6

12 2 Bridges of time Dita Rietuma

6 Looking for new crossroads Ilze Auzāne

12 Ivars Seleckis. Restless Sanita Grīna

18 Poetry and analysis 30 Daira Āboliņa

24 The triumphant advance of feature-length animation Ieva Viese-Vigula

30 Discovering Latvia’s potential Kristīne Simsone

36 Ambitious amplitude Kristīne Matīsa

42 Traces of Eisenstein Dita Rietuma

48 Facts & Figures

42

Cover: The Pagan King | Nameja gredzens (2018) 2018

Cover photo: Kārlis Dambrāns Publisher: National Film Centre of Latvia Editor: Kristīne Matīsa Peitavas 10, Riga, LV-1050, Latvia Translator: Amanda Jātniece Tel: +371 67358878 Proof-reading: Līga Kriķe [email protected] Designer: Arnis Grinbergs www.nkc.gov.lv 2 || 3 Bridges of time

It was a good year, and it will be a good year. The Sun Rides Up Into the Sky (Saule brauca Dita Rietuma This is definitely a good way to sum up the debesīs, dir. Roze Stiebra). Director of the current developments in Latvian cinema. Cinematography’s potential is always National Film Centre of Latvia In 2018 Latvia celebrates its centennial, measured against the versatility of genre with the festivities culminating on and the spectrum of artistic expression and Independence Day (November 18). This authorship found in its audiovisual product, significant anniversary has been crucial to the films created. For many years Latvia’s the recovery of Latvian cinema, which has cinematographic potential was constrained suffered for a long time from a lack of funding. by a lack of funding. Although more funding The additional funding provided through is always welcome in filmmaking, in Latvia the programme Latvian Films for Latvian today there is at least enough to start fulfilling Centenary has resulted in the production of the expectations of a wide range of audiences. 16 feature-length films (six feature films, two For example, The Pagan King (Nameja animation films, eight docudramas), thereby gredzens, dir. Aigars Grauba, prod. Andrejs regaining long-forgotten levels of production Ēķis) had its first showing in January 2018. and intensity of film-making. It is significant The cast includes a number of European that the Centenary Programme’s first film, actors (Edvin Endre of Sweden and James the family-friendly Grandpa More Dangerous Bloor of Great Britain play the main roles), Than a Computer (Vectēvs, kas bīstamāks par and the film’s main language is English. This datoru), became the second-most popular demonstrates the filmmakers’ ambition to film in Latvia, surpassed only by the animated create a historical legend in line with the Hollywood blockbuster Despicable Me 3. current trends in commercial cinema that This film was a good start for the Centenary target both local and international markets. Programme, demonstrating that the Latvian This 2.5-million-euro production is no doubt public appreciates a contemporary film for one of the most ambitious projects in the the whole family. history of Latvian cinema. It is an effort to Following a “warm-up” period in the demonstrate the potential of Latvia’s film second half of 2017 with the premieres of industry, which is currently classified as three films, the Centenary Programme comes “low capacity” in the world of European up to speed this year, when each month will bureaucracy. bring new first showings. Among these are Already a well-known and ambitious film a couple more films for the whole family: producer in Latvia, Ēķis is also known for Paradise ‘89 (Paradīze ’89, dir. Madara Dišlere) his considerable commercial success with and Bille (dir. Ināra Kolmane). Also premiering Swingers, a sitcom-style comedy that was in 2018 are the holocaust drama The Mover one of the most popular films in Latvia in (Tēvs Nakts, dir. Dāvis Sīmanis), the nostalgic 2016/2017. Estonian and Ukrainian versions and bohemian comedy Homo Novus (dir. of the film (likewise directed by Eķis) have also Anna Viduleja) and the historical drama 1906 been produced, with the main roles played (dir. Gatis Šmits). Alongside these also comes by the most popular actors in their respective a versatile programme of documentaries and countries. An “export” of this kind is a first for two artistic feature-length animations: Jēkabs, Latvian cinema, and the films have quickly Mimmi and the Talking Dogs (Jēkabs, Mimmī become commercial successes also in Estonia un runājošie suņi, dir. Edmunds Jansons) and and Ukraine. The development of original cinema is simultaneously one of the main protagonists also extremely important in the European and in Bridges of Time, a film that examines the Latvian cinema traditions. Laila Pakalniņa, phenomenon of Baltic documentary cinema. one of the best-known Latvian directors Bridges is a Baltic co-production, which there internationally, continues her work. Her have been increasingly more of in recent poetic, fragile and meditative documentary years. The film is a good example of effective Hello, Horse! (Zirdziņ, hallo!, 2017) has become collaboration between neighbouring countries. one of the most-travelled and most-requested The role of international cooperation Latvian films at international film festivals. keeps increasing in the Latvian cinema Pakalniņa is the most consistent and radical of industry. In addition to co-productions, a Latvian film writers. In her films she continues cash rebate programme has also been set up. the traditions of Latvian poetic documentary Approximately two million euros are available cinema, which had its beginnings in the 1960s, through the rebate programme, with the funds when filmmakers searched for alternatives to administered by the National Film Centre the officious Soviet documentary cinema. of Latvia and the Riga Film Fund (Riga City Significantly, two films made within Council). In 2018–2019 Latvian producers will the Centenary Programme serve as both be involved in 30 co-productions, 20 of which a reflection on the history of Latvian are minority co-productions. documentary cinema and as proof of its Latvia is a country with fewer than potential in today’s cinema world: To Be two million inhabitants. But its cinema is Continued (Turpinājums) and Bridges of Time becoming increasingly diverse and gradually The meditative documentary (Laika tilti, also known under its working gaining momentum. By the way, did you know Hello, Horse! title Baltic New Wave). In this magazine you that Sergei Eisenstein, that genius of editing (2017) by Laila Pakalniņa has can read about director Ivars Seleckis, the and most radical director of all times, was become one of the patriarch of Latvian documentary cinema, born 120 years ago in the Latvian capital, Riga? most-requested Latvian films at who continues to be in excellent creative form. One can still find places in Riga that reflect his international film He is the director of To Be Continued and creative genius. festivals

Latvia is a country with fewer than two million inhabitants. However, its cinema is becoming increasingly diverse and gradually gaining momentum. 4 || 5

he Latvian film industry has prepared a present for everyone in honour Tof our country’s 100th birthday this year: a film programme titled Latvian Films for the Latvian Centenary, organised by the National Film Centre of Latvia. Sixteen feature-length stories – six feature films, eight documentary films and two animation films – that tell about Latvia, its recent and ancient history, its present and also its future. Because our country really does have so much: it has fighters and thinkers, grandfathers and grandchildren, painters and legionnaires, museum artefacts and sacks of Cheka files, mummers and carousels, monuments and bunkers, the last pagans and the first poets, Riga’s suburbs and the border regions, anxious childhood, youthful courage and venerable wisdom... This family portrait of Latvia on its 100th birthday has gathered together film directors and story characters whom you will also meet on the following pages. Gatis Rozenfelds 6 || 7 Looking for new crossroads

Ilze Auzāne

Toms Harjo Looking for new crossroads

he film production capacity – having three Latvian films and company Tasse Film was three foreign films in production is a kind of founded seven years limit if we don’t want to sacrifice quality,” says ago. At its core were the Bērziņa. two young producers Aija Bērziņa and Alise Ģelze, who had already gained recognition on the international cinema scene. The company’s Tfirst feature-length film was Renārs Vimba’s debut work Mellow Mud / Es esmu šeit (2016), which won the main prize at the Berlin International Film Festival in the Generation Kplus competition. This was already the second Crystal Bear in this competition for Ģelze, who had won it previously as a producer for Jānis Nords’ feature film Mother, I Love You / Mammu, es tevi mīlu (2013).

Ģelze and Nords’ second film together, now produced by Tasse Film, came out last November – Foam at the Mouth / Ar putām uz lūpām (2017) is a feature-length film about a former policeman named Didzis, who also trains fighting dogs. In the span of just a few days, Didzis’ life is turned upside down when he suspects his wife of being unfaithful and his beloved dogs become infected with Director Jānis Nords says that acquiring a dangerous disease. Bērziņa comments the rights for Origin of a Species by American “If people on this working together again: “If people screenwriter Matt Gossett was a major successfully manage to go through the successfully manage to go through the process challenge for the producers of his film. process of producing of producing one film, they stay together. It’s Yes, that was a challenge because we had one film, they stay just the same as in personal relationships – not had any previous experience with the together,” believes producer Aija Bērziņa you have to struggle through those first two or acquisition of screenplays. Especially from the (on the right) three years until you’ve got things smoothed United States, where the Screen Writers Guild out and know what to expect.” has very strict guidelines, and we needed a Director Madara Dišlere’s debut film far-sighted plan to get through the process. Paradise ’89 / Paradīze 89, also produced But herein lies the magic of cinema – each by Tasse Film and developed within the new project brings with it new situations that framework of the National Film Centre you have to deal with. For example, Nords’ of Latvia’s Latvian Films for the Latvian film features trained dogs. Where do we find Centenary programme, will premiere in animals like that? How do we work with them? February 2018. But the company does not Each time a completely new world opens up. produce only films by Latvian directors; it is also actively involved as a minority co- Nords’ previous feature-length film, producer in a number of international film Mother, I Love You, won the main prize, the productions. “Last year was a test of our Crystal Bear, at the Berlin International Film 8 || 9

Festival in the Generation Kplus competition. participate in developing the script. They might Did that create an additional burden? have different ideas, and those are valuable I believe that such achievements make contributions, because they will have to sell things a lot more difficult for a director. this project in their respective markets, too. He feels more pressure because peoples’ expectations have gone up. But this isn’t right! One of your studio’s projects is being Making a movie is a creative process, and the realised in the framework of the National outcome is not predictable. It’s the same with Film Centre’s programme Latvian Films for music – your work might result in a hit, but the Latvian Centenary, which will result in a the song might just as well turn out to be not total of 16 new films. How important is this so popular. programme for the local cinema industry? This programme has been a very necessary The film Foam at the Mouth is a Latvian/ shot of energy and funding for the Latvian Studio Lithuanian/Polish co-production. cinema industry, which suffered greatly from Tasse Film The Lithuanians and Poles joined us at the the last economic crisis. State funding had [email protected] [email protected] very beginning. For us it was important to find been cut by 70%, and the film industry never www.tasse.lv partners as early as possible so that they could recovered from it. With this programme,

Herein lies the magic of cinema – each new project brings with it new situations that you have to deal with. Looking for new crossroads

people have begun to feel that the sector is Your cooperation partners are Belgians recovering, and film professionals no longer and Lithuanians. have to work additional jobs in order to Half of the film is filmed in Belgium, continue working in their vocation. I hope where everything is twice as expensive as that the programme’s results will demonstrate in Latvia. In order to address this challenge, that film creation is important in Latvia, that we found a local co-producer. And because by entering co-productions and offering the film’s main character is the renowned cinema-related services the industry has the Lithuanian actor Valentin Novopolskij, we potential to become self-sustainable, thus also involved a Lithuanian co-producer. creating jobs and contributing to Latvia’s We call this a natural co-production, economy. And I hope that this upturn will which results from the storyline or the be supported with new programmes, for team selection. At the turn of the year example, support for making historical films, we overcame great odds to win financial for which there is never enough funding support from Belgium’s Centre du Cinéma because they are very resource-intensive. et de l’Audiovisuel (CCA), for which fifteen different projects with lots of well-known One of your productions deals with names had been competing. These days Latvia’s recent history. you have to take into account that you’re You’re referring to Madara Dišlere’s feature competing with the whole world, and that film Paradise ’89, which is based on her own forces you to raise the bar for quality and childhood memories and the summer of prepare your project to perfection. 1989, a very significant time on Latvia’s way towards regaining independence. When Your company is actively involved as we organized test-screenings of the film to a Latvian minority producer in various children, it produced many questions: why are international projects. What productions did the shops empty, who are the soldiers, and so you work with over the last year? on. This resulted in a dialogue between three Last year Tasse Film represented Latvia generations, two of which had experienced as a minority producer in three projects. this time themselves. Dišlere has dedicated The Humorist was a Russian/Latvian/Czech this film to her children in order to tell them co-production, Outside involved a Czech/ about her own childhood and the place where Latvian/Dutch partnership, and The Sonata she grew up. Our children know little about was a French/English/Russian/Latvian this time of the Reawakening, and a feature collaboration. All of those projects were filmed film is a great means for talking about it. in Latvia.

