code that Blorusov didn’t shoot the film Hranice. Which is not so surprising. The Belarusian regime is probably not capable of shooting a film on a similar theme, and Mr. Hollandov does not have the filmmaking format to bring together ten co-producers from five countries. Or simply no one thought of it in Blorusk. Because what happened and is still happening on the Polish-Belarusian border is indeed tragic, inhumane and unjust, but compared to other conflicts in the world, these dangers are somehow at the bottom of the shopping list.
It sounds inconvenient for them, but some politicians are afraid that their films can influence the public.
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