Baltic Film 2024 / Latvia

BALTIC

1/2024

Soviet Jeans

Unveiled in Berlin

Estonian Films

NEWS FUNDING FESTIVALS

at Rotterdam and Talents at Berlinale

Džiugas Grinys

The Shooting Star from Lithuania Lithuanian film projects at Berlinale Co-Production Market

Davis Sımanis on Maria’s Silence

FEATURED FILMS: 8 VIEWS OF LAKE BIWA • MARIA’S SILENCE • IMPRESSIONS • THE SHADOW DIVORCE DURING THE WAR • BLUE BLOOD • BORDER WALL • CHINA SEA • MIISUFY • ANTONIVKA DOG APARTMENT • EEVA • SMOKE SAUNA SISTERHOOD • GEORGICA • SOMNAMBULANCE

European Capital of Culture Tartu 2024 film cassette “Arts of Survival” will premiere May 2024.

A Perfect Day For Karakat dir. Andrey Paounov (Bulgaria)

Artists of Survival

Journey into the fascinating world of self assembled, recycled, hybrid vehicles on the shores of Lake Peipus.

dir. Jaan Tootsen (Estonia)

Ukuaru meets Trainspotting: chosen flashbacks from Võrumaa.

The Art of Looking dir. Andris Gauja (Latvia)

River and Cat

Astronomers with their telescopes and slime mold explorers with their microscopes each in their own way, show the beauty of curiosity.

dir. Maria Aua (Estonia)

A dreamlike passage through the play of light and space, inspired by the work of the artist Imat Suumann.

The House

dir. Carl Olsson (Sweden/Denmark)

Border Island

A film portraying the residents of an Tartu apartment building lives and dreams observed through the architecture of the building.

dir. Viesturs Kairišs (Latvia) Is there a single place on Earth where Russian society and peace can co-exist?

Hilda Ha. Off the grid dir. Eva Kübar (Estonia)

Sewing Machine dir. Ülo Pikkov (Estonia)

Hilda Ha is a free and wild German woman living off-grid with her one-year old child in Southern Estonia in a self-built tiny house.

tartudok2024.ee

tartudok2024

A story about an escape and a missing sewing machine.

#tartudok2024

FOREWORD

The Baltic States in 2024 From Triumph to Talent: Baltic Cinema’s Presence at Berlinale

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he year 2024 has kicked off positively for Estonian films on the international stage.

Miisufy, a short animation, premiered at Sundance, and two other short animations, Dog Apartment by director Priit Tender, and Eeva by directors Lucija Mrzljak and Morten Tšinakov, are in the running for an Oscar nomination. Additionally, three Estonian films are featured at Rotterdam, including Sulev Keedus’s classics Georgica (1998), and Somnambulance (2003) at the Cinema Regained programme, and Marko Raat premiers his new feature film 8 views of Lake Biwa at the Harbour programme.

Anna Hints, acclaimed for her documentary Smoke Sauna Sisterhood, is part of Berlinale Talents, having recently won the European Film Award for Best European Documentary. The film’s editor, Tushar Prakash, also impressed the jury with his artistic skills, making him the second Estonian participant in the Berlinale Talents programme. This marks a highly promising start for 2024.

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ast year’s Baltic focus at the Berlin Film Market significantly boosted Latvian cinema. In 2024, we are delighted to announce our presence in the official selection of the Berlin Film Festival.

The Berlinale Forum programme includes the Latvian feature Maria’s Silence (by Davis Sımanis, produced

by Mistrus Media), portraying Latvian actress Marija Leiko’s tragic encounter with totalitarian power in 1937 Moscow, highlighting the aggression and absurdity of the regime that ultimately leads to her, and fellow artists’, demise.

Latvia is also represented at the Berlinale by the colourful, dynamic, and ironic series Soviet Jeans, included in the Berlinale Series Market. This project is one of four multi-series initiatives funded by the National Film Centre of Latvia with support from the ERDF. In 2024, Latvian cinema is poised for a productive and artistically diverse year, featuring four high-quality series, along with a diverse range of feature films and full-length animation. The latter is set to stand out as one of the most crucial aspects of Latvian cinema, with

Dita Rietuma National Film Centre of Latvia Laimonas Ubavičius Lithuanian Film Center Edith Sepp Estonian Film Institute

internationally renowned masters like Signe Baumane (My Love Affair with Marriage) and others contributing to its significance.

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fter a successful year, Lithuania is excited to commence the 2024 season at the Berlin Film Festival, providing significant momentum for the younger generation in the Lithuanian film industry. Lithuanian actor Džiugas Grinys has earned recognition as one of the most promising actors in Europe in the European Shooting Stars programme run by European Film Promotion this year. Additionally, emerging talent includes director Ieva Šakalyte, selected to participate in Berlinale Talents.

The thriving Lithuanian film industry takes pride in presenting new and upcoming projects in Berlin, such as Andrius Blaževicius’s film Divorce During the War (produced by Marija Razgute), featured in the Berlinale Co-production market.

Furthermore, Lithuania remains committed to supporting Ukraine and contributing to its film industry. As a member of the European Solidarity Fund for Ukrainian Films (ESFUF), Lithuania is pleased to witness a collaboration between Lithuania and Ukraine presented at the Berlinale Co-production market, featuring the film Antonivka (directed by Kateryna Gornostai; produced

by Vika Khomenko, Dagne Vildžiunaite).

We are delighted to extend an invitation to everyone to explore the rich potential of the Baltics and immerse themselves in the vibrant tapestry of our film industries. BF Photo by Erlend Štaub

Following a triumphant presence at the European Film Market during the 2023 Berlinale, the Baltic film industry is regaining prominence in Berlin, show­ casing a vitality stronger than ever. The emergence of new success stories in 2024 highlights the region’s commitment to cinematic excellence and its ability to captivate global audiences.

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Content 6 8

TALENT Meet the Estonian Berlinale Talents

46 DIRECTOR Sulev Keedus A Filmmaker Who Appreciates Calmness and Generosity

52 NEWS Antonivka – Seeking Co-Producers for Upcoming Ukrainian Film

Miisufy at Sundance

56 NEWS Impressions

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Exploring Generational Trauma

A Rising Star’s Journey through Theatre, Cinema and Nostalgia

58 EVENT Black Nights Film Festival and Industry@Tallinn & Baltic Event

21 NEWS Cottbus Award Takes

60 EVENT Baltic Sea Documentary Forum

the Post-production of Border Wall to Germany

62 EVENT Vilnius International Film Festival

22 DIRECTOR Marko Raat

64 FUNDS How to Find Money in Estonia

about 8 Views on Lake Biwa the Latvian Film & TV Series

44 NEWS Blue Blood in Production

Crossroads & Personal Redemption

14 ANIMATION New Cats on the Block.

28 NEWS ERDF Boost for

Photos by Andres Treial, Ugnius Dedynas, Virge Viertek, Agnese Zeltiņa, Chloé Desnoyers / EFA

51 NEWS China Sea Explores Cultural

DIRECTOR Davis Sımanis about Maria’s Silence

16 TALENT Džiugas Grinys

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66 FUNDS How to Find Money in Latvia 68 FUNDS How to Find Money in Lithuania

32 NEWS Soviet Jeans Can Be Real the Ultimate Producer

36 ANIMATION Dreaming in Motion.

Dog Apartment and Eeva at Oscars’ shortlist

39 NEWS Welcoming the Whole World into a Smoke Sauna

40 NEWS Divorce During the War at Berlinale Co-production Market

42 NEWS The Shadow in Post-production

Baltic Film Baltic Film is published by Estonian Film Institute, National Film Centre of Latvia and Lithuanian Film Centre Editor in Chief: Eda Koppel Contributing Editors: Gabija Pluke, Agnese Zapane, Leana Jalukse Contributors: Andrei Liimets, Johannes Lõhmus, Aurelia Aasa, Mirjam Mikk, Egle Loor & Eliisa Pass, Kristıne Matısa, Sonora Broka, Zane Balcus, Tautvydas Stukas Translation: Tristan Priimägi, Gabija Pluke, Jule Mare Rozite Linguistic Editing: Paul Emmet Design & Layout: Profimeedia Printed by Reflekt Estonian cover Marko Raat, photo by Virge Viertek Latvian cover Davis Sımanis, photo by Agnese Zeltina Lithuanian cover Džiugas Grinys, photo by Tomas Kauneckas BALTIC FILM

ISSN-2585-674X

34 PRODUCER Uljana Kim

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TALENTS

Anna Hints and Tushar Prakash are ready for the Berlinale Talents.

Meet the Estonian Berlinale Talents This year, two Estonian filmmakers, Anna Hints and Tushar Prakash, are joining the Berlinale Talents pro­ gramme; the talent development initiative of the Berlin International Film Festival taking place from February 17 to 22, 2024. The theme for this year is language, encom­ passing common language and film language. Eda Koppel asked Anna and Tushar a few questions.

By Eda Koppel Photo by Andres Treial

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hat are your expectations for Berlinale Talents?

Tushar: Going to Berlinale Talents has been a personal dream of mine for a few years now. Following this year’s summit theme, “Common Tongues,” I also hope to find the words to articulate the ideas inside me. At the summit, I expect to be inspired by the creative energies of the selected 200 art-

ists, and spend almost a week with them.

This will be a unique, inspiring experience, and I hope to expand my horizons, both internally and externally.

Anna: I hope to find a safe and inspiring space to explore the ideas growing in me, expand my global film family, and draw inspiration from other minds and hearts for possible future collaborations. After the extraordinary success of my feature debut Smoke Sauna Sisterhood, places like Berlinale Talents are crucial for landing and gathering inspiration for new ideas.

What projects are you working on right now?

Anna: The Smoke Sauna Sisterhood world tour is not yet over, even though I have toured the world non-stop with very high intensity throughout 2023. I am working on taking more time to rest, answer all my unanswered emails, start developing new ideas, and finish projects I started before the release of Smoke Sauna Sisterhood.

Tushar: Together with Anna Hints, we are completing our short documentary, An Estonian Man, our debut production under our production company KAE NOH. In this film, I go to Anna’s relatives in the farms of South Estonia to learn how to become an Estonian man. The documentary delves into the realms of masculinity, traditions, and cultural boundaries.

What are your future plans? Any projects in development?

Tushar: Currently, I am pursuing a master’s degree in Folkloristics and Applied Heritage Studies at the University of Tartu. As part of my final project, I am developing a feature-length film script that explores a unique connection between India and Estonia. Simultaneously, I am creatively collaborating with Anna on her upcoming projects.

Anna: Not a day passes without someone asking me: “So, Anna, what will you do next?” People ask because they really want to see my next feature film, possibly collaborate or support. But it is also pressure. If I took that pressure in, I would feel very enslaved by this question. For me, the task is to keep the creative freedom and courage flowing, take risks, and listen to my voice. As an artist, I feel one must always be ready to “fail.” I intend to take a year where I explore ideas that I feel growing inside me, go to spaces like Berlinale Talents that inspire me, and choose what to work on as my next feature film.

What is the most burning question for you right now in terms of filmmaking?

Anna: How to burn creatively, yet not burn out? This is a truly burning question inside me, and I believe it needs an answer from all of us in the film industry. BF Tushar Prakash, first on the left at the premiere of Smoke Sauna Sisterhood at Sundance.

Tushar Prakash is an Indian-born filmmaker who resides and works in Estonia. He is a graduate of the National Polish Film School in Łódz. His graduation film, Jestem OK, screened at various festivals worldwide, including the New Horizons Film Festival in Wroclaw. Tushar co-directed Karma Killings, marking it as the first Indian documentary acquired by Netflix.

In 2015, he participated in La Fabrique Des Cinémas Du Monde at the Cannes Film Festival, where he was mentored by Claire Denis. Tushar Prakash also served as one of the editors of Anna Hints’ multi-awarded feature-length debut documentary Smoke Sauna Sisterhood.

Anna Hints, an Estonian film director with a background in contemporary art and experimental folk music, gained acclaim with her debut documentary Smoke Sauna Sisterhood. The film, winning the Directing Award at Sundance Film Festival and the Audentia Award from Eurimages, was Estonia’s entry at the 96th Academy Awards. The film has won 20 awards, including Best Documentary at the European Film Awards, and has been distributed to 32 territories. Anna, also a member of the electronic-folk trio EETER, contributed to the score for Wind Sculpted Land, and collaborated with Icelandic composer Eðvarð Egilsson on Smoke Sauna Sisterhood, which continues to tour festivals globally.

Anna Hints

Photos by Alexandra Film

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DIRECTOR

A TIMELESS Parable about DARKNESS The feature film Maria’s Silence by Latvian director Dāvis Sīmanis, part of the Berlinale Forum programme, seamlessly aligns with the director’s established thematic focus on history evident in his previous works.

By Sonora Broka Photos by Agnese Zeltiņa and Lauris Aizupietis

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xiled (2016) delves into the aftermath of the First World War, unfolding in a remote sanatorium dedicated to treating contused and mentally traumatised soldiers.

The Mover (2018) centres on Žanis Lipke and his family, narrating their efforts in saving over 50 Jews during the Second World War; meanwhile, The Year Before the War (2021) ventures into surreal historical fantasy, set in 1913 just before the First World War, capturing the unravelling of the world.

The historical drama Maria’s Silence explores a brief yet pivotal period in the life of Latvian-born actress and German silent film and theatre star Marija Leiko (1887–1938). Transitioning from the zenith of her career in Germany and work at the Latvian National Theatre, Leiko as a middle-aged woman finds herself drawn in the vortex of time and values, specifically in the epicentre of Stalin’s Great Terror in Moscow. The film unfolds during the period preceding the tragic Latvian Operation, when Leiko works at Moscow’s Latvian theatre, Skatuve.

Shot in black-and-white, the film draws inspiration from Leiko’s roles in expressionist cinema and symbolically reflects social disintegration. Collaborating with his reliable creative team, including cine-

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matographer Andrejs Rudzāts and production designer Kristīne Jurjāne, director Dāvis Sīmanis crafts a timeless parable, shedding light on a political system where every individual is merely a pawn on the chessboard.

Marija Leiko is the most internationally known Latvian actress of the early 20th century, having featured in W. F. Murnau’s films. However, her name lacks recognition in present-day Latvia.

What drew you to Marija Leiko’s story, prompting you to create a film?

In my view, Marija Leiko’s life story encapsulates what we often term ‘the whole world going mad’ this period, commencing with the First World War, the Russian and German revolutions, and extending into the interwar era marked by autocratic regimes.

As she travels through different countries during these times, her experiences and presence serve as a historical prism. Perhaps most importantly, this allows us to view these events not narrowly, from a singular perspective, but to shed light on the entire first half of the 20th century, encompassing all the typical political and cultural vicissitudes, as well as historical disasters of that era.

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In your film, Marija Leiko is portrayed in her middle age. What was her life like before the events depicted in the film?

Marija’s life was undeniably eventful. She left Latvia in the early 20th century due to threats of imprisonment facing her then-partner. Having studied acting in Copenhagen and Vienna, she subsequently secured a position in a German theatre, initiating her career as a theatre actress. She swiftly gained acclaim in the burgeoning film industry of the Weimar Republic, featuring in significant films of the early 1920s, including those directed by Murnau and other prominent filmmakers.

Post this period, Leiko continued her work in theatre, collaborating with luminaries such as Bertolt Brecht and Erwin Piscator, participating in German political theatre, before eventually leaving Germany. Her departure was likely linked to diminishing job opportunities in the theatre. Simultaneously, the film industry had undergone a transition from silent cinema to sound cinema, where roles suitable for her age were no longer available. Consequently, Leiko returned to Latvia and resumed her work at the National Theatre, steadfastly upholding her identity as an actress.

A poignant event unfolds when her daughter dies during childbirth (depicted in Moscow in the film, though in reality it happened in Tbilisi, Georgia). However, Marija’s granddaughter Nora survives. With no one to care for the child, Marija Leiko decides to go to the USSR and adopt her. Shortly before her return to Latvia, compelled or invited by certain influential Soviet figures, she lingers in Moscow, becoming entangled in political turmoil resulting in the destruction of

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In 1937 Marija Leiko arrives in Moscow for a brief visit. How­ ever, fate decides otherwise, and the actress, along with other artists from the Latvian theatre Skatuve, is exterminated.

numerous individuals solely based on their nationality.

In Leiko’s case, it was the Latvian Operation – an orchestrated, systematic extermination of Latvians in the Soviet Union carried out by the People’s Commissariat for Internal Affairs or NKVD in 1938, which claimed the lives of 20,000 people, with many others being imprisoned.

The significance of the power-individual confrontation resonates with me, especially that defining moment when an individual stands alone against an irrational system, unable to find an explanation and guided solely by their instincts. In Leiko’s case, two instincts are evident: firstly, the desire to care for her granddaughter, aspiring to be a mother in a way she hadn’t been due to her intense acting career, and secondly, the pursuit of self-realisation as an actress.

Consequently, while remaining in Moscow, Marija Leiko becomes involved in the Latvian theatre Skatuve. Its liquidation is perhaps one of the bestknown episodes within the broader context of national operations during the Great Terror. The theatre company faced near-complete destruction, with Maria Leiko counted among its casualties. But we can now picture the child who was three at the time, ending up in some kind of foster facility. And perhaps, in the vast expanses of Russia, there exists an almost 90-year-old woman who will never come to know that she is the daughter of Marija Leiko’s daughter, Nora – also named Nora.

construct hypothetical situations. Additionally, the film endeavours to highlight contrasting everyday scenes, which don’t necessarily relate directly to Marija Leiko’s life or her fate. Instead, they describe the environment surrounding her, sometimes in a sarcastic or ironic manner, but she either pretends not to see this environment or simply cannot.