Can you tell us about your next project? Latvian cooperation with foreign In January of this year we started filming producers has increased a lot in recent years. Oleg / Oļegs, Juris Kursietis’ second feature- There are two reasons for this length film. Filming will continue until the development. First, funding for filming foreign end of April. Just like in his film debut Modris productions in Latvia has become available (2014), this is a character-driven story. It in recent years from the National Film Centre centres around a 35-year-old Latvian “non- of Latvia and the Riga Film Fund. Second, citizen” who heads to Brussels to put his Latvia is increasingly being recognised as a life into order. In a broader sense, the film location and as a cooperation partner. It also addresses the issue of emigration in today’s helps that the Baltic states have started to world and what it means to find one’s place in present themselves as one region, as is done this era of migration. by Scandinavia or the Balkan states. 10 || 11

You’re also the president and founder of the Riga International Film Festival (Riga IFF). Why is that also important to you? The Riga International Film Festival plays a very important role in the context of the local film industry. Everybody in Europe faces a permanent battle with Hollywood films. Hollywood has enormous marketing budgets, and that’s why it dominates our cinemas. So, a festival like this is a good tool for maintaining and developing other kinds of film traditions, such as local and European cinema. What has facilitated this Baltic The Arsenāls Riga International Film “Everybody in cooperation? Forum began in 1986 but ceased to exist Europe faces a In recent years the Baltic states have made in 2012. However, if you don’t maintain permanent battle with Hollywood many co-productions amongst themselves, traditions like that and stop investing money films,” knows attracting and putting to good use the in them, you cannot expect any results – you Aija Bērziņa, the organizer available funding and human resources in wont’ get a response or involvement from of the Riga the neighbouring countries. This is a new audiences, nor can you expect good-quality International development. Furthermore, we have joint local products. So, Riga IFF is trying to fill that Film Festival (Riga IFF) marketing activities in Berlin, Cannes and gap and continue the tradition. elsewhere. By organising presentations and This year the Riga IFF will celebrate its fifth receptions together, we increase our network anniversary. Much has been accomplished, of partners. but there’s still a lot to be done. If we look at the Baltic context, Estonia and Lithuania both What is your outlook for the future? have more than twenty years of experience I believe that cooperation will continue to hosting film festivals, and they have evolve. From our perspective, we’ve had only significantly more funding, more resources positive experiences with co-productions. For and capabilities. We realise we’ve still got a example, the Dutch actors were pleasantly long way to go, but we see this as motivation surprised about their experiences in Latvia, to continue our work. because there are still a lot of stereotypes about us being a post-Soviet state and not What makes your festival special? knowing how to work on a European level. Latvia has always been a crossroads, and In addition to official presentations, face-to- we want to use this to our advantage in the face communication is also a very important context of our festival, too. Therefore, in our factor in finding cooperation partners. When festival’s main competition, which is the somebody has had a positive experience, he most visible signboard of any international shares it – here you can get co-funding, here festival, we do not have any restrictions in you work with real professionals, here you’ll terms of genre. It includes feature films as have a good working environment. And besides, well as documentaries and animation, and Latvia’s cinema industry is not as swamped with we place special emphasis on experimental projects as, say, the Czech Republic or Hungary, productions that try to combine different where you have to compete for human resources genres. So, we’re looking for new crossroads with large-scale Hollywood productions. and new forms. KRISTĪNE ŽELVE (director of the documentary Mērijas ceļojums / Mērija’s Journey) IVARS SELECKIS (director of the documentary Turpinājums / To Be Continued and a character in the documentary Laika tilti / Bridges of Time) EVELĪNA OZOLA, MARTA ĢERTRŪDE AUZĀNE, LĪVA LOČMELE and MAGDA LOTE AUZIŅA (Linda, Maija, Laurēns and Paula in the feature Paradīze ’89 / Paradise ‘89) Gatis Rozenfelds 12 || 13

Ivars Seleckis. Restless Ivars Seleckis (1936) is an iconic figure of Latvian cinema both historically and Sanita Grīna today. He is one of the most prominent Latvian directors and cinematographers, whose engaging and poetic view on the world has shaped the visual aesthetics of the Riga school of documentary film since the 1960s. Though already 83 years of age, he remains restless and is currently actively involved in two film projects being produced in the framework of the Latvian Films for the Latvian Centenary programme. Ivars Seleckis. Restless

Seleckis’ films are considered masterpieces the move from journalism to cinema), to of Latvian cinema and remain well known film the mere 20-minute-long documentary and beloved by the public. This is especially The Coast / Krasts (1963). This film became true for his best-known work, Crossroad one of the first works of so-called poetic Street / Šķērsiela (1988). Even Latvians who documentary cinema. Such films showed have not seen his films have certainly noticed a true interest in the lives of the people Seleckis at festivals and film premieres – portrayed in them, which was a stark contrast always wearing a suit and a black beret, to the stiffly informative, poster-style coverage his full, white goatee easily recognised in usually found in Soviet Latvian documentary the crowd, a man attentively listening to cinema of that era. his conversation partners. Maybe it is this The new generation of directors and attentiveness, this ability to listen and observe camera operators had studied at the All- in a non-judgemental way that is lacking in Union State Institute of Cinematography in today’s world. Maybe this is what ensures that Moscow, where they had experienced a sense Seleckis’ work remains relevant today. And of creative freedom and boldness. After all, maybe this quality also serves as the driving life in the capital of the Soviet Union was force for the director to take on ever new more boisterous, turbulent and radical than challenges – even at age 83. in the republics, where the prevailing attitude This year, two events in Latvian cinema – was fear about “What will Moscow say about two film premieres in the country’s centenary this?” A good example of this is another film film programme – will be linked with Seleckis. by Freimanis and Seleckis, Bread for the First, his own documentary To Be Continued / Journey / Ceļamaize (1963), which resulted Turpinājums (a detailed review of which can in a local scandal and heated discussions be found on page XX), and, soon after that, about whether it was allowed to depict Soviet The Bridges of Time / Laika tilti (directed by reality in such an unembellished way. Only Kristīne Briede of Latvia and Audrius Stonys of the filmmakers’ courage to seek support from Lithuania). The Bridges of Time focuses on the their superiors in Moscow saved the film and founders of new Baltic documentary cinema their own future careers in cinema. in the 1960s, of whom Seleckis is one of the However, the prevalent line of thought and main protagonists. stylistic perceptions changed quickly. Just two years later, the two rather inexperienced Rolling back the film filmmakers were asked to create a feature Already with his very first steps in the world film dedicated to Latvia’s 25th anniversary as of cinema, Seleckis seemed to demonstrate a Soviet Socialist Republic. They were joined patience and the trust that, by observing in this task by screenwriter Herz Frank, who reality long enough, it will reveal a new, would himself become a legendary maker transcendental facet that is hidden behind the of documentary films, and the poet Imants obvious, everyday side of life. When he began Ziedonis, who at that time was already a well his career as a camera operator in the early known and influential voice. The resulting 1960s, Seleckis was still a student and spent film, Reportage of the Year / Gada reportāža a whole summer living in a fishing village (1965), received the highest honours together with another newcomer to the field, possible – the state award of the Latvian Soviet director Aivars Freimanis (who had just made Socialist Republic. 14 || 15

Keeping in step with the times way to this cinematic bouquet: Lithuanian A similar mood was also present in the cinema of that time had strong links to the other two Baltic republics, Lithuania and countryside, making references to folkloristic Estonia. This exciting and inspiring time of and traditional values that remain present changes is at the core of Kristīne Briede’s through the times; Estonian film was more and Audrius Stonys’ The Bridges of Time urban and modern, characterised by witty and (produced by Uldis Cekulis of VFS Films in dynamic editing; Latvian cinematographers, cooperation with Lithuania’s Studio Nominum for their part, committed themselves to and Estonia’s Vesilind). It is the story about timeless questions and tried to look into a a generation of cinematographers who person’s soul with the help of the camera. returned from their studies at the Institute The style of The Bridges of Time is also an of Cinematography full of ideas, craving to homage to this poetic documentary cinema. experiment and wanting to create a new It aims at familiarising a wider audience form of cinema with its own rules. In an with this phenomenon that inspired several unexpected, but probably logical way, these generations of filmmakers. developments reverberated with events taking place at that time on the other side of the Iron From factories to Crossroad Street Curtain, in the free West. Seleckis continued to work as a camera operator throughout the 1960s. Together with Freimanis, they created several more The maestro could now films, the most noteworthy being Frescoes of enjoy a well-deserved rest, but Kuldīga / Kuldīgas freskas (1966) and Lomi (1969). Frescoes of Kuldīga was a pioneering, his world-exploring nature experimental mosaic of scenes in a small town with a daring sound track that abandoned keeps him on his feet. a narrator in favour of live sound. Lomi was remarkable for Seleckis’ style of filming, which The working title for Briede and Stonys’ researcher Inga Pērkone has described as film was Baltic New Wave (Baltijas jaunais “funnel shapes”. vilnis), and under this title it was presented at For many years to come, Seleckis several international project fairs. It focuses continued to work as a cinematographer and on the pioneers of poetic documentary was also involved in a number of feature films. cinema from the three Baltic states: the By the late 1960s, however, he began to also Latvians Uldis Brauns, Aivars Freimanis, direct documentaries. Gradually a pattern Herz Frank, Ivars Seleckis; the Lithuanians emerged in his original work: an apparent Henrikas Šablevičius and Robertas Verba; the continuation of the philosophical questions Estonians Andres Sööt and Mark Soosaar. It raised by poetic cinema, while at the same is not a coincidence that artists from all three time reflecting his interest in society and his countries developed an interest in similar desire to explore people and the world with themes and changing the ways of cinema. the means available to him. He wished to Baltic cinema professionals had close collegial discover broader social processes through the links and were often close friends, too; they magnification of the daily lives of individuals. met regularly at symposia and enthusiastically A good example of this approach is The exchanged ideas, thus inspiring each other. Girls of Valmiera / Valmieras meitenes (1970), Briede says that the film’s protagonists which in Latvian cinema history is considered remember these times with a sparkle in their to be one of the first socially topical films eyes. Each of them contributed in his own made in a poetic style. It portrays the life of Ivars Seleckis. Restless

