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Even before the premiere of this movie, there was a lot of drama going on already. Everyone was reviewing it even though all they saw was a tiny bit of trailer. Sometimes, not even that. Even polish government started to make their own propaganda to make people believe it was anti-polish movie and all of that just so they could gain more voters before election that will happen soon. In some cities, it's even banned to be played in cinemas. That's how current government's world works and will work if they win again. No free speech, full censorship of anything that may be offensive towards government and many many more. But it's not about it.

Movie itself is build on politics, so it's hard to not talk about them. Though, I don't think that Holland wanted to attack the army itself, as some of the people think she did, but rather the corruption and how government overused their power. How they forced people to act like there was no human rights, like those people on the other side of the fence were nothing. This movie isn't about letting illegal migrants into the country, but about respect and right treating. We're all humans after all, but what was happening on the border was really wrong.

It's not a documentary, but a lot of things that happened in the movie had place in real life. There was a lot of videos, photos and even articles saying about those horrible things happening. And all of it just because of the government, who wants to make their own people scare and be afraid of other nationalities. Movie was also about our own feelings, how we see the world that surrounds us. It's always hard to say about things, that are uncomfortable, but true. But they have to be said and we can't just let those high positioned people get away with it without any consequences. That's not how this world should work.

I was following the news back then and I'm really glad that such movie was made and is showing somehow the reality of what was happening on the border. But the truth is, what media were allowed to show us and what is the real truth of how it really looked like, is two different things and for people, who are open-minded those two things should matter to draw your own conclusions and based on that make your own opinion.

Movies like "Green Border" are tricky. If you're watching it in the first place, you likely already have some awareness of and empathy for the plight of refugees and migrants who are being demonized around the world. If you need to be convinced that they are deserving of empathy, you're probably not ever going to watch this movie. So the onslaught of suffering we are subjected to feels like punishment, like we're being lectured on something we already believe.

I thought I might bail on this movie at about the 30-minute mark. That first half hour is misery porn about a Syrian family trying to make its way across the Belarus/Poland border and the inhumanity they face. I felt for them, but didn't want to watch a movie that was just going to throw in my face misery that I already feel bad about. But veteran director Agnieska Holland had something more varied in mind for this film, and the perspective switches multiple times to show events from the perspective of a Polish border guard, a group of activists trying to help the refugees, and a psychotherapist who turns her outrage into action and joins the cause.

"Green Border" is a well made movie, and it's pretty engrossing. But there's something a little too narratively slick about it. I've seen documentaries about the refugee crisis, and though it tries, this movie doesn't capture the visceral, life or death desperation of those films. Maybe it's not fair to ask it to, but it's hard to feel completely satisfied by this movie's fictional version of what's happening in the world when the real thing is being documented and made available. If this had been my first exposure to the refugee crisis, I might have found it to be more searing than I did. And there's something a little naive about it too. It's very simple in its ideology. All of the refugees and anyone on their side is good, anyone working against the refugees is bad, and there's no nuance or attempt to address the complicated social impact of large masses of people entering countries without the resources to support them. In this movie's version, if we all just open our borders and welcome whoever wants to come in, we'll all live together in a utopian society and won't that be wonderful. But that's not the way the world works. I'm one of the first to wish it did, but I'm more realistic than that. I wish this movie had been more realistic about it too.

But all that aside, it is still a very effective movie, and I found myself more enraged than depressed by it. I'm afraid I might be one of the ineffectual liberals criticized in the movie, people who feel bad about what's happening but don't actually do anything about it. To be fair to myself, I'm not sure exactly what it is I'm supposed to be doing, but still, movies like this make me want to just go out in the world and help someone, anyone, so I guess this film serves a valuable purpose in that regard.

Grade: A.

Very complicated topic treated in a masterful way. Committed film, so much so, that many purely political comments and ratings have appeared probably from ¨reviewers¨ who I doubt have even seen the film (calling it boring is simply absurd, giving 1 point in 10 is absurd).

