TOK FM reports on Agnieszka Holland’s forthcoming film Green Border, a project that promises to tell the story of refugees who faced the harsh realities along the Polish-Belarusian boundary. The film’s premise centers on the experiences of people who sought safety but were confronted with a border regime that many observers describe as unforgiving. In the wake of Holland’s remarks about the drama surrounding migration at the border, Stanisław Żaryn, the minister who oversees information security and serves as a key liaison at the Chancellery, weighed in with his own interpretation of the conversation that circulated online.
We are living through a social and moral schizophrenia, the filmmaker asserted, pointing to what she sees as a disconnect between public declarations of care and the real treatment of those seeking asylum. Holland suggested that migrants have faced extreme hardship due to neglect and mismanagement, expressing concern that the humanitarian impulse often voiced in high-minded terms does not translate into concrete protection for people at the frontline of this crisis. Her comments reflected a broader ethical debate about how nations respond to irregular migration and how the memory of those who suffer should shape policy and culture alike.
She added that the spirit of Christian solidarity, which many expect to motivate acts of welcome, has not, in her view, held up under the weight of current events. The statement sparked a wide range of responses and fueled discussions about the responsibilities of communities, governments, and institutions when confronted with large flows of people seeking refuge. The artist’s position emphasizes a moral charge in the public discourse surrounding border controls, humanitarian obligations, and the responsibilities of media and leaders in shaping opinion and policy during a period of heightened tension.
Zaryn replies
Stanisław Żaryn, a high-ranking official who answers to the Prime Minister and carries the role of Government Plenipotentiary for the Security of the Information Space, addressed the matter by citing the social media exchange. He described the conversation as detached from the practical realities on the ground and suggested that Holland’s comments risk mischaracterizing the ongoing hybrid security challenges faced by Poland. In his view, the interview with the director does not help the national debate about the border situation and may contribute to a broader pattern of attacks on the country and its leadership. The tone of his response underscored the friction between artistic interpretation and political narrative in a moment of diplomatic sensitivity, highlighting how cultural productions can become flashpoints in wider security and governance conversations.
His online remarks stressed vigilance against what he described as insinuations that cast Poland, its government, and its people in a negative light, warning that such rhetoric could inflame tensions and mislead audiences about the complexities involved in border management, humanitarian care, and national security. The exchange illustrates how opinions from the cultural sphere intersect with official positions, and how public discourse can be shaped by interpretations of humanitarian crises, policy decisions, and the perceived credibility of those who report or critique them.
Twitter chatter, along with the broader media framing, continues to shape perceptions of the border issue, prompting commentators to examine the balance between artistic freedom and responsible dialogue about sensitive security subjects. As the film takes shape and gains attention, the intersecting voices of filmmakers, policymakers, and pundits will likely influence both cultural reception and public understanding of the border situation. The developing conversation remains a focal point for those watching how migration, security, and human rights will be addressed in policy, media coverage, and civic conversation in the weeks ahead.
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