Hate Lands
Agnieszka Holland was six years old when she heard the word “Jew” for the first time. It was in Warsaw in 1954 — several decades before one of the films she directed was first nominated for an Oscar. She was playing with the local toddlers and one of the gang called her a “dirty Jew.” The children were gamboling, as they always did, in the ruins left behind by the war. She had not yet been taught the word for the hatred of Jewish people — the foul indulgence which facilitated so much of the horror to which the rubbled playground testified. The destroyed and dilapidated buildings were the physical manifestation of the post-war anxiety which was as ordinary to Agnieszka as her mother’s smile and her father’s booming voice. Upon returning home she asked her mother: “What is a ‘Jew’? Is it true? Am I a dirty Jew?”
Agnieszka’s mother, Irena Rybczynska-Holland, must have spent some amount of the preceding six years preparing for such a question. Irena was born in 1925 in Lutsk, in Lithuania, to a father who was the first of his family to make it out of the impoverished countryside where his ancestors had dwelled for generations. He became a teacher and Irena attended elementary school in Warsaw. She was in high school during the Anschluss in 1938. Like all her friends, Irena was forced to finish her studies in secret over the course of the war. Unlike most of them, Irena was simultaneously serving in the Polish underground as a liaison officer, a medic, and a senior rifleman. And, equally as dangerous, she hid Jews, protected them while in hiding, and worked with her senior officer to secure them false papers. One, a man who had escaped from the local ghetto, lived with her for a time masquerading as her fiancé to deflect suspicion about his Jewishness. When he needed a medical operation Irena organized a fundraiser to cover the cost. They remained close for the rest of their lives.
Irena and her best friend, another young Christian Pole, promised one another that, if they survived the war, they would marry Jews and give the world Jewish children. Irena made good on her promise. Her first husband, Henryk Holland, was a prominent Jewish Communist who had tried to convince his family to flee Poland with him when the war started. They refused, and all of them save one sister were killed. That sister, Agnieszka’s aunt, escaped the Warsaw ghetto by hiding inside her sister’s coffin when the corpse was being transported for burial.
After the war Henryk became the editor of a communist youth newspaper, which is how he met and aggressively courted Irena. She was very beautiful — blonde, lively, and warm. She made a name for herself and built an impressive career as an editor and journalist, but the most formative experience of her life was witnessing the Holocaust. It was this fierce empathy that, Agnieszka suspected, compelled Irena to marry Henryk. Agnieszka always assumed that her father exerted enormous emotional pressure to persuade the beautiful blonde Christian woman to succumb to his advances. That he was a Jewish orphan figured enormously in Irena’s decision. It was not a happy marriage. They had two daughters, Agnieszka and Magdelena, and divorced when Agnieszka was eight.
Agnieszka was a sickly child and was often forced to stay home from school. She loved listening to her father hold forth with his friends. He was a charismatic man, a dramatic conversationalist who relished presiding over their small apartment, arguing with comrades about politics and philosophy. Agnieszka was enraptured, and silently tracked his ideological disillusionment from deep inside the Communist cell to his defection from it. When she was thirteen, Communist officers came to their apartment and accused her father of treason. Somehow, during the scuffle, he fell out of the window and died. Everyone suspected at the time that he had been pushed, but decades later, when the records were finally made public, Agnieszka determined that it was just as likely that he
had jumped.
Agnieszka was fascinated by the afterlife of the war that was so present to her from so young. It was a very exciting landscape, and very dangerous — one boy from her neighborhood was killed playing in the same ruins she did. She used to listen to her mother’s stories about being in the resistance and play them out with her friends in make believe games. The atmosphere was one of distended dread. Everyone in Agnieszka’s life expected a new war to break out again. This anxiety was a constant feature of her childhood. When there were crises — the Korean war, for example — people would run out in a panic and buy masses of flour and sugar. The war shrouded the recent past and loomed ahead as a possible future. One night while Agnieszka was lying awake in her childhood bedroom, she heard a plane overhead and assumed viscerally that they would be bombed. “Finally — it’s starting,” she thought.