It is difficult not to respond emotionally to the harshness of what is presented to us. Self-security, fear, comfort in the face of the insecurity and suffering of others. Some heroes without hesitation align themselves with those who suffer, others not so much out of comfort or risk and others are simply bad people who take advantage of every situation to bring out the worst in themselves. Whether they are Poles, Belarusians or Muslims is simply circumstantial. Poor people used as cannon food, this is happening in our true world and we are lucky to have people who reflect this with their artwork.

The actors are very good, the script, photography and direction are very good. It is, above all, a very complete film that keeps the viewer in tension and takes them out of their comfort zone.

I've given Zielona Granica ( Polish name , I'm Polish ) a full ten to counteract trolls who already downgraded the film to 2 stars on the Polish site Filmweb before it was even released. As mentioned I live in Poland and have been aware and mildly concerned by the eastern border crisis without really involving myself too much emotionally in the midst of much other domestic political madness . This has been remedied by Ms. Holland's film which presents the story of Immigrants escaping persecution in a human perspective - directly showing us in sections the lives and actions of Border Guards, Activists and of course the fleeing Families themselves. Now I can see the human tragedy far transcends my own domestic and delicate political sensibilities . The powerful way the stories are told were able to touch and anger me and I was moved to tears more than once during the course of the film. I can now relate to similar scenes in other European locations and the thousands of tragedies occurring daily a testament to the Directors powerful film making. I left the Cinema feeling sad and helpless but definitely more cognizant and in awe of the fine way the Film had been made.

Criticism for the film in Poland ( unseen ) has come from the Government side and the film is being used as a tool in an ugly political battle during the run in to an election . Armies of trolls and politicians are lining up to lambast Ms Hollands film without having seen it - objecting to the way the Polish state via it's Border Guards is portrayed. The film does show scenes of Police and the Border functionaries in a cruel light ( based on real life testimonies I think ) but there are two sides shown and you can see that almost like the immigrants themselves they too are just helpless pieces trapped in this tragic international affair. Our President himself has called anyone going to see the Film a Pig ( ! ) which will give people outside of Poland an idea of the scale of the row this film has caused here.

Oink !

I hope that once the politics and hate have evaporated that Zielona Granica's importance will continue to be recognized and Ms Holland always valued as a fine film maker.

Our election is weeks away , was it the right time to release such a controversial film ? Time will tell but congratulations to everyone involved in making this film.

Polish director Agnieszka Holland's impassioned examination of the European refugee crisis from her nation's perspective. Holland's film, which she also co-wrote, is a sprawling work which begins by following a family of Syrians who are trying to the EU through Russian dominated Belarus. From there, the movie weaves it way to the Border Guards and, eventually, ia small band of mostly female Aid workers who give medical and legal assistance to the immigrants.

The structure is a bit daunting even though there are loose connections binding it all together. Cinematographer Tomasz Naumiuk shoots in an austere Black and White with Frédéric Vercheval's brooding score as accompaniment. The large cast is quite good with Maja Ostarszewska a standout as the, perhaps a bit naive Julia, one of the Polish volunteers. Behi Djanati Atai is memorable as a defiant Afghan woman who crosses the border with the Syrians. What knits it together is Holland's vision, which becomes clearer and clearer as the various strands are brought together - while simulataneously being torn assunder.

Holland never flinches from the painful and graphic details of the refugees' plight. They are literal political footballs booted from one side of the border to the other. There are times when the structure doesn't completely work and the filmmaker does dwell a bit on some seemingly extraneous details, but, there is no questioning Holland's fervor - much of it directed at Poland's leadership. It's been a highly controversial film within the nation and its government, and throughout much of Europe.

Unsurprisingly, it was NOT Poland's official submission to this past year's Academy Awards.

At 75, Holland (an Oscar nominee for EUROPA EUROPA) has made a daring - some would say angry - film. A stunning work of art that demands to be seen.