The emotional temperature of these small scenes of everyday life also changes. For example, when we see lorries marked “Bread” (Xлеб), which, in reality, are used to transport arrested individuals.

Much like in Leiko’s own life, a certain danger or

The significance of the power-individual confrontation resonates with me, especially that defining moment when an individual stands alone against an irrational system, unable to find an explanation and guided solely by their instincts.

How did you approach this work – as a historical drama based on factual material, or perhaps more as a construction, a version of what could have happened or would have happened to any person of Leiko’s stature, ending up in the Soviet Union at that time?

To be honest, the film’s approach falls somewhere between these two models. Many aspects are rooted in historical sources, and research played an important role in shaping the film’s plot. Simultaneously, it’s evident that there are many blank spots – this period in Marija Leiko’s life has the least available evidence. Addressing these gaps involved studying the fates of similar individuals in the Soviet Union. We aimed to comprehend their lives, understand the dynamics of power interactions, and then, based on that understanding,

Maria’s Silence is a story of aggression and absurdity of the totalitarian power.

threat gradually intensifies, permeating everyday life and the city’s existence. This danger continually escalates, and from this perspective, the lorries in the film assume an almost symbolic significance.

These are genuine historical facts – to avoid unwanted attention and reasonable suspicions that individuals were being taken away to prisons or destined for execution in landfills (Cheka-established sites at the time, where mass extermination occurred, akin to the Holocaust), lorries marked “Xлеб,” ostensibly transporting bread, were employed. It is a profoundly tragic yet simultaneously ironic situation – like loaves of bread stacked on shelves for delivery, people are crammed into the very same lorries bearing the exact same inscription.

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DIRECTOR What served as the key to Marija’s image, her appearance, plasticity, and psychological portrayal? Have any films or excerpts survived where Leiko can be seen? Or did you not strive for a visual likeness?

Several films showcasing Marija Leiko’s acting during her younger years have survived, along with photos that capture her appearance. However, in our case, physical likeness may not have been the foremost consideration. Of course, we explored certain parallels, but it was not our primary focus. Our aim was to portray Marija Leiko as distinctly different in every environment she encountered. She needed to stand apart from the Latvians of Latvia and also from the people in the Soviet Union, in Moscow, burdened by the weight of everyday life or power. To underscore this contrast, she appears as if floating above, akin to a slightly levitating element in the film, connected to reality by subtle, even imperceptible threads. She doesn’t conform to the ordinary; she remains in a state of levitation consistently. Marija is unique not only due to her appearance but also as a kind of porcelain figure that stands out in the surrounding environment.

In the film, Marija does not take a political stance; her reactions and choices are guided by general human values or, in the case of theatre, artistic values, unlike, for example, Latvian director Asja Lācis, who headed the theatre Skatuve in Moscow and prior to that, in the 1920s, was active in leftwing underground organisations in Latvia.

This aspect is crucial to me because, for most people, the decision to travel to and stay in the Soviet Union would be a political choice. However, in my attempt to get to know and truly understand Marija Leiko, I increasingly became convinced that, in her case, the situation is quite the opposite – it is an entirely apolitical choice driven by external factors, such as completing paperwork and securing the chance to take her granddaughter out of the Soviet Union. Offers in the theatre also play a role, but without a political discourse. Consequently, she relatively easily adapts to the society of the Soviet elite. Initially, it is apparent that she fails to comprehend the horror of this system, the potential threats, and the eventual possibility that she could be used as a pawn in a larger game. As an actress from the bourgeois Western world who has chosen life in the Soviet Union, she unwittingly becomes a wonderful propaganda tool.

This lack of awareness, perhaps, is the great tragedy of Marija. She places trust in humanity, but in the country where she has ended up, humanity is absent.

This contradiction reveals itself to her much too late.

What does Maria’s silence entail? Is it merely her being quiet?

Silence manifests in various forms, including the absence of discussion about this particular period – insufficient historical discourse on the repressions dur-

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I believe films should serve as history lessons, reminding us of disasters that should not be repeated. ing the Great Terror. Even within the context of Latvia, there’s a tendency to dismiss concerns, viewing those affected as Red Latvians, a pathetic group of people without any ties to Latvia. While there is some truth in this perspective, as they do not strongly identify with Latvian culture, it is crucial to recognise that the very reason for their persecution was their Latvian identity, not any affiliation with cosmopolitan internationalism.

Silence is also intertwined with the image of the silent film actress. In the film, it’s a deliberate choice – Marija, in contrast to other characters, speaks minimally, breaking her silence only in moments of confrontation. This intentional silence, in my view, encapsulates an internal tragedy one embraces when attempting to withdraw from the world, delving deeper into one’s self – an intricate space of silence that holds a complex significance.

I believe films should serve as history lessons, reminding us of disasters that should not be repeated.

Yet, for the second time, I feel a sense of failure. Instead of serving as a reminder and an attempt to address past trauma, the film has become a poignant parallel to our current times. These parallels run deep – encompassing the war ignited by Russia in Ukraine, right here in Europe, along with Russia’s internal repressions and a myriad of global political shifts, including the rise of both right-wing and left-wing radicalism everywhere in the world, including Europe. It leaves me somewhat perplexed. I can’t shake the feeling that our film has somehow jinxed the world’s current state.

Could you share insights into your collaboration with screenwriter Magali Negroni?

Magali Negroni played a crucial role in stripping away any local constraints from this story; suddenly, an outsider’s perspective emerged, posing questions about things we had taken for granted. This allowed us to eliminate the unnecessary while simultaneously intensifying the emotional journey of the film’s characters, universalising the narrative and transcending its historical confines. In my view, her contribution to the screenplay during its final stages was incredibly valuable – she served as a powerful editor, organising both my thoughts and the screenplay itself. Moreover, her involvement prompted me to consider not only the screenplay but also the direction, as Magali possesses the ability to provide immediate impulses that guide both the writing and the directorial decisions. This was particularly significant because it addresses a prevalent issue in local cinema,

not only in Latvia but also in other countries – the tendency to take certain elements for granted.

The scene where the protagonist is interrogated occupies a significant portion of screen time.

Could you elaborate on why this emphasis, with its physiological directness and prolonged duration, was crucial in the film?

This choice stems from the acknowledgment that the Great Terror represented the most brutal repressions in human history. Drawing a parallel, one might compare the atrocities committed against the victims during that time to the shocking events when Hamas terrorists stormed Israeli kibbutzim on October 7 – pure cruelty devoid of humanity, an absolute epitome of irrational violence. Often, this aspect is overlooked; films tend to portray brief interrogations followed by execution. However, it was paramount for me that this scene does not give the impression that everything was so simple. I aimed for the viewer to sense how a person is brought to a state where they are absolutely and utterly broken. The exceptional film Interrogation (Ryszard Bugajski, 1982), possibly the finest Polish film ever made, served as a significant inspiration. For me, it is a brilliant illustration of how cruelty can become a systemic practice, devoid of any humane boundaries. Our film includes a small quote from Interrogation, intending to guide the audience back to this film as I believe it aptly captures the essence, so that no one gets the slightest impression that it happened ‘just like that’.

No, it happened in a way that we are not even closely able to reconstruct in our film, but at least we are striving in that direction.

Almost all exterior shots and most of the action takes place in darkness, without any daylight, creating a pervasive sense of doom, almost as if shot on a soundstage. Why did you make this choice?

Firstly, the term ‘silence,’ particularly Maria’s Silence, is associated with darkness for me. However, I believe this choice extends beyond mere aesthetics.

It symbolises the historical period – the interwar era, which I perceive as a time of darkness. The compromised notion of enlightenment, the emergence of extreme populist and authoritarian sentiments, political radicalisation, total collectivisation, and mass thinking conjointly define this period as one shrouded in darkness. Hence, in the film, what might be perceived as mere nocturnal scenes are, perhaps not so subtly, a metaphor for the broader darkness that encapsulates this historical epoch. BF BALTIC FILM

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NEWS

NEW CATS

ON THE BLOCK As the spirited short animation Miisufy prepares to screen at Sundance and Clermont-Ferrand, director Liisi Grünberg and producer Aurelia Aasa reveal how the story of a virtual cat living inside an app that refuses to yield to domestication came to life.

Aurelia: I’d like to add that at the film’s core is how willingly we spend so much time in that space without truly seeing ourselves from the side. This perspective is really interesting. We see how the digital pet sees us.

By Mirjam Mikk/EFI

Liisi, this was your directorial debut.

How did you approach the story, what did you especially concentrate on?

H

ow did the idea of Miisufy come about and develop?

Aurelia: I came across Liisi’s drawings on Instagram, fragments from a comic she was working on, and I reached out to her. Liisi’s background in illustration stands out in her work, as animation isn’t usually so detailed. No one typically draws different patterns on the characters’ dresses, for example, so it is quite rare. Regarding the story, what attracted me in Liisi’s illustrations was the complicated apocalyptic

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world, but most importantly, the cats! We began working with the cats and brainstorming an interesting background story for them.

Liisi: The comic initially focused on A.I. and a world evolving based on people’s media usage and behaviours. It developed into cats because everyone on the internet loves cats. We then took these characters and started brainstorming story ideas.

For me, the film’s story is not so much about A.I., but rather the relationship between a person and their smartphone.

Liisi: Drawing from my experience designing characters in comics, I applied some approaches and techniques into the animation. The story world we created was more extensive than we could fit into the short film. We initially discussed much more about the world the cats live in and the life of the main character.

What we couldn’t tell explicitly, we hinted at through background and environments, suggesting there’s more going on than we see in the plot. It was like solving

You used Blender, free animation software?

Liisi: Accessible software for making animation is amazing. I wanted to use freeware, and since I needed to do digital cutout animation to execute the drawings, Blender seemed like the best choice.

Aurelia, you had immense successes with Sierra (dir. Sander Joon, 2022), your first production. Was it easy or, on the contrary, tough, to move onto Miisufy?

Aurelia: Actually, we were developing Miisufy parallel to when Sierra was in production. And when Sierra was travelling the world, we were making Miisufy.

Each project is different, but what is similar in my approach is a sense of humour and a distinct visual style that I try to bring by finding authors who capture that. When we started working on Miisufy’s sound and releasing the film, it was during the time I was eating crispy chicken in bed because we didn’t get an Oscars

The film’s core is how willingly we spend so much time in that space without truly seeing ourselves from the side. nomination for Sierra. (chuckles) It was an emotionally tough period, but it pushed me to do something. Now, going to Sundance and Clermont-Ferrand makes it worth getting out of bed.

tion Yummy (dir. Martinus Klemet) in the works, and I’m developing a feature animation with director Sander Joon (Sierra). Regarding Miisufy...

Liisi: A computer game?

Miisufy has already screened in interesting programmes at other great festivals as well, right?

Aurelia: Yeah, we should do a computer game. (chuckles) In the very beginning, when we started to develop the story, I thought it had the potential to be a series, allowing us to delve more into each of the cats’ psyches.

Aurelia: Yes. One of the best programmes was in Finland (Helsinki IFF – Love & Anarchy) where Miisufy was shown with other technology-themed films, creating a really good vibe. All the films complemented each other.

Do you have any plans to develop the story-world of Miisufy or perhaps anything else in the works?

Aurelia: I currently have a short anima-

From left: Nina Ovsová (additional back­ grounds artist), Liisi Grünberg, Aurelia Aasa

Photo by Sander Joon

a puzzle, and I enjoy mysteries. How to connect scenes organically was a very interesting problem-solving exercise.

So, we might get a chance to delve into Miisufy universe in the future?

Liisi: Of course. Always.

Aurelia: But we’ll see what the future has in store fo us. Maybe we’ll start cracking on something completely new together. BF

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TALENT

DŽIUGAS GRINYS

A Rising Star’s Journey through Theatre, Cinema and Nostalgia Transitioning from theatre to cinema, and gracing the star-studded Berlinale film festival stage, Džiugas Grinys stands out as one of Europe’s most promising young actors. Meet the Lithuanian actor featured in the European Shooting Stars programme.

By Gabija Plukė Photo by Tomas Kauneckas

D

žiugas, your recent portrayal of Rimants in the comedy Southern Chronicles is garnering attention.

Could you shed more light on the character you bring to life?

After Lithuania regained its independence in 1990, there was a shift towards embracing Western culture and distancing ourselves from the East. With newfound freedom after years of oppression, people experienced an abundance of freedom that proved challenging to control. In the midst of flourishing crime, individuals had to be vigilant, always looking over their shoulders, and facing the difficulty of distinguishing between authentic and fake goods. It was a challenging time to trust anyone.

To feel secure and show he’s no longer a child, Rimants, a young adult in the Southern District of his city, goes after money, power, and authority. He insists it’s now the time to be a winner or a loser, and he refuses to be the latter. So, Rimants takes up rugby, sells bread in Riga, dons an original Chicago Bulls jacket, and rocks tracksuits. Ironically, in his quest for something genuine and authentic, he finds himself lost among counterfeits. But everything changes when he meets Monika and falls in love. Rimants’ values shift,

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introducing him to a different world of literature, music, and art. He dives in, starts creating, and opens up his inner world.

Do you draw any parallels between Rimants and yourself?

The main similarity is that we were both lifted out of our tracksuits. Much like Rimants, I was an athlete who, in pursuit of a girl I admired, transitioned into art and eventually found my way to acting.

Your journey from being an athlete to an actor is quite a sharp turn. Could you elaborate on how this shift transpired?

I played handball from elementary school to graduation, confident that I would turn professional. Things were progressing well; I played for my city’s men’s team and belonged to the national team for my age group in Lithuania. My plan was to complete school, relocate to Vilnius or Kaunas, join a top-league team, and eventually pursue opportunities abroad.

However, during one match, I suffered a severe leg injury that necessitated surgery and an extensive rehabilitation period. I struggled immensely through this phase; being in excellent shape, I suddenly took a

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Photo by Lukas Juzėnas

However, when I attended practice... the next morning, I discovered muscles I didn’t even know existed; everything ached.

Returning to your role as Rimants, how did you prepare for the role?

Initially, I had to acquaint myself with rugby. Prior to securing the role, I hadn’t witnessed a match since rugby isn’t the most popular sport in Lithuania, and for the majority of my life, I played handball. I delved into watching match recordings, engaging with the sport, and gradually developed a fascination for it. I watched extensively, feeling like I was beginning to grasp something not as complex as it initially seemed.

However, when I attended practice... the next morning, I discovered muscles I didn’t even know existed; everything ached. Stepping onto the field, I comprehended the technical, strategic, and physical demands of rugby. Consequently, I initiated a fitness regimen and added some extra weight so I wouldn’t feel like a stick among rugby players.

In addition to script analysis and rehearsals, I had to master the Šiauliai dialect. As someone accustomed to a completely different dialect, this proved to be quite a challenge. The Šiauliai dialect is rich in nuances, with even the locals disagreeing on some of them.

Hence, I immersed myself in speaking the Šiauliai dialect in everyday life until I could improvise freely. To be candid, the most challenging part was shaving off my beard and adapting to not twirling it around my finger.

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Photo by Laurynas Rekys

significant step backward due to such a serious injury at the onset of my career – it’s a dreadful experience, and its impact will always linger. I resolved to explore an alternative path for my future.

As I mentioned, back in school, in an attempt to get closer to a girl I admired, I hosted several events and received numerous positive reviews afterward.

The excitement, thrill, and the overall experience on stage captivated me profoundly. I believed I could transform it into a profession, so I decided to pursue acting. Successfully passing the entrance exams, I enrolled in the course of Oskaras Koršunovas (a renowned Lithuanian theatre director Ω editor’s note).

I made the transition remarkably swiftly. The initial semester posed challenges, but something clicked within me during the second semester, and since then, I have not doubted that I am precisely where I should be.

Džiugas Grinys on the set of Southern Chronicles

As someone who left school a while ago, how was it to revisit that period for the film and embody a character studying in school?

It wasn’t overly challenging. I frequently reflect on my teenage years, so I’m not too distant from that stage, and I understand my relationship with the environment and myself during that time quite well. It might have been helpful that, during the filming of the movie, I attended two premieres at a theatre where I portrayed a child/teenager.

The action in this movie unfolds during the 1990s, a pivotal period in modern Lithuania’s establishment. How do the ‘90s resonate with you, and what’s your connection to the era depicted in the film?

I was born in 1998, so I haven’t experienced that pe-

Photo by Ugnius Dedynas

Photo by Lukas Juzėnas

riod first hand, lacking a direct connection to it. Instead, I carry it in my imagination, shaped by stories and literature. The ‘90s hold great significance for Lithuania, marked by abrupt changes and a rapid transformation that seems somewhat exotic to me.

I’m pleased to have the opportunity to explore the wild ‘90s, particularly through cinema.

Southern Chronicles marks your main role debut in cinema, with the majority of your previous work focused on theatre. How was the transition from the stage to the film set?

The transition unfolded naturally, requiring no forced adjustments. Essentially, my task remains the same in both theatre and cinema – to interact with my partners, engage the audience, and make them believe in the performance. While the specifics and subtleties of acting in film differ significantly, fuelled by intuition and immense curiosity, I quickly adapted, often understanding what needed to be done without explicit definition.

This approach to cinema captivates me. It involves deliberately forgetting what is ‘learned’ about acting and surrendering to the feeling, allowing the character, the soul to which you lend your body, to guide you through the story. It results in a unique and sincere performance. I’m deeply grateful to the entire film crew, especially director Ignas Miškinis, for their

tremendous support, valuable lessons, and the vulnerability I was able to experience while joyfully creating.