The afternoon when she came home and asked her mother whether or not she was a dirty Jew was the same afternoon she learned for the first time about her father’s family. Irena told her six-year-old daughter about the grandparents who had died in the Warsaw Ghetto. Irena said there was no reason to be ashamed of her Judaism, that she never had to hide it. This, Agnieszka would soon learn, was an unusual orientation. Most of her parents’ friends didn’t talk about the war with their kids, even if the evidence of it was everywhere. If they were Jews, the fact was hidden from them. Antisemitism was part of Polish identity, even in the aftermath of Auschwitz.
It had been baked into Polish identity for centuries. By the 1700s, roughly eighty percent of the global Jewish population was living in Poland. When the country was partitioned into Russia, Prussia, and Austria at the end of the eighteenth century, most Polish Jews suddenly became Russian Jews, and the Russian regime imposed upon them professional and geographical limitations authorized by the Tsar himself. Jews in Russia and Poland moved from shtetls to cities such as Warsaw, Vilna, Krakow, and Lodz. In the 1880s and 1890s a series of pogroms incited mass immigration — two million Jews left Russia, most of them for America. By the time World War One was over, Poland remained home to one of the largest Jewish communities in the world. Somewhere between three million and three and a half million Jews were in Poland when Hitler invaded in 1939.
Polish antisemitism had metastasized as the population swelled. During the interwar period the Polish government supported Jewish emigration to Palestine, hoping that the establishment of a Jewish state would drain the country of the unwanted hordes. Foreign Minister Józef Beck committed Polish support at the League of Nations for building up Jewish defense forces in Palestine, and campaigning for and assisting the facilitation of Jewish emigration there. In 1937, he announced that the country could hold only five hundred thousand Jews, and hoped that over the next thirty years a hundred thousand would choose to leave annually.
They would not get the chance. By the time World War II was over, only 380,000 were left. Agnieszka Holland was one of them.
Holland, as is well known, became a movie director. She made Europa, Europa in 1991. Its plot is complicated and exciting, but what the film is really about is the relentless and maddening complexity, the unimaginable sense of precarity in large things and small, which is characteristic of social breakdown, and is laid bare in wartime. Europa, Europa depicts a world of terrifying contingency. It is a demanding film. Holland is exacting. She deprives her audience of comfortable and familiar packaging: no character is two dimensional. The victims are as human, as respectable, and as pathetic, as the villains. We are forced to feel for both sorts — indeed, she seems to be insisting in every frame that everyone is both. This complexity is personified in the film’s protagonist: a Jewish pole named Simon Perels who is able to disguise himself as a Nazi youth because of his fluency in three languages: German, Russian, and Polish. Well, disguise himself as effectively as any circumcised man can.
The film begins with Solomon’s circumcision. Time and again we are reminded of the significance of that flap of missing flesh. Solomon would have been able to assimilate totally into the Nazi world had it not been for that split second of ritualistic allegiance, for the rabbinical blade’s swift slice. Instead, through a series of absurd misunderstandings, Solomon is mistaken for a Nazi hero. Perel, who was a real figure and on whose autobiography the film is based, survives the war by feigning Aryan status. The cost of that strategy was a confused identity that drove him to the edge of madness. The weight of reconciling the love and care of his German friends with the white-hot hatred that they evince for people exactly like himself tears Perels apart. These men and women who insist that he should be honored to take part in a holy war against the Jewish race — they are the only family he has left.
While traveling with German soldiers across a battlefield in Russia, they come upon two dead children hanging by nooses in front of a farmstead. A sign has been strung around the older boy’s limp neck. It reads “so it will be for everyone who helps the Bolsheviks and the Partisans.” Solomon — or Jupp, as the Nazis call him — tries to look away, but his friend grabs his jaw and forces his face towards the bodies: “These swine killed your German parents! They took your house! See how they pay for it now! Look at these animals! You must learn to hate!” Overwhelmed, Solomon grabs the machine gun on his car and shoots maniacally into the house behind the corpses, setting it aflame. “That’s when I first felt how confused I was,” Solomon’s voice narrates as we watch the house burn. “Who was my friend and who was my enemy? How could they be so kind to me and at the same time kill so viciously? What set us apart? A simple foreskin?” The screen fades to black and the next scene opens with an unfamiliar voice saying “I feel German pride for spilling my blood for the Führer and homeland.” Solomon’s friend is helping another soldier write a love letter to his girlfriend back home.
