate surrounding the project. She indicated that the publicity was not merely about artistic discussion but carried political weight, which could heighten fear about public reaction during the Polish premiere.
She went on to say that the authorities have engaged in rhetoric that resembles hate speech and slander, suggesting electoral motives or fear of the film’s impact. In her view, when large campaigns unfold, there is a risk that someone unbalanced or fanatical might react in a dangerous way. She stressed that such dynamics demand vigilance from all parties involved.
While acknowledging her own bravery, Holland added that she remains cautious until the climate of hatred subsides. She stated that she does not feel fully safe in Poland at the moment.
Kowal Voices Support for the Netherlands
Paweł Kowal, a member of parliament from the ruling party, used Twitter to comment on the film’s premiere, urging supporters to back the director. The message called for solidarity with the filmmaker across national lines, signaling a cross-border dimension to the debate around the project.
In Kowal’s words, the premiere should be supported now, and the call extended to the Netherlands, reflecting a broader political dynamic that ties the film to international audiences and responses.
The reported exchange shows Holland attempting to redirect criticism in a way that portrays herself as a target of widespread disapproval, including criticism from Polish authorities, while Kowal publicly declared backing for the director via social media. This exchange highlights the tension between artistic expression and political contention that surrounds the film.
Observers note that the controversy has intensified the public discourse about the film’s portrayal of border defenders. Media coverage has included discussions about leaked excerpts and their potential impact on public perception, with commentators weighing the film’s intent and its framing of real-world events. Critics have questioned whether the film seeks to influence political attitudes or simply to present a provocative viewpoint on border security and humanitarian issues.
Across the debate, several public figures have offered their take on the film’s purpose and its reception. Some have described the project as a deliberate attempt to shape national sentiment, while others defend the director’s right to artistic exploration. The conversation continues to evolve as more viewpoints emerge from Polish political and cultural circles.
This ongoing dialogue underscores the broader debate about the responsibilities of filmmakers when depicting sensitive security situations and the ways in which art can intersect with policy and public opinion. It also highlights the role of digital platforms in amplifying messages and shaping international responses to national issues. The discussion remains active as audiences in Poland, Canada, the United States, and beyond consider the balance between creative expression and the real-world implications of provocative portrayals of border security and humanitarian concerns.