This work was a wonderful and unforgettable experience.

What do you find most challenging, both in theatre and in cinema?

In theatre, the most challenging part is avoiding boredom, maintaining curiosity, and freshness while performing the same play multiple times. It involves creating the role anew every time I step onto the stage, resisting the temptation of the easiest execution. It’s a challenge because the immense inspiration doesn’t strike every evening; there are times when you might be tired or sad. Yet, for the audience, it becomes uninteresting when the role no longer leaves unanswered questions, losing its mystery, risking boredom. My teacher, Darius Meškauskas, instilled in me the idea that we’re interesting on stage only to the extent that we are ruthless with ourselves.

In cinema, the most challenging aspect for me is portraying different stages of a character’s life non-chronologically. You might start filming from the last scene, not fully settled into the role, yet required to perform a crucial, character-defining scene. This happens even though you haven’t fully experienced or understood what led to that point. On the other

Photos by Lukas Juzėnas

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TALENT play Equus by Peter Shaffer at the Lithuanian National Drama Theatre. Creating that character, I set the bar high for myself, and through a challenging, physically and spiritually demanding, wonderfully explorative creative process, I leaped over it. The most crucial discovery was a new sense and understanding of theatrical truth – the character constantly dwells in extreme mental states. Within the fourhour duration of the performance, he traverses the entire spectrum of psychological experiences and soul-shattering ruptures, from the most horrific nightmares to immeasurable bliss. To accomplish this, every scene had to become deeply personal to me. This role cannot be performed with a cold detachment; it demands bearing one’s soul to the audience and fellow actors. Otherwise, by starting to lie, the performance would collapse. Thus, this role expanded and continues to expand the boundaries of my capabilities as an actor.

What do you consider your inspiration?

It’s ever-changing. One day it might be nature, another day a painting, or even a cashier at Lidl – something new always emerges.

Are there any directors you’d like to work with?

For now, in my creative journey, fate brings me to those individuals I need the most at that moment, without naming them out loud. I will continue to trust that; it knows better.

What’s your favourite movie?

Photos by Lukas Juzėnas

Werner Herzog’s My Best Friend.

What can we expect in the future? More theatre or more movies? Perhaps you’re working on some new projects?

I don’t know; for now, I don’t want to prioritise one over the other. There are planned projects on both fronts. BF hand, it’s incredibly fascinating because it sparks new thoughts about previous scenes in the film, sometimes adding depth and enriching the content.

However, starting not from the beginning is a bit daunting.

Another aspect worth noting is that in theatre, you’re a creator as long as the play is being performed.

Plays are often rehearsed, allowing for adjustments or expansions during each show. In cinema, you create until the film is shot, and once it’s captured by the camera, you can’t change it anymore. The thought that you could have done it differently sometimes doesn’t offer peace of mind.

Is there any role that has influenced you as an actor the most?

All the significant roles have influenced me, but if I had to single one out, it would be Alan Strang in the

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NEWS

Cottbus award takes the post-production of Border Wall to Germany

By Baltic Productions

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n a small city near the national border, an ornithologist, grappling with solitude after his wife’s passing, endeavours to care for his autistic teenage daughter. Fleeing responsibility for a near-deadly hit-and-run accident, he unwittingly entangles himself in the perilous world of smuggling.

Director Ignas Jonynas explains, “In the film Border Wall, I’m not primarily interested in dissecting the political aspects of freedom; I aim to explore the protagonist’s internal struggles. The illegal crossing of the border and participation in smuggling activities are only as significant as the catharsis of the main character’s psychological turmoil. The entire film revolves around the idea of crossing the border, closely related to what Vilius does for a living – ornithology. He observes migrating ducks,

whose natural prerogative is to be oblivious to existing borders. He attempts to do the same. However, a human being is bound to follow social, not natural laws. It is not only the birds but also the entire coastal nature that plays a significant role in this film, where a person and nature seem to merge.

The film is produced by Ruta Jekentaite, Martynas Mickenas from Baltic Productions. “Principal shooting for Border Wall concluded in 2023. We kicked off

Director Ignas Jonynas, the Lithuanian film director, is gearing up for the release of his third feature film, Border Wall.

Before making his mark in cinema, Ignas spent almost a decade in the theatre, directed radio shows, and as part of the first generation of Baltic region advertisers, he wrote and produced numerous commercials, showcasing his diverse creative talents.

His debut feature, The Gambler (2013), not only received national acclaim but also achieved a significant milestone as the first Lithuanian film to premiere at the San Sebastian Film Festival.

Ignas continued his cinematic journey with Invisible (2019), his second feature, which garnered success both domestically and internationally, further establishing him as a promising Eastern European filmmaker. With an authentic visual language, Ignas is recognised for his ability to craft compelling narratives that resonate with audiences.

2024 by achieving a picture lock and initiating post-production. A significant portion of the post-production work has been relocated to Germany, attributed to the film earning the prestigious main award at the East-West co-production market at FilmFestival Cottbus,” says producer Ruta Jekentaite.

“The film made its public debut in the cocoWIP section, securing both the D-Facto Motion WIP Award and the Studio Beep Sound Post-Production Award. The jury praised the film for its powerful cinematography, mysterious characters, and evocative metaphors.” BF BALTIC FILM

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DIRECTOR

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Against the Spirit of the Times After a prolonged hiatus from feature films, director Marko Raat makes a return with 8 Views of Lake Biwa, a collection of eight love stories from Japan set against the backdrop of the Estonian countryside.

By Andrei Liimets Photos by Virge Viertek

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n the early 2000s, you were among the most active filmmakers in Estonia, winning the film critics’ yearly award twice. Now, there’s been over a decade between two of your feature films. Why such a long hiatus?

It’s not unique. If you don’t become a messiah with your first or second film - not winning significant awards or garnering hundreds of thousands of viewers in Estonia - you end up at the back of the line.

Officially, it’s not like that, but filmmakers don’t have a stable place to start their next project, and it’s easy to say no. Inevitably, you fall into a hole. You try for a while, but if things don’t work out, you think that maybe you should do something else in the meantime.

On the other hand, I’ve been working with documentary films since the end of school, and I quickly got a taste for it. I could pursue the same things there, experience the same tension on set, the excitement of planning, and use very similar methods to diffuse the tension of the main characters. It’s just that it’s so much more time-consuming for the “non-actors” to have authentic moments in front of the camera. At the same time, you have the time when working alone, and I really enjoy filming myself. I wasn’t even sure if I wanted to make another feature film. I understand Mark Soosaar very well, why he gave up on fiction after one film.

At a time when nothing was taking off, friends suggested making an exhibition for the Estonian

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Photo by Tristan Czar Aasmäe

DIRECTOR

National Museum. It absorbed me for eight years.

Over a hundred audio-visual units accumulated.

However, some ideas still lingered for a feature film. Then others started nudging me to try again, and the longing for work with actors grew. Producer Ivo Felt also started pushing, saying that now that the ENM is done, we should give it a try. I took out something from the drawer that had been haunting me, and that’s how I returned to 8 Views of Lake Biwa.

Why did you want to tell this particular story?

The motivation behind it is my interest in archaic ways of thinking: magical thinking, mythologies, traditions, all ancient texts, whether in their original form or reworked into fairy tales. It’s all so different from our current personality-centred narcissism. It has been the foundation of human cognition for millennia, not only in Western society but worldwide.

With the Enlightenment and the revolution of humanism, we disdainfully threw it away and declared it ridiculous.

When I read the book 8 Views of Lake Biwa in 2005, the images for the film started flowing, but I didn’t immediately find the directorial key because I couldn’t articulate for myself why I wanted to bring these Japanese stories to Estonia. But then it occurred to me that this material is based on universal magical thinking – the belief that all things in the world are directly interconnected. And at the same time, Biwa is free from cultural associations that might be too familiar to me.

While working for ENM, I also got closer to the world of magical thinking. I had the chance to read authentic protocols of witch trials, and what fascinated me was not the violence- and fear-based narrative that we mainly know about these trials, but the authentic magical thinking documented in the 17th and 18th centuries in those cases. The tragedy of science is that it is very resource intensive. Considering arguments for and against, weighing pros and cons, is somewhat against the spontaneous and impatient human nature.

Therefore, many decisions are still made based on

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Marko Raat on the set of 8 Views of Lake Biwa.

that same magical thinking, and in many cases, it’s difficult to determine which approach is ultimately more effective. Science, at the same time, compromises itself by saying that we’ll have more data tomorrow, so we might say something else. Not to mention the arrogance towards things that science cannot describe.

I became immensely interested in making a film with characters who derive 100% from magical thinking, accepting themselves as part of the universe, as you feel when living in direct contact with the environment. A classic example of magical thinking: storks have left, bad weather is coming. No one knew where the storks were going, but there was a direct connection – the weather was clearly getting cold because the storks were leaving. Or a more modern example heard frequently this summer: what global warming, it’s such a cold summer day! Climate and the weather of one day are very different things, but a person thinking magically sees only an immediate connection.

Why did this text resonate with you?

The fatalistic acceptance of certain conditions by characters and the perceived irrationality in their decisions intrigued me. The Enlightenment brought us complete individualism and measuring everything in pragmatic values. Poetry, as one of the ways of magical thinking, is fundamentally important to me, offering a way to step out of tiresome rationality.

As Estonians, we currently define ourselves as a Western society, yet there is a certain restraint and closeness to nature shared with the Japanese. How many similarities do you see between these two cultures?

Emotional restraint is not a wrong parallel at all. I went to Japan for the first time in my life this spring, to Lake Biwa, after filming, and it’s incredibly pleas-

BALTIC FILM Photo by Tristan Czar Aasmäe

ant to travel on a plane without annoying chatter.

There is something similar in our psychological response – everything is boiling and exploding inside, but it may not be very apparent externally. Although the goal wasn’t to make the film emotionally neutral, we did think about the special body language and dignity of the Japanese, in collaboration with the actors.

To add another layer of specificity to the culture, you set the story by Lake Peipus. You have a country house in another part of Estonia, in Nõva. Why this decision?

For me, it was a logical choice. If magical thinking has survived anywhere, at least in our imagination, it’s in these peripheral areas. That’s why Setomaa and Võrumaa are so dear to us, with all their syncretistic and lively confusing village Christianity, which has nothing to do with university theology. We like to believe that even that isolated, independent, and compact Old Believers community is like that. As a film viewer, I find it easier to believe that modern young people there might behave differently and unexpectedly. The goal was to have a timeless yet contemporary story. Specific era-accurate things like phones, computers, and cars were deliberately excluded. The only machines you see are a boat motor and, when the big world intrudes, a military truck.

Archaic stories often have a very masculine, male-centric perspective. To what extent did you sense that the stories in 8 Views of Lake Biwa are somewhat outdated for today?

The Biwa book is indeed old-school dramaturgy in that sense. I was even a bit surprised that the screenplay got approved, but I didn’t want to, nor could I, politically correct it. Like most old fairy tales, this

8 Views of Lake Biwa Genre: coming of age, drama Director and Screenwriter: Marko Raat Cinematographer: Sten Johan Lill E.S.C. Production Designer: Kristina Lõuk Editor: Jaak Ollino Jr Composer: Jakob Juhkam Sound: Karri Niinivaara Main cast: Elina Masing, Tiina Tauraite, Jan Uuspõld, Hendrik Toompere Producers: Ivo Felt, Dora Nedeczky Co-producers: Mark Lwoff, Misha Jaari Produced by: Allfilm (EE), Bufo (FI) Sales: Film Republic / Xavier Henry-Rashid / xavier@filmrepublic.biz World premiere: International Film Festival Rotterdam, January 2024 126 min / DCP / 1.85:1 / 5.1 On the shimmering shores of Europe’s otherworldly edge, two teenage girls, Hanake and her best friend are discussing their first love interest while gazing out at yachts sailing to Kyoto. They whisper prayers and poems, the language of their longings. But the magic is fading in their isolated fishing village as they come to terms with a recent disaster, with some indulging in acts of erotic art, some in spiritual spells. It becomes clear that intimacy alone won’t help them process their loss.

Director Marko Raat and 1st AD Kadri Kask on the set of 8 Views of Lake Biwa.

story is full of women suffering due to men, but outside the contemporary issues of the white-collar power elite, I still don’t believe in suffering men.

Therefore, female characters in this film’s village setting are hit harder. I don’t see the point in formally reversing roles, which is done a lot nowadays – it doesn’t add anything new to the artistic field. I’m eagerly awaiting a different female perspective and fresh characters – not just flipping genders and power positions in the same stories, with tired macho-empowered narratives.

Love stories often have caricatured expectations of a happy ending. In your stories, there’s brutality, violence. Why did this become one of the main themes?

Love is also cruel, and Dauthendy (The basis of the film script is the book of the German Japanophile Max Dauthendy, published in 1911, with the same name - AL) already had the genre exactly in place – these interwoven love stories are tragedies. In a tragedy, the protagonist must perish, and I remained BALTIC FILM

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Photos by Vahur Puik

DIRECTOR

Tommi Korpela

true to the genre. Brutality and beauty simultaneously come from the world of fairy tales. Fairy tales are euphemisms for talking about harsh things through flowers. Society has always been two-faced, and some things can only be expressed through a conventionally stylized artistic language; otherwise, it would be unbearable.

Which emotion is stronger in humans – the ability to love or to hate?

I’m afraid it’s hate. Hate is a very strong and straightforward emotion. I often see on set how easy it is for an actor to ignite from hate. However, it is generally terribly boring. Loving is more challenging, and the means to show it can be very diverse.

You have a very interesting ensemble of actors – Jan Uuspõld, more known for comedy, the young rebel Jarmo Reha, and Tommi Korpela from Finland. Was there a clear logic behind your choices?

It’s an ensemble play, and I really like putting together experienced and less experienced actors. Their energies are different and refreshing for both. Sometimes there’s an itch about an actor – you want to see them from a different angle that maybe hasn’t been seen before but which you believe is hidden there. I see dormant potentials in many experienced actors that I want to try to uncover. Whether we reach that interesting place is a separate issue. These actors came together because I really wanted to try something with them.

Did you succeed?

I think several actors did a very profound and touching role. I would emphasize that although the source material was sometimes “unrealistic,” the goal was to play it psychologically realistically, as we perceive the intimate world.

Is there one of the eight stories that is particularly important to you personally?

While reading, the story of ordering Hanake’s painting made the bell ring because it helps a modern person

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Marko runs a small cinema called Võrgukuur at his summerhouse.

Jan Uuspõld

recognize our alienation from nature and older people from their children. How we no longer understand.

Among women, magical thinking has been more acceptable and tolerated in society, as masculine power has been rational, but women have known and passed on this secret language more. The confusion that arises in this story when the father no longer understands the code, doesn’t know the language of poetry, the secret script of love, and therefore cannot understand his child, provided me with delight.

In Dauthendy’s book, the 1905 war between Russia and Japan is mentioned. In 2005, the reminiscence seemed fresh and prophetic. Now, I cut specific references to that war to avoid talking about the same topics in art that newspapers are already dealing with.

What can a modern, rational, multitasking person learn from magical thinking?

All self-help books say: take time for yourself, be yourself, you don’t have to be the king of the world, and so on. They remain just words, until you perceive through them that something of such a world is possible. The purpose of writing or making a film is to show the possibility of a different world. Magical thinking can, of course, be misused – in the film, for example, women suffer more because they don’t exploit it, but men do. In the peasant society, urban clothes were first worn by men; they discarded traditions, embraced enlightenment, and left the folklore to the female line.

Magical thinking brings a certain acceptance. It can also be called poetic thinking, so it doesn’t sound too esoteric. You don’t have to understand the reasoning behind everything. Not everything has to be pragmatically useful. If you manage to see values elsewhere, that’s already very good.

Elina Masing plays the leading role in 8 Views of Lake Biwa.

Marko Raat (born in 1973) has been active in the fields of arthouse fiction film and documentaries since 1999. With a background in theatre directing and fine art, he brings a wealth of experience to his craft. His latest feature-length documentary, Funeral Diaries, made its premiere at Dok. Fest Munich and took the spotlight as the opening film at DocPoint Tallinn. Adding to his recent accomplishments, Raat’s short film A Chairman’s Tale made its debut at the 56th International Art Exhibition of la Biennale di Venezia.

Selected filmography: For Aesthetic Reasons (documentary, 1999) Agent Wild Duck (feature, 2002) Knife (feature 2007) Toomik’s Film (documentary, 2008) The Snow Qeeen (feature, 2010) Fast Eddy’s Old News (documentary, 2015) Chairman.The Opera. (short, 2015) Kitchen Triptych (documentary, 2018) Funeral Diaries (documentary, 2019) I’m a Bird Now (documentary in production)

Speaking of pragmatics: recently, Estonian films have done very well abroad, but at the end of the year, there were complaints about the lack of success with the domestic audience. How do you measure your success?

The issue of success and art metrics is exceptionally harsh, cruel, and unfair, especially concerning Estonian cinema. We are competing in real-time with the entire world, both abroad and at home. We don’t speak in the same way about, for example, American cinema, deeming it a terrible year, even though 99% of American films disappear, and no one watches them. Even if there appears to be a formula for success in entertainment, it usually doesn’t work, even if millions are invested in it.

