This is especially important as the winter season approaches. An alternative would be effective border procedures carried out on the territory of the country near the border, in which years it would be determined who needs protection and who does not, and those who have no reason to stay should return to their country”, says Renata Kuleš, representative of the agency in Lithuania.
The program of the documentary film festival “Uncomfortable Cinema” shows the film “Giria” by the Polish director Lidia Duda on this topic. The protagonists of the film, Asia and Marek, live with their children near the eastern border of Poland, in the oldest forest in Europe – Białowieża Forest. One day, refugees who are not wanted by either the Polish or Belarusian authorities stumble here. The film captures documentary footage of how a Polish family, together with their young children, helps people survive despite the controversial border laws. Monika Augustaitytė talks about the film with the director.
Organizers’ photo/”Giria”
– How was your film “Giria” received by the audience, what kind of feedback did you receive?
– First of all, we showed the film at the Thessaloniki International Film Festival in Greece. We traveled there with the entire creative team and the family of the protagonists. Greek society was the first in Europe to experience the migrant crisis. The experiences of the heroes of the film “Giria” on the Polish-Belarusian border are universal, repeated in various parts of the world.
Regardless of political differences, fathers and mothers recognize and respond to this universal story. The film emphasizes the human aspect, the human-to-human connection, rather than politics. We talk about the dangers faced by migrants stuck in the border forests. It is very natural to care and sympathize with a person in danger. If we stop being sensitive to each other, the world will go downhill. In Poland, we received very positive feedback about the film, even from people who were against accepting migrants – they were moved by the story shown.
Thanks to the support of loved ones and family, we can overcome the most difficult moments of life. Being guided by ethics and intuition is the most important thing in being a human being. Even if our own government tells us to turn our backs on a person in distress and prevents us from helping, we should still remain human. We don’t have to wait for politicians to do everything for us. We can do a little something ourselves. Asia and Marek, the protagonists of the movie “Giria”, did exactly that. In the film, we see the strength of the family – it gives us hope.
– There is no more effective tactic in politics than inciting fear. The representative of the UN Refugee Agency in Lithuania, Renata Kuleš, says that in today’s world it is widely used in the topic of migration, so the voice of humanity, unfortunately, in the geopolitical context, is not popular and therefore less broadcast. Did you make the film “Giria” in order to change migration policy?
– Yes. Making a movie is the least I can do. I am continuing to work on this topic, seeking to change the law. We have now launched a campaign to decriminalize humanitarian aid. It is very important for me that we show the film on the border of Belarus, for the Council of Europe in Brussels, Strasbourg and Geneva. We want to influence the politicians who make laws in Europe.
Organizers’ photo/”Giria”
The former right-wing government in Poland legalized the politics of exclusion. Now we have a new government that promised us to handle border migrants sensitively. However, a few days ago they temporarily suspended the right to apply for asylum. This means that it is not even planned to ask the migrants why they are fleeing their country. Rejections are done without any questions, people are just thrown away.
– According to the UN, some of the largest numbers of refugees are currently from Ukraine, Syria, and Afghanistan, but we accept these people differently. We welcome Ukrainians as brothers and sisters, and we do not want to accept people from other countries because of unfavorable attitudes. In the film, Asia and Marek’s son says, “It’s very sad that there’s a law that doesn’t allow you to help.” Are people who provide assistance to migrants stuck in the border forest between Poland and Belarus punished?
– In the film, the people who helped the migrants did it secretly at night because they were afraid of being detained by border control and soldiers. So far no one has gone to jail, there are trials going on, but the pressure is enormous. Local people are intimidated, officers behave aggressively, break into houses, conduct searches. The goal is to intimidate the public, to make them feel that they are committing a crime by helping. People are clearly tired of it.
It is important to mention how dangerous this forest is. Border residents simply help migrants in poor health stay alive. Polish authorities should thank the border community for doing their work for them. Border dwellers are invisible. In the media, we only hear about border control, social activists, but nothing about the local people who are constantly providing aid.
– Adults feel a lot of sadness and guilt while helping dying migrants. And how does this frontier life affect the children growing up there?
– The family of Asios and Marek began to devote less and less time to help precisely because they noticed how strongly it affected their children psychologically. There is a scene in the film where we see children playing refugees and humanitarian aid, they save people’s lives. In this way, children cope with trauma and emotionally difficult experiences. In the game, they can save a person’s life, they can win – it’s a way of self-therapy. In real life, it is not so easy to do that.
– The heroes of the film travel to film festivals together with the creative team. Has helping migrants become their mission? How did the movie change the life of this family?
– The film helped the heroes to see that they are not the only ones facing such difficulties. They were surprised to receive so many positive reactions and support. This strengthened them and gave them hope, enabled them to continue their social work and help others. Now they feel much better psychologically. He feels that he has the power to change something, at least the personal opinion of people. While traveling around the festivals, they talk with the audience about ethics, morality, how to raise children and how to remain human. They show up at events wearing t-shirts that say “It’s legal to help.” This is the message they convey: in times of crisis or danger, we should remain sensitive to each other.
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Interview with Lidia Duda, Director of “Giria”
Interviewer (Monika Augustaitytė): Thank you for joining us, Lidia. Your film “Giria” has sparked important conversations about migration and humanity. How has it been received by audiences thus far?
