Jan Komasa: Germans and Poles would create a nearly ideal nation.
Jan Komasa, born in Poland in 1981, is one of the world's most sought-after directors. His new film, "The Change," a dystopian tale about an authoritarian USA, is now being released. A conversation.
With his film "The Change," Jan Komasa crafts a gripping family drama depicting the gradual transformation of a democracy into an authoritarian system. In this interview, the Polish director explains how family chronicles and Thomas Mann inspired him—and why a perhaps perfect country could emerge from German and Polish virtues. We met Jan Komasa in Berlin before the German premiere of his film.
Mr. Komasa, your new film "The Change" ( in theaters from November 6th ) depicts a dystopia in the USA. A young woman writes a book outlining a new social model: a one-party system with no opposition. The book becomes a bestseller in the US and a blueprint for a new social system that transforms into an authoritarian horror scenario for dissenters. What was your intention?
I wanted to develop a dystopia, a story reminiscent of the novel "1984". A parable about the fragility of democracies.
The film is a chamber piece: It depicts a family that is initially liberal and jumps from one family gathering to the next. Elizabeth (Phoebe Dynevor), the author of the book "The Change," marries into a liberal family of professors and spreads the virus of authoritarian thinking. As the film progresses, the family splits into supporters and opponents of "The Change"—until a major catastrophe occurs. What was the original idea for your film?
The idea came to me in 2018 when I was looking at old family photos and could only study one year at a time, but not the time in between. I wondered: What happens when someone looks at snapshots of a family without knowing the context of that family? I wanted to show how relationships and power structures within a family change over the years. These thoughts merged with the question: What happens when fear seeps into a society? I love Thomas Mann's novel "Buddenbrooks"; I would love to adapt it into a film. "Buddenbrooks" is a family saga in which not much happens, yet everything is constantly changing. In my film "The Change," I examine family dynamics by jumping from year to year to different family celebrations, thus depicting the change. What happens in between is left for the viewer to piece together.
Many critics see parallels to America under Trump. Was that intentional? My film isn't a commentary on America, but a dystopia that could take place anywhere. Actually, Berlin is the perfect place to show this film. Berlin is mentally divided in two. That's reflected in the film as well. One part of the family submits to the authoritarian shift in "The Change," the other doesn't. In Central Europe, we know a thing or two about such developments, about authoritarian shifts. Some forget history and are now beginning to miss authoritarian structures. That's what I wanted to address. When I was preparing the film with screenwriter Lori Rosene-Gambino, we were indeed thinking about Berlin. In the 1920s, the city was a mecca of culture and tolerance. Then, in the 1930s, the Nazis came, and the city became a center of total control and oppression. When we made the film, we wanted to explore how a society can turn 180 degrees in such a short time.
There were critics saying that you could have been even more direct in your criticism of the Trump administration.
Many critics don't understand the essence of the film. I'm not a propagandist. My job is to ask questions, not dictate answers. I'm interested in the universal. With this film, I wanted to show that democracies are fragile. As a Pole born in 1981, I know this very well. In Central Europe, we're very familiar with the transition between systems. In the US, this isn't so common. That's why the film isn't set in Europe, but in the US. I asked myself: What if a wealthy American family is suddenly swept up by an 'ism,' a system they've never experienced before?
In the film, fear becomes the driving force.
Yes. Fear is the driving force behind every authoritarian shift. It begins quietly – in conversations, in families. In the film, we see how characters are driven by their power; it's almost like a virus: first you get infected, then you infect others, then comes the destruction of old cells.
Were you worried about censorship in the USA?
Of course, there was the worry: Would my US visa be revoked after the film's release? We joked that I wouldn't be allowed back into the US after the premiere. The film is also being marketed differently in the US and Europe. But that risk is part of the process. Art must remain free – otherwise, it loses its soul.
You live in Warsaw even though you work internationally. You haven't moved. Why? What makes the city so special to you?
Warsaw is currently experiencing a boom. I'm truly impressed by how the city has developed. There's a palpable energy, an ambition to achieve something. Berlin was once like that too. I remember Berlin in 1999, a dynamic city under construction, with a forest of cranes in the center.
Are you experiencing stagnation? What exactly do you mean by that?
I believe Germany is experiencing a kind of mental crisis. The economy is large, but there's a lack of drive to try new things. Many people are living off what they've already achieved. The real estate market is a good example. Wealthier people buy a few apartments and live off the rental income instead of trying new things. This kind of lifestyle stifles innovation. I'm starting to see this happening in Poland as well.
You and your family live in a small apartment in Warsaw. Why?
I've lived in a 49-square-meter apartment in the city center since 2006. I could afford something bigger, but I prefer to invest in travel, education, and my personal development. I never want to stop learning and experimenting. That's what keeps me alive.
You've also recently worked in the USA. How does film production there differ from that in Europe?
In the US, everything is extremely dynamic. When a project gets the green light, everything is immediately put into action; a huge machine starts up at full speed. In Europe, things move more slowly because many institutions want to have their say. This has advantages and disadvantages: In the US, you can become a star overnight—or lose everything the next morning. Europe is more stable, but also more sluggish. I'm a lecturer at the Polish Film School in Lodz. I always try to encourage my students to take risks. European cinema should be prouder of what it can do. We're ahead of the Americans in some ways. After all, we gave the world human rights.
You often speak of Central Europe as a cultural space. What makes it special for you? Poland, Germany, Austria – we share a history full of conflict, but also full of shared creativity. Our humor is often dark, our stories bleak, yet profound. I believe we have a special talent for storytelling that oscillates between comedy and horror. That's our cultural heritage, something you don't find in the US. I once heard someone say, "If you combined German organization with Polish imagination, you'd create a nation that comes close to the ideal." And there's definitely something to that. We Poles have a special ability to play with things, to constantly change. That's also due to our geographical location: anyone wanting to get to Europe had to pass through Poland. We're a central country that has always been in flux – shaped by monarchy, communism, and democracy. There have been many wars here, far more than in France or Spain. Germany and Poland share these experiences of extreme change and upheaval. That has shaped our mentality. In Poland, people are open to change, but also skeptical of authority. No one here would listen to a king – it's always been that way. We don't believe in hierarchies, and that's reflected on film sets: everyone is equal, everyone contributes their creativity. In the US or other countries, it's different – there, as a director, you're called "Maestro." In Poland, you'd get kicked for using that term.
What are your hopes for the future of Europe – and for the relationship between Poland and Germany? I hope that we don't forget our shared history. Poland and Germany have been connected for a thousand years. I find it tragic how much propaganda has driven us apart. A strong partnership between our countries would be a gift to Europe – and to the world.
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