EFP spotlights outstanding European documentaries with the launch of a new showcase in New York City
TRUE STORIES: NEW NON-FICTION FROM EUROPE
For the first time, EFP (European Film Promotion) spotlights outstanding European documentaries with True Stories: New Non-Fiction from Europe in New York City. For the launch of the programme, running from May 3 – 7, 2017 EFP has teamed up with the New York based cinema Metrograph, home to a prolific and finely curated world of cinema. The majority of EFP’s 38 member organisations enthusiastically suggested films that push the visual and narrative boundaries of traditional non-fiction filmmaking. The final selection – curated by Metrograph – presents nine productions including four US premieres and three NY premieres.
To provide access to a broader audience, EFP is also cooperating with VoD platform Kanopy on the non-theatrical distribution of the films. This new EFP initiative is financially supported by Creative Europe – Media Programme of the European Union and the participating EFP member organisations.
The Opening Night film on May 3 is the NY premiere of Last Man in Aleppo (Denmark/Syria), winner of the World Cinema Grand Jury Prize at the 2017 Sundance Film Festival. U.S. premieres include Come Back Free (Estonia), Funeral (On the Art of Dying) (Belgium/France/Canada), Spira Mirabillis (Italy/Switzerland), and Tinselwood (France), while Mister Universo (Austria/Italy) and Stranger in Paradise (Netherlands) will receive NY premieres. Completing the list is Ama San (Portugal/Japan).
With a special invitation from Metrograph, the Closing Night will be dedicated to the award-winning work of late filmmaker Michael Glawogger with a screening of Untitled (Austria/Germany).
"We are thrilled to collaborate with Metrograph in presenting EFP’s first showcase of European documentary films in New York” said Martin Schweighofer, EFP President. “Metrograph’s Jacob Perlin and Aliza Ma have curated an uncompromising lineup of films. The selection challenges the boundaries of traditional documentary filmmaking with visually arresting images and thought-provoking content, representing the latest trends in European non-fiction filmmaking”.
Jacob Perlin, Artistic Director and Director of Programming at Metrograph, said “We’ve wanted to partner with EFP before the construction of Metrograph was even finished. For True Stories: New Non-Fiction from Europe, with EFP, we’re bringing some of the strongest and most vital non-fiction films to New York, in a time where our horizons needs to be broadened, and our bonds to film strengthened.”
The following EFP members are supporting True Stories: New Non-Fiction from Europe: Austrian Films, Danish Film Institute, Estonian Film Institute, Eye International, ICA – Instituto do Cinema e do Audiovisual, I.P. (Portugal), Istituto Luce Cinecittà (Italy), UniFrance, Wallonie Bruxelles Images.
FULL LIST OF TITLES
Opening Night Selection
Last Man in Aleppo – NY Premiere
(Steen Johannessen/Firas Fayyad, Denmark/Syria)
Syrian filmmaker Firas Fayyad and Danish co-director Steen Johannessen’s breathtaking work is an imperative piece of boots-on-the-ground reportage, following the exploits of the White Helmets, a search-and-rescue organization who indefatigably struggle on amidst Aleppo’s humanitarian catastrophe, looking for signs of life amid the rubble of a ruined city. Displaying remarkable calm and compositional clarity amidst chaos, Last Men in Aleppo embodies the agony and euphoria of its subject’s life-and-death work. EFP Member: Danish Film Institute. A Grasshopper Film release.
(Cláudia Varejão, Portugal/Japan)
Every day, in an obscure corner of Japan’s Shima peninsula, traditional pearl hunters dive beneath the waves to harvest from the ocean floor. Varejão’s remarkable film follows three female divers of varying ages out onto (and under) open water and back into their homes, describing the little routines which make up their lives, in a poetic film that seems to obey the coaxing rhythm of the ocean from which these women take their livelihoods. EFP Member: ICA - Instituto do Cinema e do Audiovisual, I.P.
