UNIVERSITY OF LATVIA FACULTY OF HUMANITIES

DOCUMENTARY FILM-MAKING IN THE BALTIC COUNTRIES (1960–2010)

MASTER’S THESIS MA in Humanities June 2013

Author : Renāte Bula E-mail: [email protected] Scientific advisor: Professor Irina Novikova

RIGA 2013 INTRODUCTION

Documentary film in the Baltic States has always been highly developed along with the fiction film, and even more dominant in the means of numbers produced and in some cases also regarding its impact on the society. The tradition of documentary filmmaking in the region has strong roots particularly established during the Soviet period, when generation of new filmmakers brought new senses to the documentary film in each country and established themselves in the industry. Over time, with the changing political situation, also documentary industry has experienced substantial turning points, which changed the course of documentary development. While looking from broader perspective, it can also be seen that documentaries from the region commonly are much more recognized in international film festivals and forums than fiction films.

Documentary filmmaking in the Baltic States has developed gradually over time already since the beginning of 20th century, yet there can be identified three main turning points, when substantial changes in the filmmaking took place – 1960s, late 1980s and the period since the year 2000. The first turning point can be identified at the time when filmmakers refused to film only chronicles and newsreels. Especially in the Soviet period documentary filmmakers experienced harsh times as the film in all Baltic States was closely linked to the needs of the government in the production of newsreels and propaganda materials. However, despite this fact, in the 1960s, new generation of filmmakers appeared with different view on how documentary films should look like. Therefore, this is regarded as the first turning point of the development of local documentary filmmaking. Since then documentary film developed with slightly different characteristics in each country, but all with numerous bright personalities. The second turning point can be tied with the political changes in the Baltic region starting from the mid-1980s – the period of perestroika and glasnost, awakening and the subsequent restoration of independence. This period was full many significant events, which determined the future of the Baltic States and opened up new possibilities of documentary filmmaking, as well as the regained independence brought changes both positive and negative. The ideological boundaries were gone, and the possibility to get acquainted with the fellow documentaries from the Western Europe appeared. However, as the Soviet system collapsed, so did the management of different spheres and their funding. The third turning point is the years since the new millennium when again new generation of filmmakers appeared – more daring and experimenting one. The contemporary documentary filmmaking industry is

Documentary Film-making in the Baltic States 2 extremely diverse and exposed to many influences, which all are present in Baltic filmmaker’s work.

Due to the aforesaid issues, the aim of the thesis was to identify and compare the specific character of documentary filmmaking in Estonia, Latvia and Lithuania.

In order to achieve the aim the following objectives had been formulated:

1. To explore the concept and characteristics of documentary film.

2. To make an overview of the main historical turning points of documentary film in general.

3. To explore the documentary film industry in Estonia, Latvia and Lithuania in particular time periods – 1960-70s, 1980-90s, and the new millennium.

4. To explore the main issues that were important in particular time periods in documentary film.

5. To compare the documentary filmmaking in Estonia, Latvia and Lithuania in particular time periods, with the main focus on the themes and characteristics.

Thesis was divided into four parts and based on mixed methods of research. The first part was the descriptive research of the documentary film theory and modes of filmmaking, as well as descriptive analysis of the historical development of documentary film. The second, third and fourth part were the analysis of documentary filmmaking in Estonia, Latvia and Lithuania and subsequent comparative film analysis of the themes and issues covered in the periods of 1960-70s, late 1980s up to beginning of 1990s and the present-day period in each Baltic State. In the particular summary of the thesis the results of comparative analysis are given, as well as overall conclusions are made.

This research is particularly topical due to the fact that comprehensive comparative analysis of the documentary filmmaking in the Baltic States has not yet been made. There are many articles and research papers made on Latvian documentary films, however very few papers in English on the documentary filmmaking in Estonia and Lithuania have been made. Therefore a comprehensive analysis of the documentary filmmaking in the Baltic States since 1960s up to now could be very useful for both learning about the diversity of Baltic documentary film industries, as well as for further in-depth researches in particular theme.

Documentary Film-making in the Baltic States 3 1. DOCUMENTARY FILM-MAKING IN BALTIC STATES – 1960-70s

As Pērkone writes, “the characteristic feature of small countries is that the cultural processes are closely affiliated with the political and economical processes, especially referring to such expensive and time-consuming branch of art as film” (Pērkone et al., 2012: 3). This was the case in the Baltic States, where until 1960s documentary film was stagnating basically serving for the governmental needs. The main employment of documentalists was the production of newsreels and other periodical documentary film series, however, it was quite restrictive because of the ideological limitations. In 1960s the situation changed – documentary film in Latvia, Estonia and Lithuania started to thrive due to the arrival of new generation of filmmakers into the national film industries, mostly educated in Moscow’s State Cinema Institute (Vitols, 2012: 328). The 1960s also came with a new phase in the political situation in Soviet Union – the so-called “Khrushchev Thaw”, which brought high hopes of the upswing of social and cultural life (Uzulniece, 1997: 2), which, at least in the documentary film industry, fulfilled. Another thing, noted by Pērkone, which influenced and prompted the development of documentary genre in Baltic States, was that only the feature- length documentaries had to be confirmed by Moscow, the rest was the inner issue of Republics. Also the audience of these films was noticeably smaller, and therefore the admissible freedom much greater (Pērkone et al., 2012: 8).

Vitols writes that “the blossoming of a new film culture in Baltic States was also due to the advent of television which fundamentally altered the role of documentaries in society. Previously, documentaries functioned much like the radio and the press, offering audiences ‘objective’ information, striving to efface any traces of a subjective authorship. The arrival of television effectively transferred this task of ‘objective’ information communication to television broadcasting, largely due to the new medium’s cost-effectiveness and rapid dissemination. This freed documentary filmmakers to portray their subjects in depth in a more complex manner” (Vitols, 2008a: 14–15).

1.1. Comparative analysis of the main tendencies in documentary film in the Baltic States in 1960-70s

When comparing documentary cinema in the period of 1960–70s in Estonia, Latvia and Lithuania, one can find both many similarities and differences. The documentary genre in 1960s similarly in all three Baltic States revived as elsewhere in the world. However,

Documentary Film-making in the Baltic States 4 referring to Kleckins, unlike the western world, where the upswing of documentary film happened mainly due to the technical developments as lightweight cameras and new sound equipment, in Baltic States the revival was owing to the new generation which came into the industry, but the technical resources did not change still for a while (Kleckins, 1993). But the thematic development that could be seen in the United States and Canada as direct cinema or in France as cinema vérité could be seen also in the Baltic States. Thus, despite the iron curtain, the notions of documentary development reached this region as well.

