Polish Filmmakers Wrestle With the Weight of History, Even As It Unfolds Before Their Eyes

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Polish Filmmakers Wrestle With the Weight of History, Even As It Unfolds Before Their Eyes
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Three decades ago, just a few years after the fall of the Berlin Wall ushered in a new era of hope and promise in Europe, Polish filmmaker Agnieszka Holland made the historical drama “Europa, Europ…

after bowing in competition at Venice, shows a director in the thrall of history as it unfolds in real time. It focuses on the humanitarian crisis taking place along Poland’s border with Belarus, whose pro-Kremlin strongman Aleksandr Lukashenko has attempted to flood the E.U. with refugees.

Other high-profile Polish titles to hit the festival circuit this year, including Jonathan Glazer’s Auschwitz-set drama “,” which won the Grand Prix at Cannes, and Louise Archambault’s World War II-era biopic “Irena’s Vow,” are likewise reflections on dark chapters in Polish and European history from filmmakers who treat their subjects with an unflinching gaze. Both films — Polish minority co-productions — are playing this week at Toronto.

Holland likewise felt compelled “to give the voice to those who are voiceless,” focusing on the countless primarily African and Middle Eastern refugees whose efforts to find safe haven in the E.U. have instead left them clinging precariously to its margins.

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