Green Border: Europe's fascist wound in line with Agnieszka Holland (****) | EUROtoday

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Cinema started in a manufacturing unit. Not in a palace or a bourgeois boulevard or a correctly bucolic forest. The Lumière brothers positioned their digicam in entrance of the constructing occupied by their household's images agency in Lyon and waited. The door opened and no cowboys on horses or princes or dinosaurs or barbies got here out. Workers got here out. It is a frontal shot whose advantage is that of literality. In actuality, it’s about taking a stance. The concept will not be a lot to report something as to place your self in the best place. There are filmmakers (let's consider Ken Loach as a paradigm) who discovered the lesson and have spent their total lives inflicting aesthetes all over the world itch or, worse, forcing cynics to wrinkle their noses. His cinema is there as a result of he is aware of, just like the Lumières, that occupying the best place is essential.

Agnieszka Holland belongs to this group of, let's say, 'situationists'. And to show it, there it’s ‘Green Border’,his newest and most impressed – in addition to stark – work in a very long time. The director of 'Europe, Europe‘ (1990) o ‘In Darkness’ (2011), travels again, however not that far. It would appear that relatively than the current previous it speaks of a steady current. We are on the border between Poland and Belarus and immigrants go there, attracted by Alexander Lukashenko's propaganda that guarantees secure passage to Europe. When they get there, they’ll understand (and the way) that they’re merely pawns in a brutal geopolitical combat. They are simply meat out there that defends the privileges of some. The military on one aspect facilitates their passage to the opposite aspect in order that the police of the supposed host nation instantly return them to the place to begin. And so again and again.

The director says that in occasions of social networks we’ve got forgotten to take a look at the websites that the algorithm or the all the time indignant plenty have already stopped . And that, maybe, it’s cinema's obligation to take action. It is subsequently a matter of inserting the digicam proper there, in entrance, and seeing what occurs. What is going on is one in all Europe's worst-told shames. When, over time, the refugees who journey that very same path are these fleeing Putin's struggle in Ukraine, then all the things will likely be infinitely simpler. And rather more hypocritical. And, exactly for that motive, extra merciless.

Agnieszka Holland tells the identical story from a number of factors of view: from those that endure, from the aspect of the guardians and from the attitude of the satisfied few who commit and assist. The movie leaves little room for doubt. The concept is to shock and do it with all of the weapons inside attain. Yes, the movie is vocationally melodramatic, at occasions clumsy and, with out false excuses, even Manichean. Could it’s another manner? They are, if you’ll, defects, to make use of the language of academia, so acutely aware and clear that, in reality, they’re one thing else: dynamite for the eyes.

‘Green Border’ He describes with horrifying precision and with the identical ability the brutality of some, the insensitivity of others, the dearth of scruples of just about everybody and, for a second, the required widespread hope (of which there’s additionally some). What the movie tells occurred and it didn't even occur close to Europe, It occurred in the identical Europe that simply voted. And how! And Agnieszka Holland limits herself, because the Lumière brothers taught us, to placing the digicam the place she ought to and in the way in which she ought to. Front cinema. Good for her, good for us.

Address: Agnieszka Holland. Interpreters: Behi Djanati Atai, Agata Kulesza, Piotr Stramowski, Jalal Altawil, Maja Ostaszewska. Duration: 147 minutes. Nationality: Poland.


https://www.elmundo.es/cultura/cine/2024/06/12/6669762dfdddff270d8b456e.html