As a film enthusiast who has been following the evolution of cinema in Eastern Europe, it is truly inspiring to see the collaborative spirit among the Baltic states, particularly Lithuania, Estonia, and Latvia. Agnė Adomėnė’s journey as a producer, nurturing talent and fostering regional collaborations, is commendable. Her dedication to promoting Lithuanian filmmakers and their unique voices, such as Anu-Laura Tuttelberg, is not only enriching the global cinematic landscape but also providing a platform for these artists to showcase their exceptional work.
Just like its neighbors Latvia and Estonia in the Baltic region, Lithuania has become a thriving and sought-after location for movie and television productions. Shows such as the acclaimed Netflix series “Stranger Things” and films like Christopher Nolan’s “Tenet” have chosen Lithuania as their filming destination due to financial incentives, advanced infrastructure, diverse landscapes (both natural and urban), and talented crews. Moreover, Lithuanian artists are gaining international recognition by showcasing their work at prestigious film festivals, such as the 77th edition of the Locarno International Film Festival.
Despite having a relatively small population of approximately three million people, this country has managed to submit two films in the international competition, which is the main competitive section at Locarno with a total of 17 movies. One of these Lithuanian submissions is a joint production with neighboring Latvia. Additionally, the festival will showcase a short puppet animation film that is a co-production between Estonia and Lithuania, making it the third Baltic state to collaborate on this project.
The growing influence of Lithuania in its film industry and creative sector suggests that the nation’s endeavors to nurture these sectors since gaining independence from the Soviet Union in 1991 are yielding fruitful results.
“Laimonas Ubavičius, head of the Lithuanian Film Center, shares with THR that it’s a significant milestone for two Lithuanian films to be in the main competition at the prestigious Locarno Festival. He expresses great joy and believes this could indicate the promising direction and success of our emerging filmmakers and creators.”
He points to the likes of Marija Kavtaradze, who won the best director honor at Sundance in 2023 in the World Cinema Dramatic Competition for Slow, and Laurynas Bareiša, whose debut feature Pilgrims won the film honor in Venice’s Horizons (Orizzonti) section, as examples of recent successes at big-name festivals. And he points out that the two Locarno films are a debut feature and a second film, from the just-mentioned Bareiša actually, which can often be a challenge for directors. “So, for a small film industry from a small country like Lithuania, that is a great achievement,” Ubavičius concludes.
Additionally, in recent years, the short film competition held at Cannes has seen a significant Lithuanian participation. For instance, in the 2024 edition, Eglė Razumaitė’s film titled “Ootid“, which focuses on girls at a summer camp, was showcased. Furthermore, the 2022 edition highlighted Vytautas Katkus’ work “Cherries“, a story about a man who has recently retired and invites his son to help him in the garden.
Ubavičius’ team is dedicated to nurturing emerging talents and fresh perspectives within the film industry. As he puts it, we boast a rich cinematic history stretching back decades, with our ‘golden age of cinema’ in the 1970s being a notable highlight. Not only do we have seasoned professionals on board, but we are thrilled to see an influx of young and upcoming directors and creators. Consequently, our film industry is thriving with vibrant health.
As a passionate gamer, I’m always on the lookout for new, exciting experiences, much like the Lithuanian Film Center seeks to nurture creative talent in the film industry. Established just a dozen years ago, we’ve been devising step-by-step financial tools to assist at every stage of creation – from offering grants for up to a year to young scriptwriters, to development support, production funding, distribution aid, and even international festival backing.
Apart from Lithuanian films benefiting from the country’s film incentives, Ubavičius praises collaborative efforts with nearby Baltic nations and countries like Spain, Sweden, Poland, which consistently provide opportunities for Lithuanian artists. “Each year, we see around 10 to 15 co-productions funded by the Lithuanian Film Center,” he emphasizes. “Not only are we expanding our geographical reach, but we also have a diverse range of genres.”
It seems that Lithuanian filmmakers often explore similar themes, focusing on human psychology, behavior, and the challenges linked to them. As the head of a film center explains to THR, they possess a romantic inclination towards delving deeply into complex human issues or problems.
