“Franz”, interview with director Agnieszka Holland

At the Kinoteka Polish Film Festival 2026 in London, Agnieszka Holland presented “Franz”, her bold and unconventional portrait of Franz Kafka. Speaking to Fred Film Radio, the director reflected on her long-standing relationship with Kafka’s work, her decision to move away from the traditional biopic form, and the personal and political resonances that continue to shape her filmmaking.

A fragmented portrait of Kafka

Agnieszka Holland described “Franz” as a deliberately non-linear, “kaleidoscopic” exploration of Kafka’s life, rejecting the idea of a conventional biopic. For her, a chronological approach would have felt “dead,” unable to capture the complexity of the writer’s inner world. Instead, she embraced a structure built on fragments, shifting timelines and perspectives, allowing audiences to form their own interpretation rather than imposing a singular viewpoint. This openness, she noted, has led to varied reactions — from viewers returning to the film multiple times to others struggling with its form — something she sees as part of its design.

The man behind the myth

By titling the film “Franz”, Holland aimed to bring audiences closer to the human being rather than the literary icon. She emphasised Kafka’s sense of isolation, his inability to conform, and his ongoing struggle between personal desire and societal expectations — particularly in relation to his father. This fraught relationship, reflected in Kafka’s own writings, became central to understanding both his life and work. Agnieszka Holland was also keen to highlight his humour, sensuality and joy, pushing back against the familiar image of Kafka as solely a figure of suffering.

Legacy, modernity and personal reflection

The film’s shifts into present-day Prague — including references to Kafka’s cultural afterlife — reflect Holland’s curiosity about how artists are remembered and commodified. While she imagines Kafka might have been both intrigued and unsettled by his global legacy, she humorously suggests his father would have been delighted by its commercial potential. More broadly, Agnieszka Holland sees the film as an invitation for audiences, particularly younger viewers, to project their own fears and doubts onto Kafka’s story. Presenting the film at Kinoteka held particular significance for her, not least as it continues to celebrate Polish cinema and the legacy of filmmakers like Andrzej Wajda, whom she described as a mentor and close friend.

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