In Poland, an outrage over a movie shows the government’s fear of both fact and fiction

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“Only pigs sit in the cinema.” That phrase was coined during the Second World War by the Polish Home Army to discourage people from seeing Nazi propaganda films screening in German-occupied Poland.

But the resistance slogan is getting new life in today’s politically charged Poland, as controversy swirls over the feature film The Green Border, which has caused the far-right Law and Justice (PiS) government to lash out and compare the movie to, yes, “Nazi propaganda.” The outrage prompted 74-year-old director Agnieszka Holland to hire security as she travelled to Poland for the movie’s release.

The Green Border, which won the Special Jury Prize at the Venice Film Festival, is a harrowing look at Poland’s real-life migrant crisis. It is set largely along the natural, forested border, where refugees from the Middle East and Africa have been trying to enter the European Union through Poland. They are lured there by Belarusian dictator Alexander Lukashenko, whose government has offered the false promise of safe passage – a political strategy meant to antagonize the EU.

In the film, a group of desperate people, including a woman from Afghanistan and a family of Syrian refugees – three children, their parents and grandfather – fly to Minsk, and are shuttled from the airport to the barbed-wire border in the thick forest. There, they try to cross into Poland. Rather than being welcomed, they are forced into a terrible cross-border cat-and-mouse game while navigating the cold, swampy forest. Sadistic guards on both sides – and in the no man’s land in the middle – behave cruelly to these desperate people, including pregnant women, who are trying to escape homeland threats such as war and severe oppression. The human rights abuses they encounter as they try to claim asylum in Poland are in violation of international law.

The “only pigs” line was recently resurrected by Polish border guards who saw the film, and repeated by President Andrzej Duda, who has not. He made the ugly comment during a TV appearance, and called for an audience boycott, in objection to the film’s depiction of the country’s actions at the border.

With a runtime of more than two hours, the devastating black-and-white film – which is at the Vancouver International Film Festival this weekend, following screenings at TIFF – is excruciating to watch. But it is essential.

While heavily researched, this is not a documentary; it is a dramatization, with fictional characters. That doesn’t make it untrue.

A Polish journalist I recently met in Poland, Joanna Lopat-Reno, has documented the crisis – one where people “are repeatedly pushed around, intimidated, beaten, starved, whole families waiting in the forest,” she wrote in her European Press Prize-nominated article, “Ammar in the Polish wardrobe: A story about hiding refugees on the Polish-Belarusian border.” She is anxious to call attention to the issue. “That … fictional story is not very different from what happens in reality. Now. Because it is still happening.”

But on the day The Green Border opened in Poland, Deputy Prime Minister and PiS party leader Jaroslaw Kaczynski held a news conference where he called the film “simply shameful, repulsive and disgusting.” Polish Justice Minister Zbigniew Ziobro compared Ms. Holland to a Nazi propagandist. Ms. Holland’s father was Jewish, and his parents died in the Holocaust.

The government even produced its own short film warning viewers about the “untruths and distortions” of the feature, and ordered cinemas to play it ahead of screenings.

This is all happening in the run-up to Poland’s Oct. 15 election, in which the refugee crisis has been an issue. The PiS campaign is pushing its anti-immigration policies as it tries to win a third term. It is also asking this referendum question: “Do you support the admission of thousands of illegal immigrants from the Middle East and Africa?”

Ms. Holland has said the film’s release was not timed to coincide with the election, but with film festival season. She calls the government’s attacks on the film “an organized hate campaign.”

In spite of the controversy – or perhaps because of it – The Green Border had the biggest opening weekend for a Polish film this year. Yet despite the film’s critical reception, Poland’s Oscar committee announced on Monday that it submitted a different entry to the Academy Awards for consideration in the international-feature category: the much prettier period film, The Peasants, which is easier on the eyes, and heart – and easier for the current government to stomach.

Art can bring attention to issues that are being largely ignored, and call attention to governments that are acting egregiously.

Will this film bring change? Impossible to know. But it will make you care. We need to pay attention to these people – and the lawmakers who hope to silence them.