I’ve now seen two films featuring Tomasz Wlosok recently. Previously, he appeared in Julia von Heinz's tragic-comedy "Treasure" (2024), playing a character with a much lighter tone than his role here as a Polish border guard. He is one of a group responsible for preventing refugees from crossing into the EU from Belarus. We are introduced to people who were led to believe their escape from Syria and Afghanistan would be simple. It was costly, certainly, but they anticipated an uncomplicated flight to Minsk on a comfortable Turkish plane, followed by a bus ride to Poland and then onward to their destination. They quickly discover that this paid-for journey simply places them in a cruel game of human table tennis between the military forces on either side of the border – except instead of a net, there’s barbed wire. Regardless of their situation—whether they're injured, pregnant, elderly, or vulnerable—they are systematically deprived, starved, and denied water. There is some hope for them, as Polish activists attempt to provide assistance and register them for asylum. However, that requires reporting them to the police and then interacting with the guards, bringing us back to Tomasz ("Jan"). Their journey is full of danger, which can be deeply upsetting, but it’s not quite as difficult to endure as the actions of those in uniform who disregard or violate directives to prevent these people from reaching the forests along the 250-mile border. Political factors are also present; one government has been accused of using these individuals as "live bullets," while another is blamed for fostering discord within an EU where rising nationalism is creating divisions among citizens. Ultimately, it's a stark portrayal of humanity at its worst, alongside an illustration of the lengths that good people will go to and the risks they’ll take to do what they believe is right. The intensity of the camerawork—particularly in the wooded areas—and the audio editing add a distinctive quality that makes their suffering even more terrifying, frustrating, and dangerous. I didn't fully understand the purpose of the anecdote at the end. I am unsure if that final statement took into account the historical cultural and traditional connections between Poland and Ukraine, as opposed to those fleeing from Syria, but it does prompt significant reflection on what is the correct course of action without imposing director Holland’s personal perspective too heavily on countries legitimately concerned about the impact large-scale migration may have on their nation, economy, and culture. It's a difficult film to watch; it's violent and unpleasant—but also captivating.

Source on TMDB