The foreskin that keeps Perels from safe and secure integration also keeps him from succumbing to the hatred that would set him free. “You must learn to hate!” his friend hectors, understanding, intuiting, that the essential cohesive mechanism in all extremist politics is this capacity: Hate for me, my love. Hate them because they are unlike us. But Perels’ circumcision is a physical reminder that the disguise cannot last forever. He cannot give Leni, his Nazi girlfriend, Aryan babies; he cannot even seduce her, as she demands he should. Like all fascistic political parties, the Nazis glorify male domination, but Perels’ masculinity is the very thing that will betray him. “Limp dick!” Leni taunts him after he refuses to take her virginity. His emasculation saves him from devolving into the same monster his fellow soldiers are. He could do it, Holland intends for us to understand, he could kill mercilessly, if he were not so afraid for himself. The only thing worse than denying Leni would be not denying her. He would love to be the kind of perfect Aryan male for which she mistakes him.
Should we judge him for that? Does his capacity for evil strip him of a right to our mercy? Of course not. All people are both Simon and Leni. All of us are caught in a mélange, a human mess, of idiocy, intelligence, brutality, and kindness. The machinery for all of it, for viciousness and kindness, is not just latent in us, it is always active, every day. The same minds that hang enemy children also write love letters.
As a three-year-old watching her father argue with his friends about the ideology that would kill him while in the shadow of the extermination that he had hardly escaped, Agnieszka was a student studying the mutilated, talking remains of history’s victims. That early instruction determined her great cause: the close study of the lived experience of horror that civilized human life facilitates by supporting, justifying, or ignoring it — sometimes all three at once. She has made several historical films treating this theme, some of them about the Holocaust and the Holodomor. But last year she made a film, Green Border, which begins in October 2021 and unfolds over the next year on the border of Belarus and Poland. It tells the story of a group of Syrian and Afghan men, women, and children who are heartlessly ping-ponged back and forth across the border in a macabre game overseen by Belarus’ dictator Aleksandr Lukashenko and Poland’s then-Prime Minister Mateusz Morawiecki.
The film is divided into three parts: The Family, The Border Guard, and The Activist. It begins with a family of Syrians on an airplane about to land in Belarus, where Lukashenko has promised them safe entry, knowing that he can tempt refugees, some fleeing the Syrian carnage, and force them into Poland — the blessed EU where they hope they will be safe. But the Poles, Lukashenko knows, are no less racist than his own people. They will regard the surge of refugees as an attack, and will force them back. Over the course of the film we watch as The Family is brutalized by The Border Guard — a sweet, loyal Polish man genuinely horrified by cruelty and also capable of it — and finally saved by The Activist. Well, some of them are. But even those lucky ones will have to work hard to resuscitate assurance in their own humanity.
The black-and-white austerity of the film reminds audiences that this is a near-documentary: virtually everything depicted happened almost exactly as we see it unfold. The lethal policies that living and breathing autocrats instituted to demonize foreigners and galvanize the hatreds of their populations: all of these themes are familiar to anyone who knows Holland’s oeuvre. They are also familiar to anyone who has read international news on any day over the past decade. And as in her earlier movies, viewers recognize themselves in the victims, the heroes, and the villains: all of us are, can be, have been, and will be, some or all of these types. Luck plays a significant role in determining whether, in our future, we are the immigrant, the border guard, or the activist. Holland has said if her producers had let her, she would have named the film Europa, Europa II.
This time, in this movie, the brutalities that it depicts are contemporary with the movie itself. They are taking place outside the movie theater. New ruins are being created for other children to play in.

The first part of the film ends as a group of immigrants are beaten and herded by border guards back over the border from Poland to Belarus. Then the screen dims to black as their shrieks fade to silence. White letters appear on the pitch screen:
2.
THE BORDER GUARD
A classroom fills with men in uniforms sitting at rows of small tables. A brutish, corpulent officer stands in front of the
blackboard, soliloquizing. We are witnessing a training session for border patrol. The guards we have just watched brutalize the immigrants – the “immigrants” who, not twenty minutes earlier, were just families on an airplane – must have sat through a similar session at the start of their service. Holland is drawing a straight line from the state to state-sanctioned violence. Make no mistake: that brutality was official business. The officer instructs, “You have to show professionalism. Give them an apple, and they’ll say it was poisoned. And then what? This isn’t propaganda, it’s a real threat! One mistake, and in six months we’ll have bombs on the Warsaw subway. Did you hear what Minister Kaminski and what Minister Wasik said? They found terrorist, pedophile, and zoophile materials! Have you seen their phones?”