The stories crafted by Lithuanian filmmakers might be rooted in local experiences, but they often strike a chord far beyond their immediate surroundings, even echoing universally, as Ubavičius suggests. “Toxic,” according to him, tackles a significant international issue that is prevalent in numerous nations: young girls being targeted for modeling.
Earlier this year, Algirdas Ramaska, CEO of the Vilnius International Film Festival, highlighted to THR the rising Lithuanian talents creating a stir in the festival scene. He remarked, “We’re witnessing an incredibly strong new generation of filmmakers, and the number of productions is rapidly increasing. Moreover, these young filmmakers possess a unique cinematic style that’s not only influential within our borders but also on an international scale.”
Below is a closer look at the three Lithuanian films in the Locarno77 selection.
The work titled “Akiplėša (Toxic)” by Saulė Bliuvaitė is being showcased in the International Competition section of the Locarno festival.
As a passionate gamer diving into a fresh narrative, I find myself immersed in a film crafted by the talented Bliuvaitė. Her first major work, a testament to her personal teenage experiences, is set to make its grand entrance on the global stage at Locarno, marking an impressive debut for this promising director.
As a woman who grew up in a small town and was often overlooked by society, I can relate to Maria’s struggles in this coming-of-age drama. The story of a young girl abandoned by her mother and forced to live with her grandmother in an industrial town resonates deeply with me. When I read the plot description about Maria meeting Kristina during a violent street clash, I immediately thought of my own experiences of feeling out of place and seeking connections wherever I could find them. The idea of enrolling in a mysterious modeling school to get closer to someone I admired was something I could understand, as I too have sought out new opportunities to escape the monotony of my life. The tension between Maria’s ambiguous relationship with Kristina and the intense, cult-like environment of the modeling school mirrors the struggle to find one’s own identity that many people face in their lives. Overall, this story seems like a powerful exploration of self-discovery and the challenges that come with growing up and finding your place in the world.
In another take on the movie’s synopsis: “Yearning for an exit from their dismal hometown, two adolescents find a peculiar connection at a neighborhood modeling academy. The allure of a brighter future drives the students to transgress their physical boundaries in progressively severe manners.”
The movie’s ensemble features numerous youthful actors, including Leva Rupeikaite, Vesta Matulyte, Giedrius Savickas, Vilma Raubaite, and Egle Gabrenaite. Before its premiere at Locarno, the international rights for this film were acquired by Bendita Film Sales.
The movie was filmed in Kaunas and Vilnius, Lithuania. It was produced by Giedre Burokaite at the Akis Bado studio in Lithuania, with backing from the Lithuanian Film Center, Lithuanian National Radio and Television, and served as executive producer by Juste Michailinaite.
Bliuvaitė is thrilled to present her film in the international competition lineup of 17 titles at the Swiss festival, which includes another Lithuanian production. Speaking with The Hollywood Reporter, she expressed, “This is a significant and historic moment for Lithuania, having two films in the main competition of such a prestigious festival.” She added that there’s a lot of joy within the community.
She is grateful for the financial aid provided to emerging artists in her nation, particularly those in the film industry. “The Lithuanian Film Center plays a crucial role in our cinema, especially when it comes to new productions,” she notes. “Approximately a decade ago, they revamped the funding structure to prioritize debut films. This change has resulted in a significant number of Lithuanian films being either first or second features, as many budding artists receive funding. The process is not overly challenging compared to other countries because we have a specific focus on nurturing new talent.”
In addition, she acknowledges the mutual aid filmmakers offer one another. As Bliuvaitė clarifies, our Lithuanian community and industry are relatively small due to the country’s size. Consequently, we received substantial assistance in creating this film from various producers, directors, and scriptwriters. Everyone was thrilled for us. They expressed encouragement like, “I heard your film is going to be fantastic! How can I connect you with some funding contacts?” I believe that’s wonderful.
However, the first-time director acknowledges that the growing recognition of Lithuanian films in film festivals brings increased expectations. “This means there’s a great deal of pressure when you’re creating the movie, as there’s an expectation that it will be successful,” Bliuvaitė confides. “The pressure is mounting not only for the film but also on a personal level.”