female workers in a glass fibre factory – at work, at rest, their hopes and dreams – and the problems that arise through the influx of young women in the small town after the factory is built there. Seleckis had found an unusually delicate and detailed way of performing a simplistic and rather uninspiring task – to make a film about Soviet workers. The series of two films The Woman Who is Awaited? / Sieviete, kuru gaida? (1978) and I’m Looking for a Man / Meklēju vīrieti (1983) was an even sharper dissection of society, openly exploring male and female roles in Soviet society – not the desirable, but the real, existing situation. In these films, Seleckis analysed the manifestations and consequences of equality of the sexes as advocated (and officially achieved) by Soviet propaganda. Obviously, both films created an could sympathise with them because their uproar and resulted in heated discussions. lives seemed so familiar. At the same time Ivars Seleckis in With The Woman Who is Awaited? Seleckis Crossroad Street is an extremely precise cross- 1966, working on the pioneering, began a long-lasting collaboration with section of a specific place and time, having experimental screenwriter Tālivaldis Margēvičs, who also been made right when European audiences documentary took him to a certain small street on the had begun looking with curiosity to what was Frescoes of Kuldīga outskirts of Riga and thus played an important actually happening on the other side of the role in the creation of Seleckis’ masterpiece crumbling Iron Curtain. Crossroad Street (1988). On many projects Seleckis worked together with his wife, the Investment in the future film editor Maija Selecka, and they formed a The 1990s were politically and unique creative tandem in Latvian cinema. economically turbulent times in Latvia and In 2014 Liv Ullmann – most renowned for her resulted in a catastrophic lack of funding work with Ingmar Bergman – presented the for the filmmaking sector. But even in this Seleckis couple with the Latvian National Film difficult period Seleckis managed to make a Award for lifetime achievement. new feature-length documentary almost every Crossroad Street (1988) received the Latvian year, thus producing a unique and valuable National Film Award, was honoured at various testimony to the history of Latvia and its prestigious international film festivals, and cinema during that time. This work includes a even won a European Film Award for best continuation of his masterpiece, titled A New documentary. Latvian cinema historians Era on Crossroad Street / Jaunie laiki Šķērsielā boast that the film received the three highest (1999). The final instalment of this trilogy was awards possible in the world of documentary finished in 2013, with Capitalism on Crossroad film. Audiences around the world fell in love Street / Kapitālisms Šķērsielā. with the simple people living on the small The maestro could now enjoy a well- street featured in the film, thanks to Seleckis’ deserved rest, but his world-exploring nature sensitive and lucid immortalisation of their keeps him on his feet. His newest film, To Be daily lives, their joys and sorrows, the big Continued (produced by Antra Gaile, studio and little events they experience. Anybody Mistrus Media), will premiere in Spring 2018. 16 || 17 Ivars Seleckis. Restless

Inspired by other famous examples of time- This is Seleckis’ first film in which For many years spanning masterpieces, such as the Up Series he was not behind the camera himself. to come, Seleckis by Michael Apted, he has started his own Instead, he entrusted this task to Valdis continued to work as a grand project to be passed on to the next Celmiņš (Liberation Day / Atbrīvošanas cinematographer generations. Namely, Seleckis spent a year diena (2016), Double Aliens / Dubultie and was also involved in filming the lives of first-grade pupils who svešinieki (2015) and others), who over the a number of had just started school in various places past years has become a much-sought-after feature films around Latvia. cinematographer. As an interesting sidenote, Seleckis explains: “I am completely a Celmiņš was also one of the cameramen product of totalitarianism – I started my in The Bridges of Time. Thus the traditions education in Autumn 1940, just after the of poetic cinema are passed on from one Soviet regime was imposed on Latvia. It’s generation to the next – ever changing and interesting for me to see how a young person developing in step with the times. To Be grows up in a free country. And school is the Continued is a beautiful title for the work place that shapes a human being, his views on of a master, reminding us that nothing ever things and events.” He envisages that at each comes to a standstill. “This is the first time stage of the children’s educational pathway in my cinema career that I’ve worked with (entering high school, entering university) children,” mentions Seleckis during our a new director with his own perspective will conversation. “A documentary filmmaker follow the lives of the film’s protagonists. always has to work with new ideas.” JĒKABS (main character in the feature-length animation Jēkabs, Mimmi un runājošie suņi / Jēkabs, Mimmi and the Talking Dogs) Drawing of artist KURTS FRIDRIHSONS (documentary Kurts Fridrihsons) DĀVIS SĪMANIS (director of the feature Tēvs Nakts / The Mover) LIDIJA LASMANE-DOROŅINA (a character in the documentary Lustrum) ANDRIS KEIŠS (painter Salutaurs in the feature Homo Novus) KASPARS DUMBURS (fighter Svilpe in the feature 1906) DAUGHTER OF SUN (a character in the feature-length animation Saule brauca debesīs / The Sun Rides Up Into the Sky) Gatis Rozenfelds 18 || 19 Poetry and analysis

ocumentary film is the foundation of Latvian cinema – so it has been historically, and we are proud of it. But what’s even more important is that Latvian documentary film remains relevant today and that directors representing different generations continue to present their perspective of the world around Dus. Poetry and analysis are the two main postulates that make Latvian documentary film unique and recognised around the world.

It seems that today our sound – reality is the greatest to fight indifference. Four Daira filmmakers have become challenge for documentary new Latvian feature-length Āboliņa even more daring, more cinema. It is absolutely vital documentaries demonstrate sensitive and more stinging to document the present and a wide scope of topics than ever before, because – reflect on the past in order to and diversity in cinematic as strange as it might prevent self-deception and means.

D is for Division MŪRIS

Director: Dāvis Sīmanis Studio: Ego Media [email protected] www.egomedia.lv Premiere: Spring 2018

Dāvis Sīmanis has created a a border was drawn between photography has left a lasting personal story about borders Latvia and Russia. De jure impression on the director: on a state, political and and de facto this happened 25 the Latvian woman Hermīne symbolic level. And also on years ago, but in this film he Puriņa lies murdered on the a personal level. Throughout describes today’s situation, in edge of a ploughed field. She history, Latvia has always which psychological aspects was one of the first victims of been a desirable territory. also play an important role. the Soviet occupation in 1940. For this reason, people here He not only narrates a story Puriņa was killed close to the regularly talk about the but also offers a delicate and, Latvian border while trying to Swedish times, the German at the same time, stinging save her teenage son. He lies times, the Russian times. analysis of the situation on next to her, also killed. In the Sīmanis was still a boy both sides of the border. bigger picture, they were just when the USSR fell apart and An old, black-and-white two of the countless victims Poetry and analysis

killed during the occupation. with an automatic rifle, and desperate victory Aggression always takes sons knows how to drive a tank celebration ritual at the point Poetry and analysis away from mothers, and vice and addresses his fellow where Latvia, Belarus and versa, and everything else... Latvians through radio Russia meet (which in Soviet Sīmanis uses traditional broadcasts. Neither of these times was called the Barrow techniques of observational men feigns his beliefs (at least of Friendship)… The scene cinema. The camera does the film does not indicate this is of very old people bussed not interfere with the didactically), both are very in to celebrate a long-gone events; it never intrudes, lonely and have been expelled world order. Many of their but it follows the action, from their country, which has faces reflect the sorrow of lost trusting that the viewer borders. They are the type of youth, without any political will understand and make idealists that any government context. Sīmanis feels for his or her own judgment. is uncomfortable with. them, and at some points In this film, we follow the Sīmanis is sympathetic the commentary behind the life stories and fates of two to both Bērziņš and Aijo, camera falls silent. These antipodal characters. Two because each in his own are the film’s most touching Latvian citizens who have way seems to have emerged moments – nobody is telling become outsiders, outlaws, from Latvian mythology. And you, the viewer, who is the due to their passionate beliefs Latvian folktales are both bad guy and who is the good (a rather uncharacteristic philosophical and cruel. But, guy in this group of people, feature nowadays). in reality, Sīmanis story is who is lying and who is Ansis Ataols Bērziņš is a not about these two men. It pretending. Because there are folklorist, singer-songwriter is about all of us. Also about no victors here. and political dissident. He those of us who live without The film’s strength is its was sentenced to prison any ideals and beliefs, about unintrusiveness and the because of his involvement those of us who celebrate intonation of its message. But in a politically provoked riot holidays without knowing by following the director’s in Riga. He chose to emigrate their meaning. narrative, one can learn more to Russia instead, leaving The director’s voice behind about Latvian’s state of mind behind his family and a small the camera is much more on both sides of the border child. He perceives himself than an informative narrative than from official facts. In as the only Latvian political (he actually relies on the fact, the film is not only criminal who is a true Latvian audience to be informed about borders and the people patriot. His antipode is about political events in on them, but about every Beness Aijo – the offspring of Latvia and globally)… First country that has to protect its a mixed marriage who wants of all, it is a dialogue with identity. This requires both Latvia to return into the himself, his generation physical and ethical victims. already collapsed USSR. He and everybody who is Sīmanis has created one of has willingly gone into exile able to identify with the the most personal historical and joined the separatists philosophical flow of his lectures. And it does not fighting against Ukraine’s thoughts. What is happening matter whether you know independence. with Latvia, and can freedom where Latvia is or what its Bērziņš visits local Russian be limited by a line on a map? ethnic composition is. The storytellers, produces Latvian Sīmanis shoots the film film goes deeper, because schnapps to bring along to on both sides of the Latvian- we draw borders both in our festivities and sings Latvian Russian border, from nearly heads and in our hearts. And songs. Aijo learns to shoot extinct villages to a shocking in our consciousness. 20 || 21

TO BE CONTINUED TURPINĀJUMS

Director: Ivars Seleckis Studio: Mistrus Media [email protected] | www.mistrusmedia.lv National premiere: March 22, 2018 Programme Latvian Films for the Latvian Centenary