The ground for renaissance in documentary film in Estonia was similar as in other Baltic States. It was provided by the freer atmosphere that came along with the “Thaw”, yet more significant factor was the appearance of first Estonian-speaking filmmakers with academic education from the Moscow and Leningrad theatre and film schools (Kõrver, 2012: 9). Kärk adds that “also the Estonian Television, established in 1955, must be given some significant credit for the development of the genre in Estonia as in 1960s it developed into one of the most interesting and illuminative stations in the Soviet Union” (Kärk, 2010). Particularly, the period between 1965 and 1969 in Estonia has been considered an era of a true “documentary explosion”, which had been characterized, among other things, by on-the-spot reportages and staged set-ups, using the hidden cameras and other devices of the cinema vérité style (Näripea, 2010).

Also in Latvia, the new generation of filmmakers made a turning point in the documentary film industry. As Vitols states, “the thriving documentary film even surpassed the achievements of fiction filmmaking in the country. By the 1960s and 1970s such documentarists as Herz Frank, Aivars Freimanis, Ivars Seleckis, Ansis Epners, Uldis Brauns and others, all educated in the Moscow’s State Cinema Institute, became known as part of the Riga School of Poetic Documentary. This movement provided audiences with films focused on artistic expression, as opposed to a didactic delivery of news, facts, or state-endorsed propaganda, that encouraged metaphoric readings, frequently suggesting a subversive critique of the regime” (Vitols, 2012: 328). As Uzulniece states, this time and phenomenon can be compared with the French New Wave or to New German Cinema. Firstly, because these movements took place at more or less the same time period, and, secondly, in all cases the film critic support for the development and acceptance of these movements was very important (Uzulniece, 1997: 1).

The rebirth of Lithuanian documentary film also took place during the 1960s, with the most successful period being from 1965 to 1970 (Culture Lithuania, n.d.), due to the same reasons as in Latvia and Estonia – the “Thaw” in the whole Soviet Union and the advent of

Documentary Film-making in the Baltic States 5 new innovative filmmakers. Similarly as in the case of Latvian documentary cinema also Lithuanian non-fiction films were started to be called as poetic documentaries, referring to alternative documentary discourse compared to the one developed by the official Soviet documentary filmmakers (Šukaityte, 2010: 23). As Pipinyte writes, in Lithuania during the Soviet period there have always been two trends in documentary filmmaking – official documentary that varnished over the real and was foremost a propaganda instrument, and the poetic documentary, which started unfolding in the middle of 1960s. Since the very beginning Lithuanian poetic documentary was working on legitimating the documentary cinema as a work of art (Pipinyte, n.d.)

As it can be seen, in all Baltic States the biggest part of the new filmmaker generation was educated in the Moscow’s State Cinema Institute, thus the background was the same, as well as the environment as such could have offered the exchange of ideas and interaction between filmmakers of Latvia, Estonia and Lithuania. Also in all three countries the local film industries developed in particular studios – Tallinnfilm in Estonia, Riga Film Studio in Latvia and Lithuania Film Studio accordingly in Lithuania. This, perhaps, also provided a ground for the discussion and exchanges of ideas, which all allowed solid and well-founded documentary industries and movements to develop in each Baltic State. Thus it can be said that these film studios were like small creative hubs for documentary filmmakers, which is not present nowadays when there are many small film studios.

If newsreels, chronicles and similar products of documentary were more useful for the government than the viewer, then the new wave of poetic documentaries offered the audience emotional and aesthetical enjoyment. The phrase ‘poetical documentaries’ is attributed to the films of Baltic States, especially to Latvian and Lithuanian documentaries. This is clear regarding the social and political climate at those times, as only through poetics one could really say something. Not much could be stated loudly and directly, thus the filmmakers had to act creatively in order to deliver their ideas to the audience and express their views, which did not conform to the Soviet ideology. Also in a way the filmmakers worked with that what they had access to – everyday life, which they chose to depict differently than accustomed. Documentaries of this period were a mixture of life and art, but the film as art was tending towards the eternal values, instead of values suitable for communism society. Kleckins writes that Baltic documentarists managed to avoid the imposition of ready-made conclusions and opinions, but loosened the viewers’ mind and imagination. While watching this kind of work, the viewer thinks not only about the things he sees on the screen, but mostly about his own life and experience (Kleckins, 1993).

Documentary Film-making in the Baltic States 6 The work of documentary filmmakers, who made films after their individual ideas, could be defined as a kind of resistance towards the Soviets – each in a little bit different way criticized the regime. In this case, it has to be mentioned that in Lithuanian documentaries patriotism was expressed more loudly than in Estonia or Latvia. Lithuanians with their complete abandonment of the themes that would “interest the Soviet people” – progress, industrialization and other such issues, made portraits of Lithuanian people who live in rural areas with even archaic way of life. They showed that what matters and constitutes the Lithuanian nation are individual people, each with his or her own story. Also the historical past and pride to be a Lithuanian can be sensed. Estonians and Latvians more turned to depicting and criticizing the present, not looking so much at the past. They were trying to capture the spirit of their time. The most striking example is the “Peasants” by Ülo Tambek, which criticized the Soviet regime so much, that it got shelved until the late 1980s. If in Lithuanian documentaries mostly rural areas dominate regarding the environment of the film, then for Estonians and Latvians this is not that explicit as both rural and industrial / urban environments are present.

Also Estonians made attempt to catch the “Estonianness” in such films as the “Home Village” and “Ruhnu”, however more dominant is the city theme. “511 Best Photos of Mars” depicts people that live in the city, “The Long Street” varies between the people and the city itself with its buildings and streets, but “The Secrets of Tallinn”, being the most avant-gardic of the three, is completely devoted to the old town of Tallinn, its stone walls and mysterious places. It is not that Lithuanians did not touch this theme at all, for example, the “Time Walks through the City” by Almantas Grikevičius is in many ways very similar to “The Secrets of Tallinn” in its avant-gardic approach to the city life. But still the main tendency is the Lithuanian love towards the land and rural life, and Estonian city poetism and sense of their strong and historical towns. It can be said that Estonian documentaries resemble the aspirations towards the western world, which was not accessible – especially “511 Best Photos of Mars”. The Latvians documentalists, on the other hand, focused either on true poeticism of life and the image of it in the everyday life of the Soviet Latvian society, or on philosophical research of the human nature. However, also this changed as both Latvian and Estonian filmmakers in 1970s turned to exploration of more social issues of the society – immigration, stagnation and hopelessness.