Come Back Free – U.S. Premiere
(Ksenia Okhapkina, Estonia)
Shot in the rugged mountains of Chechnya, Come Back Free looks firsthand at the lives of Muslim Chechens unreconciled to the supposed peace with Russia. Filmmaker Okhapkina records rituals of joy and of mourning in a village where life seems to center around a cemetery filled with the war dead, the title of her poetic film taken from a common goodbye exchanged by these proud, determined people. EFP Member: Estonian Film Institute
Funeral (On the Art of Dying) – U.S. Premiere
(Boris Lehman, Belgium/France/Canada)
The last episode of Lehman’s ongoing “auto-cine-biographic” work Babel, through which Lehman has documented thirty years of his own life, Funeral finds the filmmaker-essayist getting ready for the end, his customary wry humor still very much intact he attends to the business of trying a coffin on for size, preparing for the ceremony, and putting together a brilliant, blazing pyre of worldly possessions. Wistful and wise, the capstone to an awesome feat of ongoing cinematic self-analysis.
EFP Member: Wallonie Bruxelles Images.
Mister Universo – NY Premiere
(Tizza Covi & Rainer Frimmel, Austria/Italy)
Covi and Frimmel use real carnival performers to play out this endearing fable from what’s perhaps the end of the circus era, in which Tairo, a sweet-but-surly young lion tamer with a ragtag outfit travelling the Italian provinces, goes into a panic after losing his bent-steel lucky charm, and sets out to find the man who bent it for him years ago—Arthur Robin, the first black Mister Universe. A lovely, loving dispatch from the tatty fringes of show biz. EFP Member: Austrian Films.
Spira Mirabillis – U.S. Premiere
(Massimo D'Anolfi & Martina Parenti, Italy/Switzerland)
An extraordinarily rich, nearly wordless onrush of footage culled from all around the world—marine biologists in Japan, Lakota Sioux shamans, the hidden world of single-cell organisms—Spira Mirabilis is perhaps the most ambitious work to date by D’Anolfi and Parenti (The Castle, Dark Matter), a film of swarming multitudes that moves nimbly between the micro and macro while circling the appropriately massive idea of immortality. EFP Member: Istituto Luce Cinecittà - Filmitalia
Stranger in Paradise – NY Premiere
(Guido Hendrikx, Netherlands)
A bracing study in politics and power dynamics set in a refugee detention center on the Mediterranean island of Lampedusa, Hendrikx’s confrontational docu-fiction experiment breaks down the crisis in contemporary Europe over the course of three acts in which real migrants present their stories in a classroom environment where they’re confronted by an instructor who represents different European attitudes: One forbidding, one open-armed, one the actual tangle of European Union policy. EFP Member: EYE International.
Tinselwood – U.S. Premiere
(Marie Voignier, France)
Observing the quotidian lives of the people of southeast Cameroon from the demarcated position of an outsider, cinematographer and filmmaker Vognier searches through the tropical overgrowth to discover where she can identify the psychic and the physical legacy of colonialism among a people existing at a level of bare subsistence, where young men still search the old German cemetery for buried treasures. A patient, scrupulously honest film, which gives its subjects time and space to reveal themselves in all their complexity. EFP Member: UniFrance.
Closing Night Selection – Special Screening
(Michael Glawogger, Monika Willi, Austria/Germany)
When the great Michael Glawogger (Workingman’s Death, Whores’ Glory) died of malaria in Monrovia, Liberia, he was in the midst of a yearlong period of footloose travel, at work on a new kind of open-ended movie. Untitled is comprised of the globe-trotting material he shot on this pilgrimage-without-a-destination and the notes he took along the way, an immensely affecting testament to the artist’s boundless curiosity and cinematographic virtuosity that vibrates with vitality before arriving at a coda of gentle resignation. EFP Member: Austrian Films.
The Estonian Film Institute (EFI) allocated minority co-production support in the amount of 185,000 Euros to four films – two of them are features and two are documentaries.
“It is a unique and thought-provoking riddle that will be filmed in Siberia and that tells the story of a Russian man who decides to outwit death,” said the EFI Head of Production Piret Tibbo-Hudgins.
German production company Pandora Film will make the film “The Last Journey of Monsieur Pichon” with co-production partners Nimbus Film from Denmark, Mact Production from France, Panache Production from Belgium, Akson Studio from Poland and Meteoriit from Estonia (producer Aet Laigu). The project received 100,000 Euros from EFI.