The camera then zooms onto a man whose phone keeps buzzing. We see that his pregnant wife is texting him. His concern at her repeated pings and what they may portend about the pregnancy juxtaposes grotesquely with the contempt for the migrant children that we have just witnessed. We watch anxiety flicker over his face as the guard continues: “You couldn’t afford half of what they have. And I don’t want to hear about their kids! They hire or buy children and then blow smoke in their eyes to make them cry. I saw the footage myself. We’re saving them.” He pounds the table. “You have children of your own. What father would take his child down this road? Well? They want to play on our Polish compassion while Lukashenkio rubs his hands. Remember this is classic hybrid warfare. They aren’t people, they are weapons of Putin and Lukashenko. They aren’t people… they are live bullets!”
He pauses and breathes deeply, then continues, “You’ve all had first-aid training at some point. Now listen up. There should be no dead bodies on your watch, is that clear? No one is to be found dead! If you see a corpse, make it disappear, understand? … I was sent here to build up your morale, but I don’t care about that. If you’re not ready to wear the uniform, you now have the chance to think it over and leave the room if you want.” The guard with the pregnant wife gets up and walks out to make a phone call, but his absence is interpreted as defection. “Anyone else?” the officer bellows.

I had the honor of discussing Green Border with Agnieszka Holland during the movie’s opening in New York City last summer, at a screening cohosted by FilmForum and Liberties.
I asked her if the movie felt intensely personal, and if it was difficult to state so publicly such a thorough condemnation of her own people. Was this an expression of loyalty, or a betrayal?
This movie is about my country. That it was a personal story is the primary reason I was moved to tell it. But the subject has been very important to me since long before the movie is set. This film is linked to the historical subjects I made other movies about. It is just like Europa, Europa, though that movie concludes long before this one was ever conceived. They are both about the force of evil incubating and then being unleashed. And when I started to feel that that the serpent’s egg, as Shakespeare calls it, is maturing again, and indeed maturing very close to where I live, and, that this egg — this harbinger of evil poised to be let loose — will spread over the Europe again just as it did before, I knew I had to make a movie about it. Europa, Europa or In Darkness [a movie about Jews who survived the war in the Warsaw Ghetto by hiding in the sewers that Holland made in 2011], those movies made me the person who is capable of telling Green Border, who knows how to fit it into the historical context.
The immigration issue is the biggest and the most dangerous issue of our time. Since 2015 I have become obsessed with this issue, since the big Syrian crisis when I watched and understood how fragile and cowardly and cruel Europe is and how easy it is to use refugees and migrants as political tools. Because of how the world is changing — literally, because of climate change but also as democracy and liberalism become more and more scarce and weak. You call it the “immigration crisis,” which I don’t like because the implication is that the number of immigrants is the crisis and not the fact that none of our countries have the wherewithal to draft and institute the proper and humane policies for responsibly absorbing these human beings, these refugees. But even if that word didn’t connote blame for the refugees themselves, even if it was simply gesturing towards the horror which forces millions of people from their homes every year, “crisis” is still not a big enough word for what it is, in the same way that climate change is more than a crisis. These are both huge, perhaps insurmountable challenges, which demand that all of us change the way we live, change our expectations of life itself.
And of course climate change and immigration are related. They somehow are working together. And apparently we, collectively, on a global scale, do not want to deal with them in a rational and efficient way, because dealing with them responsibly would cost us our comfort. And our comfort, as our actions make clear, is the most important thing to us. We are willing to sacrifice the values that postwar Europe was built on simply because we do not want to be inconvenienced. That’s why I called it Europa, Europa: there are two Europes, the one we can rise to, and the one we slum to in spite of our best judgment. We are choosing this second Europe just as you are choosing the ugly America. And this reality means democracy and freedom and human rights and the right to statehood and solidarity — all these values, all these goods, we are really ready to sacrifice them to keep our comfort.