Is it accurate to say that Lithuanian directors, as per Bliuvaitė’s statement in THR, share a common “voice” but not necessarily a similar “style”? She asserts, “We certainly have a voice,” yet she strongly disagrees with the notion of a shared style among them, stating, “We are incredibly diverse.” To emphasize their distinct creative approaches, she references the latest work of another Lithuanian filmmaker in the Locarno competition program.
Bliuvaitė suggests that the reason there are two Lithuanian films in the competition is because they each offer something unique. “We, Lithuanians, aim to be a part of Europe and no longer be perceived as an Eastern European nation without a distinct identity,” she explains. “Our country has a diverse range of voices and backgrounds, and we want our voice to reflect this complexity. It’s not about being labeled as a certain type of director; it’s about having a unique style as an individual filmmaker.”
The film titled “Seses” (translated as “Drowning Dry”) by Laurynas Bareiša, a collaboration between Lithuania and Latvia, is set to be screened in the International Competition program at Locarno.
As someone who has experienced the unexpected twists and turns that life can bring, I find the plot description of this Lithuanian world premiere intriguing. The initial scene of a peaceful weekend getaway with family seems idyllic, but the hint of danger in the form of a near-tragic accident adds an element of suspense and tension.
Gelmine Glemzaite, Agne Kaktaite, Giedrius Kiela, and Paulius Markevicius are the principal performers in Bareiša’s second Lithuanian film, which he authored, directed, and filmed himself. Klementina Remeikaite from Lithuania’s Afterschool, along with Matiss Kaza from Latvia’s Trickster Pictures, co-produced this movie, which was primarily shot in the vicinity of Vilnius.
The Lithuanian Film Center, the National Film Center of Latvia, and Eurimages provided production assistance for this project. International sale rights are managed by Alpha Violet.
Bareiša’s first full-length film, titled “Pilgrims,” made its premiere at the 78th Venice Film Festival in 2021. In this prestigious event, it was honored with the Horizons section award for the best movie in the crime drama category. Additionally, this film represented Lithuania as a contender for the Best International Feature Film category at the 95th Academy Awards.
Bareiša was just as thrilled as anyone else to discover that Locarno presented not one, but two Lithuanian competition entries by Saulė. “I find it hard to believe,” he said, “but I know Saulė well, and her talent is undeniable. We’re part of a small film community, so it’s always exciting, but having two films in competition – I couldn’t be more proud. It’s a wonderful feeling.”
However, the filmmaker emphasizes that the Lithuanian film community is not content with their past achievements. “Occasionally, some of our films make it into significant festivals,” he says, “but our colleagues don’t always get an international debut. This is something we should value. It doesn’t occur frequently, and there’s no guarantee it will continue, so we must strive to become stronger.”
He also appreciates collaborating with emerging artists within the nation, as he believes: “It’s crucial to nurture fresh talent and innovative concepts since we’re a relatively small cultural sphere.” Bareiša explains to THR, “Our cinematic output prior to 1990 was linked to the Soviet Union, contributing to its narrative. Now, we are independent, and we are gradually finding our unique voice.”
It matters significantly for him, as well as other Lithuanian artists, that their work gains attention, even at prestigious events like festivals. “Smaller countries are frequently overshadowed by the wider Western European, Middle European, Central European region. When I attended film festivals in the past, I rarely came across films from Baltic nations, often none at all from central Europe. Our region has faced challenges in being recognized. Therefore, I believe it’s crucial now to produce and exhibit these movies to showcase our unique culture, as we are not Eastern European, not Slavic, not Scandinavian – we represent something distinct.”
As a budding filmmaker in Lithuania, I’ve noticed a unique sense of freedom in our community. Although we may know each other due to the compactness of our film scene, our voices and styles are remarkably distinct, as Bareiša points out. It feels like we’re not bound by any specific topic or historical event, so we’re all on a quest to discover fresh, original ideas and approaches in our work.
As a film critic with extensive experience in analyzing cinematic voices from various countries, I find that Lithuania’s emerging film industry stands out due to its unique ability to learn and explore without being influenced by hardcore politics. Having worked in the post-Soviet era, I can attest to the fact that this freedom is a significant advantage for Lithuanian filmmakers, as it allows them to develop their craft unburdened by political constraints.
