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by Aja Romano | 12:30 pm, April 18th, 2012
You’d be hard-pressed to find a director with a longer list of accomplishments than Polish director Agnieszka Holland. As a screenwriter, she collaborated on Kieslowski’s monumental Trois Coleurs trilogy, and directed/wrote two films which nabbed Oscar noms in quick succession: Angry Harvest for Best Foreign Film, and Europa Europa for Best Screenplay.
During World War Two, Holland’s grandparents were killed in the Warsaw Ghetto, and her mother was a member of the Polish Underground. Holland, who has directed in Poland, Germany, France, Britain, and the U.S., has something to bring to the pool of potential Hunger Games directors that many others don’t: real-life experience of totalitarianism and extreme social dysfunction. With her track record of markedly political films, Holland would bring the same unflinching directorial eye to her view of the Capitol as she has brought to Nazi-occupied Europe in Europa and In Darkness, Communist Poland in Ekipa, and post-Katrina New Orleans in the TV series Treme.
In the era of the high-tensity cable drama series, Holland has directed pivotal episodes of The Killing and The Wire, including the famous season three fight between Avon Barksdale and Stringer Bell. In January of this year she received her third Oscar nod when In Darkness was nominated for Best Foreign Film. In addition to her proven ability to direct compelling realist dramas tinged with violence and political strife, she also directed the acclaimed 1993 adaptation of The Secret Garden, featuring wonderful performances from a young cast and cinematography by the legendary Roger Deakins.
Clearly Holland is more than capable of creating a faithful adaptation that remains true to the source material while being brutally honest, and her track record of internationally acclaimed films speaks for itself. All of which leads us to wonder: why the heck wasn’t Lionsgate begging Agnieszka Holland to direct The Hunger Games in the first place?
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