Agnieszka Holland, revered as a grand dame of Polish cinema, remarked, “Franz Kafka is a parable, interpreted and brought to life in countless ways.” Her vibrant new biopic, exploring the profound influence and enigmatic nature of Kafka, is currently captivating audiences across the film festival circuit.
The film delves into Kafka’s deep-seated anxieties regarding faith and uncertainty. It thoughtfully distinguishes the literary icon “Kafka” from the man “Franz,” whose chillingly prophetic narratives of penal colonies and totalitarian futures, penned nearly two decades before the grim realities of the gas chambers, resonate with stark relevance in our present world.
During an exclusive interview with The Hindu at the 50th Polish Film Festival, the 74-year-old Ms. Holland shared her concerns. Her film “Franz,” a strong contender for the top prize and Poland’s official entry for the 98th Academy Awards, serves as a poignant backdrop to her observation that “the world is currently entangled in numerous wars.”
“We are slowly losing the foundational common ground that we thought we had established after the Second World War,” she lamented. “Despite our trust being challenged by imperialist and totalitarian systems, alongside pervasive injustice and inequality, we always believed in a shared starting point. However, I now feel we have lost that crucial foundation entirely.”
Pondering the film’s most profound and enigmatic quote, where Kafka states that “impatience and indifference caused us to lose paradise,” Ms. Holland echoed this sentiment, calling it the film’s wisest expression. She emphasized, “Humanity’s two primary failings are impatience and indifference.”
When asked if Kafka’s notion of ‘paradise lost’ carried political undertones, particularly concerning the Israel-Palestine conflict, Ms. Holland, whose background includes a Jewish father and a Catholic mother and who grew up in Prague, explained her deep personal connection. She revealed that she found herself identifying profoundly with Kafka’s internal struggles and often projected her own experiences onto his.
“Identity can be a significant trap we cling to,” she asserted. “There are times when we genuinely believe that a person’s true essence transcends superficial markers like skin color, language, or religion. Yet, inevitably, a point arrives when individuals become so embroiled in conflicts that they insist their own identity and perception of reality are exclusively correct, denying any other perspective the right to exist or even share space. This is a perilous juncture, and I believe we are witnessing it now.”
She concluded with a stark warning: “The world, it seems, is being governed by monsters. Do you truly wish for me to list them?”
Ms. Holland candidly mentioned that she sometimes shares uncomfortable truths with both her Jewish and Polish communities. “The core question,” she posited, “is whether their identity itself is the primary source of guilt, or if it’s the profound fear of losing that identity that truly drives it.”
The festival’s Main Competition, a vibrant showcase of both classic and contemporary Polish cinema, featured 16 diverse titles. Among them was Michał Kwieciński’s lighthearted biopic, Chopin Chopin!, which playfully chronicles the life of the iconic Polish pianist for a modern, social media-savvy audience. Other noteworthy and engaging films included Piotr Domalewski’s The Altar Boys, Kordian Kądziela’s Larp, Wojciech Smarzowski’s Home Sweet Home, and Maciej Sobieszczański’s Brother.
The Altar Boys, a charming and insightful narrative about teenage boys challenging priestly hypocrisy and proposing their own path to moral renewal, has emerged as a favored entry, lauded for its successful blend of arthouse sensibilities and commercial appeal.
Joanna Łapińska, the festival’s artistic director, noted, “We are marking the festival’s half-century with an incredibly diverse selection of films.” She addressed a current trend: “Polish cinema is experiencing a period where local audiences aren’t frequenting theaters as much as they once did. Our aim, therefore, is to balance our traditional arthouse films with a more accessible, commercial wave. This year’s lineup includes celebrated names, established titles, and exciting new discoveries. I view this as a pivotal moment for initiating a wider dialogue about the future trajectory of Polish cinema.”
(This report was filed from Gdynia, where the writer attended the festival as an invited guest of the Polish Film Festival and the Polish Institute in New Delhi.)