This is a romantic film from lauded Danish director Søren Kragh-Jacobsen about the last days in the life of composer Frédéric Chopin. Some of the film will be shot in Estonia and the main character will be played by French actor Romain Duris.
Of the documentary films supported, EFI allocated 25,000 Euros to “Love Express”, produced by Polish company Colab Pictures and co-produced by HBO and the Estonian company Maagiline Masin (producer Anu Veermäe).
Director Kuba Mikurda’s film looks at the career of one of Poland’s most influential animators Walerian Borowczyk, which ended up in the porn industry.
“Thematically, this is an archetypal biopic of an artist where his immense talent butts heads with larger force at play,” said Tibbo-Hudgins. “In the background, we see a mix of the crazy 1970’s, the sexual revolution and the disappearance of censorship.”
Estonian animators will make the illustrative animation clips in the film.
Lithuanian production company Moonmakers received support for their film “Gentle Warriors”, which has Estonian Riho Västrik and his company Vesilind as a co-producer and received 20,000 Euros from EFI.
Young Lithuanian director Marija Stonyte’s generational story takes place in the backdrop of the arms race with five Lithuanian ladies at the center of the turmoil as they do their duty through compulsory military service. The film contrasts the severity and discipline of the military world with the chaos and fears in their private lives.
The film will be edited by Estonian Mirjam Jegorov, the editor of IDFA competition films (also produced by Vesilind) “Woman and the Glacier” and “Come Back Free”.
The cover star of our new issue is Jaak Kilmi, the director of a new Estonian film The Dissidents. In the fresh issue of Estonian Film, there is also an interview with producer Katrin Kissa about her film November and portraits of actors Hendrik Toompere Jr and Mari Abel. Estonian Film also contains an interview with composer Sten Sheripov, reviews of new titles and latest film news from Estonia.
Estonian Film is published by Estonian Film Institute.
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The Estonian Film Institute gave out the production support for three feature films. Two directors are making their debut features, which shows continued institute support for the new generation of filmmakers.
“The nature of your job truly is one of the most changing paradigms of modern era, one that people primarily tend to treat on a social level. In this story, the author has chosen a much more interesting viewpoint – the focus is on the effect that a job (losing one’s job) has on a person’s identity; more specifically, on the identity of an intelligent woman working in research,” said Tibbo-Hudgins.
According to her, the author does not see the main character, Sandra, as a victim. Instead, he has created an intriguing and quite unusual character for an Estonian film. Sandra is estranged from real life, a scientist working inside her own bubble who doesn’t understand the social code because she has never needed to. Being fired and the search for a new job inevitably forces her to adapt to the rules that exist outside her former world of research.
“In the end, it’s a question of how adaptable a person is to different conditions, whether she is flexible enough and, essentially, how the whole process affects her. Whether we like it or not, we are all social animals,” Tibbo-Hudgins added.
292,000 Euros was given to Janno Jürgens’s debut feature Rain, producer of which is Kristjan Pütsep from the production company Alasti Kino.
“Inspired by personal experience, this is a surprisingly audiovisual story about the difficulties of being a man,” said Tibbo-Hudgins. “This nordically minimalistic script examines three men in one family – each one representing a different generation and, thus, also, era. Each one has his own path to walk and his own pain to overcome.The men’s paths meet at home, where their worlds clash and the subtext in each of their quests is the attempt to understand a woman.”
The third project to receive production support was the sequel to last year’s box office hit Class Reunion – Class Reunion 2 – Wedding and Funeral, which received support in the amount of 80,000 Euros. The comedy sequel is directed by René Vilbre and produced by Kristian Taska of Taska Films.
Support for the second phase of production was given to three feature films that are already in production. The film The Last Ones (director Veiko Õunpuu) received 177,000 Euros, The Man Who Looks Like Me (directors Andres and Katrin Maimik) received 100,000 Euros and The Dissidents (director Jaak Kilmi) received 50,000 Euros.
The Estonian Film Institute total budget for feature film production in 2017 is 1,059,000 Euros of which the Institute gave out support in the amount of 939,000 Euros. The next round will be support given to micro-budget feature films where the total money to be allotted is 120,000 Euros.