Ivars Seleckis is the only the world’s beauty in fields travelled all over the country Latvian winner of a European of white daisies as well as to create a model of today’s Film Academy award and in muddy roads. By using Latvia, which can be seen is considered a classic specific editing techniques and discovered through a of Latvian documentary and confrontational images, child’s eyes. Little Anastasija, cinema. This is his first they created alternative who has a clever and bright film about children, who content that audiences read outlook on life and lives in a will grow up in front of our like aesthetic rebuses, feeling remote area in accordance eyes. Seleckis is one of the engaged and perhaps even with nature, loves her horses founders of the legendary somewhat happy. and her mother – is she an and internationally The director and indigo child? The boy from a acknowledged poetic school cinematographer Seleckis wealthy family who follows of Baltic cinema, which since has not lost his cameraman’s a rigid schedule, does sport, the 1960s has offered an gene – it’s in his eyes. He still has a strict father, but is also alternative language and way picks up the camera himself brave enough to play a wrong of thinking on screen that and knows the exact right move in chess just to prove was in complete contrast to moment when to turn it on. that it can be done – will the pathetic and affective This film is a kind of symbolic he become a distinguished socialist realism style of project for him and Latvian mathematician or physicist? filmmaking during the Soviet cinema as a whole. The main And the boy who, with a era. In fact, the poetic school protagonists are children child’s mind, explains to was a revolution of cinematic and their families at a very his teacher the phenomena language (and thus also its significant moment in their of the universe – will he content), similar to what lives – the year they begin first become a scientist, or has fate Polish and Czechoslovak grade in school. The project something else in store for documentary filmmakers is planned to continue over him? Yes, this is also a time began to do around the same the next 20 years, following when many a Latvian mother time by using concealed the film’s heroes as they supports her family by humour to speak about their grow, develop interests, solve working abroad and must do lives. problems. In short, it will her parenting via Skype, with In the 1960s a new follow their lives. the daily burden placed on generation of Latvian The film’s developers did the grandmother’s shoulders. documentary filmmakers substantial research to select With the awareness of an chose to look into the faces the five children who form experienced director, Seleckis of ordinary people, to see the core of the film. Seleckis has made the first move in Poetry and analysis

documentary cinema about Seleckis allows us to the world that a door handle the person of the future. Of experience joy entering a can be cinematographic. the entire population, he has home, he allows a girl to cry Reality has inherent value; taken on the responsibility when the day’s morning is if a documentary filmmaker of selecting precisely these already so difficult... Life is manages to immortalise five ordinary, lively, pleasant beautiful because childhood it, the wonder has been children, who will have to deserves it – even if the shoes materialised. Seleckis has carry the conscious and are worn out, the hands are set a high bar for human unconscious inheritance of cold, or the child longs for her engagement and visual their families. He does this mother’s kisses. quality. A film like To Be very sensitively, without The camera depicts Continued can be lived. It is putting any didactic or Latvian landscapes in fog, the Latvia of the new century, directorial influence on the in sleet, and at the height of with all its contradictions, chain of events. He and his summer. This is a heritage joys, sadness and dreams. We camera are merely close by. from the long-gone 1960s, wait for the continuation of Very close. when filmmakers showed To Be Continued.

SOLVING MY MOTHER DOTAIS LIELUMS: MANA MĀTE

Director: Ieva Ozoliņa Studio: FA Filma [email protected] | www.fafilma.lv National premiere: January 4, 2018

Director Ieva Ozoliņa’s first Her second film, Solving university and has threatened film, My Six Million Dollar My Mother, has already won to commit suicide over a Father / Mans tēvs baņķieris an award at the International domestic argument. The (2015), created an uproar in Documentary Film festival situation has caused the son Latvia. It told the unflattering Amsterdam (IDFA). It’s not a to suffer from a neurological story of her father’s financial story about her own mother, illness. misfortunes and how he yet the film preserves that What’s happening here? took flight from his family. same level of frankness that Why do people not hear or It was probably Latvia’s first balances on the knife’s edge understand those who are documentary thriller, as of ethics. The film follows closest to them? Why do they Ozoliņa travelled half the the lonely and desperate life lay blame on their loved ones? world to find traces of her of a young doctoral student Every family quarrels father’s fate. She eventually in mathematics. The young from time to time, but the found him in a psychiatric man, who looks barely over events described in this hospital in Malaysia – a the age of 30, has contacted film exceed the accepted broken man who did not the police regarding his (or maybe imposed) norms. recognise his own daughter. mother, who teaches at the This is definitely not a story 22 || 23

about a person striving his unfulfilled love affair. a son and cannot let him go for independence. It is a Why is there so much hate his own way, even after he triumph of egotism. The film’s and failure among them? It’s is a grown man. As a result, characters do not generate the illness of the century – he either loves all women compassion or sympathy; depression – but in an only as likenesses of his they themselves have built aggressive manifestation. mother, or he never learns around them a fence of The mind of a mathematical to accept his mother’s power loneliness. Maybe this genius (Ozoliņa gives us a over him – as is the case in explains the universal appeal sample of it on screen) and this film. Ozoliņa widens the of this story about a cowardly good looks are not enough borders of documenting a son and his despotic mother. for this young man to reach a life, the borders of privacy Ozoliņa uses a “home level of maturity that would on screen – and this is her video” approach to the enable him to resolve his strength. There is nothing film – she has earned the relationships with his family shocking in the film’s visual confidence of this family. and mother in a humanly details, environment or Camera operator Māris acceptable way. relationships, and yet it leaves Slavinskis draws attention to Maybe it’s helpful to step a shocking impression. It is a room’s stuffed corners, the away from this noisy story not a comfortable feeling to dirty dishes, the bedroom. At for a moment. We could look be in someone else’s kitchen, times the camera feels almost towards Greek mythology, with no right to be there. But lost in this domestic chaos; where sons turn against their it’s always useful to remember its movement occasionally mothers out of fatal jealousy. that images on Facebook are resembles that of a mobile We could also look towards deceiving and that the truth phone video clip submitted to Shakespeare and remember is somewhere beside them. the police as evidence. the story about Hamlet It’s hard to imagine a happy Ozoliņa refuses to offer and his mother… Not very ending for this duel between a an explanation for why encouraging. son and his mother – whether things have turned out The relationship between on screen or off. But it would the way they have for this a son and his mother is be wrong to assume that such young man, his brother, his perhaps one of life’s greatest stories do not exist. Welcome mother, his grandfather and mysteries. A woman bears to this family hell!

WONDERFUL LOSERS: A DIFFERENT WORLD BRĪNIŠĶĪGIE LŪZERI: CITA PASAULE

Director: Arūnas Matelis Studio: VFS Films [email protected] | www.vfs.lv Co-production with Lithuania, Italy, Switzerland, Ireland, Northern Ireland, Spain, Belgium National premiere: February 2018

There is a long history of Films and our Lithuanian Losers: A Different World is the cooperation between VFS neighbours. Wonderful studio’s second collaboration Poetry and analysis

with the Lithuanian director noble ode to the losers – the on his bicycle; the catering, Arūnas Matelis. domestiques (or gregarios, because access to water while Films about sport are as the water carriers are riding is a crucial factor in the easily converted into any called in cycling, whose task race; the masseur, whose work language, but they often lack it is to support the leaders in begins once the day’s racing a broader audience due to any way possible). The film’s has finished. Each of them their specific content. Due inner rhythm and pain is must be in the right place at to a sense of humanity. A captivating, and the beautiful the very right moment. winner is superhuman, isn’t sound track helps to create a The film’s tempo is in sync he? That’s why this film offers philosophical dimension to with the riders’ emotions an intriguing alternative: it the question of how much it and creates tension as well allows us to look behind the costs to win and what a loss is as short moments of rest. scenes of the famous Giro worth. All aspects of the film For example, when the d’Italia bicycle race and have been conceptualised in service personnel provides observe the riders from a detail. Because it is apparent a rider with a bouquet of perspective that is usually that there will be no second flowers, and a moment not seen by fans. Teamwork take – as is the case in any later, without ever stopping with the goal of helping the victory and, for that matter, racing, he passes it on to leader win. A brutal hierarchy in any area of life. Either the his beloved and proposes in a sport in which the camera is ready for the event, to her, and we hear him ask participants are expected to or else you don’t have a film. while speeding away, “Did fall so that their teammate Therefore the director she say yes?” There’s also the can win. And afterwards, to assembled camera operators emotional support of fathers wake up smiling in a hospital from a variety of countries and families – even if their bed after another difficult who feel the essence of sons will not be the winners. operation. To perceive all of bicycle racing in their There are many falls in this this as a mission; to keep up fingertips. This is how two film; even non-bicyclists will the spirit, speed and frenzy Latvian cameramen became find it easy to identify with for the winner, but never for part of the team – the the athlete who must get up himself... Without doubt, sensitive and refined Valdis after a fall in order to reach professional sports are cruel. Celmiņš and Ivars Zviedris, the finish line, because this The director of this himself a former bicycle is what he’s spent months or co-production is the rider and director of many even years preparing for. The award-winning Lithuanian renowned films. This explains film is a masculine story that director Arūnas Matelis. the unexpected camera can also be shown to women. Italy, Switzerland, Ireland, perspectives, which compose But maybe not to mothers Northern Ireland, Spain and portraits of the athletes but of athletes. It might be too Belgium are partners in the also show the tense muscles painful for them. project. The production was and fluid movements. In Wonderful Losers: A supported by the European a way, the creation of this Different World received the programme Creative Europe, film resembles the sporting prize for best documentary the National Film Centre of event Matulis is depicting. feature at the Warsaw Latvia and film foundations Everybody has an important, International Film Festival from all of the participating even fateful, role to play: in October 2017, which countries. the physician leaning out of automatically qualifies it to be Matelis and his team the window of a moving car nominated for the European have created a moving and to treat an injured rider still Film Awards in this category. 24 || 25

The triumphant advance of feature-length animation

s in previous years, in 2018 Latvian animated films will be shown Ieva in local cinemas and international festivals, where they have Viese-Vigula gained considerable visibility and recognition. Viewers will see a variety of short films created with different techniques – from silly films to poetic films to endearing films. However, a gradual Aincrease in funding and growth in capacity of the local film industry over the past few years has led to an unprecedented achievement: six feature- length animation films are currently being produced in Latvia and its partner countries. The first two premieres will take place in 2018 as part of the National Film Centre’s Latvian Films for the Latvian Centenary programme. More will come in 2019 and thereafter.

The upcoming films grown up with Roze Stiebra’s by Janno Põldma and Heiki address different audiences. films will look forward to Ernits and co-produced by Apple Pie’s Lullaby / Ābolrauša her newest work, The Sun the Rija studio. The ironic My šūpuļdziesma, directed by Rides Up Into the Sky / Saule Love Affair with Marriage / Reinis Kalnaellis, will bring brauca debesīs. Stiebra wrote Mans laulību projekts, joy to the very young, while the script herself, which is directed by Signe Baumane, Jēkabs, Mimmi and the based on motifs from Latvian and the childhood memories Talking Dogs / Jēkabs, Mimmī mythology. Children in Latvia, told in My Favorite War / un runājošie suņi, directed Estonia, and further afield Mans mīļākais karš, directed by Edmunds Jansons, will cheer about the newest by Ilze Burkovska-Jacobsen, will target the curiosity of film from Gadgetville, Lotte will give adults a chance to primary-school pupils. The and the Lost Dragons / Lote have a laugh at themselves or several generations that have un pazudušie pūķi, directed perhaps shed a tear. Lotte and the lost dragons Lote un pazudušie pūķi

Directors: Janno Põldma and Heiki Ernits Studio: Rija Films [email protected] | www.rijafilms.lv National premiere: 2019