To even stay on the radar, a small culture often depends on being observed from the side, obtaining the festival checkmark. For audience success, you need a very topical theme or resonance with the spirit of the times. However, that spirit of the times is not beneficial for art because it discusses the same things that the time itself is dealing with. Art must be sovereign, certainly not moralistic and pedagogical. Ideally, always ahead of what becomes the inert and ideological spirit of the times. While this is mostly unavoidable for entertainment, as people usually go to see something they can be sure about, in art, one would want an experience they haven’t yet had.

For getting somewhere, you don’t only need strong films but a lot of luck. I deliberately made my life complicated; in a way, I always work against the spirit of the times and willingly exclude success through that. But I adore the process; I am really very happy when, after seven years of holding a documentary character’s hand, something “happens” in the frame, or we get the scene so alive with the actor that the film crew doesn’t dare to breathe. BF BALTIC FILM

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Boarding House in a Manor

Boarding House in a Manor

ERDF Boost for the Latvian Film & TV Series

Currently, four TV series and five feature films are in production with the support of the European Regional Development Fund (ERDF) as part of the Union’s response to the COVID-19 pandemic. All these projects are slated to grace screens in the early months of 2024, with several of the productions garnering international attention during their creation.

By Kristīne Matīsa Photos by Production companies

A

s part of this initiative, eight Latvian production companies are developing nine projects spanning historical features, documentaries, family films, and a full-length film in the exotic rotoscope animation style.

One of the TV series, Soviet Jeans, has secured a spot in the 2024 Berlinale Series Market. This article delves into the narratives of the other projects.

THE SERIES LINING UP

In January 2024, Mistrus Media released the TV series Boarding House in a Man-

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The Mutiny

The Assistant

or locally. The eight-episode series, produced by Mistrus Media, not only hit streaming platforms but also cinema screens. This screening practice, previously successful with the company’s seven-episode series Emīlija: The Press Queen of Latvia (2022), grouped episodes for separate screenings. The delightfully light-hearted series draws inspiration from the childhood memories of the esteemed Latvian author Anšlavs Eglītis.

Eglītis penned the novel of the same title while living in Los Angeles, USA, during the 1960s. Set against the backdrop of Latvian society in the 1930s, the narrative unfolds in a provincial manor house bestowed upon the Eglītis family in recognition of their contribution to the country. Within its walls, a charmingly chaotic gathering ensues, bringing to-

Coming of Age

with his new family, Laila’s friends, and an array of other characters.

ON THE FILM FRONT

The Assistant

gether both the amusing local inhabitants and the sophisticated denizens from the capital. The series stars a cast of popular Latvian actors spanning different generations.

Cinevilla Films presents Mutiny, a TV series directed by Andrejs Ēķis, showcased at the 2023 Berlinale Series Market.

The series, based on historical events, occurs during the 1975 mutiny on a Soviet warship initiated by Valery Shpagin, a naive idealist and the ship’s political officer, played by Dainis Grūbe. The series exposes the darkest stagnation of the Brezhnev era, life in a communal flat in Riga, the Soviet nomenclature’s permissiveness, and contrasts it with a quixotic struggle for human rights and freedoms.

The creators of the fourth TV series, The Assistant, are two young yet accom-

The Mutiny

There is one full-length documentary among the nine projects, Coming of Age, jointly directed by Ivars Seleckis, a documentary filmmaking classic, and one of the pioneers of the poetic documentary movement in the 1960s, set to celebrate his 90th anniversary in 2024; and Armands Začs, a locally renowned film editor making his second documentary film.

BOOM!

plished directors, Liene Linde and Alise Zariņa, along with producer Guntis Trekteris (Ego Media). The series unpacks the story of a young woman named Laila or Lulu, portrayed by Elizabete Skrastiņa.

Laila, driven by an idealistic desire to save the world, has chosen the path of a social worker. In each episode, Laila navigates encounters with various challenges or vulnerable social groups Ω ranging from a defrauded pensioner and quick loans to an asylum seeker and victims of violence, an ex-convict, a child in a wheelchair, and others. Laila stands ready to extend help to anyone in need, and the directors skilfully portray these events with vivid humanity and humour. The series holds the potential to resonate with a broad audience, featuring characters from different generations, including Laila’s energetic mother, an ironic grandmother, her father

Their collaborative work is part of an ambitious project realised in cooperation with the production company Mistrus Media. Commencing on Latvia’s centenary in 2018, Ivars Seleckis initiated the project by creating the first documentary film, focusing on five distinctly different children who began school that year. He committed to tracking their journeys into the future, capturing new footage at regular intervals to produce subsequent films. Presently, the protagonists of the initial film have reached the eighth form in various regions of Latvia. The directors reconnected with the subjects, capturing how their lives and the overall societal landscape have changed over the years.

The film BOOM! also revolves around school-age children. Directed by childhood friends and classmates Marta SelecBALTIC FILM

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PRODUCTION

On the set of Youth Eternal.

Youth Eternal

ka and Andra Doršs, and produced by Picture House, the fantasy story was filmed last summer in Liepāja and other locations in Latvia. The plot follows two friends, Toms and Hugo, entering the seventh form and aiming to surprise their classmates with their skating skills. However, a freak accident grants Hugo superpowers, posing a significant test to the boys’ friendship. The film is set to premiere in early autumn, aligning with the story’s events starting on September 1.

their youth. The story portrays their self-destructive resistance to growing up and taking responsibility for their lives.

The upcoming historical feature film, Escape Net, marks the latest undertaking by director Dzintars Dreibergs and the creative team celebrated for the internationally distributed war drama Blizzard of Souls (2019). Producer Inga Praņevska and cinematographer Valdis Celmiņš, previously nominated for the

Escape Net

Director Armands Začs is currently filming his debut feature, Youth Eternal, at White Picture studio. The film is produced by the internationally seasoned producer Alise Ģelze, whose previous works earned selection at both the Cannes Film Festival and Berlinale. Notably, the feature film Mellow Mud (2016), produced by Ģelze, received laurels in the Generation 14plus programme at Berlinale. In this film, Začs, an experienced film editor, weaves a complex narrative centred around seven main characters who are best friends clinging to

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Dog of God

IMAGO award of the International Federation of Cinematographers, continue their collaboration with the director. Additionally, the Hollywood-based composer of Latvian origin, Lolita Ritmanis, short-listed for the Oscars, remains part of the project. The film’s narrative revolves around a historical figure, Dzidra Uztupe-Karamiševa (Agnese Budovska), the first captain of the Latvian women’s basketball team TTT, a legend in Europe.

The story unfolds in the 1950s, offering not only a sports drama but also a narrative driven by a strong female character against the political backdrop of the Cold War. The programme also features the film Dog of God, crafted in an unconventional form and technique. Its directors, brothers Raitis and Lauris Ābele, describe it as “animation with real acting” – a mystical tale set in 17th-century Latvia, produced using the rotoscope technique. The storyline is rooted in a 1692 court case and the legends surrounding Livonian werewolves, well-known throug­hout Europe. The film’s art director, Harijs Gruntmanis, has translated the action performed by real actors into a two-dimensional animation format. This “fairy tale for adults,” created through an experimental technique, has already garnered the attention of genre specialists worldwide. BF

Splendid Palace, the festival's main venue and one of the most magnificent and oldest cinemas in Europe Photo: Andrejs Strokins, RIGA IFF

11 YEARS OF BOLD CINEMATIC JOURNEYS FOR KEEN AND INQUISITIVE MINDS Established in 2014, RIGA IFF has quickly become Latvia’s premier cinema event, gathering audience of over 26 000 people each year.

RIGA IFF COMPETITIONS

RIGA IFF FORUM

Films from the Baltic Sea Region and the Nordic countries:

Market for upcoming feature films and series from Eastern and Central Europe:

RIGA IFF FEATURE FILM COMPETITION Short films and experimental cinema:

RIGA IFF SHORT FILM INTERNATIONAL COMPETITION

RIGA IFF SHOWCASE In-depth feedback sessions for short films:

SHORT RIGA TEST SCREENINGS

NEWS

The protagonist of the series, Renārs, manages to estab­ lish an illegal jeans factory in the sewing workshop of a psychiatric hospital.

SOVIET JEANS CAN BE REAL The Latvian TV series Soviet Jeans (8 x 45’) has been selected for the Series Market within the industry section of the Berlin International Film Festival. Produced at Tasse Film studio, the series is helmed by two internationally expe­ rienced directors, Juris Kursietis and Stanislavs Tokalovs.

By Kristīne Matīsa Photos by Egija Smeile

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he juxtaposition of the words “Soviet jeans” sounds comical and absurd on one hand and volatile on the other. Set in late 1970s Soviet Union, a period of profound stagnation, the series explores the hopeless atmosphere when Soviet ideology framed the world as an eternal struggle between the “socialist camp” and “Western capitalism.” In this black-andwhite, absurd division, jeans transcend mere trousers to become a symbol of freedom. The Soviet light industry struggles to produce anything comparable, leading to the smuggling of “real jeans” into the USSR,

In this black-and-white, absurd division, jeans transcend mere trousers to become a symbol of freedom. embodying the dream of every Soviet citizen and fostering a lucrative business for smugglers and counterfeit manufacturers.

Renārs, the protagonist of Soviet Jeans, embodies the archetype of an “underground businessman” exploiting the weaknesses of the Soviet system. Although such clandestine activities were criminally punishable, they were quite prevalent, as reflected in the series’ plot based on three documentary stories about real events when “underground jeans” produced in Latvia gained fame throughout the USSR. Adding a layer of absurdity, Renārs manages to establish an illegal jeans factory in the sewing workshop of a psychiatric hospital. The popularity of the factory’s products attracts the atten-

tion of law enforcement authorities, sparking a prolonged and unsuccessful pursuit to locate and eliminate this “hotbed of Western infestation,” creating a perpetual thriller element in the series.

The series introduces the antagonist, KGB agent Māris, a mediocre Chekist with ambitions but lacking the skills for career advancement. The “jeans case” becomes Māris’ final hope for a significant victory, and the conflict between Renārs and Māris transcends denim and criminal activities, evolving into a clash of life philosophies and ideologies. Renārs transforms into a genuine rebel, and the jeans business evolves beyond a means to gain money and freedom; it becomes a form of protest and a higher purpose.

Adding a romantic subplot, Renārs encounters Tina, played by the Finnish actress Aamu Milonoff, who arrives with her theatre group from Finland to stage a play at a youth festival.

Kārlis Arnolds Avots, portraying Renārs, is a prominent young actor in Latvia, the winner of the National Film Award as Best Actor for his role in Viesturs Kairišs’ feature January (2022). He was also selected for the Black Nights Stars showcase of the Tallinn Black Nights Film Festival.

Produced by Tasse Film, known for winning the Crystal Bear award in the Generation 14plus competition at Berlinale for the film Mellow Mud (2016), the series has two directors – Stanislavs Tokalovs and Juris Kursietis. Both have previously directed two full-length feature films, with Juris Kursietis’ Oleg (2019) holding its world premiere in the Directors’ Fortnight of the Cannes Film Festival. The script for Soviet Jeans was written by an international team, including the concept’s originator Stanislavs Tokalovs, the esteemed Bulgarian screenwriter Teodora Markova, and Hollywood film professional Waldemar Kalinowski. The authors promise an intriguingly dramatic yet comically light narrative, as humour was considered one of the main weapons against Soviet power. BF BALTIC FILM

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PRODUCER

Uljana Kim THE ULTIMATE PRODUCER With over 25 years in the film industry, contributing to major projects and orchestrating successful co-productions, Uljana Kim epitomises the essence of a true producer.

By Gabija Pluke Photo by Chloé Desnoyers / EFA

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Photo by Vilija Buivydė

Photo by Modestas Ežerskis

Photo by Audrius Kemežys

Photo by Daniel Jesús Gonzales

On the set of You Am I

On the set of Motherland

U

ljana, congratulations on winning the Eurimages Award and the European Film Academy’s Eurimages Co-production Award.

What does this international recognition mean to you?

Thank you! As I mentioned when receiving this award, I see it not only as a personal appreciation but also as recognition for the entire Lithuanian auteur cinema. I’m delighted that our films are becoming more visible worldwide. It’s also very important to me that I was able to pay tribute to my teacher – the legendary producer Karl Baumgartner – by dedicating this award to him. In his sadly cut-too-short life, he contributed so much to auteur cinema. He was the one, who suggested the idea of developing Baltic co-production.

You’ve been working in Lithuanian cinema for over 25 years. How did you start your journey in the film industry? Was a career in cinema something you dreamed of since childhood?

In my childhood, I used to read the Soviet film magazine Ekran, and I wanted to become a film critic. What a great profession, I thought. Watching movies all day and getting paid for it! So, from the age of 12, I knew that my life would be connected with cinema.

In 1993, after studying film at the Institute of Cinematography in Moscow (VGIK), I moved to Vilnius. At the beginning of Lithuania’s independence, everything had to start from scratch.

The State Film Studio was privatised, and simultaneously, a few smaller private studios emerged, such as Šarūnas Bartas’ Kinema or Arūnas Matelis’ Studio Nominum. In 1997, I founded my own studio, Studio Uljana Kim. Not knowing much about what a producer should do, I still understood that the only way to make films in Lithuania was through

On the set of Back to Your Arms

co-production with other European countries (even though we weren’t in the European Union yet). State funding for cinema was merely symbolic at that time. The first feature film produced by my studio was The Courtyard by Valdas Navasaitis, a co-production with France, with Philippe Avril as the co-producer.

Its world premiere took place in 1999 at the Directors’ Fortnight, Cannes.

On the set of Songs for a Fox

Producing, for me, is more than a profession. By identifying with the visions of my auteurs, I can live as if in different dimensions at the same time.

filmmakers from older generations in both fiction and documentary cinema, and over the past decade, a generation of talented directors has emerged. Now, it’s rare for an important international film festival or co-production market to pass without a Lithuanian film or project. Young directors earn prestigious awards, such as Laurynas Bareiša’s Pilgrims winning the main award at Orizzonti, Venice 2022, or Slow by Marija Kavtaradze winning the Best Director award at Sundance 2023. Lithuanian cinema is very diverse. Most debut directors’ films are based on personal experiences and can captivate not only Lithuanian but also international audiences.

You’ve worked on numerous films.

What genre or themes do you find most interesting to work on? Do you also choose to watch these types of films?

What qualities should a good producer possess? What advice would you give to young producers and those dreaming of entering the profession?

I began my journey in cinema as a cinephile and film critic. Personally, I enjoy arthouse cinema but also appreciate well-made, talented genre films Sometimes, films from my studio gather quite an audience in Lithuania, like Whisper of Sin by Algimantas Puipa in 2007 or The Gambler by Ignas Jonynas in 2013. However, most of my films attract the most attention at international festivals around the world. Many of them premiered at major film festivals, such as Kristijonas Vildžiunas’ You Am I at Un Certain Regard, Cannes 2006, Mantas Kvedaravičius’ Parthenon at Venice Critics’ Week 2019, Mr. Landsbergis by Sergei Loznitsa at IDFA, Amsterdam 2021, and others.

The most important thing is to love cinema and your auteurs. Create conditions for them to make the best possible film and share it with the audience.

How do you maintain your passion for being a producer after all this time?

How would you describe contemporary auteur Lithuanian cinema? Does it deal more with global or domestically relevant themes?

Lithuanian auteur cinema has achieved a global standard. We have well-known

What can we expect in the future?

What projects are you currently working on?

The list is quite extensive. There’s Johatsu, a feature film by Lina Lužytė & Nerijus Milerius, Biodestructors, a fulllength creative documentary by Aistė Žegulytė, Dice-ching-o-mat, a feature film by Kristijonas Vildžiūnas, Dog Owners, a feature film by Dovilė Šarutytė, Two Prosecutors by Sergei Loznitsa, and more.

Producing films in Lithuania is becoming increasingly fascinating. The film industry is dynamically evolving, and we have many talented creators and producers. We hope to receive more attention and support from the state for national cinema to thrive in the future. BF BALTIC FILM

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ANIMATION Morten Tšinakov

DREAMING In the wake of the exciting news that two Estonian short animations, Eeva and Dog Apartment, were shortlisted for the Oscars, we reached out to the film­ makers Morten Tšinakov, co-director of Eeva, and Priit Tender, director of Dog Apartment, to delve deeper into their creative animation process.

between Morten Tšinakov and Lucija Mrzljak, who are also known by their previous short The Stork (2021). Eeva is a co-production between the oldest Estonian drawn-animation studio, Eesti Joonisfilm, and the Croatian auteur-driven film company Adriatic Animation, with world sales managed by Miyu Distribution.

You’ve mentioned avoiding strict “themes” during writing, preferring to combine separate and sometimes absurd scenes after they’ve existed on their own. One of the scenes of Eeva came to you in a dream. Did the scenes connect into a coherent theme subconsciously when writing the script?

Which words would you use to characterise your approach to storytelling?

Morten Tšinakov: I’ve found that, for me, it’s more productive to concentrate on small pieces initially. At some point, with enough of those small pieces, I try

Morten Tšinakov: Wry, cross-genre, absurd.

By Mirjam Mikk/EFI Photos by Erlend Štaub

E

eva premiered in the international shorts competition programme of Berlinale last February. It tells a ghostly tale of a woman’s infidelity and regret, triggered at her husband’s funeral. It is the third fruitful collaboration

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Eeva

Priit Tender

IN MOTION to connect them into more comprehensive narratives, discarding some that won’t fit. The goal is to create a story interesting to follow. I don’t think about themes at any point during this process.

If there’s a story, it’s possible to attach a theme to it, but I never do it while coming up with the film and try to avoid it afterward.

But, apparently, people are interested in themes, so you have to come up with one, or better yet – they come up with one themselves.