Lidia Duda: Thank you for having me, Monika. We premiered “Giria” at the Thessaloniki International Film Festival, where the response was overwhelmingly positive. The stories of our protagonists, Asia and Marek, resonate globally, especially in light of the ongoing migrant crisis. Audiences, regardless of their backgrounds or political views, connected with the human aspect of the film. It emphasizes empathy and solidarity in the face of adversity.
Interviewer: That’s powerful to hear. You mentioned a universal connection. In countries like Poland, where there are growing tensions around migration, how did viewers specifically react?
Lidia Duda: Surprisingly well. Even those who previously held anti-migrant sentiments expressed that they were moved by the family’s plight. The film illustrates the dangers faced by those seeking safety, making it clear that at our core, we should care about fellow human beings. In times of crisis, our humanity should shine through, not political fearmongering.
Interviewer: Speaking of politics, Renata Kuleš from the UN Refugee Agency pointed out that fear is often used as a tactic in migration discussions. Did you intend for “Giria” to influence migration policy?
Lidia Duda: Absolutely. While creating the film is just a step, I believe it’s crucial to keep raising awareness. We aim to decriminalize humanitarian aid and share this film in key locations like Brussels and Geneva. We need to influence policymakers on the ground.
Interviewer: The current Polish government has suspended the right to asylum applications, which seems concerning. How do you feel this affects the narrative you’re presenting in ”Giria”?
Lidia Duda: It’s deeply troubling. People fleeing war often face an uphill battle even when seeking refuge. Our film showcases the lengths to which individuals like Asia and Marek go to help migrants in distress. Rather than categorize people as threats, we should see them as individuals in need of assistance.
Interviewer: In the film, individuals helping migrants have faced intimidation from authorities. How does that dynamic play out among the local community?
Lidia Duda: It creates a culture of fear. Many have resorted to helping migrants under the cover of night to avoid repercussions. This isn’t just a personal crisis; it’s a community dilemma. The local population often feels forgotten and pressured, despite their bravery. They are quietly doing what the state refuses to address.
Interviewer: That’s an important insight. Taking a step back, how does this environment impact children growing up in these border communities?
Lidia Duda: It’s complex. The children in the film illustrate this well as they process what they witness through play. While they are exposed to trauma, they also find a way to cope, making sense of their experiences by pretending to save lives. However, the psychological toll is real, and it has affected how much time parents dedicate to helping migrants.
Interviewer: It sounds like “Giria” does more than tell a story—it sheds light on broader societal issues. What do you hope viewers take away from it?
Lidia Duda: I hope audiences come away with a renewed sense of humanity. In a world rife with political divides, we must remember our shared responsibility to each other. The film is a call to action, encouraging empathy and understanding towards everyone, regardless of where they come from.
Interviewer: Thank you, Lidia, for sharing your insights and the powerful message behind “Giria.” We look forward to seeing how it continues to make an impact.
Lidia Duda: Thank you, Monika. The more we talk about these issues, the closer we get to meaningful change.
Interview with Lidia Duda, Director of “Giria”
Interviewer (Monika Augustaitytė): Thank you for joining us, Lidia. Your film “Giria” has sparked important conversations about migration and humanity. How has it been received by audiences thus far?
Lidia Duda: Thank you for having me, Monika. We premiered “Giria” at the Thessaloniki International Film Festival, where the response was overwhelmingly positive. The stories of our protagonists, Asia and Marek, resonate globally, especially in light of the ongoing migrant crisis. Audiences, regardless of their backgrounds or political views, connected with the human aspect of the film. It emphasizes empathy and solidarity in the face of adversity.
Interviewer: That’s powerful to hear. You mentioned a universal connection. In countries like Poland, where there are growing tensions around migration, how did viewers specifically react?
Lidia Duda: Surprisingly well. Even those who previously held anti-migrant sentiments expressed that they were moved by the family’s plight. The film illustrates the dangers faced by those seeking safety, making it clear that at our core, we should care about fellow human beings. In times of crisis, our humanity should shine through, not political fearmongering.
Interviewer: Speaking of politics, Renata Kuleš from the UN Refugee Agency pointed out that fear is often used as a tactic in migration discussions. Did you intend for “Giria” to influence migration policy?
Lidia Duda: Absolutely. While creating the film is just a step, I believe it’s crucial to keep raising awareness. We aim to decriminalize humanitarian aid and share this film in key locations like Brussels and Geneva. We need to influence policymakers on the ground.
Interviewer: The current Polish government has suspended the right to asylum applications, which seems concerning. How do you feel this affects the narrative you’re presenting in “Giria”?
Lidia Duda: It’s deeply troubling. People fleeing war often face an uphill battle even when seeking refuge. Our film showcases the lengths to which individuals like Asia and Marek go to help migrants in distress. Rather than categorize people as threats, we should see them as individuals in need of assistance.
Interviewer: In the film, individuals helping migrants have faced intimidation from authorities. How does that dynamic play out among the local community?
Lidia Duda: It creates a culture of fear. Many have resorted to helping migrants under the cover of night to avoid repercussions. This isn’t just a personal crisis; it’s a community dilemma. The local population often feels forgotten and pressured, despite their bravery. They are quietly doing what the state refuses to address.
Interviewer: Thank you, Lidia, for sharing your insights. Your work is truly important in these challenging times.