This is the second film I've seen this week with Tomasz Wlosok. Earlier, he was in Julia von Heinz's tragic-comedy "Treasure" (2024) with a far lighter and fluffier role than he has here, as a Polish border guard. He is part of a team charged with repelling refugees trying to cross into the EU from Belarus. On that front, we are introduced to travellers who have been lulled into thinking their flight from Syria and Afghanistan will be a dawdle. An expensive one, yes, but a straightforward flight to Minsk on a comfortable Turkish aircraft then a bus to Poland thence on to wherever. Sadly, they soon realise that their bought-and-paid-for journey merely inserts them into a game of human table tennis between the military on both sides of a border - only it's coiled barbed wire rather than a net. It doesn't matter what their predicament - injured, pregnant, old, vulnerable - they are systematically robbed, starved and dehydrated. There is some hope for them, though, as Polish activists try to help them and get them on the register for asylum. That, however, requires that they be reported to the police and then to the guard and so we are back with handsome Tomasz ("Jan") again. Their journey is riddled with peril and that's harrowing at times, but somehow not quite so difficult to stomach as the behaviour of the people in uniform bending or breaking the rules from above to ensure a minimum of these people ever made it past the forests of the 250-odd miles of border. Politics plays it's part too - the government of one nation accused of using these people as "live bullets", the other of sowing seeds of dissent within an EU where rising nationalism is polarising societal attitudes. In the end, it is a really rather brutal assessment of human nature at it's worst whilst also illustrating just what lengths decent folks will go to, and the risks they will take, to do what they feel is right. The intensity of the camerawork - especially in the woods, and the audio editing give this an added piquancy that makes their plight all the more terrifying, frustrating and deadly. I didn't quite get the point of the anecdote at the end. I'm not sure that concluding assertion took into consideration the historic cultural and traditional links between neighbouring Poland and Ukraine as distinct from those fleeing from Syria, but it does offer us considerable food for thought on what is the right thing to do without imposing director Holland's personal view too overwhelmingly on the issues faced by countries that might be legitimately concerned about the impact on their nation, economy and culture of large scale migration. It's not an easy film to watch, it's violent and nasty - but compelling.

At the begining i must say, i'm from Poland and i was very curious about this movie, as i was pretty familiar with volunteers stories, i had an opportunity to talk with few of them, a few medics and just regular people that wanted to help. Outside all the media coverage both private and national, i've read a lot of memories and interviews with people, both with volunteers' as well as the border guards and people living in the area. Some of them were really brutal, raw and just... sickening.

This movie is something i wanted to check out, to see if all the criticsm in (mostly far right) media was justified. And i'm really happy i checked it myself.

The cinema i was watching the movie in, was pretty much full, except for the first 3-4 rows, and the movie ended, everyone was just quiet. Like if everybody needed a minute to think. People only started talking in the main hall / outisde of the cinema.

In my opinion movie mixes some of the real events with a bit of fake scenarios, some scenes were probably a bit exaggerated, but on the other hand, seeing photos and videos that were recorded on the real border, i think it's a good move by the creators of the movie.

I believe that movies like "The Green Border" are highly needed in our society. Society that often listen to only just one side of the story, without even trying to hear what others have to say. That's what all the buzz surrounding this movie came from. Just a lot of people, that didn't even seen it, criticise it to gain something. Especially now, right before elections in Poland.

Putting politics aside... It's just a good movie. With a very good acting, pretty good cinematography and remarkable importance for everyone, who's not aware of the humanitarian crisis, happening to this day at Polish-Belarusian border.

To summarize... I think this movie is for everyone, who's not afraid of criticism of their beloved party, state services or his own morals. This movie may leave you with some heavy emotions, thoughts and it's deafinately not an easy movie to watch. But i trully belive, everybody should check it on his own, with open mind and being ready to hear and see uncomfortable truth.

I won't deny that I was prompted to watch the film right after the Polish premiere by how extremists in the government try to use it to their advantage by throwing around statements that are subject to Godwin's law in normal discourse, which at the same time obscures the message and power of the picture. The second reason was my interest in the subject matter covered - for the past two years I have been hearing about the events that have been fictionalized in this powerful and emotionally stirring film. The situation in Ukraine, Belarus, the constant information war and disinformation on the part of Belarus and Russia, the visa scandal in which the government is involved, the dying refugees in the border area between Poland and Belarus.