Regarding the mode of filmmaking it can be seen that Lithuanians, especially Robertas Verba, made use of the participatory mode of filmmaking – they observe but also engage with their subjects, ask questions in order to find out more about their protagonists. Most of the

Documentary Film-making in the Baltic States 7 Latvian and Estonian documentarists of the time only observed their subjects or nature in this poetical manner, without interfering, but making their own voiceover comments and narratives. For example, films as “Krasts” by Aivars Freimanis and “Ruhnu” by Andres Sööt observes the daily life of fishermen but the voiceover tells another story – for Freimanis it was humour and irony, but Sööt spoke philosophically about values and limits of human being. For some Estonian films also quite characteristic is the observation in the manner of direct cinema with hidden cameras and no voiceover. The effect is made through the image, the music or camera work. However in documentaries from all three Baltic States, it seems that filmmakers worked after a strictly made script leaving nothing or very few to chance or accident. They had a clear and firm idea of what is going to be in the film. So they knew what they want to film, the only matter was to be in the right place and time.

If in Estonian and Lithuanian documentary cinema of the period mainly small scale works about individuals or special places can be found, then Latvia in its amplitude of working space is outstanding. There are “235 000 000” about the whole Soviet Union which is enormous work, and then there is “Ten Minutes Older” about small boy in the puppet theatre experiencing some delightful and some terribly frightening moments in his life. This cannot be explained by the director’s scope as in both films Herz Frank made the script, but more as an aim to explore every detail of human being, as even in “235 000 000” the main subject was the life line of individual human beings. As Birmbauma states, for Herz Frank the main essence and value of art was the feelings of people not the external events. Thus, due to this idea and concept of filmmaking, many films of that period from the modern day perspective could not be fully added to documentary film genre, because the director’s idea and strictly planned drama clearly runs through the films of this period (Birmbauma, 2005). Nevertheless, the emotions of the film characters are real and that was the most important for Frank and others working in Riga Film Studio.

In Lithuanian and Estonian documentary filmmaking practices a part of national and ethnographic exploration tradition can be found. For Lithuanians it was the focus on the old people, traditional folksongs they sung and traditions itself, but Estonians made ethnographic researches of the ‘exotic’, for example, the island of Kihnu by Mark Soosaar or explorations of Finno-Ugric tribes by Lennart Meri.

Due to the attributed name – Riga School of Poetic Documentary, it may seem that only Latvian documentary films constituted a movement, which is only partly true. As mentioned, the name of the Riga School of Poetic Documentary was attributed by the film critics not vice versa. In Lithuania and partly to Estonia the films of the period are also characterized as

Documentary Film-making in the Baltic States 8 poetic, and in some sources it was suggested that to Lithuanian poetic documentary also the world ‘school’ is attributed, but this meaning has not taken roots as the one about Latvian cinema.

Kleckins speaks about Latvian documentary as a phenomenon among others and by this he means the special place documentary cinema and documentarists themselves occupied in the society. The respect and popularity of Latvian documentary filmmakers of the particular period is impressive. Not only are the works of Herz Frank or Ivars Seleckis binding the public but also their opinion about different topical issues in the society, which sometimes even concern broader audience than their films. Kleckins continues that even fiction film makers of the time did not gain such position that their viewpoints towards something other than film would be in demand. Thus quite unique is the situation and audience consent that Latvian documentarists experienced at the period and even until the late 1980s (the case of Juris Podnieks which will be discussed in the next chapter). Kleckins asks the question – why in Latvia documentarists are respected and enjoying full rights as the members of national culture and art processes while elsewhere they are still regarded as secondary comparing to the fiction filmmakers? He states that it cannot be explained by extremely talented filmmakers, as also in Estonia and Lithuania the situation was similar and remarkable documentaries, which constituted the documentary tradition there, were made, however, the status of documentarists there cannot be compared with the case of Latvia. Thus it would be necessary to find out why and how Latvian documentary industry managed to obtain such a unique nature. Kleckins states that, perhaps, the answer can be found in the history of journalism. From the very beginning, when Latvians could start writing their own things, in Pēterburgas avīzes the accent on culture and art was very strong. This tradition of the tendency towards art in press, as Kleckins states, remained, and, when Latvian documentarists of 1960s started their work they, perhaps, without realizing it, continued this tradition – the transition from journalism to art. Kleckins finishes, that as the studies have showed this was not the case in other two Baltic states – in Estonia and Lithuania the researchers have not found such emphasis on culture or arts in their press. Of course, this is not sufficient to explain this phenomenon, but only an indication of the fact (Kleckins, 1993).

Documentary Film-making in the Baltic States 9 2. DOCUMENTARY FILM-MAKING IN BALTIC STATES – 1980-90s

The end of the 1980s and beginning of the 1990s can be described as quite unstable period in the Baltic region – the period of change. If the beginning of the 1980s was a period of stagnation, when also in documentary field new trends did not appear and mostly filmmakers who started in 1960s continued their work, then the end of the decade brought new breath to everything. If the previous rise of documentary film in Baltic States happened during the 1960s, then further development of the genre took place in the “Gorbachev era”, which brought many changes and resulted in the dissolution of the Soviet Union and reestablishment of independence for the Baltic States.

“Gorbachev’s new policy of glasnost or “openness” offered more freedom to the documentary filmmakers who then could speak about things and criticize the regime more openly. The 1990s was rather tough period for arts industries, so also for film industry, as the dissolution of the Soviet Union meant the disintegration of many of the thriving film industries in the former Soviet bloc countries. The years since then have been a challenging period of creative, financial and administrative reconstruction and reorganization” (Vitols, 2012: 325).

Another issue of the period, suggested by Kleckins, is that at the time when ideological borders fell, the documentarists living on different sides finally got a chance to get acquainted with each other’s work. Thus documentarists of the Baltic States could get to know their western fellow works and develop other styles of their filmmaking, for example, the investigative films, which do not deal with the search of perpetrators, but with the clarification of the causes where facts are not replaced by the allegations and do not impose ready-made judgements, but allows the viewer to create their his opinion (Kleckins, 1993).

2.1. Comparative analysis of the main tendencies in documentary film in the Baltic States in 1980s/90s

In the period of late 1980s and 1990s, documentary film industry in all three Baltic States underwent quite similar changes. There can be several trends observed in the late 1980s and early 1990s – the exploration of society and its problems, attempts to finally tell truthful history regarding the war and Soviet occupation, as well as films documenting the period of transition – Awakening, Singing revolution, barricades and other essential events of the time. Definitely a change in themes and styles of filmmaking took place even for several times

Documentary Film-making in the Baltic States 10 during this period. As Vitols states, the period of change “provided rich soil for artistic inspiration, when addressing issued of national and transnational identification” (Vitols, 2012: 325).