Eeva

Lucija takes care of all the designing in Eeva. Working together as a duo, how did you manage to connect your creative visions?

Morten Tšinakov: Yes, Lucija designed the characters and most of the backgrounds for Eeva, and I worked on colours, shadows, textures, lighting, etc.

The process for designing characters differed slightly from designing backgrounds. Regarding characters, we picked drawings Lucija had made previously and she designed the characters based on those. In an animated film, where you have to draw the characters thousands of times, you have to simplify them.

As for backgrounds, we went through the script scene by scene, sketched several rough small-scale storyboards, and picked the best ones. We knew what should be in the background, and Lucija drew them to scale and added details. We either picked designs we both agreed were the best, compromised, or tried to come up with something new until we were both satisfied.

T

he exquisite puppet stop motion film Dog Apartment, which, in addition to several international awards, won the prize for Best Animation from the Cultural Endowment of Estonia (2022) and the Estonian Film and Television Awards (2023), is an absurdist drama about a former ballet dancer confined to his barking apartment and the bleak routine of kolhoz work. The director, Priit Tender, is a household name in the animation circuit both at home and abroad, with his films winning prizes and nominations from short and animation film festivals worldwide. His work can best be described as dark existential journeys told through surreal imagery and black humour.

Congratulations on making the Oscars shortlist! Any emotions or thoughts you’d like to share?

Priit Tender: I’ve never seen myself as an Oscar-qualifying person; it hasn’t been an object of desire for me. But I see that the Oscars brand works quite well, and people have become more friendly all BALTIC FILM

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ANIMATION The final list of nominees will be announced on January 23, and the Oscars ceremony will take place in March. The main producers of the films, Kerdi Oengo (Dog Apartment, Nukufilm) and Kalev Tamm (Eeva, Eesti Joonisfilm) comment on the great news: “We are really happy that our great work has been noticed and appreciated. Two Estonian films simultaneously on the Oscars’ shortlist is a great recognition for the makers and undoubtedly for the entire Estonian culture.”

Dog Apartment

When it comes to storytelling, 2D and stop motion are like different languages.

Neither of them is better or worse; they both work fine if you have something to say. of a sudden. They also think that I’m really talented. I think if the film gets nominated, they’ll think that I’m a genius. I’m really looking forward to that.

period. Having worked with various animation mediums, is your approach as a director somehow different when telling a story in different techniques?

Can you please talk a bit about the main thematic and visual references you used as inspiration?

Priit Tender: In 2D animation, before you go into production, you can create visuals that look 100% like the final outcome. In stop motion, you draw lots of sketches, too, but the final imagery starts to emerge only while building the puppets, sets, and arranging the camera and lights. The process is longer and more of an adventure, with room for improvisation and lucky coincidences.

Priit Tender: The film was inspired by a surreal poem by Andres Ehin, and many bizarre elements are based on some of his word combinations. I categorise the overall style as post-Soviet surrealism.

The visuals are a mix of hyperrealistic and dreamlike elements. The realism is inspired by Soviet-era communal houses (khrushchovka) and collective farms (kolhoz) still found in the Estonian countryside. They stand like huge monuments in the middle of magnificent nature, often too expensive to dismantle, decaying at their own pace. I find them very poetic.

There are a lot of technicalities that go into animation, especially puppet stop motion. You have said in a previous interview that: “We are rather mad scientists than artists that cut off their ears.” I really like that. I would think puppets are more rigid in form than, for example, a digital technique, as their parameters of plasticity need to be really thoroughly thought out before the shooting

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Dog Apartment

When it comes to storytelling, 2D and stop motion are like different languages Ω 2D is like English, and stop motion is like Estonian. The latter lacks gender and future tense but has 14 cases and lots of words for ‘forest.’ Neither of them is better or worse; they both work fine if you have something to say.

Furthermore, why did you choose stop motion through which to tell the story of Dog Apartment?

Priit Tender: I felt that I needed a vacation from 2D animation, from its digital and “unreal” world. Although its influence didn’t leave me completely. I got an idea to try a basic 2D animation trick in stop motion – something called squash and stretch. It was an almost impossible task – to build a realistic apartment where everything is elastic and can change shape – the walls, the floor, and the kitchen sink.

The set and puppet builders and animators had a hell of a time with it, but they managed to pull off a great final result. I applaud the team! BF

NEWS

Welcoming the Whole World into a Smoke Sauna

W

hen Anna Hints received the directing award from the World Cinema Documentary Competition at last year’s Sundance Film Festival, it was already among the biggest accolades ever received by an Estonian film, right up there with Tangerines ending up among the five best international film nominees back in 2014.

Twelve months on, the documentary’s international success has surpassed the accomplishments of any of those that have gone before. Smoke Sauna Sisterhood has been sold to 32 territories around the world, released theatrically in most European countries, the US and Canada, screened successfully at dozens and dozens of festivals, while winning an ever-growing list of awards both at home and abroad.

Among the recognitions have been Eurimages Audentia Award for best female director, Critics Choice Documentary Award nomination for best debut, Producers Guild of America PGA Award nomination for outstanding producing of a documentary, two international awards for the director of photography Ants Tammik, as well as the Estonian film critics’ yearly prize.

The pinnacle of the success was, of course, being named the best documentary from the continent at the European Film Awards back in December, with Hints singing the now famous “Aitjumma” song – an ancient runic verse to express gratitude – from the stage with the team responding from the audience.

It’s difficult to pin down the success of the film to a single aspect. Rather, it’s a combination of subject matter, artistical choices, timing, and especially finding a balance between what might at

first seem like opposites. Smoke Sauna Sisterhood is at once highly specific, set in the smoke sauna tradition of Southern Estonia, but also wonderfully universal due to its themes of emancipation, emotional openness, and both the scars of trauma as well as healing through empathy and connection.

It is also at the same time strongly primal, with an almost eternal quality, yet incredibly urgent due to its gender politics and brutal honesty in tackling subjects too long held as taboo. The film is also a technical marvel, having been shot at high temperatures within a small wooden sauna. The whole team and all the women in front of the camera deserve merit for their stellar work.

Considering all the triumphs, being snubbed from the final shortlist at this year’s American Academy Awards was a major disappointment for many. Especially considering all the previous accolades, the reasons can only be speculated on, be it the unpredictable politics of the Oscars, a limited campaign budget, or the concept of non-sexual nudity that is still foreign in the States. Still, the film has gathered a strong following even beyond the Atlantic.

While Smoke Sauna Sisterhood seemed like Estonia’s best bet yet to realistically vie for an Oscar, once the dust settles, there will be little reason for bitterness. The film has already paved a fresh path for Estonian documentarians, empowering a new generation of highly talented female filmmakers. Starting a broader societal discussion on openness, sharing, trauma, and gender dynamics, it has also provided a roadmap for brave, visually original storytelling, and ambitions far beyond one small country’s borders. BF

Photo by Sebastian Gabsch

By Andrei Liimets

Director Anna Hints accepting the European Film Award with a song.

SELECTED AWARDS ● European Documentary @ European Film Awards 2023 ● Directing Award: World Cinema Documentary @ Sundance Film Festival 2023 ● Eurimages Audentia Award 2023 for Best Female Director ● Best Cinematography @ IDA Documentary Awards 2023 ● Outstanding Cinematography @ Cinema Eye Honors 2024 ● Best Documentary Feature (tied with American Symphony) @ Alliance of Women Film Journalists EDA Awards 2023 NOMINATIONS ● LUX The European Audience Film Award 2023 (pending) ● Producers Guild of America PGA Awards 2024 - Outstanding Producing of a Documentary Motion Picture (pending) ● Cinema Eye Honors 2023: Outstanding Sound Design, Outstanding Debut, Audience Choice Prize ● International Documentary Association Awards 2023 - Best Editing Critics Choice Documentary Awards 2023 - Best First Documentary Feature ● Estonia’s National Entry at 96th Academy Awards ● HARPA Nordic Film Composer Award SELECTED FESTIVALS Sundance 2023, CPH:DOX 2023, SFFILM 2023, Seattle IFF 2023, DOC NYC 2023, Hot Docs 2023 , Hamptons IFF 2023, AFI Fest 2023, Millenium Docs Against Gravity 2023, Sydney FF 2023, Sheffield DocFest 2023, IDFA 2023, Tallinn Black Nights FF 2023, Hong Kong IFF 2023, Filmfest Munich 2023, Guanajuato FF 2023, Zürich FF 2023 More than 60 festivals to date BALTIC FILM

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NEWS

Seeking Comfort Amidst the Threat The upcoming Lithuanian film Divorce During the War

by Andrius Blaževičius is selected to be showcased at this year’s Berlinale Co-Production Market.

By M-Films Photos by Martynas Novaišas

T

he story takes us to Vilnius, Lithuania, in February 2022.

The protagonist Vytas, a well-known film director facing a creative crisis, is shocked when his wife Marija announces she wants a divorce. The next morning, as war breaks out in Ukraine, the couple navigates a complicated divorce process against the backdrop of conflict.

“I want to explore a contemporary Lithuanian family and the challenges they face in the context of a huge tragedy: the unprovoked war that Russia started against Ukraine. Going through the divorce process and dealing with the ef-

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fects of the war, the couple finds themselves out of their comfort zone, and the quiet life they have built for themselves is gone,” says Andrius Blaževičius.

GENEROUS ENTHUSIASM…

The protagonist Vytas, broke, moves in with his parents. His relationship with them quickly becomes complicated as they are convinced that the war in Ukraine is not entirely Russia’s fault.

Still unable to get any work, he starts volunteering at a charity to help Ukrainians, and joins the protests in Vilnius.

Meanwhile, Marija leaves her job due

In my opinion, the theme of conformity is more relevant than ever.

… YET PRAGMATIC HUMAN NATURE

“This simple, human, and domestic idea is at the same time fundamental: how far are we, humans, willing to give up comfort, to step out of our comfort zone, even in the face of the greatest

Cinematographer Narvydas Naujalis and director Andrius Blaževicius on the set of Divorce During the War.

threat?” Blaževičius reflects. Eventually, the film’s characters find themselves at the bottom, which leads them to get closer again.

“In my opinion, the theme of conformity is more relevant than ever. I aim to observe and reflect the reactions of European society to the war, which is very often indifference. Despite this, many people have come to believe the Russian propaganda, and the necessity of war. I want to capture the time in which we live now – to show the confrontations in our society, which was evident during the pandemic and did not disappear with the war,” Blaževičius says.

Divorce During the War is produced

by Marija Razgutė from M-Films and is scheduled for release in 2026. BF

Director Andrius Blaževicius is a Vilnius-born Lithuanian-Polish writer and director. His debut film The Saint (2016) premiered at Warsaw and Busan film festivals and received six Lithuanian Film awards. His second film Runner (2021) premiered at Karlovy Vary, won Best Baltic Film at Tallinn Black Nights Film Festival, and received two Lithuanian Film awards, with lead actress Žygimante Elena Jakštaite receiving the Shooting Stars Award from EFP. Andrius occasionally serves as a jury member at international film festivals, and has also been a member of the selection committee at Vilnius ISFF since 2010.

Production company M-Films is a Lithuanian film production company established by producer Marija Razgute in 2008. The award-winning com­pany’s editorial line consists of clearly bold, daring stories told by the most talented new generation of filmmakers, such as Slow (Lithuania/Spain/Sweden 2023, Sundance 2023 Directing Award; Berlinale Co-Production Market 2022) and Summer Survivors (TIFF, Tallinn Black Nights 2018)

by Marija Kavtaradze, Nova Lituania (Karlovy Vary 2019, Lithuanian entry for Academy Awards) by Karolis Kaupinis, Runner (Lithuania/Czech Republic 2021) and The Saint (Lithuania/Poland 2016) by Andrius Blaževicius, Matilda and the Spare Head (Annecy 2020) by Ignas Meilunas, and Cherries (Cannes 2022) by Vytautas Katkus.

Photo by Marija Mireckaite

to the company’s connections with Russia. Unemployment is hard for her to bear. Therefore, to give her life more meaning, she takes in a Ukrainian refugee family.

Blaževičus says that the idea of the film was born in the first months of the war when Lithuanians were actively donating to Ukraine. “Despite great enthusiasm, I started to have a bad feeling about how long people could keep up this pace. I guess people are programmed in such a way, that in any circumstances, even after great acts of empathy and generosity, even facing a huge threat, they eventually are likely to start thinking, roughly speaking, that they would still love to buy a nice new item of clothing for themselves.”

Marija Razgutė

BALTIC FILM

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NEWS Pääru Oja, the European Shooting Star 2020, plays the leading role in The Shadow.

The Shadow Jaak Kilmi, known for his diverse portfolio – from thought-provoking docu­ mentaries (Disco and Atomic War, 2009) to children’s films (The Sleeping Beast, 2022), is now directing the histo­ rical thriller The Shadow.

By Aurelia Aasa Photos by Kristjan Mõru

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he film draws inspiration from the struggles of the 19th century Estonian poet Juhan Liiv. The Shadow wrapped up shooting in October 2023 and is aiming for a 2024 premiere.

WHERE HISTORY MEETS FICTION

Set in 1894, The Shadow, follows Juhan Liiv, tormented by schizophrenia, as he escapes the mental asylum. Upon returning to his birthplace, Liiv unexpectedly becomes embroiled in a murder investigation. Determined to seek justice when the wrong person is apprehended, he becomes entangled in a web of dark events. “With nothing to lose, Juhan Liiv stands as a lone crusader for justice amidst a misguided and petty environment,” shared director Jaak Kilmi. Playing the troubled poet is Pääru Oja, the European Shooting Star 2020 known for his roles in The Last Ones (2020), Helene (2020), and Vikings: Valhalla (2022). The cast also features Kersti Heinloo, Rain SimJaak Kilmi

Young actress Alice Siil in The Shadow.

mul, Karol Kuntsel, Meelis Rämmeld, and Indrek Sammul among others.

The Shadow blends history with fiction. Liiv was a complex author. Tormented by mental illness and afflicted with lung disease, he was repeatedly admitted to medical institutions. The Shadow uses memories of Liiv’s contemporaries to construct his character while leaving the ghastly crimes and investigations in the realm of fantasy. The screenplay is written by Estonian science fiction and crime author Indrek Hargla, renowned for several domestic box office hits. The film’s producers – Kristian Taska, Tanel Tatter, Veiko Esken, and Armin Karu – previously collaborated with Hargla on the local box office success trilogy Melchior the Apothecary.

FILMING IN THE BIRTHPLACE OF THE POET

The team started filming The Shadow in Tartu last September. “It’s always a challenge to evoke a specific era in a modern city, but luckily Tartu boasts a delightful wooden charm, along with reconstructed barges sailing the Emajõgi river based on historical blueprints. It’s a filmmaker’s dream – you turn your gaze for a moment, and you’re surrounded by ready-to-use his-

A scene from The Shadow.

With nothing to lose, Juhan Liiv stands as a lone crusader for justice amidst a misguided and petty environment. torical decorations,” explained Kilmi.

The shoot then continued in Alatskivi, Juhan Liiv’s birthplace. The director added, “The same story applies to Alats­kivi. An old manor made of fieldstones creates a soggy atmosphere.

Dampness and heaviness were constant companions. That defines the DNA of this film.” The team also filmed at Juhan Liiv’s historically restored ancestral home. Shooting spanned from September to October, and the film is currently in post-production, targeting a release in autumn 2024.

The film crew includes cinematographer Mihkel Soe, production designer Karoliina Kull, editor Jaak Ollino, costume designer Anu Lesment, and composer Ardo Ran Varres. Producers are Kristian Taska (Taska Film), Tanel Tatter and Veiko Esken from Apollo Film Productions, and Armin Karu (Hansafilm), with Tuuli Roosma as associate producer. The development of the film was supported by the Estonian Film Institute. Production financing comes from Tartu Film Fund and private funding. BF

The shooting location in Tartu on the reconstructed barges sailing the river Emajõgi.

ESTONIAN FILM

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NEWS The female lead Anna is portrayed by German actress Johanna Wokalek.

And Now We Got

BLUE BLOOD According to director Juris Kursietis, the central con­ flict in his upcoming film is a “clash of two civilisations,” and he’s not referring to Star Wars. In the feature film Blue Blood, two distinct life models, upbringings, and perspec­ tives on making the right decisions collide.

By Kristīne Matīsa Photos by Egija Smeile

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T

he battleground for this conflict is a seemingly prosperous and successful family – talented organ soloist Anna and wealthy businessman Andris, CEO of a Latvian forestry company. A conflict emerges when the qualities that initially connected them become an explosive combination destined for a short-lived union.

Anna, portrayed by German actress Johanna Wokalek, is a promising organ soloist approaching the peak of her international career, hailing from a family of German musicians. She diligently forges her path in music with talent and hard work. On the contrary, Andris, played by Latvian actor Artūrs Skrastiņš, was born in the Soviet era to a relatively poor fam-

ily. Yet, as a child, he declared he’d be a millionaire. Growing up amid “wild capitalism,” he’s accustomed to fighting tooth and nail for everything, placing significant emphasis on money in his value system. Predictably, Andris becomes embroiled in a serious bribery scandal.

When the initial shock subsides, Anna is compelled to reassess her life and take action. In this corruption case, she finds herself in the most challenging psychological situation, deemed “guilty without fault.”

Director Juris Kursietis has previously explored the impact of social origin on life’s twists and turns, questioning whether one’s childhood and youth conditions can predetermine their fate. This theme featured prominently in Kursietis’

Whether one’s childhood and youth conditions can predetermine their fate. earlier works that gained international acclaim.

