Agnieszka Holland’s Venice Prizewinner ‘Green Border’ Lures Slew of Buyers Amid Political Backlash in Poland (EXCLUSIVE)

Agnieszka Holland is headed to the Vatican for a screening of her migrant crisis drama Green Border, following its selection for its 27th Tertio Millenio Film Festival in November.

Agnieszka Holland’s migrant crisis drama Green Border has achieved the best opening weekend in Poland for a Polish film in 2023 in spite of a fierce political backlash from the country’s right-wing government.

EXCLUSIVE: Poland will submit animated feature drama The Peasants for Best International Feature Film at the 96th Academy Awards.

Elsa Keslassy International Correspondent Yellow Veil Pictures, the U.S.-based arthouse genre distribution company, has acquired North American rights to Belgian director Claude Schmitz’s deadpan detective thriller “The Other Laurens.” The feature debut world premiered at Cannes’ Directors’ Fortnight and will have its North American Premiere at Fantastic Fest which kicks off Sept. 23 in Austin, Texas. Yellow Veil Pictures plans for a theatrical release in 2024.

John Hopewell Chief International Correspondent SAN SEBASTIAN — Paris-based Luxbox has clinched major territory pre-sales on anticipated San Sebastian competition title “Puan,” an original attempt by its writer-directors, María Alche (“A Family Submerged”) and Benjamín Naishtat (“Rojo”) to deliver a state of the nation take on Argentina – and any country in thrall of European ideas – but in a notably lighter tone than most Latin American arthouse fare. Key first major territory buyers take in Condor for France, whose release lineup has featured major auteurs such as Kelly Reichardt, Casey Affleck, Agnieszka Holland, Paul Schrader, Denis Villeneuve, Michel Franco and Ira Sachs.

Director Agnieszka Holland has been forced to take 24-hour security protection as she returns to her native Poland for the theatrical release of migrant drama Green Border on Friday (September 22) in the face of a fierce political backlash and online hate campaign.

Christopher Vourlias Polish filmmaker Agnieszka Holland has remained defiant despite a wave of vicious political attacks and online hate speech as she prepares to release her Venice Special Jury Prize-winning refugee drama “Green Border” in Poland on Sept. 22.

Elsa Keslassy International Correspondent Charades has closed multiple deals on “There’s Something in the Barn,” Magnus Martens’s (“Fear the Walking Dead”) comedy horror movie from “Dead Snow” producers at 74 Entertainment and XYZ Films. The English-language movie is headlined by Martin Starr (“Freaks and Geeks,” “Spider Man”), Amrita Acharia (“Game of Thrones”) and Jeppe Beck Laursen (“The Last Kingdom”).

Addie Morfoot Contributor In Polish actor-turned-filmmaker Kasia Smutniak’s documentary “Walls,” she undertakes an uncertain and risky journey into the red zone — a dangerous strip of land in Poland that runs parallel to the Belarus border. Crossing the long border is a 115-mile steel barricade built to repel migrants from entering the European Union in search of refuge. Inside the red zone is Poland’s dense Białowieża Forest, known for its swamps, wolf packs, and desperate migrants trapped in political limbo.

A family of Syrian refugees and an English teacher from Afghanistan receive about five minutes of joy in veteran Polish auteur Agnieszka Holland’s otherwise grim and harrowing refugee drama, “Green Border.” As they land in a plane to Belarus, hoping to cross into Poland and eventually Sweden for asylum where refugee status awaits, their eyes beam with optimism as a new land of promise reflects on their smiling faces.

Elsa Keslassy International Correspondent Paris-based leading distribution company ARP Selection has bought a pair of U.S. indie gems from the fall festival circuit, Shane Atkinson’s feature debut “LaRoy” and Sofia Coppola’s “Priscilla.” “LaRoy,” a neo-noir Western comedy with Coen brothers influences, just won three major prizes at the Deauville Film Festival, including the Grand Prize, Audience Award and Critics Prize; while “Priscilla” world premiered at the Venice Film Festival and won best actress for Cailee Spaeny.

Speaking at the Venice Film Film Festival winners’ press conference, Poor Things director Yorgos Lanthimos said he was “personally very disappointed” that his lead actress Emma Stone couldn’t be with him to enjoy the film’s Golden Lion win, but that he also “understands the cause”, referring to the SAG-AFTRA strike which has kept the actress away.