Estonian documentary film industry, similarly like in Latvia and Lithuania, took advantage of the Gorbachev’s new policy of glasnost and started to make more daring movies about the social issues which previously were excluded from the documentary filmmaking due to the harsh censorship. In the second half of the 1980s, filmmakers still from the elder generation dominated in the industry. They felt the need to document the changes of the society, their values and thoughts in the crucial moments at the end of 1980s. Regarding Latvia, Vitols states that “the Riga School of Poetic Documentary dominated the Latvian documentary industry until the 1980s, when the arrival of glasnost and perestroika profoundly changed the situation” (Vitols, 2012: 328). As Balčus writes “since the middle of 1980s tightly controlled Soviet production system loosened, giving greater freedom for filmmakers to create films with more critical stance of contemporary reality. However, it required a longer period of time for more significant shift to happen, as the change of generation of filmmakers only slowly took place” (in Pērkone et al., 2012: 53). But in Lithuania, apart from similar tendencies in documentary film as in Latvia and Estonia, in the period of the late 1980s and early 1990s completely new generation of filmmakers came into the industry, similarly as it happened in the 1960s. Filmmakers as Šarūnas Bartas, Audrius Stonys, Arūnas Matelis and Valdas Navasaitis debuted at the period.

In the period of glasnost filmmakers focused on themes and issues that previously in the period of harsh censorship were impossible to deal with. The criticism of the regime, depiction of more daring social issues and cross-sections of the society were few of the issues dealt with. Social journalism was the mode of filmmaking that revived in this period. Juris Podnieks in his film “Is it Easy to Be Young?” explored the thoughts and concerns of the young people, Mark Soosaar continued his explorations of Kihnu people in “Man from Kihnu” pointing out the problems which people there are experiencing. The interest in the society, its concerns and values as such increased – individual cases were examined in order to explore the impact that the Soviet regime and life under communism had left, thus also pointing to the problems of bigger group of society. Also Herz Frank’s “The Last Judgement” dealt with the values of society and aroused many discussions. The film by Ivars Seleckis – “Crossroad Street” also reveals the stories of people of particular time period in a way resembling the situation of the whole nation. “Crossroad Street” and “Man from Kihnu” share some similar characteristics – both in a way deal with the mode of social journalism exploring

Documentary Film-making in the Baltic States 11 rather isolated societies in order to capture the moment before the total collapse of the system and enormous changes. The first, of course, is more as a socio-anthropological research, while the latter deals more with ethnographical research.

Other filmmakers of the elder generation focused on the examination of the past. Mark Soosaar in his “Miss Saaremaa” told the history of Estonia without avoiding the sore points as mass killings and other Soviet crimes. Also Lithuanian directors of the elder generation looked more at the past than present. Henrikas Šablevičius and Edmundas Zubavičius explored many issues of the past like Lithuanian partisans and deportations. In both cases, filmmakers who previously had worked more or less poetically turned to something that could be called analytical documentaries. To this Kleckins adds that unlike the poetical documentality of the 1960s, the particular period did not possess the intonation of excitement – it was more an investigation of the past (Kleckins, 1993).

The enormous quantity of significant events regarding the independence of Baltic States initiated the need of documentation and investigation of them. These films have become as important chronicles of the time, revealing things as they were, as well as including and in a way promoting the symbols of the nation. These are films by Juris Podnieks – “Homeland” (1990) and “End of the Empire” (1991) in which Podnieks depicted individual stories and overall situation in all Baltic States presenting them as united in the struggle for freedom. Podnieks did not spare anything but showed things as they were, especially in the “End of the Empire” including the uncertainty and rebellions in other former Soviet bloc countries after the dissolution of the empire. Andres Sööt’s films “Year of the Dragon” and “Year of the Horse”, where he depicts the events of years 1988 and 1990 respectively, can be linked to the work of Podnieks in terms of the active documentation of the time, however Sööt did it in more temperate manner. He applied the manner of chronicling the events with the voiceover as if in the Soviet ideological documentary tradition, but in Sööt’s films the emphasis is on the nation gatherings, awakening, liberation of the political prisoners and the traditional symbols as the song festival. All these events present the big euphoria of the nation, which all step by step led to the restoration of independence. Also Lithuanian documentarists made a step towards the documentation of the important events of late 1980s, for example Arūnas Matelis and Audrius Stonys co-directed film “Baltic Way” (1990).

Beginning of the new decade brought the long-awaited freedom and independence, however in all three Baltic States this also meant the fight for survival regarding arts, and films particularly. As it can be seen, first small independent film studios in each country appeared already in the end of the 1980s, but in 1990s the films industry started to consist

Documentary Film-making in the Baltic States 12 only from these individual small film studios. The situation as such was quite similar in Estonia, Latvia and Lithuania. Due to these issues, documentary filmmaking significantly decreased compared to the active filmmaking in the Soviet times. In Latvia and Estonia the national film centers, which helped the film industry including documentary film to stabilize and develop, were established already in the 1990s, however in Lithuania nothing like this existed until only recently, when in 2012 the Lithuanian Film Center was established under the Ministry of Culture of the Republic of Lithuania (Lithuanian Film Center, n.d.).

One particular thing in the early 1990s stands out among the Baltic States, and it is the new generation of documentarists in Lithuania. If in Latvia and Estonia, the situation can mainly be regarded in terms of specific occurrences as Laila Pakalniņa in Latvia, or Sulev Keedus and Renita and Hannes Lintrop in Estonia. In Lithuania, on the other hand, the influx of new filmmakers can already be regarded as new movement of aesthetic and poetic documentaries. Šarūnas Bartas in the fore, and subsequent change of him with personalities as Audrius Stonys, Arūnas Matelis and Valdas Navasaitis. All of their works can be called as smart documentaries – they do not entertain, they are slow and in some cases even hard to watch, however they induce reflections and thinking in the viewer, which is hard to be found in the modern day film industry. In a poetical way they explored the real world and human in it, who more or less is sad and lonely in these new times, and the nature only intensifies this sense of solitude. They insisted of capturing the real world on film, however, at the same time they played with this world making their own interpretations of it.

Regarding the popularity of the films of this period, it has to be noted that the fame and recognition Podnieks received with his films of late 1980s no other Latvian nor Estonian or Lithuanian documentarist had achieved. He was an idol and hero for people, and owing to his work many people, perhaps, for the first time introduced themselves to a film genre as documentary. On contrary, the generation of new filmmakers in Lithuania, did not achieve such recognition. It is stated that sometimes the works of Audrius Stonys, Arūnas Matelis and other talented new filmmakers of the period are more famous abroad than in Lithuania (Audrius Stonys, n.d). Also Ingvoldstad states also Šarūnas Bartas’ name is known more abroad than in Lithuania itself, not even mentioning how many Lithuanians have even seen his films outside the capital of Vilnius (Ingvoldstad, 2008).

As Kleckins writes, another important issue of the period, is that starting from the late 1980s, the documentary of Baltic States could finally appear on the international screens. The world was surprised that documentary cinema from such small countries announced itself

Documentary Film-making in the Baltic States 13 already as established movement, not as unique and short-lived phenomenon (Kleckins, 1993).

