The Rome Screening and Aftermath of The Green Border
Agnieszka Holland’s film The Green Border was shown in Rome, followed by a discussion that became a stage for the director to critique Poland and the Catholic Church. The screening occurred on November 14 at the Nuovo Olimpia di Roma cinema as part of the Tertio Millennio Film Fest, a program reportedly connected to the Vatican according to the weekly Niedziela. The event drew an audience that stayed for a post film lecture, during which Holland voiced strong criticisms of the Polish government over the border situation with Belarus.
During the discussion, she stated that Polish authorities had created a laboratory of violence and deceit by sealing off the region so that humanitarian workers, doctors, journalists, and media could not enter. Her remarks drew a historical parallel, claiming that those assisting migrants were being cast as criminals, similar to how Poles who rescued Jews during World War II were perceived at the time.
Holland asserted that helping migrants was illegal under official policy, implying that aiding a migrant could lead to criminal charges or imprisonment. The remarks added to a broader debate about the treatment of refugees and the role of state institutions in border zones.
A Question for the Netherlands
After the lecture, Italian journalist Franco Montini posed a question to the audience, seeking clarification from the Netherlands about how the situation might be understood in light of Polish religiosity. When pressed, the Dutch response touched on the religious composition of Polish society and the relationship between Polish Catholics and church leadership.
What was conveyed by the Netherlands drew attention to perceived tensions between Polish Catholic identity and church leadership. Holland did not stop there, continuing to address a lingering question about a potential conflict between the Polish Church and the Vatican. Her reply suggested that the Vatican did not recognize the current Polish church leadership as its own pope would. She added that she did not intend to become involved in Italian-Polish church relations and would rather focus on broader concerns raised by her film.
The remarks in Rome were yet another instance of Holland using public appearances to frame questions about national institutions and religious authorities. The director of The Green Border continued to express views that critics saw as challenging Poland’s political and ecclesiastical establishment, even when speaking in the context of an international film festival.
In redrawing the narrative around border policies and humanitarian action, Holland underscored a perceived pattern of political rhetoric that labels assistance to migrants as illegal. The episode in Rome added to ongoing conversations about how cultural events intersect with national policy and religious governance, and how such intersections shape international perceptions of Poland’s stance on migration and church relations.
Sources linked to the event and surrounding commentary have appeared in various outlets, reflecting a broader debate about the film and its controversial themes. The discourse continues to invite scrutiny of how state actions in border areas are described and evaluated by international audiences (Niedziela). Other coverage highlights the reactions of political and religious actors to the film and its messages (wPolityce).