Estonian film audiences, ascending to the top tier of European cinemagoers per capita, have year-by-year shown a steady rise in their interest towards domestic film according to the figures of 2016 that saw the crowd-pleasing hit-comedy Class Reunion as their highest-grossing film.
"I'm pleased to say the yearly cinema visits per capita in tiny Estonia was 2.5 which makes Estonia one of the highest-attending countries in Europe," Head of Estonian Film Institute (EFI) Edith Sepp said. "Opinions regarding attendance and trends differ vastly in Europe. For example, in the "old Europe" countries people might go to cinema less than they used to and the younger generation is switching over to newer platforms, therefore there is a worry about the sustainability of cinemas. However, in many smaller and the "new Europe" countries, brand new cinemas are being built that see more attendance."
According to Sepp this trend is well mirrored by Estonia's distribution figures of 2016 that show two Estonian films amongst several family films of major US studios in the top 10 highest grossing films, namely the top spot film Class Reunion which is also the most watched and highest grossing film in Estonian cinema distribution history, and The Days That Confused.
Sepp added the EFI sees to it that European cinema is well distributed in Estonian cinemas. "The average market share of European films in various member states of the European Union is around 26 per cent. Recent years show the produce of other European countries makes up a stable trend of around 20 per cent of the market share in Estonian cinema distribution, which in itself is a great achievement. If the market share of Estonian films, also part of the label of European cinema, is factored in with its share above 10 per cent then the result for the second consecutive year in a row is remarkable."
The average price of cinema ticket in Europe is seven euros and in 2016 the average ticket in Estonia cost 5.5 euros.
"The rising price of ticket is definitely mirrored also in box office. For the first time we can talk about the box office of Estonian film which was close to 1.8 million euros," Sepp said. "Estonian viewers love going to cinema and are happy to watch Estonian films, even with the price of tickets rising."
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Estonian Film Institute
The cover star of our new issue is Vallo Toomla, the director of a new Estonian film Pretenders. In the fresh issue of Estonian Film, there is also an interview with the acclaimed director Ülo Pikkov about his latest puppet animation Empty Space and portraits of actors Rain Tolk and Meelis Rämmeld. The magazine gives an overview of Tallinn Black Nights Film Festival 20th jubilee and its industry events. Estonian Film also contains reviews of new titles and latest film news from Estonia.
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The winner of the Estonian Republic 100 television series competition, Bank, focuses on the real life events that took place in turbulent 1990s Estonia. In the backdrop of historical events of the era, a personal drama unfolds forcing those involved to reevaluate the exchange rates at the same time as their personal value systems. The 10-part series will screen in the framework of the Estonian Republic 100 celebration program on Estonian Television starting in the autumn of 2018.
The head of the Estonian Film Institute Edith Sepp added that the Estonian Republic 100 competition was a completely new endeavor for the Estonian Film Institute. “The competition included an almost year-long television drama writing workshop run by Frans Baunsgaard and Steen Bille from Denmark,” she said. “Thanks to the long development period and the serious commitment from the authors, the four final projects were enjoyable, unique and bold stories.”
The winning series, Bank is written by Eero Epner and Tarmo Jüristo. In addition to Bank, the jury considered the series 39/40 written by Tiit Aleksejev, Arabella written by Lauri Lippmaa and Jaik written by Juhan Raud and Laura Raud.
In addition to Margus Kasterpalu, the jury included the head of entertainment programming at the Estonian Public Broadcasting, Mart Normet, the commercial director of Cinamon Holding, Toomas Luhats, and film critic Tristan Priimägi. The Estonian Film Institute was represented in the jury by Edith Sepp, Piret Tibbo-Hudgins and Endel Koplimets.
The television series competition held in honor of the 100th anniversary of the Republic of Estonia started in November of 2014 when twenty seven ideas were submitted and four were chosen for the next round. The winning ideas each received 5000 Euros for script development and the opportunity to develop their projects during the television series workshop. The chosen projects presented scripts for the first three episodes and treatments for the rest of their series in September. The expert jury decided to allocate development support of 60,000 Euros to the project “Bank”. The winning series will continue development until the summer of 2017.