Elsa Keslassy International Correspondent While at the Deauville American Film Festival to present “May December,” Todd Haynes spoke to Variety, during a one-on-one interview at the Royal Hotel, about bringing Natalie Portman and Julianne Moore together in a film for the first time, provoking audiences and pushing against American conservatism. Haynes, who is attending Deauville with his producers Christine Vachon and Sophie Mas, also teased his next directorial effort starring Joaquin Phoenix, a “sexually explicit” movie telling a “love story between two men set in the 30s.” Loosely based on the story of Mary Kay Letourneau, the teacher who had an affair with her 6th grade student, “May December” has already earned awards buzz since world premiering in competition at the Cannes Film Festival, where it was bought by Netflix. In France, the movie will be released by ARP Selection in January.

Elsa Keslassy International Correspondent “Vogter,” a psychological thriller directed by Gustav Möller, whose previous film “The Guilty” won the Audience Award at Sundance, has been pre-sold by Les Films du Losange to multiple territories. “Vogter,” which was just completed and is now in post, has been picked up for Germany, Austria, Switzerland (Ascot Elite), Spain (La Aventura), Italy (Movies Inspired), Japan (Happinet Phantom Studios), Belgium, Netherlands, Luxembourg (Cineart), Estonia, Latvia, Lithuania (Kino Pavasaris) and Hungary (Vertigo). Les Films du Losange has closed these deals since unveiling the project at Cannes and is negotiating further sales in other key territories.

Marta Balaga Controversy over Venice title “Green Border” continues to heat up as director Agnieszka Holland gave an ultimatum to Poland’s Minister of Justice Zbigniew Ziobro following his comments about her film. According to the statement shared with Variety, Holland has hired the lawyers Sylwia Gregorczyk-Abram and Michał Wawrynkiewicz.

Even if the critical reactions have been mixed, Italian films have proven much stronger than usual at this year’s Venice Film Festival, with a notable resurgence of genre filmmaking in the likes of Adagio and Enea. Ironically, Matteo Garrone, the one local director in the selection whose actual stock in trade is genre of all stripes — gangster realism (Gomorrah, Dogman), satirical comedy (Reality), and baroque fantasy (Tale of Tales) — arrived this year with a blisteringly topical drama that might be his most traditional, and best, yet.

Christopher Vourlias Three-time Academy Award nominee Agnieszka Holland has called out a hard-right Polish minister who compared her refugee drama “Green Border” to Nazi propaganda, accusing him of “hate speech” and insisting that the Eastern European nation’s right-wing ruling party is “afraid” of her film’s damning portrayal of its response to the refugee crisis. The movie is competing for a Golden Lion at the Venice Film Festival this week. “We expected that they would be furious.

Elsa Keslassy International Correspondent Chinese director Bi Gan, whose 2018 film “Long Day’s Journey into Night” played at Cannes, will next direct “Resurrection.” The ambitious sci-fi detective movie is to be headlined by Chinese superstar Jackson Yee (“Better Days”) and Taiwanese actor Shu Qi (“The Assassin”) who sits on this year’s Venice jury. Boasting Bi’s edgy aesthetic and narrative style, the film tells the story of a woman whose consciousness falls into the “eternal time zone” during a surgical procedure.

As if to come to the aid of her national cinema after the debacle that was Roman Polanski’s The Palace, Poland’s Agnieska Holland, soon to turn 75, restores some of her homeland’s cultural dignity with a devastating exposé that angrily, and quite brilliantly, questions its humanity and political integrity. At 144 minutes, and in black and white, it is not exactly a Trojan horse, and its moral rigor does not come with a spoonful of sugar. But Green Border earns every second of that running time, and with a focus and energy that belies its directors age. Awards-wise, this may prove to be the international feature to beat.

Jessica Kiang While you’re still in the vice-like grip of its multilevel narrative it may not feel like it, but a film like Agnieszka Holland’s bruisingly powerful new refugee drama ultimately comes from a place of optimism. It is optimistic to expect and nurture of a reaction of potentially motivating outrage, when you portray the brutality of which human individuals, at the behest of human institutions, are capable. It is optimistic to believe that, faced with extraordinary cruelty, a viewer’s ordinary decency will be compelled to rise and rebel.