The visual layer of the film is flawless. The story is told in an intriguing, engaging way, and there are several memorable moments, including some dialogues that, curiously enough, show the surprising self-irony of the middle class supporting the neoliberal opposition. The script and acting were not always flawless, although this did not detract too much from the overall reception of the film, as the film defends itself primarily through its imagery. It is truly unforgettable. I recommend it from the bottom of my heart.

I am Polish, and I suppose like many Poles (Europeans, citizens of the world - put whatever you want here), I was so far rather loosely aware of what was (and still) happening at the Polish-Belarusian border. If you WANT TO KNOW, watch this movie.

Some people in Poland might (and will) say, oh come on - that move is nothing more than politics and propaganda (especially since it is being released in cinemas in Poland just three weeks prior to our parliamentary elections). I'm saying - go and watch it, and make your own judgement.

But most importantly, I dare to say that if there was one movie that you were allowed to watch on a topic of HUMANITY, then this is the one.

It's about that we are all the same, no matter where we come from, what gods do we believe into, what color of skin we have, and what music we adore (you will find it all in the movie).

It's about helping other humans, because they are humans, and not just illegal immigrants (which is who they are, but that doesn't mean they are not humans).

It's also about becoming human, even if all circumstances around you tell you - "when in Rome, do as Romans do". You'd think I will call out the psychologist? No, I am taking about a young Polish border guard. Think about him. How difficult it was for him to become and (as can be seen later in a move) stay human.

What else can I tell you about the movie?

Wonderful dynamic scenes in forest by Tomasz Naumiuk.

Great actor skills of Maja Ostaszewska.

And of course, Mrs. Agnieszka Holland herself. Invisible, but you can "feel" she's there.

Oh, and by the way - a few last few words in the scene with Maciek Stuhr ("young Stuhr" as we call him in Poland) are simply outrageous. They can only be compared with these famous words, which his father ("old Stuhr") said in "Seksmisja" movie: "Let's go east, there must be some cavillation out there" :-). Those of you who are not Polish, might not catch subtlety of both.

Don't forget to take some handkerchiefs. It's also a sad movie.

A story about the refugee crisis in Europe, told through three different perspectives: a refugee family from Syria and a woman from Afghanistan trying to reach Malmö, Sweden, some activists, and border guards. The narrative unfolds at the border between Belarus and Poland.

It is beautifully shot in black-and-white cinematography. The subject matter makes for a thrilling, at times horrifying, experience, but it's an incredibly important film. What we witness is dehumanizing, yet the focus remains on humanizing the individuals involved and the system they are caught in.

This is a movie everyone should watch, it reveals both the best and worst aspects of humanity. People have always fled countries plagued by war, misery, hunger, or a lack of hope for their children's future, and this will never change. The entire system in place to handle this crisis is deeply flawed.

It's an unforgettable film, featuring bold and important filmmaking. The haunting faces and desperation of the characters will stick with you for a long time.

I had the privilege to watch this amazing movie at NYFF in a large auditorium full of people. The screening was introduced by Agnieszka herself to a standing ovation.

It was a realistic introspection on a fundamental question ... are all human beings equal ? The answer is unfortunately no. The color of the skin, your religion plays a big part in how you will be treated in a new place where you are looking for refuge. The contrast between the Ukraine and Belorussian border cannot be more further apart. For the dark skinned refugees, we see pregnant mothers losing their child due to brutal abuse in the hands of the border guards, kids and elderly people dying whereas the pets are even treated with dignity for the Ukrainian refugees.

We hear about these stories in the news but the whole catastrophe was solemnly brought to life here. It is a difficult movie to watch. But we left with hope when the entire audience stood up and clapped for 10 mins at the end of the screening.

