The Tallinn Black Nights Film Fest Helps Drive Progress in Estonia

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As a film enthusiast who has followed the Tallinn Black Nights Film Festival for years, I can confidently say that this year’s edition promises to be nothing short of exceptional. With its unwavering commitment to nurturing new talent and showcasing unique cinematic voices, PÖFF has rightfully earned a reputation as a mini Toronto in Europe.

The Tallinn Black Nights Film Festival takes great pride in staying up-to-date with the latest trends in contemporary independent filmmaking, and it serves as a premier platform for showcasing upcoming filmmakers and new cinematic styles originating from the Baltic region.

Glance over the lineup for this year’s 28th edition of the renowned event, commonly referred to as PÖFF and scheduled from November 8th to 24th. Festival director Tiina Lokk and her team have once again emphasized the festival’s key aspects by organizing six competitions, along with the Industry@Tallinn & Baltic Event platform, which takes place from November 14th to 22nd.

This year’s PÖFF film selections highlight recurring motifs that reflect the current zeitgeist. The lingering impact of the global pandemic is evident, as is the ongoing recovery process within the worldwide film industry, particularly in terms of reduced film production numbers.

According to Lokk, the true impact of COVID-19 on cinema has been an increase in films focusing on relationships, particularly family ties. These movies delve into themes such as death, love, and loneliness. While relationships have always played a significant role in literature and film, this year seems exceptional because it feels unique or distinct.

During PÖFF, audiences can expect to see some highly acclaimed films from the festival circuit, such as “Anora” and “All We Imagine as Light,” which were hits at Cannes. However, what truly sets this festival apart is its dedication to shining a light on the underdogs – emerging filmmakers who are given an opportunity to share their work alongside more established names. There’s been quite a stir among industry insiders about two homegrown productions this year: “The Shadow,” directed by Jaak Kilmi and featuring in the Official Competition, which centers around the character of local poet and independence movement hero Juhan Liiv; and “Rebel With a Bow Tie,” a documentary by Jaan Tootsen showcased in the Baltic Film Competition, offering an intimate look at the unique life of former Estonian leader Toomas Hendrik Ilves.

As a festival enthusiast, I’d put it this way: “Unlike many other festivals, ours isn’t about glitz and high-profile movies. Instead, our focus is on nurturing emerging talent, particularly from Estonia, Latvia, and Lithuania. If we have to choose between a well-known director’s artistically mediocre film and an unknown but gifted filmmaker’s work, we often lean towards the latter.

Documentaries have been a notable trend rising from the Baltics, and PÖFF has chosen to bring this genre into focus by launching the Doc@PÖFF competition for the first time. This competition is being led by esteemed local documentary filmmaker Marianna Kaat, whose work examining political affairs in pre-Ukrainian War Russia, titled The Last Relic, was showcased in PÖFF’s Baltic Film competition last year.

Lokk remarks that while documentaries have been a consistent aspect of our lives, we’ve never officially acknowledged it. He explains that documentaries offer an effortless and swift means to present issues on screen, allowing viewers to stay informed about current events promptly. This is particularly relevant in today’s context, and there seems to be a significant surge in the production of documentaries, not only in the Baltics but also globally.

This year’s PÖFF arrives amidst significant transformation within the Estonian film industry. The construction of Ida Hub, a film production center in northeastern Ida-Virumaa County, is poised to significantly reshape the cinematic terrain for domestic filmmakers and potentially attract foreign talent looking to produce films in this compact nation of 1.4 million people. Moreover, it aims to stimulate an economic shift within the region, as well as draw attention to the local economy.

The Ida-Viru Investment Agency is spearheading the construction of this project, aiming to enhance regional manufacturing facilities via film studios. Additionally, the SA Ida-Viru Entrepreneurship Center and the Viru Film Fund are establishing a nurturing program that offers opportunities for locals to join the film industry. Furthermore, tech incubator Tehnopol, in line with Estonia’s efforts to establish itself as a global leader in technology and startups, is developing an incubation program concentrating on technological innovation within international sectors.

As an enthusiast, I’m thrilled to share that I’m part of the team bringing a new, eco-friendly complex to life, which is slated to open in September 2026. This venture is a response to the guidance we received from the European Union, encouraging Estonia to transition from its mining roots towards greener industries.

Teet Kuusmik, director of the Ida-Viru Investment Agency, notes that the Baltic States and Nordic countries lack the contemporary infrastructure needed for filmmaking at present. He further emphasizes that this initiative is part of our larger economic transformation aim. This project isn’t just about the creative industry; it’s a regional development effort as well.

At the heart of Lokk’s festival is its function as a bridge linking the local community with the world of cinema. This year, PÖFF’s sidebar platforms are enhancing connections for local and regional industries, particularly in the realm of TV and streaming content production. Additionally, PÖFF has created its own platform, Creative Gate, which offers direct contact with various services, industry experts, and talents for international filmmakers and production companies. The festival also runs a training program aimed at individuals who have experience in film but are seeking to expand their opportunities, primarily within the technical teams.

According to Lokk, our film industry is quite limited in size and doesn’t produce a great number of films. However, we are heavily engaged in co-productions as a means of staying afloat. Essentially, a shortage of funds has become a form of unspoken restriction for us at the moment, hindering our ambitions to think bigger. Yet, we remain optimistic that this situation will improve once our studio is completed.

The progression indicates that Estonia is essentially glancing back as it moves forward, focusing on its future. This country’s cinematic history can be traced to pre-Soviet eras, and as Lokk explains, the festival aims to disseminate this rich film heritage to modern spectators, with a special emphasis on young local filmmakers who may not fully comprehend the past.

According to Lokk, for over 100 years, each Baltic nation has developed its unique cinematic style and characteristics – before the Soviet occupation, during the Soviet era, and now. During the Soviet period, the specifics of Estonian, Lithuanian, and Latvian cinema were clearly distinct. Each country produced films in their native language, had local directors, studios, renowned actors, and a film language all their own. We believe it’s our duty to share this often overlooked history with a broader audience.

This year, Lokk is entering the festival with enthusiasm, reminiscing on the echoes of last year’s event, where a comparison was drawn that particularly resonated with her.

Last year, the highest praise came when festival PÖFF, along with its Industry sections, were likened to Toronto. She comments, ‘We’ve been like a mini-Toronto in Europe.’ To me, this indicates that we are on the right track. We seem to be meeting both the demands of the industry and our audience.

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2024-11-07 20:11