His debut feature, Modris (2014), received two national film awards and was selected for over 20 international festivals, including San Sebastian, Toronto, Warsaw, and Cottbus. The film revolves around an adolescent who resorts to theft and pawning stolen goods, eventually reported to the police by his own mother. His second feature, Oleg (2019), presents a pan-European tale of illegal migrant workers and the foreseeable hardships arising from this social stratum’s limited perception of viable paths to prosperity. It premiered at the Direc-

tors’ Fortnight of the Cannes Film Festival, and was shortlisted for the European Film Awards 2019. “I see Blue Blood as the mother of my two previous films,” says director Juris Kursietis.

Kursietis’ creative team includes Polish cinematographer Bogumil Godfrejow, whose masterful camera work has been acclaimed at prestigious events such as Camerimage, Clermont-Ferrand, and others since his student years. Godfrejow, nominated for Oscars and the European Film Awards, has also collaborated on Juris Kursietis’ two previous features. Since his first film, Kursietis has partnered with renowned Greek film editor Yorgos Mav-

ropsaridis, particularly acknowledged for his work on Yorgos Lanthimos’ films.

World-renowned Latvian organist Iveta Apkalna, a regular performer in Europe, North America, and China, serves as a consultant for the film. Concert venues, visual rhythms of the organ, and musical performances will play an important part in the movie.

Blue Blood is a Latvian, Estonian, and Greek co-production by White Picture production company and experienced producer Alise Ģelze, who also produced Kursietis’ film Oleg. Ģelze’s films have been awarded twice at the Generation competitions of Berlin International Film Festival. Co-production partners include Evelin Penttilä from Estonian Stellar Film and Vicky Miha from the Greek company Asterisk.

The film receives financial support from the National Film Centre of Latvia. BF

On the set of Blue Blood.

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DIRECTOR

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ESTONIAN FILM

SULEV KEEDUS

A Filmmaker Who Appreciates Calmness and Generosity This year’s edition of Cinema Regained, the retrospective programme of the Rotterdam International Film Festival, showcases two films by Estonian filmmaker Sulev Keedus – newly restored versions of Georgica and Somnambulance.

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By Johannes Lõhmus Photos by Virge Viertek

eorgica will have its world premiere of the digitally remastered print, marking its second premiere in Rotterdam. The film initially debuted here in 1998, initiating its festival journey and becoming the first feature film from the independent Republic of Estonia to gain international recognition. Born during a period of severe funding constraints, Georgica secured support from Rotterdam’s Hubert Bals Fund, achieved international distribution, and has since evolved into a seminal work in Estonian symbolist auteur cinema. Keedus boasts a filmography of five feature films and eight full-length documentaries, earning an impressive five Neitsi Maali awards for Best Film of the Year from the Estonian Film Journalists’ Society.

Our conversation primarily revolves around Georgica and Somnambulance, celebrating their premieres in newly restored versions in Rotterdam. However, you mentioned you are currently involved in editing. Could you share more about your ongoing project?

I’m currently in the final stages of completing a documentary portrait featuring the composer Galina Grigorjeva. Galina was born in Ukraine, currently

resides in Finland, but her connection to Estonia runs deep as she has lived there for extended periods and considers herself to be an Estonian composer.

Our journey with this film began before the Covid-19 pandemic struck. Typically, a documentary portrait is a format that could be completed in a year, but our production period has extended to four years due to various reasons. The impact of the virus was significant, but another crucial factor was the outbreak of the Ukraine War. This had a profound effect on Galina, given her origins in Crimea, and her time spent in school in Simferopol.

As we transition into the post-production phase, I hope we can wrap up the film by spring.

It’s not a common occurrence for Estonian films to be featured in retrospectives. How did it come about that your films are being showcased again in Rotterdam?

Georgica was suggested by the Estonian Film Institute. I played a role in the restoration of these films.

Since both titles were originally shot on 35mm, they had been unavailable for exhibition for an extended period. With support from the Estonian Film Institute and the Cultural Endowment of Estonia, we initiated the restoration process a few years ago. We BALTIC FILM

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DIRECTOR Georgica (1998) Synopsis by Tristan Priimägi A boy called Maecenas (Mait Merekülski) has lost his ability to speak as a result of a personal traumatic experience and is sent to heal to an old man called Jakub (Evald Aavik) who lives on an island used as a test polygon for bombing by the air force. On the island, their peculiar co-existence begins under the hail of bombs.

Jakub tells Maecenas stories about his past and his plans to translate Virgil’s “Georgica” from Latin into Swahili. Maecenas watches the strange island during the day, and his mysterious dreams at night. Dreams that inch us closer to the roots of his trauma.

These films were challenging to make, and given the current context of the world we live in, I doubt that similar films could be produced today. completed Somnambulance first and then finished Georgica in September of last year.

While we initially aimed for a premiere back then, we had to await Rotterdam’s decision on whether they wanted the premiere of the new print for themselves.

How does it feel to be wrapping up the editing of the new film while seeing your old classics resurrected after being unavailable for such a long time?

My heart is content knowing that these films are not languishing on a shelf, gathering dust, but will once again grace the big screen. While I don’t anticipate them generating massive interest from the audience, they hold a significant place in the Estonian cinema landscape and contribute to a substantial part of my body of work. These films were challenging to make, and given the current context of the world we live in, I doubt that similar films could be produced today. It was a creatively interesting period for me. Looking back, I’ve come to appreciate many individuals more profoundly, such as cinematographer Rein Kotov, production designer Ronald Kolmann, make-up artist Ly Kärner, editor Kaie-Ene Rääk, and co-writer Madis Kõiv – key figures who played vital roles in creating the necessary creative atmosphere for both films.

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Jakub (Evald Aavik) tells Maecenas (Mait Merekülski) stories about his past.

Also, actor Evald Aavik, who featured in both films, could be considered our Estonian Max von Sydow – a wholly unique presence among Estonian film actors. When he takes on a role, he fully immerses himself in it, living alongside the film crew and being present on the set even during scenes he isn’t part of.

His work gained some international recognition, a rare occurrence for our actors. In Somnambulance, we also had Katariina Lauk-Tamm (currently Katariina Unt – J. L.), and collaborating with her to develop

portrayal of a profoundly rich inner universe. In contrast, your documentaries take on a starkly realistic tone, almost as if crafted by a different author.

I have found certain documentary elements to be crucial even in my feature films. During the production of Georgica, we travelled to Tanzania to film in the exact location where Lukin had been. This choice felt significant as it directly connected to the narrative. Lukin’s presence was still remembered there, as two missionaries from Estonia and Latvia had preceded him, only to be hacked to pieces by the Masai. The weight of this event persisted through generations, and the Masai felt a need to seek redemption.

The story had been passed down, as no one else from Estonia or Latvia had revisited the place. Through our filmmaking, they re-established contact with Estonia. To my knowledge, a relative of the Estonian missionary visited the site, and as a gesture of reconciliation, the Masai offered ten cows as restitution.

Ultimately, a harmonious agreement was reached, allowing the Masai to regain peace of mind while retaining the cows.

her role was a very interesting experience. She is an actress of great talent.

As the world grapples with one disaster after another, Georgica seems almost prophetic. The protagonists in the film are desperately trying to preserve the bees amid the constant threat of bombing from the skies. What inspired this storyline?

The inspiration dates back to the distant past. Many years ago, I stumbled upon glass plate negatives and discovered the story of a young man from Valga County named Karl Lukin. He had learned photography and set out for Africa as a missionary in the early 20th century. In the 1980s, I encountered Lukin’s photos, and with Estonia gaining independence from the Soviet Union, I felt it was the opportune moment to narrate a tale of war and occupation. In the film, I intertwined Lukin’s narrative with elements from Virgil’s The Georgics.

The fear of the unknown compels Eetla to seek refuge in her dreams.

Have the Masai seen Georgica?

I’m afraid not because, during the filming process, we didn’t anticipate the film reaching beyond Esto-

Georgica holds the distinction of being the first Estonian film recognised internationally after the country regained independence. It remains distinctly unique among Estonian productions, characterised by its sublime spirituality and

Somnambulance (2003) Autumn 1944, Estonia. Tens of thousands of people leave their homeland in fear of the approaching frontline. Some seashore villages remain completely empty. A young grey-eyed woman gets off the boat. Thus, Eetla (Katariina Lauk-Tamm) gives up her last chance to escape. Defying the cold wind and rain of September, she returns to the lighthouse, which is unexpected to her father Gottfrid, the lighthouse keeper (Evald Aavik), and herself. Eetla’s return becomes a self-encounter and self-recognition. Anxiety for the unpredictable tomorrow leads Eetla to seek refuge in her dreams, either seen or fictional ones, recounting them to her father or to a young doctor, a war refugee Kasper (Ivo Uukkivi), or herself. It does not matter, to whom. Reciting keeps alive the moment in between what has passed and what will come, in between yesterday and nescience. Like a prayer driven by fear of losing her balance between being awake and asleep. This fear of yielding is Eetla’s fear.

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DIRECTOR nia’s borders. Fortunately, the Hubert Bals Fund supported the final period of production and a clause included in the contract stipulated that the film must have its international premiere in Rotterdam. This unexpected turn of events led to wider distribution, making it a fortunate outcome.

Watching your feature films, one can sense a certain belief in ritual, or prayer. Georgica and Somnambulance both feel like prayers, or addresses to a higher power. What role do prayer or holy rituals have in your own life?

In my private life, prayer and holy rituals do not play a role, as I am not a member of any congregation. I have chosen to maintain a neutral observer stance, particularly because of my work in documentaries.

Being a member of something could alter my perspective, and I prefer to approach my work with as blank a page as possible.

This approach offers considerable freedom, but it doesn’t diminish my efforts to understand and convey the power of prayer. One significant experience is connected to Africa, particularly during the filming in Mauretania (Letters to Angel, 2011). I once asked what a prayer means for a Muslim, and the response I received was that it’s comparable to bread for me. It’s a natural and integral part of everyday life, providing people with peace, respite, and reconciliation. As an observer, I deeply appreciate it when individuals have this dimension in their lives, one that transcends the material world and prompts reflection on what to give back to the universe.

Your films often present war trauma or some armed conflict. Your films are never war films, but the war is often present, at least emotionally.

Why is that?

I believe the thematic presence of war or armed conflict in my films is somehow connected to the stories of my ancestors. Growing up, I must have heard numerous tales of tough fates. The end of the Republic of Estonia marked the beginning of World War II and the subsequent period of occupation. When Estonia regained its independence, it became possible to explore these themes without ideological conditioning.

War is an incredibly complex situation, and its impact varies for each individual. In Estonia, the scars of World War II and subsequent events like evictions and deportations to Siberia are deeply ingrained in our history. If not for the war reaching Estonia, many lives would have remained unbroken. While we understand these events locally, their context might be unfamiliar when portrayed elsewhere in the world.

The fears associated with war have resurfaced with the Ukraine War. Despite lacking personal combat experience, even though I filmed in Afghanistan for a month (War, 2017), my position was entirely protected, and at heart, I am a naïve pacifist. The arms race doesn’t offer a solution to our inability to resolve conflicts peacefully. BF

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Sulev Keedus Born on July 21, 1957, in Tallinn, Sulev Keedus is a versatile filmmaker renowned for his work as a director, screenwriter, cinematographer, and photographer. Graduating in drama from Tallinn Pedagogical Institute in 1979, and completing higher film courses in Moscow in 1989, Keedus began his filmmaking journey as an assistant at Eesti Telefilm.

Since 1983, he has been a freelance filmmaker, co-founding studio F-Seitse in 1998. His films, including In Paradisum, Georgica, Somnambulance, Jonathan from Australia, and The Russians on Crow Island, have received acclaim from the Estonian Film Journalists’ Association, with international success at festivals. Honoured with the National Culture Prize in 1999 and the Order of the White Star in 2005, Keedus continues to contribute significantly to Estonian cinema, receiving various awards and scholarships for his creative endeavours.

NOTABLE WORKS: Feature films: The Only Sunday (1990), Georgica (1998), Somnambulance (2003), Letters to Angel (2011), The Man Slayer / The Virgin / The Shadow (2017).

Documentaries: In Paradisum (1993), Jonathan from Australia (2007), The Russians on Crow Island (2012), Elusive Landscapes (2022).

NEWS

By Film Jam

CHINA SEA Explores Cultural Crossroads & Personal Redemption

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hina Sea is the second feature by Lithuanian director Jurgis Matulevicius, following the success of his debut film Isaac (2019), which premiered at the Tallinn Black Nights Film Festival. It was nominated for the European Discovery Prix FIPRESCI at the European Film Awards 2020 and was selected as the Lithuanian entry for the Best International Feature Film at the 94th Academy Awards.

In a bustling night bar street, martial arts champion Osvaldas accidentally injures a girl in an ill-fated attempt to show off. Expelled from the sports federation and cancelled by the media, he finds himself trapped in his desolate hometown in East Europe, tormented by guilt.

No longer able to travel and participate in tournaments in Asia, where he is famous, Osvaldas spends his days in a cheap restaurant, China Sea, owned by his friend, a Taiwanese immigrant named Ju-long.

Osvaldas seizes an opportunity to redeem himself by convincing his former mentor to grant him a second chance. He takes a job as a teenage martial arts coach and proves to be good at it. He also attends group psychotherapy sessions prescribed by the court, where he meets a mysterious woman named Skaiste.

The taste of a better life he never had, takes Osvaldas to the moon, so far that he refuses

to come back. However, his past catches up with him, and everything starts tumbling down. Clinging to what he has at all costs, he resorts to violence again, this time not by accident.

“This film is a tragedy, centred around Osvaldas, a personalised symbol of both individual and collective aggressions of the 21st century. It’s also the tragedy of most men, including myself, who grew up in a place where tolerance was not part of the education and many of us have since struggled to learn it,” says the director.

The main cast includes Marius Repšys, Severija Janušauskaite, and Vaidotas Martinaitis, alongside well-acclaimed Taiwanese actors Lu Yi-Ching (陸弈靜), Jag Huang ( 黃健瑋), and Sonia Yuan (袁子芸).

The film is produced by Ieva Cern through Film Jam (Lithuania) in

On the set with the multinational crew, where creativity knows no borders.

co-production with Marta Gmo­sinska through Lava Films (Poland), Jakub Kostal through Bionaut (Czech Republic), and Amy Ma through Ma Studios (Taiwan).

The film was shot in Lithuania, Poland, and Taiwan from October to December 2023 and is set to reach the silver screens in 2025.

The Lithuanian Film Centre, the Polish Film Institute, the Czech Film Fund, and the Taiwan Creative Content Agency (TAICCA) supported the project. BF CONTACT INFORMATION Producer: Ieva Cern E-mail: ievacer@gmail.com www.chinaseamovie.com.

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NEWS

ANTONIVKA

Seeking Co-Producers for Upcoming Ukrainian Film

Renowned Ukrainian director Kateryna Gornostai is presently working on her new feature film, Antonivka – an intimate story taking place in the future of post-war Ukraine. Co-produced be­ tween Ukrainian company Moon Man and Lith­ uanian company Just a Moment, it is currently looking for additional co-producers.

By Just a Moment Photos by Kateryna Gornostai

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he upcoming film project will delve into the tragicomedy genre, exploring the theme of death in various forms. The narrative revolves around a young couple, Aurora and Darko, who relocate to the house of Aurora’s grandfather, Anton. A survivor of village occupation, Anton recently suffered a mild stroke. The story is set in the challenging post-war period following Ukraine’s victory, a time when people regain the privilege of dying peacefully – an opportunity currently unavailable due to the ongoing war. As the couple settles into their new life, the film unfolds the widening emotional gap between the immature Aurora and her boyfriend. Additionally, Aurora grapples with her inability to tolerate her own mother due to past traumas. The wisest character in the story is

Photo by Nikon Romanchenko

Grandpa, who imparts lessons on perceiving and accepting death through his own example. Despite the weighty subject matter, the narrative promises an abundance of light and humour, with irony woven into the characters’ dialogues and actions.

CONNECTION

Film producer Dagnė Vildžiūnaitė shares her thoughts on her connection with Kateryna: “My initial connection with Kateryna was an indirect Kateryna Gornostai one. I saw her debut film, Stop-Zemlia, in a Lithuanian cinePERSONAL EXPERIENCE ma, and I was truly impressed by The inspiration for this story arises the natural and authentic acting of from Kateryna’s personal experience: the young actors. I even had doubts “Since childhood, I have been told that as to whether it was entirely fictional or a hybrid. Another remarkthere are only two invitations you can’t able aspect of the film was that it ignore: for a wedding,and a funeral, although you can still ignore the first didn’t adopt the typical adult perspective on young people. It wasn’t one. I’ve been to a lot of funerals in my overly romantic or overly critical. life, and unfortunately, recent years of It felt genuine and honest. the war were about grief as well. I observe how the fear of death has already Therefore, when I heard that transformed in me during the period of Kateryna was developing a new Russia’s full-scale invasion of Ukraine story, I was already very curious. because I have been living here all this Upon reading it, I was deeply time. As a scriptwriter and director, I touched on a personal level. I had Dagnė Vildžiūnaitė wonder what this fear will be in the experienced something quite similar in my own life, and once again, it post-war period, how people will learn felt so genuine, devoid of unnecessary exaggerations, to live with the ghosts of war, and how they will be able but filled with all those subtle nuances and shadows to die in peace again.” that make you feel a part of the story as well, perhaps Kateryna’s debut film, Stop-Zemlia, also had an autobiographical background. The film was featured in your own life, maybe in your past, or perhaps hidden deep within your heart where only you are alin the Generation 14+ competition at the Berlinale Inlowed to enter.” ternational Film Festival 2021, winning the main

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NEWS Upcoming film delves into the theme of mortality, attempting to grasp the immense collective trauma of loss caused by the war in Ukraine.