Escaping tyranny to find a better life is a process frequently riddled with challenges, frustrations and desperate measures. So, when refugees hear about an allegedly credible way to more easily escape their circumstances and make their way to freedom, they often enthusiastically jump at the chance to avail themselves of the opportunity. Such was the case in 2021 with the supposedly unblemished promise accorded the "green border" crossing from Belarus into Poland, a port of entry into the European Union said to offer a comparatively less problematic escape route for those fleeing the Middle East and Africa. However, given that neither nation wanted to deal with a flood of refugees at the time, combined with swirling rumors that the new arrivals posed a serious security threat to the well-being of a conservatively governed Poland, the border patrol guards in both countries engaged in an aggressive campaign of brutally rounding up and unceremoniously dumping escapees back and forth on each other's territory, repeatedly subjecting those caught in the middle to inhumane treatment and unspeakable perils with each switch, a practice little known outside the region at the time. This latest offering from acclaimed writer-director Agnieszka Holland sheds light on what happened during this turbulent time, a troubling scenario that, despite some significant reforms in the wake of the Russia-Ukraine War, still continues to this day. The film explores this scenario through four interwoven story threads showing the impact of the green border on the lives of refugees, border guards, activists seeking to assist refugees in transit, and everyday citizens looking to make a difference in Polish government policies and practices. The picture's superbly crafted narrative and poignant screenplay provide an excellent, in-depth examination of the connections involving these four constituencies through a well-integrated combination of engaging, emotion-filled sequences and its captivating, edge-of-the-seat treatment of the principals' diverse yet linked experiences. However, given the subject matter and its gritty, realistic depiction, sensitive viewers should be aware that this release can be a difficult watch at times. Nevertheless, despite its cinematic candor, this offering is also riveting in holding viewing attention, quite an achievement for a film with a 2:32:00 runtime, an artistic accomplishment largely made possible by its fine performances across the board and its stunning black-and-white cinematography. At the risk of overstatement, "Green Border" is handily one of the most important releases of 2024, one that should be on every cinephile's must watch list for its hard-hitting impact and eye-opening revelations, disclosures that anyone with a conscience should find impossible to ignore.

I loved the different perspectives this movie shown, at first tho i was scared that they would show all guards and people there as bad ones. It is not all black and white like that. There was some things that this movie omitted, but i think the message still is valid. We should all be treated in humanly way, you know. As a sensitive person this movie hit me hard, the pregnant woman scene, like WHO can be heartless like that. I am also big fan of french music, so i loved 'Mourir mille fois' in the soundtrack. Anyway, if u think about watching this movie, than i think its a great way of spending sad autumn afternoon. For sure you will think about this movie for a while. ( If you dont find feelings, emotions etc. Interesting than maybe dont go, cos you will not get the point and probably you'll be bored). Have a nice day people :)

Agnieszka Holland's *Green Border* (*Zielona granica*) is a powerful and unflinching portrayal of the humanitarian crisis at the Polish-Belarusian border. Through the intersecting stories of a Syrian refugee family, an Afghan English teacher, and a conflicted border guard, the film sheds light on the harrowing realities faced by those caught in the no-man's-land of geopolitical conflict.

Jalal Altawil delivers a heart-wrenching performance as the father of the Syrian family, embodying both resilience and despair. Maja Ostaszewska portrays the Afghan teacher with a quiet strength that anchors her story, while Behi Djanati Atai adds nuance to the role of a border guard torn between duty and conscience. Together, their narratives create a tapestry of human suffering, hope, and moral ambiguity.

Holland's direction is both compassionate and unrelenting, refusing to shy away from the brutality of the situation. The stark, desolate visuals of the borderlands, captured with haunting beauty, underscore the desperation of those trapped in this liminal space. The screenplay, co-written by Holland, Maciej Pisuk, and Gabriela Lazarkiewicz, navigates complex themes of humanity, politics, and survival without resorting to simplifications or clichés.

At 2 hours and 32 minutes, the film's runtime allows for a thorough exploration of its characters and their plights, though some viewers may find the pacing demanding. Nevertheless, the emotional impact and urgent relevance of *Green Border* make it a vital watch.

This is a film for those who seek stories that challenge and provoke, offering no easy answers but demanding empathy and reflection. *Green Border* is a haunting reminder of the human cost of political indifference.

