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Geert Wilders: heir apparent to an anxious nation

The election of a populist has shocked The Netherlands. Wim Houtman unpacks the result and explores anxious attitudes among electors, particularly Christians.

Wim Houtman is a senior editor with Nederlands Dagblad, a Christian daily newspaper in the Netherlands.

A politician in a suit stands amid a scrum of reporters holding microphones
Geert Wilders is at the centre of media attention in The Netherlands.

Much has been made in recent years of the similarity in appearance - their hair dos especially - between Donald Trump, Boris Johnson and Geert Wilders. All three sport this striking blond head of hair, invariably cut in the same style - be it with loosely non-conformist locks or carefully eccentric waves. 

It’s their trademark, it sets them apart - instantly recognizable. And it sends a message: Here is a leader who stands out, who doesn’t care what is ‘normal’ or ‘accepted’ or what others may think; he knows what he wants, he knows what you want and he will go for it. 

Until a fortnight ago, Dutch politician Geert Wilders was the leader of a relatively minor party on the far right, with a strong anti-Islam, anti-immigration agenda. His populist Partij voor de Vrijheid (PVV, Party for Freedom) had been around since 2006, hovering between 6 and 16 per cent of the vote. But suddenly, on November 22nd, he scored a whopping 24 per cent, becoming the largest party with 37 seats in the Lower House of the Dutch parliament, way ahead of the runner-up, the left-wing alliance of social democrats and greens at 25 seats. 

In the Dutch electoral system, this automatically gives Geert Wilders the lead in forming a new government. And here the problem starts. 

Now he wants to cash in on his victory to finally and decisively put his stamp on the country’s policies. At 60 years old, it may well be his last chance. 

So far, his party has been a wallflower in the political arena. Other parties have found his standpoints too extreme to bring on board. Today, however, looks very different. As the leader of the largest political party, Geert Wilders seems destined to become Prime Minister - at least he himself claims so. It would seem like going against the will of the people to stand in his way. But still, most other parties are reluctant to work with him.  

In its leader comment the morning after, the Dutch Christian daily newspaper Nederlands Dagblad recalled what kind of party and what kind of leader the country had just elected to be its next PM: 

‘Geert Wilders, who for years on end has branded democratically elected colleagues traitors to their country and a fake parliament. Who called the rule of law ‘corrupted’, after he had been persecuted and fined for collective insult. Who for years on end has hatefully offended entire sections of the population, because of their faith (Muslims) or their origin (Moroccan, Eastern European etc). Who wants to abolish religious freedom, leave the European Union, do away with the euro, end the military support to Ukraine, post soldiers along the nation’s borders, ban headscarves, disband climate policy and energy transition. Who wants to revert the apologies the King made last July for the nation’s slavery record. And so on, and so on.’ 

In the run-up to these latest elections, Mr Wilders ran a brilliant campaign in which he presented himself in a more moderate way, and pledged if he won, to be ‘the Prime Minister of all Dutch people’ - leaving aside the question what a person needs to qualify for being ‘Dutch’. Now he wants to cash in on his victory to finally and decisively put his stamp on the country’s policies. At 60 years old, it may well be his last chance. 

But if he is to lead the next government, and be successful at it, he will need to go through no less than a ‘deradicalisation programme’, the Nederlands Dagblad commentator wrote: ‘That’s the kind of test you can pass, but also fail.’ 

From Dutch Christians, you might say, the response to the first election victory of a populist party came in stages. 

At first, many of them were shocked, dismayed, and anxious. Their faith prompted them to strive for a government that will reach out to the poor, respect minority rights, care for the environment and welcome refugees. They had always known that Mr Wilders and his party had totally opposite ideas. But they had never expected him to gain any real political influence. Now, it felt as if they had woken up in a different country. 

But once some of the dust had settled down, there came room for other considerations, too. Surely not all 2.4 million PVV voters could be classified as extremists. The size of its electorate puts it rather in the range of a mainstream conservative party. Many people had voted for Mr Wilders out of disillusionment with the established parties who had governed the country for decades - and rightly so. 

It is one thing to say we must welcome asylum seekers, but it is another when you can’t find a place to live, because there is a shortage of affordable housing and refugees seem to get priority. It is one thing to say the government is there to support people who need help, but it is another when you experience you’re immediately suspected of fraud when you apply for a benefit. 

So Christian voters, like the general public, seem divided: some are shocked by the election result, others feel that their concerns have finally been heard. 

Up until 1967 Christian political parties had a majority in the Dutch parliament. Their support has shrunk steadily, but at this election it fell from 15 per cent in 2021 to no more than 7 per cent. And yes, some of their voters defected to the populist PVV.  

‘We have loved the stranger more than ourselves’, explained one of them in the Nederlands Dagblad newspaper. ‘It is better to begin at yourself; from there you can help the world. That’s what Mr Wilders stands for’.  

‘What decided it for me was the insight that this country needs real change’, commented another. ‘Not just some minor adjustments, but a firm pull to the right: a stronger policy on law and order, critical on the growing influence from Europe, battling poverty in our own country.’ Several Christians mentioned they had voted PVV because Mr Wilders is a keen supporter of Israel; they were worried about the anti-semitic tones in some quite noisy pro-Palestinian demonstrations because of the war in Gaza. 

So Christian voters, like the general public, seem divided: some are shocked by the election result, others feel that their concerns have finally been heard. 

The surprising election result seems to leave the country - and Christians in particular - with a couple of nagging questions. 

How to avoid stigmatizing PVV voters, and recognize that their problems are real and deserve solutions that are real? 

How to convince them that a party that has some anti-democratic tendencies and lives in denial of the big international and environmental crises cannot be the solution? And that care for the environment, refugees and the poor are authentic components of the Christian story, and not just after all of our own personal needs have been met? 

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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