Agnieszka Holland Discusses Directing ‘Franz’ and the Timeliness of Kafka in Today’s Poland

Director Agnieszka Holland is among the veteran filmmakers competing for this year’s Best International Feature Oscar. Known for her forward-thinking casting choices, Holland cast a young Leonardo DiCaprio as the French poet Arthur Rimbaud in her 1995 film Total Eclipse, well before DiCaprio’s rise to stardom. Her latest project, Franz, follows another literary figure—Franz Kafka, portrayed by Idan Weiss. Kafka, revered for works like The Trial (1925), explored themes of innocence amid bureaucratic chaos, and his insights remain alarmingly relevant today.

With the term “Kafkaesque” gaining popularity as a descriptor for our post-truth society, Holland’s work reflects her deep connection to Kafka’s themes of marginalization by authority. At 77, she has received three Oscar nominations for her films: Angry Harvest (1985), Europa Europa (1990), and In Darkness (2011). Despite the recent rejection of her 2023 film Green Border by Poland’s selection committee, Holland remains undeterred, acknowledging, “I have the impression I will constantly be in trouble.”

In a recent interview, Holland expressed her instinctual approach to storytelling. She stated, “When I decide to tell a story… it just comes to me,” emphasizing the importance of relevance in both a personal and broader context. She believes that while stories can reflect her own perspective, they may not always hold the same significance over time.

Holland discovered Kafka at the age of 14, an experience she described as transformative. “It was a shock. I was like, Wow, it’s possible to write that way,” she noted, appreciating Kafka’s deviation from traditional narrative structures while still conveying profound truths. Her connection deepened as she read Kafka’s letters and diaries, feeling an intimate kinship with the author.

The portrayal of Kafka in her film seeks to humanize him, countering the often gloomy stereotype surrounding his image. Holland revealed that through her research on his family, she encountered stories that highlighted Kafka’s warmth and playfulness, aiming to capture that nuance in her depiction. She credited the casting of Idan Weiss, who struck the perfect balance of sincerity and humor for the role.

Reflecting on her time in Czechoslovakia, Holland shared her complex relationship with Kafka’s legacy and its evolution since the fall of Communism. “They realized that Kafka was tourist gold,” she observed, noting the irony of his posthumous fame, which contrasts sharply with his desires during his lifetime. Holland highlighted how the commercialization of Kafka’s image spurred her curiosity about how he might react to contemporary society.

Holland’s film incorporates elements of Kafka’s avant-garde influences, yet it is not overtly political. She stated, “He was not interested in politics at all,” suggesting that she aimed to explore his existential themes rather than reduce his work to mere social commentary. The film includes dramatizations of Kafka’s writings, particularly focusing on The Penal Colony, to evoke a visceral reaction from modern audiences.

As the film connects with younger viewers, Holland noted an emerging recognition of Kafka’s resonance with neurodivergent experiences. “I found that, certainly, he had that condition,” she remarked, appreciating the way her film speaks to those who feel different or marginalized.

Additionally, Holland suggested that Kafka’s early death spared him from the Holocaust, and she was intentional about portraying the contrast between his life and the posthumous recognition he received, likening it to “mixing times” in a manner reminiscent of quantum physics.

When asked about her political leanings, Holland affirmed her sensitivity to societal issues. “I’m interested in political mechanisms as well,” she asserted, emphasizing her commitment to storytelling that addresses historical injustices and contemporary challenges, as reflected in her recent works Mr. Jones and Green Border.

Ironically, while Green Border was not selected for the Oscars, Franz has entered the fray. Holland acknowledged the film’s Czech roots, linking it to Kafka’s multifaceted identity. She expressed a bittersweet sentiment toward her Oscar nominations, considering the honor a burden as much as a source of pride.

Looking forward, Holland hinted at a new script she is developing, although she remains guarded about the specifics. Additionally, she expressed a desire to break from the trend of dystopian narratives, hoping to create a project that inspires hope and explores utopian themes, aiming for a wider audience.