Rating: 8/10 - A deeply moving and essential portrayal of a modern humanitarian crisis.

"Green border" shows immigration from a different perspective than is slowly becoming mainstream in Europe, being it Poland (the land in which the film is situated), Holland (in which the anti-immagration party PVV won the election of november 2023) or England (that want to send refugees to Rwanda).

The situation on the Eastern border of Poland is different in this respect that the Belarus of Lukashenko uses refugees as a weapon against the European Union (EU). They lure refugees to Belarus with the promise that the transit to the EU (i.e. Poland) is without any difficulty, which of course is not the case.

"Green border" is a documentary like film that shows the story from different perspectives. These perspectives are those of a Syrian family, Polish border guards and Polish activists.

The episodes about the Syrian family and the border guards are heavy stuf and the episode about the Polish activists is desperately needed to bring back some confidence in humanity.

The conservative Polish government was very angry about the movie and even called director Agnieszka Holland a Nazi. This is of course ridiculous. The anger was most probably directed against the episode about the Polish border guards, but even these episode is not totally negative as its shows that the border guard these episode is about has increasing psychological difficulties with the job he is doing (pushing back refugees to Belarus). The episode is indeed very critical about his superior, telling the border guards that the refugees are not human beings but bullets fired by Lukashenko.

One perspective that is missing is the Belarussian one. One can criticize the harsh behaviour of the Polish border guards but there can be no doubt abourt the fact that Belarus started using the refugees as pawns in a cynical political power struggle.

Also from Western Europe we have to be carefull with too much criticism. The push backs on land by the Polish border guards are illegal, but what about the push backs on sea by Frontex? Moreover, we have easy talk, not bordering on a cynical regime like that of Lukashenko.

Images say more than 1000 words and in this respect the film is in my opinion a must see for those who want to understand more about the immagration crisis. In the Netherlands I had the feeling that the film was in roulation very short. I had to hurry to visit the last performance and was accompanied by only one fellow visitor.

To conclude one point of critic. In the epilogue the film shows how welcome Ukrainian refugees were when in february 2022 their country was invaded by Russia, strongly suggesting that there is a racist element in which refugeest are being supported and which not. I would like to qualify this suggestion. In the first place the aggressor in the Ukranian war is also a threat to Poland, unlike the aggressors in the other conflicts generating refugees (such as Assad in Syria). In the second place has the loyalty with Ukraine cooled down considerably (not in words but in deeds) after two years of war.

This movie was very moving and showed complexities of illegal immigration from viewpoints of all parties involved. Despair of people fleeing their homes in search of safety and normalcy is palpable. Border agents are portrayed in harsh light but dealing with a stressful jobs , they are suffering too. Activists are brave and relentless in finding ways to help in any way. Movie was made in black and white, which made it look even more realistic and there are some powerful images throughout the movie that stay with you. Acting was great and directing superb.

I watched it during AFI EU film festival and by coincidence with another great movie on immigration Il capitano. Highly recommend both of them.

Quick note on the low rating - this movie was targeted by Polish government as anti-patriotic, hense sole people saw it fit to try and bomb the reviews. The movie itself is absolutely gut wrenching to watch, but is absolutely a must watch. The movie raises important questions about the migrant crisis in Europe and the double standards we hold against people of different religions, different languages and races. I honestly lost myself during the movie and watched it as a documentary - the acting, camera work are absolutely fantastic, while the drama unfolding in front of you is sadly still happening on a daily basis across many borders globally. Watch it!

People created this hell to other people. I am from Poland, but never supported what was happening. We should remain human despite how difficult it is. We can fight the evil but distinguish evil from human tragedy. There is no simple answer what to do with all the illegal immigration. We can not allow all immigrants but we are also not allowed to let them die like animals, just because we do not want to let them in. We have forgotten that other nations also helped us in the past. The whole Europe does not know how to behave, but there are always some solutions, only more should be done to find them.

Important movie showing different postures of Poles facing migratory crisis of the Polish- Belorussian border. With "absolving" epilogue. Open critique of PIS government. For a reason. Movie to be watched and to reflect on. Shameful for human kind, annd unfortunately in 2024 and with so many great minds around, no one knows how to solve immigration problem.