The first reaction of the people who live on the border, and of the activists who went there to help, was that they had been transported eighty years back in time. Because it all seemed to echo the horrors of the 1930s, I chose to make the film in black and white as a way of invoking the footage from the Holocaust. I wanted to combine the rawness of a documentary style with a feeling of timelessness, a metaphorical timelessness of the reality that I’m showing so as to communicate that this horror recurs in human history, that it is endemic to who we are. The images, the faces, the situations at the border are so similar to what they already knew from the stories they were told by their grandparents or from movies about the Second World War. It shocked them to see it all happening again in life.
The film does not depict much ghoulish brutality. It is stomach churning because of the implied or overheard violence, but not because of blood and guts.
Then I asked her about the most difficult scenes to watch — one in which we see the head of a child we have come to know as a sweet son and brother drop beneath sight into quicksand, and another in which we hear the shriek and shredding of fabric and flesh as a pregnant migrant is thrown over (not quite over) the barbed wire border fence. I asked Holland how she chose which horrors to depict.
Normally, in my movies, it is my belief that my imagination can be more interesting and more conducive to film than reality, so I’m not ordinarily very faithful, even when I’m doing historical films, to the exact facts. I have intuition, I am an artist, it is my job to present it in my way. But I didn’t feel that way about this film. The government hated that I was making this movie. I knew that they would do whatever they could to make it seem as if I was lying. The powerful machinery of state propaganda would be used against me. I had to be sure that everything you see on that screen that could shock you not only happened but that I could bring at least two sources which would verify that the events occurred as I presented them.
I know that it is hard to watch, but you must understand that when I showed the film to activists who work on the border, they all said the same thing: the reality is much, much worse. They all ask me ‘Why didn’t show X or how could you leave out Y?” Activists find the film too subtle! But, well, others don’t experience it that way.
I laughed. The entire audience was still shellshocked from the previous two hours. Holland nodded and smiled.
I know, I know. It’s tough material. But if you analyze exactly how much violence there is in the movie, it’s very little. You don’t see a lot of blood. There’s far more gore in the average thriller. The psychological violence is what makes this film so unbearable. It begins by forcing you to recognize the migrants as human beings with their hopes, desires, fears. You meet them first in a civilized context: they are taking a plane — you’ve taken a plane, you know what that’s like — and they believe that they are about to reach a normal world, that they are escaping a place of horror and blood. And slowly they descend from one circle of hell to the next. At some point while watching you realize that this is what life is like, that every victim of human cruelty expects their life to be normal before it is ripped apart. Refugees don’t have a higher tolerance for brutality than you do just because they happen to be victims of it and you aren’t. Not yet, anyway. Human beings don’t expect to be forced into hell.
I asked her whether she felt that film is a useful medium for combatting these inhumane and discriminatory policies.
Fascism starts with the dehumanization of a group of people. This is true everywhere, not just in Poland. But in this case, in the case I’m treating in this film, the Polish government made a conscious decision to dehumanize refugees in order to use them as a political tool. Trump does the same thing when he talks about his moronic wall. And Putin and Lukashenko were playing the same game when they started this barbaric charade and invited the refugees into Belarus, knowing that they would flee to Poland, and also knowing that Poland, like all of Europa, hates newcomers. It was a way of exposing and punishing European xenophobia. These two men understood that, just before an important election, they could use European racism as a tool to manipulate their respective electorates in their favor. Putin and Lukashenko wrote the script, but the Polish government, which was at the time a far-right nationalistic populist government, understood very quickly that this strategy had advantages for them as well. They started a propaganda campaign casting these refugees as pedophiles, zoophiles, and terrorists. This should sound familiar to Americans.
And when our deputy Prime Minister, Mr. Kaczynski, who is the real architect of all Polish foreign policy, decided to close the free zone and not let any media near the border, I understood how important it was to make a movie like this. Kaczynski was extremely forthright and cynical about his reasoning. He said “Americans lost the war in Vietnam because they allowed the media to come. When Americans saw the images from Vietnam, and it changed public opinion about the war.” He didn’t want images. So I created them. His prohibition was my marching order.
What did she intend for this film to be, I asked — a warning? A howl? A sob?
The film is a warning. I am trying to warn the audience — warn the whole world — that it’s very easy to cross the line into crimes against humanity. It’s only a few steps towards becoming the kind of people who treat human beings worse than animals. We are all doing it all the time. We, we the filmmakers and you the audience, we cannot turn our heads away. The way the German soldier twists Solomon Perel’s face in Europa, Europa — remember that scene? — and insists that he learn to hate. I am twisting the faces
of the audiences towards this suffering and insisting that they
learn to care.

