Green Border

Green Border

Green Border

93
93

(6.4)

2h 32m 2023 HD

Imagine a searing, social-political drama set against the backdrop of a detestable European refugee event which has its own counterparts in other Africa, Asia, the Middle East and even along America’s Southwestern border. This would be Agnieszka Holland’s ‘Green Border’ and in my opinion from all the new releases in the US this year, it is the best and the most important one so far. That evaluation comes about because of the tense nature of the subject tackled in that movie and also the unbelievable craft employed in its production. The same happened to me the first time I saw the segment at tier-3 essay review.

There are two points to the border in the title; Poland, and its eastern neighbour Belarus, which is accompanies the dish. The filmmaker has provided an aerial angle view of a segment of the border and the portion in the view is dark degrading deep moss seeming to be one of the last rain forests of Europe. But that nice picture does not hold for long. A moment later the color picture disappears leaving only black and white vision and high rise buildings, and controversy and oppositions of men and sadness dominate the picture.

In the bosom of the airplane, all kinds of passengers including families and lone travelers, some napping while others are charmed by the diversity of voices in expectation of the target: protection, liberty. They are runaways escaping from devastated locations such as Syria and Afghanistan. Once the aircraft is on the ground, out rush the addressee in the departure wing carrying an aluminium contraption clamoring assistance of an emergency cadre pros. A van shows up, a lot of people squeeze into it. The children in the party play that soon – hours from now, I wonder – they will be in Sweden. The elders warn that they have to cross over to the nearest EU member state which is residing in Poland for now.

The borderline is excellently illustrated by a high canopy of trees interlaced by a fence and barb wires. When the passengers are forcibly removed from the airplane and dumped in this godforsaken place, they soon recognize that they are simply pieces on a very important political chessboard. Polish border guards have the pleasure of greeting them only to mark their papers back over the fence. They are there only to rudely send the Stags back to Poland. It’s in fact a very nasty and cruel game where a ping-pong has gone berserk and players bet their lives on this game.

However, even if it has little attention from media in the West, the crisis portrayed here is very real. The commencement can be traced to late 2021 when, instead of being hostile to the people migrating from the Middle East and Africa, the Belarusian pro-Putin dictator, Aleksandr G. Lukashenko started giving out free visas and lucrative air tickets to those willing to travel to Europe. The ostensible purpose was to create some level of chaos in the EU countries which were not very welcoming to refugees from strange, distanced countries. (Poland, in a stark reversal of this trend, opened its borders a year later to two million Ukrainian refugees.)

There can be no doubt that film plays this function exceptionally well, especially in the case of people submerged in grim reality like this one where people are cut off from each other in a filthy, frightening, and increasingly hopeless situation. In this regard politics are remote from any valued abstractions.

There are no fans that understand the reality of the refugee experience – disillusionment, patterns of shifting terrain, and passion even in the face of inflicted pain. Holland creates extraordinary characters from these off the grid people including three generations of a Muslim family where the grandfather (Mohamad Al Rashi) carries a prayer bed wherever on a battlefront neck deep in war and does not allow danger keep him from prayer. Contrast these, with almost none of the melodramatic cliches such a plot is almost bound to elicit.

The story of the refugees is one out of three major threads told through the entire film. Yet another revolves around a young Polish soldier who is consulting his restless pregnant (Tomasz Wlosok) and begins to reluctantly tackle the moral dilemmas of simply following orders where the end results are so glaringly and incontrovertibly harsh.

The third strand of the story is about the unlikely range of activists who break into the woods in a hope of providing various degrees of aid and assistance to frightened and desperate refugees. But one may ask why the Polish border guards did not try to help, and why when the situation was so urgent, they would not allow any reasonable help to be given. However, instead of addressing the situation immediately, the far right government decided that there was no bi-partisanship that there was only a war politically and that anyone who supported the refugees was supporting the enemy and was to be arrested and charged. For some, simple acts of kind help turned out to be both risky and heroic at the same time.

Among the people assisting the refugees, some may be more distant and from overseas whereas others are rather local and deeply upset at what is happening in their backyard. Among them, Julia (Maja Ostaszewska) is a psychiatrist herself, and as she hears a woman screaming outside her house she rushes out to help. This woman, Leila (Behi Djanati Atai), is a courageous Afghan who’s been trying to assist fellow asylum seekers for much of the story; in a twist of fate, she herself intended to move to Poland.

Holland has always been a great director of actors, and “Green Border” has no shortage of strong subtle performances. Well for my money, Ostaszewska and Djanti Atai take the cake; it is them who should be receiving the kind of recognition that Sandra Huller did last year for her role in “Anatomy of a Fall” and “The Zone of Interest,” rather which an incomprehensible woman always deserves.

Like Pawel Pawlikowski’s ‘Ida’, ‘The Green Border’ also gave me a sense of humanity in the theme, and early polish films after the second world war, deals with politics in a serious manner. Still, there is no wonder why Agnieszka Holland was a protégé of two masters of that Renaissance, Andrzej Wajda and Krzysztof Zanussi. In the bottom, however, due to the importance of circumstance editing stylized black and white film and skip intertitle pages, Tomek Naumiuk also employed some sobiole shooting toward the dominant Holland’s omnipresent dynamic compositions and her filled by nature graceful views.

This accomplishment has made neither the film, nor Holland popular among Poland’s authorities. One argued ‘Green Border’ as, ‘a shame, a revolting and disgusting disgrace’. And he even compared the director with, ‘Soviet and Nazi propagandists’, who were ‘trying to put the dirt over Poland and Poles by creating and distributing fake propaganda movies’.

Last autumn, in the New York Times, when the Polish government started throwing abuse at the film, even after the ridiculously applauded work at the Venice Film festival (the onslaught began on cyberspace since it has not abated), Holland was thus quoted, When asked as to what her film was, Which poland is supposedly trying to keep its borders under. This straightforward, well articulated recall meets the great definition of films as empathy making machines without fail. Without exception, definition of movies, as systems for generating empathy, was in no recent film, more geo-political brilliance and humanity than GREEN BORDER.

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  • Genre: Drama
  • Country: United States
  • Director: Agnieszka Holland
  • Cast: Jalal Altawil, Maja Ostaszewska, Behi Djanati Atai, Tomasz Wlosok
Green Border

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