The stories about Lotte Currently work is ongoing Latvian contingent on this from Gadgetville, created on the third feature-length production’s creative team. by Estonian directors Janno film about Lotte’s adventures In this new film, all of the Põldma and Heiki Ernits, (a co-production of Estonia’s attention in Lotte’s family are known not only in Latvia Eesti Joonisfilm and Latvia’s is on her little sister, Roosi. and Estonia. The films have Rija Films). Põldma and Meanwhile, two scientists in fact been screened in Andris Akmentiņš wrote visit Gadgetville. They are approximately 50 countries the screenplay, and Renārs collectors of folk songs around the world. The dog- Kaupers, the front-man of and want to find the oldest like main character has the widely popular Latvian mythological song on Earth, become a recognisable brand band Brainstorm, composed which is about the legend of for a variety of products, and the music. Background the fire-breathing dragons. even a theme park dedicated artist Laima Puntule and Will these ancient songs ever to Lotte was opened in sound engineer Andris be heard again? Estonia in 2014. Barons complete the

THE SUN RIDES UP INTO THE SKY Saule brauca debesīs

Director: Roze Stiebra Studio: Locomotive Productions [email protected] | www.locomotive.lv Programme Latvian Films for the Latvian Centenary National premiere: November 18, 2018

The Sun Rides Up Into the familiar to other cultures as She has a talent for telling Sky is based on Roze Stiebra’s well. Stiebra is considered myths and folk tales through original screenplay describing to be the founder of Latvian the creation of compelling the mythological fight of light hand-drawn animation and characters, and her story- against darkness. The theme was awarded the National telling is brisk and authentic. is rooted in Latvian folklore, Film Prize in 2017 for her The upcoming film begins but many of the motifs are lifetime achievements. with a mummers’ party, but 26 || 27

it quickly transforms into “The eyes, see, are like door and preparing to open it, an action-packed journey this. According to the action, someone always appears with between the visible world Selēna is pottering about with a tempting offer – ‘listen, take and the afterworld in which Nabašnīks; they fill up on this!’ And that’s the minute the film’s heroes – a little girl berries. And now he becomes he falls, instead of climbing and her young brother – try to kind of blissful.” higher. It’s a very grave find and save the kidnapped “He gets high.” moment.” daughter of the Sun. “Yeah, they get high on The film is produced The film’s artist is Ilze berries. And she comes up, by Roberts Vinovskis, one Vītoliņa, who has already takes the sword out of his of the most experienced proven her ability to create hands and throws it away. Latvian film producers on rich and secretive worlds in And he’s like, ‘Ahh...’” the international arena. Stiebra’s short-film series The “The negative impact of The film’s composer is Juris Little Fairytales / Pasaciņas. drugs on a person’s life.” Kaukulis, who is a member The characters’ animation is “No, they’re berries. They’re of the popular Latvian mainly done by students and not necessarily narcotic. alternative folk rock band graduates of the Art Academy We don’t know. There’s just Dzelzs Vilks. This will be his of Latvia. this moment, when he’s debut for creating music A scene from the almost reached the Sun’s for an animation film. The Locomotive Productions daughter. He’s up there, on the premiere of The Sun Rides studio. Stiebra bends over an mountain. But suddenly there Up Into the Sky is planned for open folder and hands the are these temptations. The Latvian Independence Day – scene to the animator. moment you’re already at the November 18, 2018.

MY LOVE AFFAIR WITH MARRIAGE MANS Laulību projekts

Director: Signe Baumane Studios: Locomotive Productions, Sturgis Warner, The Marriage Project LLC www.signebaumane.com www.locomotive.lv National premiere: 2019

Signe Baumane is a New in her feature-length films the topic of relationships, York-based Latvian director about the female body and enhancing the story with the and artist. Her film’s main mind, which are told through dystopic fairytale elements of theme is the nakedness a personal prism. Her award- her imagination. of human beings – both winning autobiographic film For this film Baumane psychological disclosure Rocks in My Pockets / Akmeņi uses her original production and vulnerability as well manās kabatās (2014) used technique, which combines as physical nakedness and the backdrop of Latvian two-dimensional drawings sex. In her explorations of history to explore depression with papier-mâché this theme, Baumane has in the women in her family. backgrounds. It tells the story developed a consistent style In her new film she addresses of how the Sirens teach a The triumphant advance of feature-length animation

young woman to aspire to the Locomotive Productions including Medea and Spīdola Ideal Marriage. However, the (Latvia) and Sturgis Warner (a character in the Latvian concept of the Ideal Marriage and Baumane’s partner epic poem Lāčplēsis). The is completely crushed when company The Marriage Sirens’ songs are performed the woman’s Biology, with its Project LLC (USA). by the trio Limonāde. Other hormones and neurons, starts By early 2018 the film’s characters will be dubbed influencing her behaviour characters have already by renowned Latvian theatre and emotions, thereby gotten their voices. Biology actors, and singer Linda Leen jarring the foundations of is dubbed by the gifted actor will perform the film’s finale. the marriage. The film is Guna Zariņa, who has played a co-production between several other strong women,

Jēkabs, Mimmi and the Talking Dogs Jēkabs, MimMī un runājošie suņi

Director: Edmunds Jansons Studio: Atom Art [email protected] | www.atomart.lv Programme Latvian Films for the Latvian Centenary National premiere: October 18, 2018

Edmunds Jansons is best to improve their lives.” in order to get a better feel for internationally known as a The film’s target the location. creator of short films, such audience is 6- to 9-year- The film was created as Choir Tour / Kora turneja, olds. “I’ve noticed that using computer animation. International Fathers Day / children are more sensitive After gaining support from Starptautiskā Tēva diena, and and sometimes object to the Polish Film Institute’s Isle of Seals / Roņu sala. This absurdities sooner than adults minority co-production is his first feature-length film. do,” Jansons adds. The film scheme in 2017, the film has “The film’s idea developed is based on Luīze Pastore’s become a joint production slowly,” he says. “Only award-winning children’s between Latvia’s Atom Art during the process do you book, which screenwriter and Poland’s Letko. Part understand a film’s deeper Līga Gaisa adapted for this of the Polish partner’s meaning, and surrounding project. The story is set in a contribution will also be the events also have an impact. romantic Riga suburb that film’s music, for which the At this stage, the film has a rich tycoon wants to turn composer Krzysztof Janczak become a commentary into an impersonal district of will be responsible. New about how I want to see my offices and shopping centres. Europe Film Sales, which city – maybe also about a The children join forces with focuses on the distribution country in which the people, the talking dogs to save their of quality European original like Jēkabs and Mimmi in home neighbourhood. Elīna productions, has obtained the film, don’t put up with Brasliņa, the film’s artist, the distribution rights for the absurdities happening spent a lot of time exploring Jēkabs, Mimmi and the around them but do their this particular district of Riga Talking Dogs. 28 || 29

MY FAVORITE WAR Mans mīļākais karš

Director: Ilze Burkovska-Jacobsen Studios: Ego Media and Tritone [email protected] | www.egomedia.lv National premiere: 2019

The animated an animation film – THIS had looking for the truth – for documentary My Favorite to be drawn. Of course, there example, why did the Soviet War carries an anti-war are no archive photographs regime feel so threatened by message intended for a global of the last months of the war those graves that it needed audience. In it, director showing what the civilians to destroy them? What was Ilze Burkovska-Jacobsen, experienced on this occasion. the regime hiding, and what who was born in Latvia and Neither are there any was it lying about? During the lives in Norway, remembers photographs of the shocking Cold War the Soviet regime her Soviet-era childhood, event that I and my 1200 used the Second World War as where the previous and fellow pupils witnessed in an ideological weapon with next war were always part Saldus in that same year of which to frighten its citizens. of the ideology and even of 1986, when we saw through When I started school, I was people’s daily lives. The film our school’s windows how 100% convinced that a third is being made in the Tritone a burial ground for German world war was inevitable and studio in Riga and is based soldiers was dug up by an that the Americans would on drawings by Norwegian excavator. For seven years attack us because they hate artist Svein Nyhus. Ego Media we had walked across that us for having the most just and producer Guntis Trekteris field from our apartment state in the world. Also, I are responsible for the blocks to school, and we was convinced that these production and international had no idea that there were Americans would speak cooperation. graves under it. And then German, because all around “I first had the impulse to one sunny day in May the us there were films about the make this film ten years ago,” heavy machinery arrives Second World War in which explains Burkovska-Jacobsen. and starts digging, and the the enemy was evil and spoke “My mother had just died, skeletons are flying all over German...” and I was packing up books the place. I remember a hand By combining hand-drawn from her immense library. By flying up really high because animation with documentary chance I opened a page from the excavator had somehow archive materials, the film a book published in 1986. thrown the soil up in the air. creates a visually rich world It told about the Courland I had the feeling that death of memories in which facts Pocket and cows falling out was waving at me with its entwine with the fantasies of a hit German cargo plane. delicate finger bones. created in a child’s mind. This I imagined this sight and My personal experiences complex and costly project is decided to make a film about during the Cold War underpin in its fifth year of production. it. And right then and there I the story line for this film. A The premiere is planned for also decided that it had to be person grows up and starts 2019. The triumphant advance of feature-length animation

apple pie’s lullaby Ābolrauša šūpuļdziesma

Director: Reinis Kalnaellis Studio: Rija Films [email protected] | www.rijafilms.lv National premiere: 2019

Reinis Kalnaellis’ Apple than 100 festivals around the whale, yet another with the Pie’s Lullaby is created in world. fiery pair of zebras. Kalnaellis cooperation with Paul This feature-length film comments: “At the age of Thiltges Distributions tells the story of the little five one starts to be aware (Luxembourg). The pastel penguin girl Telma, who is of upcoming birthdays. But, colours used throughout are worried that her upcoming as in other matters, a child’s produced in a combination fifth birthday might not explanations can differ a lot of digital and colour pencil be able to find her. But from what is happening in techniques. The film contains everything is possible in reality. But everybody has both excitement and calming the dreamy world conjured to live and experience these sincerity, along with a bit by artist Andrejs Prigičevs: things for himself. I agree of slapstick humour for the secrets are written on coconut with the view that lack of youngest viewers. Audiences shells, and snail shells fantasy is humanity’s biggest will recognise some of the become fabulous ships. In the problem.” film’s heroes from Kalnaellis’ studio, too, the production This film is currently in debut short film When Apples team members have all fallen active development, with part Roll / Kad āboli ripo (2009), in love with the characters in of the work being carried out which was first screened at the film – one with the snail in Luxembourg. The finished the Berlinale and has since shell-cruise ship, another film will be available to then been shown in more with the flying parachute- audiences in 2019.

ne of the greatest events in Latvian animation today is the fact that director Roze Stiebra, the founder of Latvian hand-drawn animation and laureate of the National Film Prize in 2017 for lifetime achievement, is now working on a feature-length animation The Sun Rides Up Into the Sky, the Opremiere of which is planned for Latvian Independence Day – November 18, 2018. 30 || 31