3. DOCUMENTARY FILM-MAKING IN BALTIC STATES – 2000s

In the new millennium, documentary filmmaking in the Baltic States seems to be enormously varied. Without ideological borders, with more stable film industry and with many young people coming into it, documentary has developed towards many different directions. Many different factors, as unification of legislation, liberalization of labour force, free movement of goods and modern means of communication and transport have favoured the globalization also in film industry. Documentary films now can be made anywhere in the world not only in the local settings (Jura Podnieka Studija, 2010: 15). At the same time each filmmaker has to define his own, vastly varied, subject matter and cinematic language (in Pērkone et al., 2012: 26) in order to be noticed among the works of other filmmakers.

As discussed, in 1990s film industries in Baltic States were striving for the survival, but since then, several leading film studios have been established and operate up to now. In the new millennium there have been completed several full-length documentary film projects in all Baltic States. However, in each country there are several film studios that can still be regarded as one person studios, which means that the studio is run by the owner who is a producer, director and often also performs other functions (Jura Podnieka Studija, 2010: 6).

Regarding the domestic films released, in all Baltic States the amount of documentaries exceed the number of fiction films made. In the period from 2008 to 2012, in average 34 documentaries and only 7 feature films annually have been released in Estonia. In Latvia and Lithuania in average 15 documentaries and 4 features, and 13 documentaries and 4 features respectively have been released (Nacionālais Kino Centrs, 2012). This could be due to the amount of funding needed for fiction films as the making of documentary is simply more economical, especially for young filmmakers as getting the money for film financing is quite impossible if you are a beginner in the industry. However one would like to think that the strong documentary film tradition also is of value here.

Documentary Film-making in the Baltic States 14 3.1. Comparative analysis of the main tendencies in documentary film in the Baltic States in the new millennium

The present-day situation of documentary film in the Baltic States is rather varied. If in previous periods, certain themes and issues were dominant, then today the diversity of these films is much bigger. As the lifestyle of people has changed and diversity is that what is promoted today, also documentarians respond to that and cover more different issues and topics. Nevertheless, it is possible to distinguish between certain topics in which filmmakers are interested the most.

First, there are films still dealing with historical issues and trying to analyze the past events. These films can be found in each of the Baltic state. Mostly they deal with the Second World War, Soviet occupation and the aftermath of it in contemporary society. Some films explore also more recent past of the late 1980s and 1990s and analyzes events which lead to the restoration of independence. It can be said that in this subgenre of documentaries, Latvia stands out among others with the quantity of films dealing with historical issues. This could be the case of the present-day situation in the society of Latvia, where the perception of history differs among different groups of society. These films each in a different manner try to elucidate and analyze particular events. Vītols writes that at least in Latvia “the obsession with the past’s influence on the present in the work of contemporary Latvian documentary filmmakers will likely to continue to dominate the sphere of non-fiction cinema” (Vītols, 2012: 339).

Another side of the films dealing with historical themes consists of the story telling through individual protagonists, who experienced the war, deportations and repressions, and these stories in most of the cases are very emotional. Particularly interesting examples of films regarding the history of a nation are Edmunds Jansons’ film “Little Bird’s Diary” and Giedre Beinorūte’s film “Grandma and Grandpa”. Both of them deal with the story telling through animation. Another particularly untraditional way of dealing with historical material can be found in the work of Jaak Kilmi – “Disco and Atomic War”, where the history of Estonia is being told in very humoristic manner particularly focusing on the influence of Finnish television on the Soviet Estonian society. These films steps back from the seriousness typical for the works of this kind.

Another specific subgenre is portrait-film documentaries, which mostly deal with the exploration of particular personalities. In most of the cases these are people related to arts. Portrait-films films can be related to personalities of the past like “The Bug Trainer” about the

Documentary Film-making in the Baltic States 15 Lithuanian puppet animator, or “Klucis. Deconstruction of an Artist” about Latvian-born Soviet constructivist Gustavs Klucis. These films also deal with the present-day artists – mostly those who have established themselves both locally and internationally. Such films are made about Arvo Pärt, Pritt Pärn in Estonia, Ilmārs Blumbergs or Signe Baumane in Latvia and Šarūnas Bartas in Lithuania. As Matīsa writes this is typical small nation thing – to single out those who have become internationally known (Matīsa, 2007: 2).

In the times of mass consumption when the consumer is in the centre of everything, also documentarists sometimes choose to provoke and shock people with the topics they address in order to attract attention. In Baltic States these films are usually related to the depiction of lower class of society and people on the margins of society. This characteristic mostly can be found in the works of Latvian and Estonian documentarists, for example, in the works of Sulev Keedus or Andris Gauja. Particular question which appears while watching these documentaries is the question of ethics – how far it is acceptable to exploit these people and in a way use their inability to live a decent life. Quite shocking, but in a different manner, is a film of the period by Lithuanian director Arūnas Matelis – “Before Flying Back to the Earth”. However in this case it can be sensed that author has turned to this topic, not because it is something that no-one has ever done and it will be a good material, but because he himself has had a personal experience of being in the place of those he films.

Many of present-day documentarians tend to focus on individual personalities which are whether freaks, people with peculiar way of living, untraditional profession or talent. It even seems that it is a mission of documentary filmmakers to find these people and choose them as their protagonists. These are films as “Breath” by Kullar Vimne about a lady chimney sweeper or “World Champion” by Moonika Siimets about a retired pole-vaulter in Estonia, “Documentalist” by Ivars Zviedris and “How are You Doing, Rudolf Ming?” in Latvia, and works by Rimantas and Julija Gruodis in Lithuania – “The Swamp” and “Master”. On the other hand, this may also be seen as returning to the very beginnings of documentary, as Robert Flaherty was the first who introduced the protagonist issue in his film “Nanook of the North”.

One particular thing, which unites Latvian and Lithuanian documentary cinema today, is the subgenre of poetic documentaries. If in Latvia the work of present-day poetic documentarists as Laila Pakalniņa and Dāvis Sīmanis is very much rooted in their precursor work from Riga School of Poetic Documentary, then Lithuanians have developed their very own style of filmmaking, but still the tradition of finding the poetic in the everyday life remains. It seems that Lithuanian directors play more with the reality and constructs it more

Documentary Film-making in the Baltic States 16 loudly, however Latvians are patient observers. In any case, the talent of ‘seeing’ things can be attributed to all of them.

In Lithuania the situation of the present-day documentary filmmaking industry is a little different than in the other Baltic States. If in Latvia and Estonia the new generation of filmmakers, who were not present in the industry in the beginning of the 1990s, now constitutes the biggest part of the documentary filmmakers, then in Lithuania the generation which appeared in the beginning of 1990s, still dominates in the industry.