The competition was organized by the organizing committee of Estonian Republic 100 and the Estonian Film Institute. The competition is funded by the Government Office of the Republic of Estonia.
The Council of Europe co-production fund Eurimages is holding its fall meeting in Tallinn from October 17 to 21
“Having such an important group of people as the Eurimages Board of Management in Estonia is significant for our film industry,” said the Head of Production at the Estonian Film Institute Piret Tibbo-Hudgins. “Last time we had such an opportunity was ten years ago, in 2005. This time, over 50 of the top-level decision makers are coming to Tallinn.”
The Eurimages Board of Management meets four times a year in different cities around Europe and is composed of representatives of the member states. The Estonian Film Institute Head of Production Piret Tibbo-Hudgins and Managing Director Edith Sepp represent Estonia.
Eurimages has three support schemes, the most important of which is the financial support to feature films, animations and documentaries produced in Europe. In doing so, it encourages co-operation between professionals established in different European countries. The fund also has support mechanisms for theatrical distribution and exhibition.
“Co-production and finding additional funding outside of Estonia is a reality of our film industry. Year after year, we have expanded our list of co-production countries as well. Our last additions, for example, have been Poland, Holland, Iceland and Spain,” Tibbo-Hudgins explained.
Eurimages is also active on the topic of gender equality in the European film industry. The fund gathers statistics and analyses stereotypes, clichés and other thematic aspects. For the first time this year, the Eurimages Gender Equality Working Group gave out the Audentia Award to the best female film director. The award included a 30,000 Euro cash prize. This high honor went to the Romanian director Anca Damian for her film The Magic Mountain. The Gender Equality enlarged Working Group meeting took place on Monday, October 17 at Kinomaja. The discussion revolved around the roles and opportunities for women filmmakers in the Estonian film industry.
The Estonian co-productions that have received support from Eurimages in the last five years are Tangerines (110,000 Euros; Estonia-Georgia), I Won’t Come Back (210,000 Euros; Russia-Belorussia-Estonia-Finland), The Fencer (300,000 Euros; Finland-Estonia-Germany), The Secret Society of Souptown (220,000 Euros; Estonia-Finland), Seneca’s Day (220,000 Euros; Lithuania-Estonia-Latvia), Pretenders (120,000 Euros; Estonia-Latvia-Lithuania) and November (210,000 Euros; Estonia-Poland-Holland).
Since 2015, Eurimages has also given out 20,000 Euros development prize to the best co-production project at the Black Nights Film Festival co-production market Baltic Event.
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Estonian Film Institute
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According to the cultural budget for 2017, agreed upon in the government coalition, the volume of Film Estonia support scheme for producing films and series involving foreign financing, will be increased from the previous 500,000 euros to 1 million euros.
The aim of Film Estonia support scheme is to stimulate the influx of foreign capital to Estonia and cooperation between Estonian and foreign filmmakers for producing audiovisual works.
According to the Minister of Culture Indrek Saar, doubling the volume of the pilot project for this support scheme is a very important step for the Estonian film, as this helps our filmmakers play a part in the international film industry, it also stimulates economy as a whole. “Foreign producers have shown a lot of interest towards Estonian film experts, shooting locations, as well as using high-level technology, infrastructure and service providers to film in Estonia. The pilot project has been launched with great success and the increasing volume of the support scheme will definitely make Estonia even more attractive to foreign filmmakers,” said Saar.
The balance of the fund for 2016 stood at 60,000 euros in August and nearly 1.5 million euros had reached Estonia in the form of taxes or as expenses incurred here. This year’s last application round for Film Estonia will be held in the beginning of November. It is estimated that the increased volume of the support scheme for films (up to 1 million euros) should bring at least 3.3 million euros to Estonia in 2017. Repayment takes up 20-30% of the foreign capital brought to Estonia.
The Film Estonia pilot, which supports the creation of films and series that is funded by foreign capital, was launched this year. The support scheme is financed by the Ministry of Culture and managed by the Estonian Film Institute (EFI). The base document of cultural policy “The fundamentals of cultural policy until 2020” and the Document of Development Directions of Estonian Film 2014-2020 also impose that the internationalization of cinematography in Estonia and co-production with filmmakers and companies from other countries should be supported.