Photo by Igor Efimov

award, the Crystal Bear, from the Youth Jury. It offers an unconventional and sincere portrait of a young generation, characterised by its tenderness, honesty, brilliant visual style, and talented actors. The film quickly garnered attention from the audience. According to the author, while the film was based on a script, a significant amount of improvisation was involved. This effective combination was made possible through the director’s method and preparation work with both professional and amateur actors within an acting lab. This laboratory allowed Vika Khomenko them to create, or rather, to assemble Photo by Nika Popova an “organism,” an authentic school class, which was then portrayed in the film.

“I’ve known Kateryna Gornostai for over ten years. Our first full-length film, the coming-of-age drama Stop-Zemlia, marked our debut – for her as a director and for me as a producer. Together, we evolved through that captivating process, rich in experiments and a strong commitment to crafting a sensitive, honest world for teenagers. Freedom and attention to detail in her artistic approach are the distinguishing characteristics that set her apart as an author, and I find them extremely impressive.

Our upcoming film delves into the theme of mortality, attempting to grasp the immense collective trauma of loss caused by the war in Ukraine. Film production in Ukraine is challenging at the moment, but it is crucial for us to shoot this story in Ukraine. In a way, it serves as our form of resistance. We are delighted to Kateryna have found a partner like Dagne who supports us. We Gornostai with actor Oleksandr believe this story holds vast international potential, Ivanov during addressing themes crucial for a broad global audithe shooting Stop-Zemlia. ence,” says film producer Vika Khomenko.

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Photo by Nikon Romanchenko

WORKING WITH ACTORS

This time, as the team mentions, they will work with actors during the laboratory, but it will be organised a little differently. They will concentrate on the main characters – a man and a woman, a young couple: “Our goal is to design a space where laboratory participants can forge connections with us and each other.

We will cover the basics of drama, improvisation, documentary theatre, stage movement, and voice, not for the sake of knowledge but for shared experience and the creative involvement of an actor on the set in the further work on the film. During the lab, all tasks for its participants will be designed in accordance with the topics raised in the script.”

The project is presently in development and has recently secured development support from the ESFUF. Additionally, it has garnered backing from the Ukrainian Film Academy’s Script Development Grant Programme in collaboration with Netflix. Antonivka was honoured with the ArteKino International Prize at the CineLink Co-Production Market 2023 and was featured during Ukraine in Focus at Marché du Film 2023, with director Kateryna Gornostai participating in the LIM programme 2023. Its presentation at the Berlinale Co-production Market signifies a notable milestone in the continuous quest for partners and future production. BF

NEWS

Impressions

Exploring Generational Trauma “If the father turns out to be too young and bohemian to fulfil the role of a father, it inevitably leaves a mark on the daughter’s life.” This quote encapsulates the essence of director Alise Zariņa’s second full-length feature film, Impressions, currently in production at Mima Films.

By Kristīne Matīsa Photos by Anna Konovalova and Antra Kalniņa

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he narrative explores a situation typical of post-Soviet childhood in the 1990s.

Impressions delves into the estranged relationship between a father and daughter. The protagonist, Līva, finds herself compelled to navigate a solution when her father, Egils, is hospitalised with a serious condition.

Zariņa tackles this complex and seemingly gloomy theme in her signature style, infusing the film with humour and humanity. She shapes it into a narrative that resonates as a story of women from her generation. During casting and discussions with the creative team, many participants acknowledged seeing them-

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selves, their female friends, or acquaintances in the story, instilling hope and confidence that it will resonate with a broad audience.

The 1990s brought Latvia into a new “post-Soviet” era, described as a period of economic challenges. However, it also profoundly affected families and the childhood of many adults. In these families, a central figure was often a legally or de facto single mother with young children, navigating the challenges of survival. The father, if present at all, lingered in the background as a rare and rather unreliable, occasionally violent, and frequently inebriated figure. He often succumbed much earlier to the chal-

Zarina tackles this complex and seemingly gloomy theme in her signature style, infusing the film with humour and humanity. lenges of change than the resilient and determined mother. Growing up in such an environment, and navigating a dysfunctional relationship with her father, a daughter carries a burden of childhood traumas into her adult life. This includes the false belief that she may never handle her own life independently, and the mistaken notion that she requires a man to solve all her problems, be it a simple household issue or a profound emotional struggle.

The film follows Līva, a 30-year-old woman, as she reconnects with her absent father, now on his deathbed in the hospital due to his destructive lifestyle.

This setting introduces another layer, addressing the harsh reality of post-Soviet hospitals with underpaid doctors on the verge of burnout, medical care plagued by financial constraints and systemic errors, and a general lack of humanity, which makes every patient and visitor feel unimportant and vulnerable. The film skilfully navigates these heavy topics while maintaining Zariņa’s characteristic creative touch – a light, ironically absurd narrative with a subjective view of personal experiences.

This approach was apparent in Zariņa’s debut feature, Nearby (2019), which focused on the relationships of young adults, receiving acclaim from audiences and critics. It earned her the National Film Award for the best screenplay. Zariņa, known for her explorations of topics related to the autonomy of the female body in documentary short films,

brings her unique perspective to Impressions.

Līva is portrayed by Ieva Segliņa, an actress from Daile Theatre, the largest dramatic theatre in Latvia. With a decade of regular nominations and National Theatre Awards, Segliņa is currently experiencing a creative surge, including the title role in Henrik Ibsen’s Brand. Līva’s father at different ages is played by two Valmiera Theatre actors, Eduards Johansons and Januss Johansons, a son-father duo.

The film is shot in Latvian provincial towns and various locations, including hospitals, a cemetery, a funeral home, a chapel, an amusement park, and an animal shelter. Local residents, including amateur actors up to the age of 90, contribute to episodic character roles, lending the film an authentic touch. For instance, an 84-year-old small-town resident who won the hearts of the film crew makes his big screen debut as a hospital patient who mistakes the film’s main character for his own daughter.

The creative team, comprising cinematographer Mārtiņš Jurevics, set designer Juris Žukovskis, costume designer Ance Beinaroviča, makeup artist Emīlija Eglīte, and other professionals, collaborate to bring Zariņa’s vision to life. Impressions promises to be a thought-provoking exploration of family dynamics and societal challenges, blending heavy themes with Zariņa’s distinctive storytelling style. The film received financial support from the National Film Centre of Latvia. BF

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EVENT

Photo by Erlend Štaub

Festival director Tiina Lokk and Dutch director and screenwriter Jos Stelling.

Photo by Erlend Štaub

PÖFF

The Blazing Star of the November Nights The Tallinn Black Nights Film Festival (PÖFF), the larg­ est and only A-list festival in the Northern European re­ gion, concluded its 27th edition in November 2023.

By Eliisa Pass and Egle Loor

F

estival founder and director Tiina Lokk expressed her delight at the success of the event, emphasising the festival’s trademark warm, intimate, and cosy atmosphere. Despite global geopolitical tensions, the festival provided a platform where film enthusiasts from around the world came together as friends, creating a positive and memorable experience. Lokk noted, “We

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worried a lot about the turbulent times around the world and whether these would be reflected in the festival atmosphere. It turned out opposite – all film guests made great festival pals.”

PÖFF’S INDUSTRY ADAPTS TO EVER-CHANGING LANDSCAPE

PÖFF’s industry arm, Industry@Tallinn & Baltic Event (IT&BE), the busiest business platform and trade fair in

Andrew Lowe, the producer of Poor Things, receiving the Dennis Davidson Spotlight award.

Northern Europe for audiovisual industry professionals, offered a rich array of film and TV series project presentations, networking opportunities, and engaging programmes. The decision to introduce Just Film Industry Days, focusing on youth and children’s film industry trends, AI, new media, and film education, received positive feedback, underlining the festival’s adaptability to industry needs.

The integration of Artificial Intelligence (AI) emerged as a notable theme in the 2023 programme, with various talks and workshops exploring this innovative frontier. Responding to positive feedback and industry trends, the upcoming edition will further delve into AI’s role in the

Photos by Liis Reiman

Photo by Janis Kokk

The project representatives enanged in over 600 meetings. The call for sumbissions for the next edition will be announced in spring.

The opening panel of the talent programme Discovery Campus focused into the current paradox of AI, explored the ways to lev­ erage its capabilities and efficiency for creative potential, while navigating the still-uncertain terrain of copyright and ethics.

audiovisual business, including understanding the Gen-AI as an audience.

Marge Liiske, the head of the summit, reflected, “We feel like market chameleons, adapting our colours to the ever-changing landscape, ensuring our innovations are always fresh and exciting.

We hope you follow us!” The festival remains committed to supporting talent through initiatives such as the Black Nights Discovery Campus, short film industry, series market strand TV Beats Forum, and the European Innovation Forum.

2024 FOCUS AND NEW PROGRAMMES

Looking ahead to PÖFF28, Germany takes the spotlight as the focus country, commemorating the 70th anniversary of the German Film Institute and the 25th anniversary of the Goethe Institute. The festival will introduce a new competition programme for documentary features, signaling the finalisation

of a years-long effort to enhance its documentary section.

Additionally, the newly launched PÖFF Classics side-programme aims to spotlight freshly restored films from the world’s rich film classics, providing Estonian audiences with a glimpse into cinematic history. The festival’s yearround initiatives for 2024 include a film education programme in Estonian public schools and Creative Gate, a development centre for creative industries, boosting the entrepreneurial and export potential of the Estonian audiovisual sector.

New calls for submissions for different project categories of Industry@Tallinn & Baltic Event will be gradually announced throughout 2024.

The 28th Tallinn Black Nights Film Festival is scheduled for November 8-24, 2024. For more information, visit poff.ee.

Our innovations are always fresh and exciting. We hope you follow us!

PÖFF 2023 IN NUMBERS:

● 244 feature films and 307 short films from 73 countries ● 78 world premieres and 38 international premieres ● 873 screenings ● 88,400 admissions ● 1,687 accredited guests from 65 countries (including 115 journalists from 26 countries) ● 490 volunteers ● Mentioned in 6,800+ articles in 93 countries ● Global media reach: 19.9 billion potential media contacts Grand Prix for the Best Film: Misericordia (dir. Emma Dante) Focus Region: Serbia and South-East European countries INDUSTRY@TALLINN & BALTIC EVENT 2023 IN NUMBERS:

● 800 guests from 50 countries ● 60+ film and series projects across various categories ● Approximately 600 meetings between professionals

The jury of Official Selection Competition 2023: (from the left) Hilmar Oddson, Trine Dyrholm, John Altman, Inna Sahakyan and Xie Fei. Photo by Reiko Kolatsk

Save the date for Industry@Tallinn & Baltic Event 2024: November 18-22, 2024. For more information, visit https:// industry.poff.ee. BF BALTIC FILM

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BALTIC SEA DOCS Riga hosts the primary documentary industry event in the region – Baltic Sea Forum for Documentaries (Baltic Sea Docs), organised by the National Film Centre of Latvia.

By Zane Balčus Photos by Agnese Zeltiņa

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ach year in early September, Baltic Sea Docs convenes around 150 film professionals from the Baltic Sea region, Eastern Europe, and other parts of the world. The event features presentations of new documentary film projects in the co-production pitching forum and a carefully chosen film programme.

Baltic Sea Docs was launched in Denmark in the late 1990s as a platform for regional filmmakers to navigate the European documentary industry. After switching venues in the early 2000s and eventually settling down in Riga in 2006, the forum’s central goal remains unchanged – to serve as a platform for documentary filmmakers with artistically robust and thematically relevant stories from and about the region. While ex-

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Baltic Sea Docs Manager Zane Balčus

Director Mindaugas Survila and producer Giedrė Žickytė presenting their project Yalla, Yalla at Baltic Sea Docs 2023

Over the years, Baltic Sea Docs has esta­blished a solid reputation among regional filmmakers and industry players. panding its geographical reach to cover countries from the Baltic Sea region, Eastern Europe, and the Caucasus, Baltic Sea Docs maintains its focus on bringing together filmmakers with potential partners such as broadcasters, sales agents, distributors, and film funds to bring these stories to life.

Up to 20 new documentary projects are selected for the pitch, representing countries including Latvia, Lithuania, Estonia, Ukraine, Finland, and Poland.

Additionally, up to four projects in the rough-cut stage, previously pitched at the forum, receive a necessary follow-up and additional spotlight. The forum remains a welcoming platform for both established and emerging filmmakers.

Notable filmmakers who have presented their films at the forum include Audrius Stonys, Giedrė Žickytė, Dagnė Vildžiū­ naitė, Arunas Matelis (Lithuania), Riho Västrik, Marianna Kaat, Eva Kübar (Estonia), Laila Pakalniņa, Ivars Seleckis, Gints Grūbe, Uldis Cekulis (Latvia), Irina Tsylik, Darya Basel, Alina Gorlova, Alisa Kovalenko (Ukraine), Mariam Chachia, Salome Jashi (Georgia), and many others.

Over the years, Baltic Sea Docs has established a solid reputation among regional filmmakers and industry players, fostering strong relationships with international broadcasters, sales agents, film funds, and other industry events and organisations. Close collaboration is with

Outdoor screening of Salome Jashi’s film Taming the Garden at Liepupe Manor during Baltic Sea Docs 2023

the Estonian Film Institute and Lithuanian Film Centre who support their filmmakers’ participation at the forum. For many years, Baltic Sea Docs has collaborated with Current Time TV, resulting in a financial award for a project pitched at the forum. Various awards have been provided by partners such as the Helsinki Human Rights Foundation, International Documentary Film Festival Amsterdam (IDFA Spotlight award in 2023 and 2024), post-production facilities by BB Post House, among others.

Complementing the industry activities is a non-competitive film programme showcasing around 12 recent documentary films produced over the last couple of years from various continents. Handpicked by the Baltic Sea Docs’ staff, the programme is carefully curated to present local audiences with currently relevant stories and reflections on new trends in documentary film stylistics.

The programme includes titles previously presented at the forum in the project stage, maintaining the vital connection between the industry and audience components of the event. The films are screened in Riga, several regional towns, and online on the portal filmas.lv. Filmmakers are often invited to present their films in cinemas and engage with local audiences. BF The 28th edition of Baltic Sea Docs is scheduled to take place from September 1-8. The call for projects will be open in early March to the beginning of May, with the project selection announced in late May.

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EVENT

ACTION! VILNIUS

Established in 1995, the Vilnius International Film Festival (VIFF) has evolved into one of Lithuania’s most eagerly awaited cultural phenomena, showcasing bold and impactful auteur cinema to diverse audiences. s the country’s largest film festival, with nearly 100,000 admissions in 2023, VIFF annually presents over 100 films thoughtfully curated into different programmes. From Masters, Critic’s Choice, Panorama, Thematic Programme to the Competition, featuring first or second feature-length films by European directors, VIFF’s film programme spans a broad spectrum of arthouse cinema. Additionally, to spotlight the best local films of the year, VIFF dedicates a separate programme to Lithuanian Film Premieres.

The festival attracts numerous international media members, audiovisual industry professionals, and renowned filmmakers annually. Celebrating its 30th edition next year, VIFF has welcomed

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Photo by Audrius Solominas

A

By Tauras Bernotas Photos by Tautvydas Stukas

Expanding its scope, MPV strengthens its focus on national and regional film professionals, showcasing the diversity of the Lithuanian film industry.

cinema masters such as Werner Herzog, Claire Denis, Mike Leigh, Krzystof Zanussi, Sean Baker, and more throughout its rich history.

MEETING POINT - VILNIUS (MPV)

Held concurrently with VIFF, MPV is the annual industry event drawing hundreds of international film professionals. The 15th edition of MPV brings significant changes, transforming the conference-shaped event into a boutique industry gathering. It serves as a bridge between national and regional talents and those from various European countries, with a strong focus on discovering and supporting emerging talents.

Expanding its scope, MPV strengthens its focus on national and regional film

professionals, showcasing the diversity of the Lithuanian film industry. Responding to audience demands and industry trends, the event will now include animation and drama series in its programme.

MPV continues to cross borders across the continent, fostering partnerships with Eastern European, Mediterranean countries, Central Asia states, the Caucasus, and Western Europe, with special attention to low-production countries.

FROM MASTERCLASSES TO DEBUT PITCHING SESSIONS

This year, MPV will be divided into four sections: Work in Progress (WIP Point), Talents Point, PRO Point, as well as Masterclasses and Case Studies. ● The Work in Progress and Coming

Soon Points will showcase 20 promising audiovisual works, with a focus on debuts and recent films in late or post-production stages. ● Talents Point will provide new educational and training opportunities for emerging national and regional talents, enhancing their careers and professional paths. ● PRO Point will highlight new tools and trends, expanding skills and educational opportunities for professionals. ● Masterclasses will feature inspiring film professionals and promote successful national projects to the audience.

A WIDE SELECTION OF WORKSHOPS

The 15th edition of MPV offers extensive learning opportunities for various film professionals. Workshops include a serial storytelling session with Joachim Friedmann (Internationale Filmschule Köln), intimacy coordination training with Amanda Blumenthal, an AI workshop with Taç Romey and Markus Walsch, a workshop on animated film character design and visual development, and more. BF VIFF is scheduled for March 14–27, 2024.

MPV will coincide with the last three days of the festival from March 24–27.

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FUNDS

How to Find Money in Estonia If you want to make your film with Estonian partners, these are the film funds ready to finance your project.