Kristīne Simsone

Discovering Latvia’s potential

Accessibility, convenience, professionalism of local film crews, and low risk – this is how foreign producers describe the filmmaking opportunities in Latvia. Discovering Latvia’s potential

his view of the filmmaking the professionalism of local crews and the process in Latvia can reasonable costs in the country. actually be empirically verified and has become Keeping up with the work even more true in 2017, Aija Bērziņa and Alise Ģelze, the producers when a great number of at Tasse Film, stress the great variety of co-financed projects were locations available in Latvia as one significant implemented in Latvia. aspect of foreign projects’ interest in the In fact, two films recently filmed in Latvia county. “Riga has a very well-conserved T(co-financed by the National Film Centre of and authentic historical environment. Latvia and using the services provided by Film Furthermore, the city has a certain Nordic Angels Studio) premiered at the Cannes Film flair, and in many places the architecture looks Festival: Sergei Loznitsa’s A Gentle Creature quite Scandinavian,” says Bērziņa. in the In Competition section and György Together with Ģelze, her co-owner at Kristóf’s Out in the Un Certain Regard section. Tasse Film, Bērziņa produced the coming-of- The available co-funding in Latvia has age drama Mellow Mud (directed by Renārs remained stable at approximately EUR 2.5 Vimba), which won a Crystal Bear at the million, when taking together the resources Berlinale in the Generation 14 competition of the National Film Centre and the Riga Film in 2016. Currently, the two young women are Fund. However, considering that nowadays not only helping local film directors make nearly all European countries offer co- their ideas come true; they are also actively The happy film funding modules for foreign film productions, involved in foreign film projects being filmed crew of the co- production Out it’s clear that the availability of financial in Latvia. They have had a busy autumn – by György Kristóf resources (up to 25% of a film’s production between September and November they were (Slovak Republic), filmed in Latvia expenditures accrued in Latvia) is not the involved in three nearly consecutive film and selected for most important factor in making decisions. So productions. Cannes IFF Discovering Latvia’s potential

why do project leaders return and confidently When asked how a comparatively small state that they want to film again in Latvia? company like Tasse Film manages such a The producers from Film Angels Studio and large work load, Bērziņa and Ģelze explain Tasse Film, the two studios most actively that they’ve refined their working procedures involved in European projects in Latvia in and develop a precise schedule for each 2017, explain why. They begin by saying project, which ensures that things move that the expectations of foreign filmmakers forward smoothly, quickly and independently. working in Latvia for the first time are often They also point out that it is easy to get exceeded – they are frequently surprised by all the required administrative permits, 32 || 33

which facilitates the process. In addition, Funding resources available neither Riga nor other locations in Latvia are for foreign film productions in overloaded with film crews, as is sometimes Latvia: the case in other European capitals and can Total amount of co-funding from the Latvian lead to delays in filming. state and support from the Riga Film Fund: approximately EUR 2.5 million; applications for Small country, great choice co-funding can be submitted all year long. Although covering only an area of just Main criteria for granting co-financing: under 65,000 square kilometres, Latvia offers • the film is fully or partly made in Latvia; a range of diverse environments that have • services of Latvian-registered persons been “left behind” by various different foreign and legal entities are used in the making powers over the centuries. Here one can easily of the film; find the right filming location for a variety • total expenditures are at least EUR 700,000 for feature or animated films and of moods and historical eras. For example, at least EUR 140,000 for documentary film crews from neighbouring Russia and films; projects involving storylines placed in a (post) • on the day of submitting the project socialism setting often choose Latvia because application, the foreign producer can of its Soviet architectural heritage. show funding for at least 50% of the film’s total projected costs; Recently Tasse Film was involved in the • co-financing cannot exceed 25% of the filming of The Humorist (a co-production total costs; between Russia’s Metrafilms, Czech • films (including animation and Agnese Republic’s Sirena Film and Tasse Film) in the documentary films) are intended to be Zeltiņa Latvian resort town of Jūrmala. Journalist shown in cinemas or on television.

Michael Idov’s debut as a film director is an distinctive example of 1970s modernism. The autobiographical tale set in Jūrmala in the sites reminiscent of Jūrmala’s time as a Soviet- mid-1980s and tells about a Soviet comedian era seaside resort also offer intriguing filming and the decline of his career. Though Jūrmala locations. has kept up with the times, it still possesses an The Sonata – a supernatural thriller air of the past, from the wooden architecture directed by Andrew Desmond that is a co- typical of the late 19th and early 20th centuries production between France’s The Project, to the Dubulti railway station, which is a Great Britain’s Featuristic Films, Russia’s Discovering Latvia’s potential

CTB Film Company and Tasse Film – also Leblanc and Dedio previously worked with recently explored Latvia’s potential for the experienced Latvian production company historical locations. It was shot in various Film Angels Studio (established in 2002) while locations all over the country, including shooting Sergei Loznitsa’s A Gentle Creature in castles in varying states of preservation from the Daugavpils area. They recently returned to the Neo-Renaissance and Neo-Gothic eras. Latvia to film the TV series Age of Iron, which It is noteworthy that the production of The tells about the Thirty Years’ War, one of the Sonata included a number of renowned local most destructive conflicts in European history. professionals, for example, cinematographer When meeting them on Day 15 of the 20 days Jānis Eglītis and costume designer Rolands they had allocated for filming in the iconic Pēterkops (MAREUNROL’S). Riga Cathedral, the producers told me that, as The third foreign production Tasse Film when making their first film here, they were was involved in this year is Czech director pleasantly surprised by the Latvian team’s Michal Hogenauer’s relationship drama professionalism and efficiency. “People here Outside (a co-production between Czech do things without verbosity, everybody knows Republic’s Negativ Film Productions, the the task entrusted to them,” said Leblanc. Netherlands’ Circe Films and Tasse Film). Their successful previous cooperation Latvian artist Laura Dišlere was also a part and the positive dynamic they experienced of the production team. Bērziņa and Ģelze in Latvia were a significant factor in the stress that it is important to them to be part producers’ return to Latvia for filming. If of the creative processes of film projects. Both companies like Slot Machine and LOOKS participate also as co-producers and evaluate Film & TV, whose wide scope of work, regular potential cooperation projects carefully, international activity and filmography are

taking into consideration their artistic Support for minority co-production films qualities and potential to appeal to audiences. (administered by the National Film Centre of Latvia): Professionals to come back to Total amount available: EUR 300,000 Carine Leblanc (a producer at France’s Slot • Tenders are held once a year in May. Machine) and Gunnar Dedio (a producer at • For a bilateral co-production, the financial investment of Germany’s LOOKS Film & TV) also stress the the Latvian side must be at least 20%, for multilateral co- high standards of local Latvian producers. productions it must be at least 10%. 34 || 35 Useful information: Information about co-financing from the Latvian state: well recognised in venues such as Cannes, filmlatvia.lv increased come back to Latvia for their productions, National Film Centre of Latvia: if Latvian that is a strong indicator of the high level of partners quality of the services available here. Thus the nkc.gov.lv put forward small Baltic country’s competitiveness on a Riga Film Fund: more European level increases from year to year. filmriga.lv cooperation Returning to Age of Iron – of course, the projects availability of locations appropriate for a in which the story actually takes place in 17th-century setting played an important role Latvia. This would complement the current when selecting Latvia. Leblanc and Dedio practice, in which Latvian locations are used say, only half-jokingly, that the unrenovated to replicate other European landscapes and state of some historical buildings plays right architecture. into the hands of the film’s artistic needs and authenticity. Dedio points out another Ready for more advantage: much shorter distances between Tasse Film’s Aija Bērziņa and Alise Ģelze are filming locations than elsewhere in Europe. convinced that Latvian cinema professionals Within half an hour one can get to very diverse have the capacity to deal with an influx of locations, or, for example, to the airport. foreign projects while ensuring the same level of Both producers express their interest quality and efficiency of services. They elaborate in returning to Latvia with a new project. that the available infrastructure is most suited However, they believe that the creation of for European projects – both films and TV series, a co-financing fund could further increase which has become a very promising genre. Film interest from abroad (currently the National Angels Studio’s producer Jānis Kalējs agrees Film Centre supports minority co-productions that at this stage it is not yet realistic to ensure with EUR 300,000 annually). Dedio also the infrastructure and services required for believes that visibility would be further large-scale Hollywood productions. At the same time, it should be mentioned that a number of substantial non-European projects have A selection of films and recently chosen to film in Latvia and use the TV series filmed in Latvia: services of Film Angels Studio, for example, the Invincible (2001) Chinese production Chinese Zodiac and the Director: Werner Herzog South Korean film My Way. Latvian producer: Jānis Vingris, EHO Filma Representatives of both Latvian studios Honey Baby (2004) share the view that the professionalism Director: Mika Kaurismäki and competence of local teams increases Latvian producer: Jānis Vingris, EHO Filma noticeably with each project, thus expanding Wallander. “The Dogs of Riga” (2012) Director: Esther May Campbell the range of available professionals. Latvia’s Latvian producer: Sergei Serpuhov, Baltic Pine Films centenary film programme also contributes In the Fog (2012) to an increase of human resources. A total of Director: Sergei Loznitsa 16 cinematic works are being produced in the Latvian producer: Vilnis Kalnaellis, Rija Films framework of this programme, including two The Man Who Saved the World (2014) feature-length animation films, which is a Director: Peter Anthony previously unexperienced level of production Latvian producer: Guntis Trekteris, Ego Media in Latvian film history. As part of the A Gentle Creature (2017) production process, new on-set professionals Director: Sergei Loznitsa Latvian producer: Jānis Kalējs, Film Angels Studio and animators are being trained, which will further increase Latvia’s capacity to work with Out (2017) Director: György Kristóf local and foreign cooperation projects. Latvian producer: Ivo Ceplevičs, Film Angels Studio IMANTS STRADS (sculptor Kārlis Zāle in the creative-documentary Ievainotais jātnieks / The Wounded Rider) AKVELĪNA LĪVMANE (grandmother in the feature Vectēvs, kas bīstamāks par datoru Grandpa More Dangerous Than Computer) ASKOLDS SAULĪTIS (director of the documentary Astoņas zvaigznes / Eight Stars) Gatis Rozenfelds 36 || 37 Ambitious amplitude

Year by year Latvian film professionals are raising their skills level by Kristīne working on national productions and participating in international Matīsa co-productions. A number of Latvian films are currently under development that impress with their complex decorations and sets as well as with the number of actors and extras involved.

