âFranz Kafka is a parable interpreted and realised in different ways,â mentioned Agnieszka Holland, the grand dame of Polish cinema, whose spirited biopic of certainly one of the most influential and enigmatic figures is making waves on the pageant circuit.
Echoing Kafkaâs considerations about religion and doubt, the biopic seeks to separate the model Kafka from Franz, whose prophetic depiction of a penal colony and a totalitarian future, written virtually 20 years earlier than the fuel chambers grew to become a actuality, has as soon as once more change into relatable.
Speaking to The Hindu on the sidelines of a press convention at the fiftieth Polish Film Festival, the place Franz, Polandâs official entry for the 98th Academy Awards, is a number one contender for the high prize, Ms. Holland, 74, mentioned the world was grappling with a number of wars.

âFranzâ is Polandâs official entry for the 98th Academy Awards.
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âWe are losing the common ground that we believed we had found after the Second World War. The ground that we built together. Though our trust was shaken by imperialist and totalitarian regimes, injustice, and inequality, there was still a ground that we believed was a starting point to build on. But now I am under the impression that we no longer have that ground,â she mentioned.
Reflecting on the movieâs most significant and mysterious line, the place Kafka says impatience and indifference made us lose paradise, Ms. Holland, describing the expression as the wisest in the movie, echoed, âTwo main sins of humanity were impatience and indifference.â
Asked if the reference to paradise was politically coded in relation to the Israel-Palestine battle, Ms. Holland, born to a Jewish father and a Catholic mom and who spent her youth in Prague, mentioned she recognized with Kafkaâs dilemmas and projected herself onto him.
âIdentity is a trap we glue to. There are periods when we believe that the true nature of a human being is not connected to the colour of their skin, language, or religion. But then comes a moment when the people become so lost in the wars that they start believing their own identity and reality are right, and no other reality has the right to exist or even coexist. That is a dangerous moment, and I feel we are at that point now.â

A nonetheless from âFranzâ.
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She added, âThe world is being ruled by monsters. Do you want me to name them?â
Ms. Holland mentioned she tells her Jewish and Polish communities issues she isn’t pleased with. âThe question is whether their identity is the main guilt or if the fear of losing their identity is the main guilt.â
A celebration of latest and basic Polish cinema, the Main Competition, that includes 16 titles, additionally showcased MichaĹ KwieciĹskiâs Chopin Chopin!, a playful biopic tracing the lifetime of the legendary Polish pianist for the social media era. Other participating titles included Piotr Domalewskiâs The Altar Boys, Kordian KÄ dzielaâs Larp, Wojciech Smarzowskiâs Home Sweet Home, and Maciej SobieszczaĹskiâs Brother.
A light-weight-hearted story of teenage boys questioning the hypocrisy of monks and providing their very own various for ethical rejuvenation, The Altar Boys is seen as a well-liked selection in the competitors for balancing arthouse and industrial enchantment.
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Artistic director Joanna ĹapiĹska mentioned, âWe are closing the pageantâs half-century with an exceptionally various set of movies. Polish cinema goes by a section the place Poles are not attending theatres sufficient to look at movies.

Artistic director Joanna ĹapiĹska.
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âSo, the idea is to strike a balance between our art house cinema and the new, more commercial wave. We have big names, titles that have already made a name for themselves, and our discoveries from this year. I see this as an interesting starting point for a conversation about Polish cinema and its future.â
(The author is in Gdynia at the invitation of the Polish Film Festival and the Polish Institute in New Delhi.)