A surprising thing is the time scope in which documentary filmmakers nowadays work. Despite the age when everything needs to be done fast and as soon as possible, documentary filmmakers have understood that in order to avoid the superficiality, one has to observe the world for a long time period – sometimes these are months and sometimes even years that documentarists spend with their protagonists or in their observations of life. And due to this, the film itself narrates as the life does – the main character may die or experience other substantial changes in life, which then can be used by the filmmaker.

Some documentary filmmakers in the Baltics also tend to question the documentary genre as such, particularly making use of the reflexive mode of documentary filmmaking. They do not impose on the truthful depiction of reality in their films. Moreover they emphasize that it also a performance in a way. By exposing themselves, they also raise the awareness of how it is to be a protagonist of these films, and how decent is the work of documentary filmmakers.

Definitely the influence of these documentaries on the genre development in Baltic States will be better apprehensible after a longer time period. However it is quite clear that the development will not cease as documentarists now feel capable of filming whatever comes to mind, as well as their daring of trying new things is bigger. One particular thing which would be nice to observe in the future is the cooperation between Estonian, Latvian and Lithuanian documentary filmmakers. Nowadays there are few if any joint projects made in the industry, however this could be a possibility to reach new heights for the documentary film in the region.

Documentary Film-making in the Baltic States 17 CONCLUSIONS

The main aim of this paper was to analyze the documentary filmmaking in Estonia, Latvia and Lithuania starting from 1960s up to the year 2010. Due to the historical and political turning points, as well as the genre-specific change of filmmaker generations, the author chose to divide the research in three distinctive time periods – the period of 1960– 1970, the period of late 1980s up to the beginning of 1990, and the contemporary situation of documentary films in Estonia, Latvia and Lithuania. The goal was to identify the specific character of documentary filmmaking in each country and to make a comparative analysis regarding the most topical themes and issues covered.

When comparing documentary cinema in the period of 1960–70s in Estonia, Latvia and Lithuania, one can find both many similarities and differences. The main thing in common is that the 1960s was the time when completely new generation of documentary filmmakers appeared in the documentary filmmaking in the Baltic States. They were the first professionally educated documentary filmmakers in national film industries, and also their view towards filmmaking differed from the established shooting of newsreels and propaganda materials. At the time, these documentaries each in a specific way neglected the themes supported by Soviets. In Lithuania they were old protagonists who revealed the traditional values in Lithuanian countryside, as well as peculiar individuals. In Estonia, on contrary to Lithuania, these were mostly city films exploring the streets or people in cafes of Tallinn in an avant-garde mode, but in Latvia it was extremely poetic image of the everyday life, as well as philosophical research of the human nature. Yet, all filmmakers used metaphors and images in order to express their views which did not conform to the Soviet ideology. Poetical image which leaves place for reflections was the main mode of how to survive if the filmmaker wanted to express his ideals in the times of the harsh censorship.

A surprising thing is that this new style of filmmaking in Baltic States developed together with substantial changes in the Western Europe’s documentary traditions as rise of direct cinema and cinema verite. Particularly in the period stands out the established movement of Riga School of Poetic Documentaries. Though also in Lithuania film critics attributed the name ‘poetic school’ to this period’s documentaries, the meaning did not take roots as the one about Latvian non-fiction films.

In the period of late 1980s and 1990s, documentary film industry in all three Baltic States underwent quite similar changes. There can be several trends observed in the late 1980s and early 1990s – the exploration of society and its problems, attempts to finally tell truthful

Documentary Film-making in the Baltic States 18 history regarding the war and Soviet occupation, as well as films documenting the period of transition – Awakening, Singing revolution, barricades and other essential events of the time. In Latvia during this period unrivalled is the personality of Juris Podnieks who dominated the documentary industry in the period until his death. Particularly interesting is the revival of poetic documentaries in Latvia and Lithuania in the beginning of 1990s. In Lithuania the new generation of documentarists announced themselves as poetic documentary filmmakers completely ignoring the themes that dominated in the period, and also in Latvia, Laila Pakalniņa particularly resembled the poetic simplicity of the Riga School of Poetic Documentaries. Even nowadays the poetical documentaries are quite present in the works of Latvian and Lithuanian documentarists. Not only those filmmakers who started already in 1990s, but also the newcomers continue the tradition.

Therefore poetic documentaries of the present-day period can be regarded as continuation of one the substantial documentary film traditions in Latvia and, especially, in Lithuania. This characteristic can be explained by the fact that with poetic documentary the national documentary film industries were established in the 1960s, and this style has survived over time as a traditional value of the documentary filmmaking in Latvia and Lithuania. However, in Estonia, during the 1960s, poetism in documentary filmmaking existed, however not as the one and only way of filmmaking, but together with cinema verite, avant-garde and ethnographical styles.

The overall present-day situation of documentary film in the Baltic States is rather varied. If in previous periods, certain themes and issues were dominant, then today the diversity of these films is much bigger. As the lifestyle of people has changed and diversity is that what is promoted today, also documentarians respond to that and cover more different issues and topics. It is possible to distinguish between more dominant topics as the continuing exploration of historical issues in all Baltic States, portrait-films, films regarding social issues and people on margins of the society, as well as films which test the documentary genre itself. The social issues are more explored between the filmmakers of Estonia and Latvia rather than in Lithuania where they concentrate more on creative type of documentaries. This can be explained by the fact that the tradition of filming the social or political issues has never been very strong in Lithuania, however in Latvia and Estonia it was developed during in the 1970s and during the period of transition.

Throughout all periods of documentary filmmaking, many significant and powerful filmmaker personalities can be seen in all three Baltic States. In 1960s all filmmakers of Riga School of Poetic Documentary can be counted as individualities and true artists, as well as

Documentary Film-making in the Baltic States 19 Robertas Verba in Lithuania, and Andres Soot and Lennart Meri in Estonia. During the period of awakening definitely the brightest personality was Juris Podnieks, as well as Mark Soosaar in Estonia and Šarūnas Bartas in Lithuania. In the present-day situation Audrius Stonys and Arūnas Matelis have established themselves in Lithuania, Laila Pakalniņa, Dāvis Sīmanis, Dzintra Geka and many others in Latvia, and Jaak Kilmi and Sulev Keedus in Estonia.

