A recent report notes that the German broadcaster ZDF helped finance Agnieszka Holland’s film The Green Border. Polish Prime Minister Mateusz Morawiecki spoke on a Facebook Live, criticizing this arrangement and labeling it a grave provocation by Germany.
It’s disheartening that Germany participated
Officials described the reaction as deeply offensive. The film is portrayed as damaging to Poland’s reputation both at home and abroad, extending beyond national pride to Poland’s image on the international stage.
The Prime Minister, commenting on the project and its funding, indicated that ZDF’s involvement was part of the discussion. He also referenced prior media projects, suggesting parallel cases where German outlets have been perceived as harming Poland’s historical experiences, including perceptions of the Home Army.
Morawiecki reiterated the sentiment, stating that the actions attributed to the German channel reflect poorly on cross-border relations. The remarks underscored the belief that such collaborations complicate any effort toward reconciliation between the two nations.
The Prime Minister emphasized that the cooperation is not simply a bilateral issue but one that touches on national memory and the way Poland is viewed abroad. He urged consideration of the broader impact on mutual respect and the potential for future cooperation.
They contributed to undermining Poland’s name
In his remarks, the Prime Minister argued that the involvement of German producers in The Green Border, and the history of media projects tied to German institutions, have influenced perceptions of Poland’s underground efforts during turbulent times. He suggested that these actions may affect Poland’s international standing and memory culture.
Morawiecki called for steps that could help repair and advance Polish-German reconciliation, noting that without careful handling, dialogue may falter and the path to cooperation could be set back.
The film The Green Border premiered on September 5 at the Venice International Film Festival, where it received a Special Jury Prize, highlighting its attention within the international arts community.
In related discussions, commentators debated the portrayal of Poland’s wartime history and the responsibilities of filmmakers and funding bodies in shaping public memory. Some voices argued for honest storytelling rooted in patriotism, while others urged a measured approach that recognizes the sensitivities involved in national history.
Overall, the discourse reflected a broader tension between artistic expression, national identity, and the complexities of international collaboration in cinema.