You can read more about Film Estonia here.
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Kadri Kõusaar’s film Mother has been put forward by Estonia for consideration for Best Film in a Foreign Language at the 89th Academy Awards.
Inspired by the radio series Coma – made by Irish filmmaker Kevin McCann – Kadri Kõusaar’s darkly comic thriller Mother centres on a woman whose adult son is in a coma after a shooting. The woman – played by Tiina Mälberg – must face the locals of the small town in which they live who try to solve the mystery of what happened.
What initially seems a simple crime story grows into a human tragedy that transcends the ‘small town’ and ‘small people’ mentality to look at timeless questions about morality, self-sacrifice, personal happiness and freedom of choice.
“The film focuses on an event from the past, the truth of which that cleverly unravels before the viewers’ eyes without the film losing pace,” said Martti Helde, film director and head of the Board of the Estonian Cinema Union. According to Helde, Kõusaar has achieved the best result from little resources and the film stands up to repeated viewing.
A selection committee organised by the Estonian Film Institute (EFI) considered films that had their premiere between October 1st 2015 and September 30th 2016 and had a commercial release of at least seven days.
“The film deftly balances the visible and hidden within the confines of a small town and the bright world outside and the dimmed light of the sick man’s room, only sometimes lifting the veil from the emotional whirlwinds within the main characters,” said the committee about Mother. “The comatose teacher emphasises the static nature of a small town as people confess their innermost dreams and the ugliest scenes are played out before him.”
The selection committee included distributor Lauri Kaare, film critic Tõnu Karjatse, cinematographer Mait Mäekivi, set designer Mare Raidma, producer Riina Sildos and the head of Estonian Film Institute Edith Sepp.
The film was released domestically in January 2016 and had its international premiere at the Tribeca Film Festival. The US sales agent for the film is Andrew Herwitz from The Film Sales Company.
The film was produced by Aet Laigu through the company Meteoriit and written by Leana Jalukse. The cinematographer is Jean-Noël Mustone.
The 89th Academy Awards will take place in Hollywood on February 26th 2017.
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Estonian Film Institute (EFI) awards 227 000 euros as part of its second half-year funding slate to five co-productions, including two feature films and three documentaries, that see Estonian filmmakers as minority co-production partners.
As to feature films, EFI awarded 100 000 euros to Icelandic-Norwegian-Estonian film Mihkel (“Mihkel”), and 60 000 euros to Icelandic-German-Estonian co-production The Swan (“Luik”). As to documentaries, Finnish-Swedish-Norwegian-Estonian co-production Dear Mother (“Kallis ema”) received 30 000 euros, 20 000 euros was awarded to Latvian-Lithuanian-Estonian joint production Baltic New Wave (“Balti uus laine”), and 17 000 euros to Spanish-Estonian documentary Constructing Albert (“Alberti leiutamine”).
The Swan is co-produced by Estonia’s Kopli Kinokompanii (producer Anneli Ahven); Mihkel is co-produced by Estonia’s Amrion (producer Evelin Soosaar-Penttilä). In the latter, Estonian actors, Pääru Oja, Kaspar Velberg, and Liis Lass, are playing some of the leading roles.
Dear Mother is co-produced by Estonia’s Film Tower Kuubis (producer Margus Õunapuu), the full-length documentary Baltic New Wave is co-produced by Estonia’s Vesilind (producer Riho Västrik), and the portrait documentary Constructing Albert is co-produced by Alexandra Films (producer Marianne Ostrat).
“We are also thrilled about the success of three strong projects that EFI supported last year,” Tibbo-Hudgins said referring to the minority co-productions Dearest Sister (“Kallis õeke”), Lake Bodom (“Bodom”), and Close Relations (“Suguvõsa”), which were selected to the programmes of the 60th BFI London Film Festival later this year. “This level of international interest is a testament to the wit of Estonian producers who have a good nose for seeking out truly interesting projects. We, here at EFI, continue to encourage Estonian filmmakers to break the mental barriers and be open-minded in exploring bold, thought-provoking, and socially relevant topics with foreign partners.”