It is quite hard to conclude about the overall similarities or differences as the political and historical events have drastically changed since the 1960s, as well as the change of generations with different values and aims have taken place. The same as modes of documentary filmmaking changed over time due to the unwillingness of young filmmakers to follow the steps of their precursors, the same documentary filmmaking in Baltic States have developed with the new filmmakers exploring their own ways. However, it can also be seen that these filmmaking traditions do not vanish, but rather new modes are built using the experience of the old ones. One particular theme which seems to be inherited from the elder generation to the contemporary filmmakers is the art of seeing – to notice the special in quotidian, to find peculiar among the masses. It can also be stated that the theme present in all the periods is the exploration of human nature – whether it is an individual protagonist, a famous artist, a group of people or a bigger part of society. Of course, the way how filmmakers explore the human being has changed from the unobtrusive quiet observations to complete participation with their protagonists, however, the exploration, investigation and deconstruction of human being continues. In a way this is the most grateful subject for such small countries as Baltic States to explore as this theme is infinite in itself. Therefore documentary film in the Baltic States, also acts as an archive of the values, thoughts and way of living of people in each time period.

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Documentary Film-making in the Baltic States 24 FILMOGRAPHY

235 000 000 (1966), Documentary, Directed by: Uldis Brauns, Latvia: Riga Film Studio.

24 prelüüdi ühele fuugale [Arvo Pärt. 24 Preludes For a Fugue] (2002), Documentary, Directed by: Dorian Supin, Estonia: F-Seitse.

511 paremat fotot Marsist [511 Best Photos of Mars] (1968), Documentary, Directed by: Andres Sööt, Estonia: Tallinnfilm.

Antigravitacija [Antigravitation] (1995), Documentary, Directed by: Audrius Stonys, Lithuania.

Apolinaras (1973), Documentary, Directed by: Henrikas Šablevičius, Lithuania: Lietuvos kino studija.

Atverti duris ateinančiam [Open the Doors to Him Who Comes] (1989), Documentary, Directed by: Audrius Stonys, Lithuania: Lietuvos kino studija.

Augstā dziesma [The Song of Songs] (1989), Documentary, Directed by: Herz Frank, Latvia: Riga Film Studio.

Augstākā tiesa [The Last Judgement] (1987), Documentary, Directed by: Herz Frank, Latvia: Riga Film Studio.

Auk Nr. 8 [Pit No. 8] (2011), Documentary, Directed by: Marianna Kaat, Estonia: Baltic Film Production & Interfilm.

Baltie zvani [White Bells] (1961), Documentary, Directed by: Ivars Kraulītis, Latvia: Riga Film Studio.

Celtne [Construction] (1962), Documentary, Directed by: Uldis Brauns, Latvia: Riga Film Studio.

Čiutyta rūta (1968), Documentary, Directed by: Robertas Verba, Lithuania: Lietuvos kino studija.

Dešmit minučiu prieš Ikaro Skrydi [Ten Minutes Before the Flight of Icarus] (1991), Documentary, Directed by: Arūnas Matelis, Lithuania: Lietuvos kino studija.

Disko ja tuumasõda [Disco and Atomic War] (2009), Documentary, Directed by: Jaak Kilmi, Estonia: Eetriüksus.

Dokumentālists [Documentalist] (2012), Documentary, Directed by: Ivars Zviedris and Inese Kļava, Latvia: Vides Filmu Studija.

Draakoni aasta [Year of the Dragon] (1988), Documentary, Directed by: Andres Sööt, Estonia: Tallinnfilm.

Gada reportāža [The Report of the Year] (1965), Documentary, Directed by: Aivars Freimanis, Latvia: Riga Film Studio.

Gājiens ar zirdziņu [From Centaur] (1973), Documentary, Directed by: Ansis Epners and Herz Frank, Latvia: Riga Film Studio.

Documentary Film-making in the Baltic States 25 Griuvesiu apaštalas [Apostle of Ruins] (1993), Documentary, Directed by: Audrius Stonys, Lithuania: Studija Kinema.

Ģimenes lietas [Familty Instinct] (2010), Documentary, Directed by: Andris Gauja, Latvia: Fa Filma.

Hing [Breath] (2011), Documentary, Directed by: Kullar Viimne, Estonia: Rühm Pluss Null.

Impērijas gals [End of the Empire] (1991), Documentary, Directed by: Juris Podnieks, Latvia: Riga Film Studio.

Iš dar nebaigtu Jeruzales pasaku [From Unfinished Tales of Jerusalem] (1996), Documentary, Directed by: Arūnas Matelis, Lithuania: Nominum.

Jaanipäev [St. John’s Day] (1978), Documentary, Directed by: Andres Sööt, Estonia: Talinnfilm.

Jaunie laiki Šķērsielā [New Times at Crossroad Street] (1999), Documentary, Directed by: Ivars Seleckis, Latvia: European Documentary Film Symposiums.

Jonathan Austraaliast [Jonathan From Australia] (2007), Documentary, Directed by: Sulev Keedus, Estonia: F-Seitse.

Kā Tev klājas, Rūdolf Ming? [How are You Doing, Rudolf Ming?] (2010), Documentary, Directed by: Roberts Rubīns, Latvia: Jura Podnieka Studija.

Kelione ūku lankomis [Journey through the Misty Meadows] (1973), Documentary, Directed by: Henrikas Šablevičius, Lithuania: Lietuvos kino studija.

Kihnu mees [Man from Kihnu] (1986), Documentary, Directed by: Mark Soosaar, Estonia: Tallinnfilm.

Kihnu naine [Kihnu Woman] (1973), Documentary, Directed by: Mark Soosaar, Estonia: Eesti Telefilm.

Klucis. Nepareizais Latvietis [Klucis. Deconstruction of an Artist] (2008), Documentary, Directed by: Pēteris Krilovs, Latvia: Vides Filmu Studija.

Koduküla [Home Village] (1969), Documentary, Directed by: Peep Puks and Peeter Tooming, Estonia: Tallinnfilm.

Krasts [The Coast] (1963), Documentary, Directed by: Aivars Freimanis, Latvia: Riga Film Studio.

Kuku: mina jään ellu [Kuku: I Will Survive] (2011), Documentary, Directed by: Andres Maimik, Estonia: Kuukulgur Film.

Laikas eina per miesta [Time Walks Through the City] (1966), Documentary, Directed by: Almantas Grikevičius, Lithuania: Lietuvos kino studija.

Lasnamäe (1985), Documentary, Directed by: Mark Soosaar, Estonia: Tallinnfilm.

Leiputrija [Dream Land] (2004), Documentary, Directed by: Laila Pakalniņa, Latvia: VSIA Vides Projekti.

Documentary Film-making in the Baltic States 26 Linnutee tuuled [The Winds of the Milky Way] (1977), Documentary, Directed by: Lennart Meri, Estonia: Tallinnfilm.

Liub šokt, liuob dainuot [I Danced and I Sang] (1974), Documentary, Directed by: Henrikas Šablevičius, Lithuania: Lietuvos kino studija.

Maailmameister [World Champion] (2009), Documentary, Directed by: Moonika Siimets, Estonia: Osakond.