Some American citations to buttress Agnieszka Holland’s point:
An extremely credible source has called my office and told me that @BarackObama’s birth certificate is a fraud.
Donald Trump on X, August 2012
[Eisenhower] moved 1.5 million illegal immigrants out of this country, moved them just beyond the border. They came back. Moved them again beyond the border, they came back. Didn’t like it. Moved them way south. They never came back. … We have no choice.
Donald Trump, November 2015, praising Eisenhower’s Operation Wetback deportation program. Operation Wetback was implemented in 1954 and used military-style tactics to deport Mexican immigrants, irrespective of their American-citizenship status.
Why are we having all these people from shithole countries come here? Why do we need more Haitians? Take them out.
Donald Trump, January 2018.
They’re poisoning the blood of our country. That’s what they’ve done. They poison — mental institutions and prisons all over the world. Not just in South America. Not just the three or four countries that we think about. But all over the world they’re coming into our country — from Africa, from Asia, all over the world.
Donald Trump, December 2023
A few days after September 11, 2001, I was standing beside a friend and her mother in the kosher food section of our local grocery store. Just beyond the aisle we were browsing in, a woman in a hijab was walking with her daughter. My friend’s mother widened her eyes, looked down at the two toddlers in her care, and muttered, “They all want to kill us.” I was five years old, one year younger than Agnieszka Holland had been the first time she had heard the word “Jew.” Like Holland, I didn’t know the word for the hatred of which that utterance was symptomatic — a hatred which had facilitated and would continue to facilitate the mass murder of millions of innocent people. But even at that age I sensed that those words were a kind of primal poison. I remember believing instinctively that a mind that would formulate such a thought is a mind that could do terrible things.
I have no idea what the difference is between a child who hates and a child who doesn’t. The little girl standing next to me that day has grown, over the subsequent two and a half decades, into a woman who blesses the destruction in Gaza on her Instagram feed. I wonder what she thinks of Trump. I wonder what she thinks of Putin.
America, America — there are two versions of us, too. They have existed since the inception of the country. Both are real in the literal sense — and also real philosophically. Liberal America, the America founded on the radical affirmation that all men are created equal and with certain inalienable rights, is at odds first with the White Anglo-Saxon Protestant tribal tradition of America, with its apple pie and shotguns, spurs, saddles, stars and stripes, and then with the tribalisms that followed the celebration of multi-ethnicity in the 1960s and 1970s. Tribalism is the vice that liberalism was articulated to constrain. Unlike Europe, the right to establish America and govern the American people was based on the conviction that a just government is undergirded by the universal principles of liberalism. But tribal America balks at universalism and at those principles. Tribalism loves biological sameness, soil, exclusivity, and teaches, as the increasingly Americanized Nazi philosopher Carl Schmitt did, to divide the human world into friends and foes and to hate enemies. The one America is the antithesis of the other America. It is our great luck that, when America gives itself over to racist hatred, America betrays itself.
The great American tug of war is the vicious, bloody, and unending struggle between these two factions. It is the substance of our ongoing political and social crisis, and of the upcoming general election. Tribalism is an appetite. Liberalism is a virtue. And both of them live on American soil. The disenfranchised and the privileged alike are stamped by these competing visions. We understand both because we are creatures of both.
No animal hates like the human. Americans in particular, by virtue of our early, vital dependence on the liberal tradition, are called to bridle that hatred — to blot it out in ourselves and to oppose it everywhere else. This is not easy work. As Schmitt noted, and not glumly, it is not natural for people to be kind and welcoming to strangers. Every sophisticated human civilization develops complex mechanisms, etiquettes, and expectations for teaching hatred and for marking it in blood. Never in my lifetime has hatred been so much in vogue. Perhaps every generation gets their chance to learn that the cruelties we read about in history classes were committed by human beings like ourselves. The worst monsters do not live under beds or in our imaginations; they sit in paneled offices behind mahogany desks, signing bills into law, raising and razing cities with the same hand. Each new day freshly demands a strong stomach, and maybe mine should be stronger, but the bloodshed, and the appetite for it, that I have watched flow so freely over portions of the globe about which I care deeply — it makes me nauseous. I hope it always does. That nausea will save us.