In the Dare programme a Lao-Estonian-French drama Dearest Sister will be screened (co-produced by Estonia’s Oree Films, producers Sten-Kristjan Saluveer and Helen Lõhmus). In the Cult programme a Finnish-Estonian genre-bending thriller Lake Bodom will be screened (co-produced by Estonia’s Münchhausen Productions, producers Elina Litvinova and Mika Pajunen). In the Debate programme a Latvian-Russian-German-Estonian documentary Close Relations will be screened (co-produced by Estonia’s Baltic Film Production, producer Marianna Kaat).
Shooting began on the new feature film The Little Comrade this week and will continue until the summer of next year. The premiere is planned for 2018 when the Republic of Estonia will celebrate its 100th anniversary.
Helena-Maria Reisner, who was chosen from among more than 150 children, plays the main character, 6-year-old Leelo. The other main characters are played by distinguished Estonian actors, including Tambet Tuisk (The Poll Diaries, The Idiot, Demons, Family Lies etc.), Liina Vahtrik, Juhan Ulfsak (Roukli, Autumn Ball, The Days That Confused) and others.
The shooting period will last from August of this year until June of next year. There will be a total of 45 shooting days. The film’s budget is 1.4 million Euros.
This February, The Little Comrade became the first Estonian project to be selected for the Berlin Film Festival Co-Production Market where it received the Special Mention Prize from the Eurimages Jury.
The Little Comrade is being made in the framework of the Estonian Republic 100 Feature Film program.
Moonika Siimets is the author of several lauded short and documentary films. Her most well known works are The Pink Sweater (2014), The Last Romeo (2013), The Salme Secret (2012) and Fashion Dog (2010). The film’s director of photography is Rein Kotov, the set designer is Jaagup Roomet and the producer is Riina Sildos. The film is being made by the film studio Amrion.
Triin Ruumet’s debut feature “The Days That Confused” received the Jury Special Mention prize from the East of the West competition program at the Karlovy Vary IFF. The international premiere of the film also received a 10,000 USD prize with the award.
“The Jury award is a big honor for our film. Especially as Karlovy Vary is an A-list film festival. We screened the film “The Days That Confused” for the first time internationally at Karlovy Vary and we are extremely happy to have been honored. We have a row of other festival invitations awaiting us, the first of which will take us to the Palic Film Festival in Serbia,” commented the film’s producer Maie Rosmann-Lill.
The Grand Prix of Karlovy Vary’s East of the West program went to the film “House of Others” directed by Georgian Rusudan Glurjidze. The most important prize of the festival, the Crystal Globe, went to the Hungarian director Szabolcs Hajdu for the film “It’s Not the Time of My Life”. The 51st Karlovy Vary International Film Festival took place from July 1-9.
“The Days That Confused” screened domestically to 63,000 viewers. The film is still available on the Telia video rental and the DVD will be available in stores at the beginning of September. The tragicomedy spiced with dark humor takes place in the second half of the 1990s. The main character is Allar (27) and the film follows his path from one party to another across Estonia as he comes into contact with colorful characters and confusing situations. The tense and absurd events make Allar think about the decisions he’s making and become his soul-searching path through Estonia of the nineties.
„The Days That Confused“ is director Triin Ruumet’s first full-length feature film. The main characters are played by Hendrik Toompere Jr. and Juhan Ulfsak. The film was produced by Kinosaurus Film and supported by the Estonian Film Institute and the Estonian Cultural Endowment.
The film’s trailer: https://www.youtube.com/watch?v=C9BxXUX_2Co
Photos of Karlovy Vary: Film Servis Festival Karlovy Vary
Producer: Maie Rosmann-Lill
Phone: +372 5615 6535
The cover stars of our new issue are Triin Ruumet and Anu Aun, the directors of new Estonian films "The Days that Confused" and "The Polar Boy".
The magazine also contains interviws with actor Tambet Tuisk and actress Jaanika Arum starring in latest Estonian films, reviews of new titles and latest film news from Estonia. Estonian Film is published by Estonian Film Institute.
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The Estonian Film Institute (EFI) allocated minority co-production support in the amount of 185,000 Euros to four films – two of them are features and two are documentaries.