Miss Saaremaa (1988) Documentary, Directed by: Mark Soosaar, Estonia: Tallinnfilm.

Moekoer [Trendy Dog] (2010), Documentary, Directed by: Moonika Siimets, Estonia: Osakond.

Mums nebaisūs jokie priešai [We’re Not Afraid of Any Enemy] (1978), Documentary, Directed by: Edmundas Zubavičius, Lithuania: Lietuvos kino studija.

Müümise kunst [The Art of Selling] (2006), Documentary, Directed by: Andres Maimik and Jaak Kilmi, Estonia: Kuukulgur Film.

Neregiu žeme [Earth of the Blind] (1992), Documentary, Directed by: Audrius Stonys, Lithuania: Studija Kinema.

Nesulaužyti priesaikos [Never Break the Oath] (2007), Documentary, Directed by: Agne Marcinkevičūte, Lithuania.

Padomju Stāsts [The Soviet Story] (2008), Documentary, Directed by: Edvīns Šņore, Latvia: Labvakar.

Par 10 minūtēm vecāks [Ten Minutes Older] (1978), Documentary, Directed by: Herz Frank, Latvia: Riga Film Studio.

Par Dzimtenīti [Three Men and a Fish Pond] (2008), Documentary, Directed by: Laila Pakalniņa, Latvia: Vides Filmu Studija.

Pärnography (2005), Documentary, Directed by: Toomas Kall, Estonia: Acuba Film.

Pēdējā tempļa hronikas [Chronicles of the Last Temple] (2012), Documentary, Directed by: Dāvis Sīmanis, Latvia: Ego Media.

Piejūra [Sea of Attractions] (2005), Documentary, Directed by: Dainis Kļava, Latvia: Vides Filmu Studija.

Pikk Tänav [The Long Street] (1966), Documentary, Directed by: Hans Roosipuu, Estonia: Tallinnfilm.

Praejusios dienos atminimui [In Memory of the Day Passed By] (1990), Documentary, Directed by: Šarūnas Bartas, Lithuania: Studija Kinema.

Pretrunīgā vēsture [Controversial History] (2010), Documentary, Directed by: Ināra Kolmane, Latvia: Filmu Studija Deviņi.

Prieš parskrendant i žeme [Before Flying Back to Earth] (2005), Documentary, Directed by: Arūnas Matelis, Lithuania: Nominum.

Documentary Film-making in the Baltic States 27 Pusdiena [Noon] (1965), Documentary, Directed by: Herz Frank, Latvia: Riga Film Studio.

Ruhnu (1965), Documentary, Directed by: Andres Sööt, Estonia: Tallinnfilm.

Sākums [Beginning] (1961), Documentary, Directed by: Uldis Brauns, Latvia: Riga Film Studio.

Senelis ir Bobute [Grandma and Grandpa] (2007), Documentary, Directed by: Giedre Beinorūte, Lithuania: VG Studio.

Senis ir žeme [The Man and the Land] (1965), Documentary, Directed by: Robertas Verba, Lithuania: Lietuvos kino studija.

Skrajojimai melyname lauke [Flying Over Blue Field] (1996), Documentary, Directed by: Audrius Stonys, Lithuania: Nominum.

Skrydis per Lietuva arba 510 sekundžio tylos [Flight Over Lithuania or 510 Seconds of Silence] (2000), Documentary, Directed by: Arūnas Matelis and Audrius Stonys, Lithuania: Nominum.

Slāpju spogulis [The Mirror of Thirst] (1976), Documentary, Directed by: Ivars Seleckis, Latvia: Riga Film Studio.

Strādnieks [Worker] (1963), Documentary, Directed by: Uldis Brauns, Latvia: Riga Film Studio.

Strēlnieku zvaigznājs [Constellation of the Riflemen] (1982), Documentary, Directed by: Juris Podnieks, Latvia: Riga Film Studio.

Šimtamečiu godos [Thoughts of One Hundred Years Old] (1969), Documentary, Directed by: Robertas Verba, Lietuvos kino studija.

Šķērsiela [Crossroad Street] (1988), Documentary, Directed by: Ivars Seleckis, Latvia: Riga Film Studio.

Šurale [To Shura] (1990), Documentary, Directed by: Hannes Lintrop and Renita Lintrop, Estonia: Tallinnfilm.

Tallinna saladused [The Secrets of Tallinn] (1967), Documentary, Directed by: Ülo Tambek, Estonia: Tallinnfilm.

Talupojad [The Peasants] (1968), Documentary, Directed by: Ülo Tambek, Estonia: Tallinnfilm.

Tas kurio nera [Countdown] (2004), Documentary, Directed by: Audrius Stonys, Lithuania: Studio Litnek.

Tārps [The Worm] (2005), Documentary, Directed by: Andis Mizišs, Latvia: Vides Filmu Studija.

Teodors [Theodore] (2006), Documentary, Directed by: Laila Pakalniņa, Latvia: Vides Filmu Studija.

Tervitusi Nõukogude Eestist! [Greetings from Soviet Estonia!] (2007), Documentary, Directed by: Urmas Liiv, Estonia.

Documentary Film-making in the Baltic States 28 Tofolarija [Tofolaria] (1986), Documentary, Directed by: Šarūnas Bartas, Lithuania.

Tramvajs vārdā Kalpotājs [A Streetcar Named Help] (2005), Documentary, Directed by: Gunārs Bandēns, Latvia: Idea Media.

Uus maailm [The New World] (2011), Documentary, Directed by: Jaan Tootsen, Estonia: Kuukulgur Film.

Ūku ūkai [Uku Ukai] (2006), Documentary, Directed by: Audrius Stonys, Lithuania: Studija 2.

Vai viegli būt jaunam? [Is It Easy to Be Young?] (1986), Documentary, Directed by: Juris Podnieks, Latvia: Riga Film Studio.

Vai viegli būt? [Is It Easy to Be…? After 10 Years] (1997), Documentary, Directed by: Antra Cilinska, Latvia: Jura Podnieka studija.

Vai viegli…? [Is It Easy…? After 20 Years] (2010), Documentary, Directed by: Antra Cilinska, Latvia: Jura Podnieka studija.

Varesesaare venelased [Russians on Crow Island] (2012), Documentary, Directed by: Sulev Keedus, Estonia: F-Seitse.

Veelinnurahvas [The Waterfowl People] (1970), Documentary, Directed by: Lennart Meri, Estonia: Tallinnfilm.

Versija. LNO [Version. LNO] (2006), Documentary, Directed by: Dāvis Sīmanis, Latvia: Studija Lokomotīve.

Viena [Alone] (2001), Documentary, Directed by: Audrius Stonys, Lithuania: Nominum.

Viktors [Victor] (2009), Documentary, Directed by: Andris Gauja, Latvia: Vides Filmu Studija.

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