So we film-makers are faced with the question of whether we can have a real impact on our world and how we go about doing that. The recent triumph of grotesque populists has shown us that reality is stranger than fiction, and that dystopias are starting to look like reality shows.
It destroys solidarity, equality and fraternity. Like anger.”But she has a sobering message for those who assume that people will choose freedom when the moment of truth actually comes.“Palach’s message was that if you want freedom, you have to be ready to die for it. Art and entertainment – much like politics – started to become an escape from freedom. A return of fascist-like ideology seemed even more absurd. Afterwards I was put in prison and accused in a political trial. When it fell, the ghost that tempered the merciless egoism of capitalism disappeared with it: the rich started to get richer faster, the poor got poorer. This is an issue in the UK and US and other countries, not just in ‘post-communist’ countries like Poland.”While many liberals in western Europe and north America still struggle to make sense of what Holland describes as the “conservative counter-revolution”, for their Polish counterparts, especially those of Holland’s generation, the threat of authoritarianism is only too familiar. The present not only has its roots in the past, it coexists with it every day. Responsibility today means putting our imaginations to work. The Soviet Union collapsed, burying – as we then thought, once and for all – the temptations of totalitarian ideas and the illusion of a bright future for global communism. With her dystopian Netflix series 1983, the director has imagined a Poland in which communism never fell. I was born shortly after the second world war, I grew up in the ruins of Warsaw, and I wore the stigma of the trauma experienced by my Jewish father, a communist who at the beginning of the war escaped to Soviet Russia and fought there, unaware of the fact that he had lost his whole family in the Shoah (he never spoke about it).He believed in communism, in a future beaming with universal happiness for humanity. But she is less sanguine about a whole host of other global issues.“This is not just about Poland. He came to realise that he was in part responsible for this terrible lie. In short: we should leave politicians by the wayside and let artists invent the future. Agnieszka Holland’s powerful drama stars James Norton as the real-life Welsh journalist who uncovered Stalin’s genocidal famine in Ukraine In the summer of 1980 this joined with the anger of workers from the Gdańsk shipyard, whose strike led to the In the 1990s the world started to become more even. “Fire destroys,” she said at the time of Szczęsny’s death, “but it also illuminates. There was a vaccine of sorts against that: the memory of the Holocaust. The iron curtain was gone. But are these dark fantasies of creeping authoritarianism becoming reality?“I love freedom first and that is why I decided to immolate myself, and I hope that my death will shake the consciences of many people,” he had written in a cogently argued manifesto that doubled as a public suicide note. Prosperity is limited, but people don’t know how it is outside so they feel safe and happy. The creation of the European Union was meant to guarantee a permanent immunity against this awful temptation. Maybe people who are feeling lost want someone to come along and tell them what to do. The Soviet Union was terrible to its citizens and to those of its satellite states, but its very existence added a counterbalance of humanity to western capitalism. All these problems are so huge that they need some kind of radical solution, but the world is not ready to choose radical solutions.”Talk of the need for radical action brings the conversation back round to Szczęsny, Siwiec and Palach. Maybe freedom is overrated? An inevitable element of this process was always humanity, rising after every setback with a new energy and with a hope that carried in it the anticipation of the next blow …In my opinion, the war never actually ended – it lay dormant, it hid below the surface and could awaken at any time in a new, but equally absurd and violent form. Cinema became as boring as life in the vacuum of neoliberalism.I started to feel more and more that the role of audiovisual narratives was to provide an escape from reality. But as someone who emigrated to France in 1981 and experienced the prejudices of westerners towards what they regarded as “lesser Europe”, she identifies with the feelings of inferiority engendered in many young central and eastern Europeans who moved to western Europe for work after the EU’s eastward expansion in 2004.“I thought to myself at the time [of the expansion], they will go west, they will enjoy the ability to buy things, to be consumers, but then they will realise that they will always considered second-class citizens, and the emptiness and feelings of inferiority would push them towards the nationalistic sentiment,” says Holland.“I knew it because I had my own experience of emigration in France. In Poland, sympathisers hail him as a successor to As he lay dying in hospital, audiences at the Royal Exchange theatre in Manchester sat down to watch “The world of fiction is entering our reality – so many things are starting to come true that I’m starting to be afraid of the projects I am taking on,” she says, sitting in her modest top-floor apartment in the southern Warsaw suburb of Mokotów.
In the end, it destroys freedom. And in Poland there is a particular puzzle: why do so few young Poles seem to be joining their older compatriots on the streets in pro-democracy protests?“Throughout Polish history, the young people wanted to fight, and they had to be held back by the older people,” says Holland.
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