By EFI

ESTONIAN FILM INSTITUTE PROGRAMMES FOR FILM PRODUCTION MAJORITY CO-PRODUCTION Budget 2024: € 6,400,000 • Financing for an Estonian co-produ­ cer the maximum subsidy is € 800,000 • Subsidy of up to 70% of the budget • 50% of the subsidy must be spent in Estonia • Two application deadlines: April 30 and December 10, 2024 MINORITY CO-PRODUCTION Budget 2024: € 600,000 • For producers from all over the world.

Participation of an Estonian co-producer is necessary. Bilateral treaty not necessary • Maximum subsidy for an Estonian co-producer: feature film and feature animation € 200,000; documentary € 60,000 • Subsidy of up to 70% of the Estonian part of the budget • 100% of the subsidy must be spent in Estonia • Estonian creative and production related participation in a project should meet the requirements of minority co-production grading table • Two application deadlines: March 19 and October 15, 2024 • Decision in 40 days

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FILM ESTONIA CASH REBATE Budget 2024: € 6,000,000 Film Estonia cash rebate is a production incentive supporting the incoming production of feature films, feature documentaries, animation films, animation series, high-end TV-drama and the post-production of all previously mentioned works. An application can be made for international production service or co-production to receive a cash rebate up to 30% on eligible production costs.

• Support intensity – 20%–30% of eligible costs • Deadlines – open call • Applicant – company registered in Estonia • Recipient – foreign company • Decision – in 30 days • Auditing and payment – in 40 days The scheme is open for: • feature films with a budget of at least € 1 million; minimum local spend € 200,000

• feature documentary with a budget of at least € 200,000; minimum local spend € 70,000 • animation with a budget of at least € 250,000; minimum local spend € 70,000 • animation series with a budget of at least € 500,000; minimum local spend € 70,000 per series • high-end TV-drama with a budget of at least € 200,000 per single episode; minimum local spend € 70,000 per series • post-production; minimum local spend € 30,000 Recently supported films include: Tenet (GB/US), Memory of Water (FI), The Burial (GB), Kill the Child (US), Besa 2 (RS) CONTACT: Nele Paves, Film Commissioner nele@filmi.ee filmestonia.eu

TALLINN IDAVIRUMAA

REGIONAL FILM FUNDS TARTU FILM FUND Type of fund: regional, incentive / cash rebate • • •

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Budget 2024: € 100,000 Support intensity: up to 30% Objective: production of an audio­visual work in Tartu and the region of South-Estonia Support for the production of feature films, animations, tv-series, documentaries, short films Participation of an Estonian production company is necessary Two application deadlines: in Spring and in Autumn

PÄRNU COUNTY SAAREMAA

PÄRNU

VIRU FILM FUND Type of fund: regional, incentive / cash rebate

Recently supported films: Omerta 6/12 • Budget 2024: € 170,000 (FI/EE), Erna at War (EE/DK/BE /EE), Dawn • Support intensity: up to 40% of War (EE/FI/LV/LT), Where the Heart Is (EE), • Objective: production of an audiovisual Melchior the Apothecary (EE/LV/LT/DE) work in the Eastern region of Estonia.

Smoke Sauna Sisterhood (EE/FR/IS) • Support for the production of feature films, documentaries, TV-series, short CONTACT: films, music videos fund@tartufilmfund.ee • Participation of an Estonian production tartufilmfund.ee company is necessary • No deadlines, applications are PÄRNU COUNTY FILM FUND accepted from February 10 to Type of fund: regional incentive / October 31 cash rebate • • •

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Budget 2024: € 70,000 Support intensity: up to 25% Objective: production of an audiovisual work in the Pärnu County (except Kihnu municipality).

Support for the production of feature films, animations, documentaries, short films Participation of an Estonian production company is necessary No deadlines CONTACT: Association of Local Authorities of Pärnu County pol@pol.parnumaa.ee parnumaa.ee/en/film-fund

Travel fast. With an area of just 45,227 km2 all corners of the country are only a couple of hours away There’s space. Estonia is one of Europe’s least crowded countries It’s green. 52 % of the country is forest,

Recently supported films: Melchior the Apothecary (EE/LV/LT/DE), Omerta 6/12 (FI/EE), Dawn of War (EE/FI/LV/LT), Eternal Road (FI/SE/EE), Mihkel (IS/NO/EE), Mother (EE), Erik Stoneheart (EE/LU/LT/FI/LV/UA) CONTACT: Piia Tamm piia.tamm@ivek.ee vff.ee

TARTU

• Support for the production of feature films, animations, tv-series, documentaries, short films and film education • Participation of an Estonian production company is necessary • No deadlines Supported films: Melchior the Apothecary (EE/LV/DE), The Vacationers (EE) CONTACT: Saaremaa Development Centre +372 452 0570 / filmifond@sasak.ee minusaaremaa.ee/en/projects/ film-fund-estonian-islands

THE CULTURAL ENDOWMENT OF ESTONIA Public agency that supports culture, including audiovisual art, and sport.

MAJORITY CO-PRODUCTION Financing for an Estonian co-producer the maximum subsidy is € 200,000.

FILM FUND OF ESTONIAN ISLANDS Type of fund: regional, incentive / cash rebate • Budget 2024: € 30,005 • Support intensity: According to the project • Objective: production of an audiovisual work on the islands of Saare County

MINORITY CO- PRODUCTION • Participation of Estonian co-producer is necessary • Financing for an Estonian co-producer the maximum subsidy is € 100,000 • There are four application deadlines: February 20, May 20, August 20 and November 20

making it one of Europe’s greenest countries Endless summer light. Due to its northern location, Estonia experiences the summertime “White Nights” phenomena, when the sun sets late and the night is dusk at most.

Lots of islands. 2,222 islands and islets Period-friendly architecture. Medieval old towns, 1000 castles and manors dating back as far as the 13th century. Architecture from Stalinist classicism and soviet modernism.

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FUNDS

How to Find Money in Latvia THE KEY FUNDING BODIES: National Film Centre of Latvia State Culture Capital Foundation of Latvia Investment and Development Agency of Latvia (cash rebate) Riga Film Fund (cash rebate) Annual State Support for film industry 2023 (from all 4 key funding bodies) – € 13,370,409 Number of film productions supported by the National Film Centre of Latvia in 2023 – 33 films

NATIONAL FILM CENTRE OF LATVIA Minority co-production scheme • Budget 2023: € 300,000 • For producers from all over the world (except for projects whose delegate producer is a company registered in Russian Federation or Belorussian Republic or who has received or has planned to have funding from the public sources in either country). The participation of Latvian co-producer is necessary. The bilateral treaty is not required.

• Supported films: fiction features (over 65 min), documentaries and animation films of any length. The film must comply with the terms and conditions for a Latvian film (according to the Film Law, a Latvian film is a film, which is produced by a Latvian film producer registered in the National Film Centre producer’s register, and in the key creative team at least one member (director, scriptwriter, composer, set designer, animation artist or cinematographer) is a citizen of Latvia.

• The project can only be submitted by a production company registered in the producers’ register in Latvia and the planned budget from Latvia is at least 20% for bilateral coproduction, and 10% in multilateral coproduction, or, if applicable, comply with the Council of Europe Convention on Cinematographic Co-production.

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• The film’s delegate producer must be able to prove at least 50% of financing in place from his/her own country.

• 80% of the subsidy must be spent in Latvia.

• Call once a year, application deadline: March / April.

• Decision: 1 month.

CONTACT: Inga Blese, Head of Production, inga.blese@nkc.gov.lv

STATE CULTURE CAPITAL FOUNDATION A public agency that supports different strands of culture, including audiovisual sector (various kind of projects: film productions, development, research projects, festivals, etc.).

• Supports documentaries of any length, fiction shorts and animation films.

• Applicant for film projects – Latvian producer.

• Funding for audiovisual sector in 2023: € 1,344,928 (no specific amounts indi-

cated for film productions, depends on the competition and available funding).

• Three application deadlines: January, May, September.

• Decision: 1 month.

CONTACT: Film curator Gita Krātiņa, gita@kkf.lv

INVESTMENT AND DEVELOPMENT AGENCY OF LATVIA Cash rebate scheme Latvia Co-financing programme for foreign productions The programme is a production incentive supporting the incoming productions of full-length feature films, documentaries and animation films, TV films. An application can be made for international production service or co-production to receive a cash rebate of 20-30% on eligible production costs. The support can be combined with other public funding sources in Latvia in case if the Co-financing programme’s support together with other

Photo by Armands Virbulis / Nordisk Film

Danish feature fiction Boundless (Nordisk Film Production A/S), was largely shot in Latvia in cooperation with Munchhausen Productions and support by cash rebate programmes of Riga Film Fund and Investment and Development Agency of Latvia.

funding sources does not exceed 50% of the film’s total expenses in Latvia.

• Agreement with the local production company of the collaboration is required.

• Deadlines: open call until 30 September on first come first serve basis until the budget is depleted.

• Support intensity: 20-30% of eligible costs depending on different criteria.

• Shooting must be finished and reports submitted by 30 November.

• Deadlines: open call twice a year.

• Applicant: a company registered in Latvia.

• Applicant: a company registered in Latvia.

• 2023 co-financed foreign film productions with the total of € 1,677,191.

• Decision: 1 month.

• The film’s delegate producer must confirm that at least 50% of financing is in place at the time of submission of the application.

The scheme is open for: • fiction features and animation films with a budget of at least € 711 436; • feature documentaries with a budget of at least € 142 287. www.liaa.gov.lv

shot in Riga, 20% - if the film is shot in the territory of Latvia).

• Annual budget: € 800,000.

• Decision: 1 month.

• The film’s delegate producer must confirm that at least 50% of financing is in place at the time of submission of the application.

The scheme is open for: • fiction films with a budget of at least € 700,000; • for documentaries the budget not specified. www.filmriga.lv CONTACT: Eva Medjāne, eva.medjane@riga.lv

PUBLIC BROADCASTER Latvian Television (LTV) is the stateowned public service television company in Latvia. LTV operates two linear channels, LTV1 and LTV7. LTV is part of Public Broadcasting of Latvia, consisting of LTV and radio (6 stations), joint news content and digital access is provided on the broadcaster’s site www.lsm.lv. LTV acquires Free TV and Free VOD rights to drama series, fiction features, documentaries, children’s content, live events, etc.

LTV mainly acquires completed films but is also open to considering projects in production if LOC is needed.

CONTACT: Zane Valeniece, Head of Acquisitions, Zane.Valeniece@ltv.lv OTHER IMPORTANT CONTACTS: Baltic Sea Forum for Documentaries: balticseadocs.lv Riga International Film Festival: rigaiff.lv/en/ Documentary Film Festival Artdocfest/ Riga: artdocfest.com/en/

CONTACT: jautajumi@liaa.gov.lv

THE RIGA FILM FUND OF THE COUNCIL OF RIGA Cash rebate scheme Riga Film Fund co-financing programme The programme is a production incentive supporting the incoming productions of full-length fiction features, documentaries, and TV films. An application can be made for international production service or co-production to receive a cash rebate of 20-25% on eligible production costs.

The support can be combined with Latvian co-Financing programme’s funding.

• Support intensity: 20-25% of eligible costs (25% if the film’s story is set in Riga or with significant featuring of Riga in the story, and at least partly

Basic facts: Latvia is the member of the EU and NATO. Currency EUR. Latvia covers an area of 64,589 km2, with a population of 1.9 million. Access to high-speed internet in Latvia is among the best in the EU. Accessibility: Riga, the capital of Latvia, has the largest airport of the Baltics just 20 min drive from the city center. There are more than 100 direct flight destinations.

Locations. Latvia and its capital Riga offer a wide

variety of locations. Riga city has Northern charm, Medieval, Art Nouveau and industrial architecture, as well as Soviet modernism heritage.

The most beautiful Art Nouveau buildings in Riga were built by Mihail Eizenstein, the father of the iconic filmmaker Sergei Eizenstein. Throughout Latvia there is wide range of castles, palaces, ancient fortresses and manor houses. The most popular shooting location is Rundale – a baroque

palace built in 18th century, 100 km from Riga Pristine nature: There are four distinct seasons in Latvia. Over 500 km long white sand beaches – the coastline of the Baltic sea. Abundancy of rivers and forests, lakes and swamps.

Advantages of filming in Latvia: Internationally experienced technical crews, strong art department and construction teams, competitive costs, stages and backlots, wide range of extras.

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FUNDS

How to Find Money in Lithuania Learn more about how to save money while making your dream project in Lithuania come true.

The key funding body: Lithuanian Film Centre LITHUANIAN FILM TAX INCENTIVE The Lithuanian Film Tax Incentive came into effect in January 2014 as a new policy measure to foster local and foreign film production in Lithuania. Recently it has been extended until 31st of December, 2028.

The Lithuanian Film Tax Incentive provides an opportunity to save money on film production budgets through a private investment scheme.

Key information • Save up to 30% of your film production budget • Available for the production of feature films, TV dramas, documentaries and animated films, including domestically produced, co-produced or commissioned films (produced under the service agreement).

HOW IT WORKS As a foreign filmmaker, you must cooperate with one of the local production companies that submit the application. The local company takes the responsibility for finding a local business company willing to support up to 30% of your production budget in exchange for reduced corporate income tax.

PRODUCTION CRITERIA The Film Tax Incentive is only available for films that meet the approved production and cultural criteria requirements. For more detailed information on the requirements, visit www.lkc.lt/en.

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The project has to meet all of the following production criteria: • At least three days of shooting take place in Lithuania in the course of the production (except for animation projects); • At least 20% of an animated film’s production costs in Lithuania must be incurred for producing two of the elements: shooting (if it is required by the script); characters and/or backgrounds design; layouts and/or storyboards; visual effects; • At least 51% of the crew hired by the Lithuanian production company are citizens of Lithuania or citizens of other European Economic Area (EEA) countries.

• The total amount of eligible spend in Lithuania has to be no less than € 43,000

FACTS AND FIGURES Due to the Lithuanian Film Incentive, in 2023 film productions received € 21,037,807 • Foreign projects received € 13,479,564 • Co-production projects received € 1,133,432.

• National projects received € 6,424,810 In 2023, Lithuanian Film Incentive was used by 70 national, 17 co-production and 14 foreign (production service-based) film projects.

The biggest foreign projects that benefited from the Lithuanian Film Incentive in 2023: • Drama series A Life‘s Worth (Sweden – Viaplay), € 1,637,430,00 received; • Adventure TV show Ronja the Robber’s Daughter (Sweden – Viaplay) € 1,610,181 received; • Historic mini series Sisi 3 (Germany, Austria – Epic Drama) € 1,863,911 received.

Photo by Vilnius Film Office

Photo by Audrius Solominas

Photo by Saulius Žiūra

Filming in Vilnius

MUBI commercial

On the set of Hunger Strike Break­ fast (dir. K. Kaupinis)

Maximum amounts of funding per project (agreements must be provided): • Up to € 100,000, if the project involves at least one Lithuanian film editor, sound director, costume designer, main actor, senior animation artist, or senior animation frame artist;

lkc.lt/en

• Up to € 200,000, if the project involves at least one Lithuanian co–author–director, scriptwriter, director of photography, production designer, composer, director of animation, or senior animation character artist.

For more information regarding funding, please contact: Deimantas Saladžius +370 6586 8822 d.saladzius@lkc.lt

MINORITY CO-PRODUCTIONS Requirements in order to be considered a minority co-production: • Co-production (preliminary) agreement that complies with the provisions of the European Convention on Cinematographic Co-production or other international Co-production Treaties between Lithuania and other countries.

• Production companies must deliver substantial information confirming that the financing for production which makes no less 50% of the whole budget has already been committed; • 95% of the financial grant should be spent in Lithuania; • A script or script treatment in Lithuanian.

Basic facts: Lithuania is a country in the Baltic region of northern-eastern Europe, with a population of 2.8 million. One of the three Baltic states, it is situated along the south-eastern shore of the Baltic Sea. Lithuania is a member of the EU; its currency is the euro; official language – Lithuanian although English and Russian are widely spoken.

Locations: with an area of 65,200 square kilometres, Lithuania is full of unique

Irma Šimanskytė +370 6193 6334 i.simanskyte@lkc.lt

and versatile locations.

Vilnius, Lithuania’s capital, was founded in 1323. Its Old Town is one of the largest in Europe and is a designated UNESCO World Heritage Site.

The three biggest cities, Vilnius, Kaunas and Klaipėda, are full of architectural monuments that speak of a multifaceted history and offer gothic, neoclassical, baroque, art-deco, constructivist, and contemporary backdrops.

Andrius Kuprevičius +370 6506 6873 a.kuprevicius@lkc.lt

Nature: 30% of the country is covered with forests, there are 2 830 lakes larger than 0.5 hectares, and 18 rivers longer than 100 kilometres. Thanks to its four seasons, Lithuanian landscapes are rich with colour from white to yellow, red and orange, to green and blue.

Advantages of filming in Lithuania: talented & experienced crew, highspeed internet, wide range of filming backdrops in one place, perfect for projects set in any time period.

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TALENT

D N A

T U C 30% cash rebate on local expenses

CUT YOUR COSTS CUT YOUR TIME CUT YOUR BUDGET

Payment in 40 days directly to a foreign account Competitive rates for world class film professionals

CUT YOUR LOGISTICS

All locations within a 3 hour drive

Shoot in Estonia!

MORE INFORMATION FILMESTONIA.EU

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Join film professionals and talents for Industry@Tallinn & Baltic Event masterclasses 18-22 NOV

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