I am surprised this movie did not get more voice in the world or maybe I should not be surprised. Agnieszka Holland is never afraid to take uncomfortable topics and she does it well. She shows the truth we do not want to see, we do not want to talk about. Because it's easier that way, but is it better that way?

Agnieszka Holland consistently delivers. I adore this film, even though it was challenging to watch. It's an incredibly compassionate and empathetic portrayal!

Every actor delivered a compelling performance, portraying real, authentic individuals entangled in a humanitarian crisis and political turmoil, all within a broader geopolitical context. The use of black-and-white imagery intensified the drama.

Possibly, it resonates more with Poles, given our nuanced understanding of the political landscape and a deep familiarity with our history. The film leaves lingering moral dilemmas and unanswered questions, adding to its thought-provoking nature.

I watched it out of curiosity because there was a lot of buzz around it. Ultimately, the film does not introduce anything new except playing on emotions around extreme situations that are supposed to tug at the heartstrings. Weak plot and poor acting, as if the film was created just for the sake of being created and arousing extreme emotions.

At certain moments, the situations are so absurd that they are downright offensive to an intelligent person. It's a pity that cinema has become a tool in the hands of politicians, apparently these are the times we live in.

To anyone wondering if it's worth seeing, I recommend spending your time on something more constructive.

Agnieszka Holland's Green Border is not just a film-it is a cry of conscience, an unflinching indictment of contemporary Europe's response to one of the most critical humanitarian issues of our time. With remarkable clarity and devastating emotional impact, Holland confronts viewers with the reality of the migrant crisis on the Poland-Belarus border, offering a work that is both politically urgent and artistically resonant. In an age when audiences are increasingly desensitized to suffering, Green Border dares to insist that we pay attention and recognize our complicity in the systems that perpetuate human misery.

Shot in stark black and white, the film's visual language immediately recalls archival footage of historical atrocities, forcing the viewer to confront the uncomfortable continuity between past and present. This aesthetic choice is not just stylistic-it is deeply thematic, signaling from the first frame that what we are witnessing is not an isolated tragedy, but one woven into the darker threads of European history. Cinematographer Tomasz Naumiuk crafts images that are both beautiful and brutal, grounding the story in a physical reality so immediate it feels almost documentary-like. The decision to avoid color strips the film of distraction; what remains is raw human experience.

The structure of the film unfolds through multiple interwoven perspectives, each chosen with precision to illuminate a different facet of the crisis. We encounter a Syrian family attempting to cross the treacherous forested border, a young Polish border guard indoctrinated into a system that dehumanizes those seeking asylum, and a group of activists who risk arrest to provide aid. Later, we follow a therapist whose moral awakening serves as a catalyst for personal and political transformation. These threads do not overlap in the traditional narrative sense, but rather accumulate to form a complex moral mosaic. Each perspective is given time and space to breathe, resulting in a film that is not merely about refugees, but about the people around them-the witnesses, the enforcers, the bystanders, and those few who choose to act.

One of the film's greatest achievements is its refusal to allow any character to become a symbol or stereotype. The refugee family is portrayed with humanity and specificity-their fear, hope, dignity, and exhaustion never flattened into abstraction. They are neither helpless victims nor heroic martyrs; they are simply people trying to survive. The border guard, played with quiet intensity, is neither a monster nor a savior. He is a man swept into a system that demands moral silence, until the weight of what he witnesses begins to crack the facade. The activists, often dismissed in real-world politics as naive or radical, are rendered here with empathy and complexity. Their choices are not easy, nor are they presented as unquestionably right. Rather, the film emphasizes the cost of caring, and the quiet courage it takes to continue doing so in the face of systemic indifference and political hostility.

Agnieszka Holland has always been a director deeply engaged with moral questions, and Green Border may be her most urgent film to date. What distinguishes her work here is its profound emotional intelligence. There is a deep understanding of trauma and its long shadow. Scenes of suffering are not voyeuristic or sensationalized; rather, they are marked by restraint and respect. The pain is not in what is shown but in what is endured, in the cold, in the hunger, in the long silences broken only by breath or sobs. The film trusts the audience to feel, not because it instructs them to, but because it dares to show the truth without flinching.