THE PAGAN KING | NAMEJA GREDZENS

Director Aigars Grauba Producer Andrejs Ēķis Studio Platforma Filma | Sales consultant [email protected] Production manager [email protected] National premiere January 17, 2018 Photo Lukas Salna

historic film-legend Bloor (known for Dunkirk, 2017) and the about the events Lithuanian actress Aistė Diržiūtė (known that took place on for The Summer of Sangaile, 2015; winner Latvian soil in the 13th of the Shooting Stars Award at the Berlin century, when the International Film Festival). young leader Namejs The total budget for the film exceeded 2.5 united the local tribes million euros. A large set was constructed, in battle against the including an ancient Semigallian settlement Crusaders sent by the Pope in Rome. The and an artificial body of water for filming the filmA was shot in English and major roles boat and ship scenes. More than 300 costumes were given to foreign actors: the Swedish and reproductions of ancient jewellery and actor Edvin Endre (known for the TV series weapons were made for the battle scenes, Vikings, 2014–2016), the English actor James which involved several hundred extras. Ambitious amplitude | THE PAGAN KING 38 || 39

BLIZZARD OF SOULS | DVĒSEĻU PUTENIS

Director Dzintars Dreibergs Producer Inga Praņevska Studio Kultfilma| [email protected] | www.kultfilma.lv National premiere November 2019 Photo Pēteris Vīksna, Beate Olekhte, Maksis Kotovičs, Vilnis Slūka

his film is based on a popular Most of the action in the film takes place Latvian historical novel of on the front lines. The battle scenes are being the same name, written in created in collaboration with the Latvian 1933–1934. The book revolves Armed Forces and filmed at the Ādaži Military around the experiences of Base, which is the main training ground for the author, Aleksandrs Grīns the Latvian army. Over 700 extras have already (1895–1941), who fought as a taken part in the filming of the mass scenes, youngT man in the First World War and in the with the involved volunteers demonstrating newly founded Latvian Riflemen units. Over a great level of enthusiasm. Filming began the years, his almost-autobiographical novel in May 2017, and the national premiere is has become a national treasure for Latvians. planned for November 2019 – precisely 100 Its cinematographic adaptation is perceived to years after the Latvian Riflemen’s victories in be a patriotic act, especially considering that the War of Independence, which resulted in Latvia celebrates its centennial in 2018. Latvia becoming a free and independent state. Ambitious amplitude | BLIZZARD OF SOULS

BLIZZARD OF SOULS | DVĒSEĻU PUTENIS

Director Dzintars Dreibergs Producer Inga Praņevska Studio Kultfilma| [email protected] | www.kultfilma.lv National premiere November 2019 Photo Pēteris Vīksna, Beate Olekhte, Maksis Kotovičs, Vilnis Slūka 40 || 41

NOTHING CAN STOP US NOW | NEKAS MŪS NEAPTURĒS

Director and producer Andris Gauja Studio Riverbed | [email protected] | www.riverbed.lv National premiere 2019 Photo Aija Melbārde

ndris Gauja is a young unrelenting nature creates a web of conflicts and ambitious Latvian that results in a tragic finale. director. His first The filming location – a grandiose feature-length film, recording studio – plays an important role The Lesson / Izlaiduma in this production. The storyline foresees gads (2014), became a a number of dangerous episodes, in which relatively large event in the entire five-storey set is shown in a Latvian cinema life, its single frame. To allow filming in winter, a proactive and original marketing campaign huge atrium was constructed in the studio, attractingA an impressive number of viewers to complete with several levels of balconies and cinemas. Gauja’s second feature film, Nothing a glass ceiling. The atrium was disassembled Can Stop Us Now, tells about a charismatic after the shooting session, but a similar set music producer who has turned a five- will be built in summer, this time in a rural storey windmill into a recording studio. His landscape 80 kilometres from Riga. Ambitious amplitude | NOTHING CAN STOP US NOW 42 || 43

January 22, 2018, marks what would have been Sergei Eisenstein’s 120th birthday, and enough time has passed to truly understand his place in the world’s cultural history. What role did his birthplace, the Latvian capital of Riga, play in his life and art? What reflections of Eisenstein’s heritage – his personality and his work – can be found in later Latvian cinema productions? This article will try to answer these questions.

t seems that everything is already Dita Rietuma known about Sergei Eisenstein (1898–1948): genius director of world cinema, modernist of Russian (Soviet) cinema, author of revolutionary film- editing theories, his films recognised as masterpieces of world cinema. The Boy from Riga (The Good Kid)

But filmmakers around the world Not a nipper, not a lad, continue to try to come to terms with their But a boy, relationshipI to Eisenstein (also in the form of A twelve-year-old boy. biographical film), including several Latvian Obedient, well-behaved, with scraped legs. directors, who have found a long-lasting A typical boy from Riga. source of inspiration in his work. A boy from a good family. Eisenstein was born in Riga and spent the That’s what I was like at twelve. And I’ve stayed like that till a grey, old age. first 17 years of his life there. It was in this city At the age of twenty-seven the boy from Riga that his complex personality was formed. The becomes a celebrity. city’s most beautiful buildings – true gems of Doug and Mary [1] go to Moscow to “shake hands” Jugendstil architecture – were designed by his with the boy who made Potemkin. father, Mikhail Eisenstein. In 1930, after a presentation at the Sorbonne, the joint efforts of Prime Minister Tardieu and A fair-haired boy, a gifted illustrator, and M. Chiappe [2] could not throw the boy from Riga a witty creator of caricatures depicting life in out of France. Riga at the turn of the century – a boy from For the only time in his life, the boy from Riga signs a contract with a trembling heart, with Hollywood, for Riga whose paths into the world are best 3,000 dollars a week. revealed in his autobiographical text The Boy When they wanted to deport the boy from Riga from from Riga. Mexico, twelve US senators wrote a letter of protest. And instead of deportation – a handshake with Eisenstein’s autobiographical articles the president at one of the numerous festivities in and the perfect drawings he produced in Mexico City. In 1939, the boy from Riga is everywhere in the American press about the screening of the film Traces of Eisenstein in Latvia Alexander Nevsky at the White House, by request of the late Franklin Delano Roosevelt. In 1941, the first volume of the huge American Film Index appears – a survey of film publications during the first 40 years of their existence. time about where Latvian culture reverberates According to the foreword, the boy from Riga is in Eisenstein’s work,” says Kleiman. “He merely number four. never separated himself from 19th-century First place has been taken by Chaplin, and second place by Griffith. Riga. Maybe he was not directly influenced But our boy follows right after Mary Pickford, who by Latvian culture, but he was certainly very is third. much influenced by the development of culture, poetry and architecture that took 1 American film stars Douglas Fairbanks and Mary Pickford. th 2 The Prefect of Police in Paris. place in Latvia at the turn of the 20 century. In this regard he certainly belongs to Latvia. The milieu in which Sergei’s father, Mikhail his childhood can help us to understand Eisenstein, moved was open to different the forming of this genius director and the currents. Sergei Eisenstein was lucky to be internal dramas that took place within him. born in Riga, which helped him to get a They also give us an impression of Riga – cosmopolitan background and world view what the city was like at the turn of the 20th early on in his life.”

In the documentary fictionE scaping Riga (2014) by Dāvis Sīmanis, Sergey Eisenstein plays tennis with the world-famous comedian Charlie Chaplin, even though such an event wasn’t specifically recorded in 1930s.

century, when it was still part of the Russian Eisenstein was a gifted and lonely child (his Empire. The multicultural climate pulsated parents were divorced) whose fate it was to with Russian, German and Latvian “blood”; live for 17 years in Riga and soak in its cultural construction and architecture boomed as richness before moving out into the world. In the dynamic industrial city expanded, with 1916 he left Riga to study in Saint Petersburg, Eisenstein’s father playing an important role and later he moved to Moscow to work in the in its growth. world of theatre and cinema. Without doubt, Riga influenced the In Russia Eisenstein gained his first young Eisenstein’s development. The cinema triumphant success with the film Battleship historian Naum Kleiman has spent much “Potemkin” / Броненосец «Потемкин» (1925), time researching the director’s life and work; in which revolutionary ideals as well as radical he is convinced that Riga offered a mix of editing techniques prevail. Then he conquered conditions that made Eisenstein into what he the world. He spent time in Hollywood, became. Riga granted quality and refinement although this occasion did not result in the to his talent. “I have been asked from time to making of a film; and he went to Mexico, where 44 || 45

he recorded a considerable amount of material but was unable to convert it into a film during his lifetime. Eventually, he was forced to return to Stalinist Russia, where he balanced on a knife’s edge between life and death. Confrontations with the Soviet regime intensified as Eisenstein’s desire to create experimental, intellectually challenging cinema became ever less acceptable to the ruling system. The director’s dramatic experience is reflected in his unfinished works, which were banned or destroyed by the Soviet regime. These are films like Old and New (Старое и новое, 1929) and Bezhin Meadow / Бежин луг (1936) as well as the Mexico project ¡Que viva Mexico!, the unedited material of which was taken away from him and he himself forced to return to Stalinist Russia. Eisenstein’s most magnificent work as a director is the finale of his own life, his death. He had used his own works of art (the Places in Latvia dedicated envisaged trilogy Ivan the Terrible / Иван to Eisenstein Грозный) to provoke the tyrant Stalin, who Eisenstein Communication Centre in Ķeipene had already destroyed many great talents. Alberta Street in Riga – Art Nouveau buildings Eisenstein died at the age of 50. By that time designed by engineer-architect Mikhail he had already fallen deeply into disfavour Eisenstein with the ruling establishment. “Sergei Eisenstein is celebrated as the theorist and practitioner of montage,” writes techniques have even influenced 20th-century David Bordwell, an influential cinema critic. media language, including video clips and The dynamics and logic of Eisenstein’s editing advertisements. and his theories on this topic have left a deep Eisenstein has richly influenced world culture, and his impact Even Alfred Hitchcock is said to have is not confined solely to his films. Sergei learned about editing techniques from Eisenstein Eisenstein – the little boy from Riga – was and to have applied them in his work. the first director to show violence on influence on 20th-century cinema culture. screen in shocking detail. One must agree with Even Alfred Hitchcock is said to have learned Bordwell’s comments regarding Battleship about editing techniques from Eisenstein “Potemkin”: “The [Odessa] Steps sequence was and to have applied them in his work. The probably the most violent thing that anybody same is true for commercial Hollywood, had ever seen in a movie.” And he adds: “It’s where Eisenstein’s editing methods and skill not usually recognised how often changes at manipulating the viewer are widely used. in film art are driven by showing violence.” Bordwell concludes that Eisenstein’s editing Eisenstein’s genius cannot be secluded Traces of Eisenstein in Latvia from the violence he depicted in his films, Ansis Epners: Sergei Eisenstein. Foreword and it cannot be denied that his films have (1978) and Sergei Eisenstein. Post Scriptum changed the language of cinema and the art of (1978). In his film Awakening / Atmoda (1979) filmmaking. the remarkable director of documentary What is the relationship between cinema Herz Frank also offered his view Eisenstein and Latvian culture, including on Eisenstein’s personality. In films such as Latvian cinema? Latvia’s most creative Eisenstein’s Eden (1998) Latvian documentary directors have from time to time tried to director Dzintra Geka has focused on stress the connection between Eisenstein and Eisenstein’s cinematographer Eduard Tisse, Latvia. In the second half of the 20th century who was also born in Latvia. several documentaries were created about the Eisenstein was an eternal source of legendary Riga-born director, and the editing inspiration for director Augusts Sukuts, who techniques and cinematic language used in was also the founder of the Arsenāls Film these productions were related to Eisenstein’s Festival and an admirer of performance and own cinematic world. Most remarkable are various attractions. In 2000 he organised the two films by Latvian documentary director an exhibition dedicated to Eisenstein in