What elevates Green Border beyond a simple act of documentation is its insight into the machinery of denial. One of the most quietly damning choices in the film is the inclusion of a final scene in which Ukrainian refugees are received by the same Polish guards who, earlier in the film, treated darker-skinned refugees with contempt and violence. This is not just a narrative twist-it is a moral confrontation. It asks the viewer to consider who is deemed worthy of care and why. The implication is clear: the crisis is not just logistical or political, but deeply racialized. This disparity is not theorized; it is shown, directly and simply, and the silence that follows is more powerful than any speech could be.

This clarity of vision has not come without controversy. In Poland, Green Border provoked a firestorm of political outrage, with government officials condemning the film as anti-Polish propaganda. The justice minister, in particular, compared Holland's work to Nazi filmmaking-a charge that is not only baseless but grotesquely ironic given the film's historical echoes. Holland, who has Jewish roots and has long been a chronicler of European moral failures, responded with measured indignation, standing by her work as a necessary act of bearing witness. If anything, the backlash confirms the very thesis of the film: that systems of power prefer silence to truth, and that the greatest threat to such systems is an artist who refuses to look away.

Yet Green Border is not a work of despair. For all its heartbreak, it is also a film about resistance-quiet, determined, and often invisible. The activists depicted in the film, many based on real individuals, embody a form of hope that is neither naive nor simplistic. Their actions are small, often inadequate in the face of overwhelming need, but they matter. The film suggests that while systems dehumanize, individuals can still choose to act with humanity. That is not a simplistic message of redemption, but a sober accounting of what is still possible.

Much of the film's emotional power rests on its performances, which are uniformly excellent. Jalal Altawil brings a weary dignity to his role as Bashir, a Syrian father navigating both physical danger and the moral strain of leadership under duress. Behi Djanati Atai is equally compelling as a refugee who balances strength with deep vulnerability. Maja Ostaszewska's portrayal of Julia, the therapist, is understated but devastating, her transformation quietly unfolding as her moral clarity deepens. Tomasz Wlosok gives a performance of subtle restraint as Janek, the border guard, capturing the painful tension between obedience and conscience.

The screenplay, co-written by Holland with Gabriela Lazarkiewicz-Sieczko and Maciej Pisuk, avoids heavy-handed exposition in favor of lived detail and emotional authenticity. It is a script that trusts its actors, and its audience, to fill in the spaces between words. The dialogue is spare, but when it comes, it lands with weight. There are moments of silence in the film-lingering shots of forest, mud, faces in the dark-that speak louder than anything said aloud.

While some critics have accused the film of leaning too heavily into moral preaching, such critiques miss the deeper structure at work. Green Border does not deliver its message through monologue or didacticism; it conveys meaning through juxtaposition, through contrast, through the emotional dissonance between what is seen and what is allowed. If the film feels angry, it is because anger is warranted. If it feels uncompromising, it is because the reality it depicts does not permit compromise.

One might expect a film of this nature to operate entirely within the realm of grim realism, but Holland finds moments of beauty and tenderness that cut through the darkness. There are glimpses of care-between refugees, between strangers, between those who risk everything to hold another's hand. These moments are brief, but they shimmer, and they remind us of the human capacity for empathy even in the most brutal circumstances.

Green Border is, without question, one of the most important films of the past decade. It is important not only for what it shows, but for how it dares to show it-with compassion, with precision, and with the moral clarity that defines all great art. It is a film that does not ask for applause or pity, but for attention, for reckoning, and ultimately, for responsibility. In the tradition of political cinema that seeks not just to reflect the world but to change it, Holland has made a work that will endure.

This is not a comfortable film, nor should it be. But it is necessary. And in a time when so much of cinema is content to entertain or distract, Green Border demands that we stay awake. For that, and for so much more, it deserves to be seen, discussed, and remembered.