Laila Pakalniņa’s feature filmDawn / Ausma (2015), based on motifs from Eisenstein’s Bezhin Meadow, offers a complex interaction with the legend 46 || 47 Traces of Eisenstein in Latvia

the railway station in Ķeipene, a small Eisenstein is also present in recent Latvian village located in the middle of nowhere cinema, namely, in Dāvis Sīmanis’ Escaping 77 kilometres from Riga. Eisenstein had no Riga (2014). This is a documentary fiction actual link to this place, but this fact only about the lives of two Riga-born geniuses – encouraged Arsenāls’ mystificators to invent Sergei Eisenstein and Isaiah Berlin – and a new chapter in the master artist’s biography. about their relationship with their home town, Today several art objects have met in the which they left and never returned to. This area surrounding the small Ķeipene railway docudrama applies feature-film techniques station, interacting in an associative and to create an illusion of documentalism. This attractive way with Eisenstein’s world of ideas. seemingly historic film uses practically no They are a living monument to the founder archival material; when it is used, it mainly of the montage of attractions. Ķeipene is an serves the filmmakers as a stylistic key for extravagant destination for a cultural journey the staging of particular scenes. For example, that is well worth visiting. in one scene Eisenstein plays tennis with the world-famous comedian Eisenstein is also present in recent Charlie Chaplin. This episode was inspired by a photograph from Latvian cinema and Latvian filmmakers 1930 depicting the two geniuses holding tennis rackets like musical continue to draw inspiration from his instruments. The filmmakers did not want their film to suffer just because creative heritage. this specific event was never recorded. Instead, they simply put make-up on the actors’ faces and reconstructed it. Eisenstein and Latvian cinema Laila Pakalniņa’s feature film Dawn / Sergei Eisenstein. Foreword and Sergei Eisenstein. Ausma (2015), based on motifs from Post Scriptum (1978, director Ansis Epners) Eisenstein’s Bezhin Meadow offers a complex These films by Epners reflect on Eisenstein’s childhood years in Riga, his films and his era. interaction with the legend’s creative heritage. Bezhin lug was destroyed during the Stalinist Awakening (1979, director Herz Frank) era, with photographs surviving as the only The director of the film captured sculptor Igor Vasilyev visual testimonies of the film. Dawn’s visual at a moment of inspiration when creating a bust of style is influenced by this material, and Eisenstein in his studio. the story closely follows Eisenstein’s line Eisenstein’s Eden (1998, director Dzintra Geka) of thought, while slightly generalising it: Contemporary Mexico and memories of the time when Eisenstein was speaking about the period of Eduard Tisse filmed Eisenstein’s ¡Que viva Mexico! collectivisation that took place in Russia in the Latvian-born Tisse was the cinematographer for all of Eisenstein’s films. 1930s, but Pakalniņa adapted the story to the collectivisation that took place in Latvia in the Escaping Riga (2014, director Dāvis Sīmanis) late 1940s. A fact-based story about two outstanding personalities Latvian filmmakers continue to draw of the 20th century: Sergei Eisenstein and Isaiah Berlin, inspiration from Eisenstein’s creative heritage. both of whom were born and spent their childhood in Riga. Both Escaping Riga and Dawn are without doubt some of the most interesting works in Dawn (2015, director Laila Pakalniņa) recent Latvian cinema, and they clearly relate Based on a Soviet propaganda story about a Young to Eisenstein’s radical talent. However, Latvian Pioneer (the Soviet equivalent of a Boy Scout) named Morozov, who denounced his father to Stalin’s secret cinema has not yet produced a film about police and was in turn killed by his family. Sergei Eisenstein, the boy from Riga. It should. ELĪNA VĀNE (Bille’s mother in the feature Bille) IVARS SELECKIS (director of the documentary Turpinājums / To Be Continued and a character of documentary Laika tilti / Bridges of Time) LAURIS ĀBELE and RAITIS ĀBELE (directors of the documentary Baltu ciltis / Baltic Tribes) Gatis Rozenfelds 48 || 49

facts about cinema in Latvia

How it all started December 30, 1923, and was documentaries: The White Bells The first screening of a film in the first building in the Baltic (Baltie zvani, director Ivars Riga took place on May 28, 1896, states to be designed specifically Kraulītis) and The Beginning only five months after the first as a cinema. The building has (Sākums, director Uldis Brauns). public presentation of films by maintained this function for the Lumière brothers. In this nearly 95 years and is still a The Fisherman’s Son sense, Riga was ahead of many popular cinema in Riga. other cities in Europe. Latvia’s first national hit, The The first film to be produced Fisherman’s Son (Zvejnieka in Latvia was a patriotic story dēls, director Vilis Lapenieks), about the Latvian War of premiered on January 22, 1940. Independence, Off to War (Es karā aiziedams, 1920). A new trend in Latvian film related to the Riga School of The Splendid Palace movie Poetic Documentary Cinema theatre in Riga was opened on began in 1961 with two The first puppet animation film in Latvia, The Rooster’s Crow (Ki-ke-ri-gū) was produced by Arnolds Burovs in 1966, whilst Roze Stiebra created her first drawn animation, The Rainy Day (Lietainā diena), in 1969.

The Lielais Kristaps national film award was established in 1977, and the Riga Film Museum The Splendid Palace was established in 1988. 33 FACTS ABOUT CINEMA IN LATVIA

Ēķis) set a record as having The National Film Centre the largest audience for a film established the programme since the restoration of Latvia’s “Latvian Films for the Latvian independence – 139,442 people Centenary”, with financing in all. That was more viewers of 7.5 million euros between than for James Cameron’s 1997 2015 and 2018. It will result blockbuster Titanic in Latvia, in 16 high-quality films, which by that time had already including two feature-length spent almost a decade as the animations, eight full-length highest grossing film in the documentaries and six feature Riga Film Museum world. films. Filmmakers from all

The Arsenal Film Forum was launched on September 23, 1988, and was the first Western-oriented event of its type in the Soviet Union. As an interesting aspect of the festival, the main prize was determined in a raffle. The festival was discontinued in 2012.

The National Film Centre of Latvia was established in 1991. Its main aim is to provide public funding to Latvian films, to preserve the national audio- visual heritage and to promote Latvian films abroad.

Latvia joined Eurimages in Defenders of Riga 2001 and has been a member of the EU Media programme since 2002. The 27th European Film Awards generations and almost all ceremony was held in Riga in of Latvia’s film specialists are Latvia’s first multiplex theatre, 2014, when the city was the involved in the production of Forum Cinemas, was opened European Capital of Culture. films for the programme. in 2003 and remains one of the largest and most modern cinemas in eastern Europe, with The situation today six storeys and 14 auditoriums Latvia covers 64,589 km2. It (two with balconies) seating from takes seven hours to drive from 96 to 600 viewers. the easternmost point to the westernmost point of the country In January 2008, the feature and four hours 19 minutes to film Defenders of Riga (Rīgas drive from the northernmost sargi, 2007, director Aigars point to the southernmost point Grauba, producer Andrejs of Latvia. 50 || 51

Over one third of Latvia’s is not far from Riga (60 km from and the main hero in Laila nearly two million inhabitants the Riga International Airport) Pakalniņa’s documentary short live in Riga, the capital of the and offers two pavilions, open- film Waterfall (Rumba, 2016), country. The city is located air sets, a city tram line, and a premiered at Visions du Réel practically in the centre of Latvia, railroad with a steam locomotive. (Nyon, Switzerland). meaning that most locations in the country are quickly and easily Latvia has good airline Small Latvian towns, such as accessible. Founded in 1201, Riga connections with the biggest Cēsis and Kuldīga, are attractive offers a diversity of architecture, cities in Europe and around the to filmmakers, including Werner with historical sites (Old Riga is a world. Latvia enjoys the world’s Herzog, who shot scenes for his UNESCO World Heritage Site) as fourth-fastest internet, and there film Invincible (2001) in one of well as industrial and post-Soviet are many free Wi-Fi access points Latvia’s most beautiful towns, urban districts. throughout Riga. Kuldīga. The town dates back to the 13th century and has With almost half of its territory picturesque districts of wooden covered by forest, rich wildlife, houses and cobblestone streets. almost 4000 lakes and 12,000 There is also a large variety of rivers and streams, Latvia is churches, castles and fortresses one of the greenest countries in the country, from the floating in Europe. With over 500 km wooden dwelling at Āraiši (Āraišu

Waterfall

Riga is also the hometown of the Baltic Sea Forum for Documentaries, the Riga International Film Festival and the Baltic Pearl festival.

ezerpils, 10th century) to the medieval castles in Bauska and Cēsis, the Baroque-style Rundāle Palace (18th century) designed by Francesco Bartolomeo Rastrelli and Daugavpils Fortress, built in the 19th century.

The historical centre of Riga is comprised of three different urban landscapes: the relatively The Cinevilla film studio is a of coast line, Latvia also has well-preserved medieval core, unique site for the production of plenty of sandy beaches. It is the 19th-century boulevards and films about the early 20th century also home to the Ventas Rumba, green parks on both sides of and the two world wars. Cinevilla the widest waterfall in Europe the City Canal, and the former 33 FACTS ABOUT CINEMA IN LATVIA

suburban quarters with a Older: The Trumpet premiered network of streets and wooden at the Cannes Film Festival in architecture from the 18th and 19th 2002. The shorts were made by centuries. Outside the historical 15 famous directors, including centre, industrial districts as Jean-Luc Godard, Bernardo well as Late Soviet modernist Bertolucci, Aki Kaurismäki, buildings can be found. István Szabó, Wim Wenders and Jim Jarmusch. The films were dedicated to director Herz Global awards Frank and camera operator Juris Villa Antropoff for Latvia Podnieks, who made the brilliant In 1957, Latvian actress Dzidra film Ten Minutes Older in 1978, Ritenberga won the Volpi Cup at which shows the passing of ten nominated for best European the Venice Film Festival for her title minutes as reflected in the face documentary, whilst her role in the Ukrainian film Malva. of a young child. short Fire (Uguns, 2007) and two animated films by In 1990, the documentary Ten Minutes Older Vladimir Leschiov – Insomnia Crossroad Street (Šķērsiela, 1988, (Bezmiegs, 2004) and Villa director Ivars Seleckis) received Antropoff (2012) – were the European Film Academy nominated for best European award for best documentary. The short film. film also received the Joris Ivens Award at IDFA and the Robert Mother, I Love You (Mamma, Flaherty Award (BAFTA). es tevi mīlu, 2013) by Jānis Nords received a Grand Prix at the In 1995, Nils Skapāns’ Berlin International Film Festival animated film Let’s Fly?! (Generation Kplus) and the jury (Lidojam?!) received the Crystal Dreamland (Leiputrija, award for narrative film at the Bear at the Berlinale. 2004) by Laila Pakalniņa was Los Angeles Film Festival.

In 1996, the documentaries The Post (Pasts) and The Ferry (Prāmis) by Laila Pakalniņa won the FIPRESCI prize at the Cannes Film Festival.

A documentary by Juris Podnieks, Is it Easy to be Young? (Vai viegli būt jaunam?, 1986), became one of the most controversial films of its era and reached an audience of 28 million people worldwide.

Two short-film series with similar titles, Ten Minutes Older: Mother, I Love You The Cello and Ten Minutes 52 | 33 FACTS ABOUT CINEMA IN LATVIA

In 2017 Ieva Ozoliņa won the IDFA Special Jury Award for First Appearance in memory of Peter Wintonick for Solving My Mother (Dotais lielums: mana māte).

Mellow Mud

In 2016, a film by Renārs Vimba, Mellow Mud (Es esmu šeit), won the Crystal Bear for best film (14plus) at the Berlin Film Festival.

The feature-length animation Rocks in My Pockets (Akmeņi manās kabatās, 2014) by Signe Baumane received the FIPRESCI Award at the Karlovy Vary Solving My Mother International Film festival.

Rocks in My Pockets