Speaking of themselves and fellow Lithuanian filmmakers, he notes they’re “free” in their own unique ways. Moreover, he underscores a shared purpose among them: “Our films vary significantly, which is our considerable strength. We can maintain our distinctiveness without being adversaries. We’re all striving towards the same objective.”
The film “On Weary Wings Go By“, produced as a collaboration between Estonia and Lithuania by Anu-Laura Tuttelberg, is being showcased in the Pardi di Domani program at Locarno. This program highlights short and medium-length films that emphasize experimentation and groundbreaking techniques.
As a seasoned film enthusiast with over two decades of experience under my belt, I must say that the 11-minute long porcelain puppet animation from Estonian artist and filmmaker Tuttelberg is truly a masterpiece in silent storytelling. Having seen countless films throughout my life, I can confidently assert that the absence of dialogue in this piece does not detract from its impact, but rather adds to it by allowing the viewer’s imagination to fill in the gaps and create their own interpretation of the narrative.
“With autumn’s arrival, birds depart towards the south, leaving behind a world blanketed in snow as winter takes hold. Remaining creatures seek shelter from the harsh cold and snow, while flowers wither under the relentless wind and delicate porcelain animals shatter under the freeze. The last remaining porcelain girl stands solitary in the snowfall, exposed on a wintry landscape, without refuge or cover.”
In essence, this film carries on the narrative about nature and porcelain creatures initiated by Tuttelberg in the Mexican rainforest, as depicted in her 2019 short film titled “Winter in the Rainforest”. On both productions, Lithuania’s Art Shot was a collaborative producer. The latest short also received co-production support from Fork Film in Estonia and financial backing from the Lithuanian Film Center, the Estonian Film Institute, and the Cultural Endowment of Estonia.
According to Agnė Adomėnė, the founder and producer of Art Shot, Lithuanian films have been performing exceptionally well lately. She expresses great satisfaction with the abundance of Lithuanian cinema being showcased at Locarno.
She remarks: “There are numerous directors from the same era, as well as young ones approximately thirty years old, who possess remarkable talent and a unique style of their own.”
As a gamer, I was thrilled to witness Tuttelberg’s animated short, a regional co-production, grace the screens at Locarno. When asked about the history of film collaboration among the Baltic states post-independence from the Soviet Union, Adomėnė shared an interesting perspective: “For some unknown reason, we didn’t collaborate for a long time after our independence. Perhaps we were too eager to explore the West. But in recent times, this trend has been growing stronger. It makes sense considering our small markets and similar funding levels. The film communities within Estonia, Latvia, and Lithuania are increasingly working together on regional funding and joint market booths.”
She first encountered Tuttelberg a few years ago when she presented her debut film at the Baltic Pitching Forum in Vilnius. Adomėnė recalls, “I was drawn to it because it seemed visually stunning with those porcelain puppets filmed in real-life settings.” However, at that time, Tuttelberg was seeking funding to shoot the film in Mexico’s jungle, which was beyond my capabilities as I couldn’t find sufficient financing in Lithuania for her trip.
However, they had an engaging chat, and some years passed before the director reached out to the producer, seeking a collaborator for the movie’s post-production phase. “That’s how we proceeded,” Adomėnė explains. “We handled all the post-production work of the film in Lithuania, including sound design, visual effects, and editing to assist her in wrapping up the project. Our collaboration was structured similarly for this upcoming production as well.”
Tuttelberg crafted “On Weary Wings Go By” in Estonia, with certain scenes filmed along the Norwegian coastline, as Adomėnė points out. Additionally, she highlights the rarity of porcelain animation. “Porcelain is quite a unique medium for puppet animation,” she notes, “as it’s quite delicate and fragile.” She elaborates that animating such puppets requires special attention and care. Anu-Laura, who was largely responsible for the project, designed the puppets herself, created their appearance, and even handled part of the animation herself. However, she had help with the animation process as well.
Without the necessary financial backing, creative talents wouldn’t be able to materialize on screen, as Adomėnė points out. “The tax incentive for film production in Lithuania is vital, effective, and user-friendly,” he praises. “Unlike other European countries, our 30% tax incentive doesn’t have an annual budget limit. Therefore, it’s not a case of ‘first come, first served.’ In Lithuania, there are no such constraints.”
Moving forward, the producer is confident that her homeland and its surrounding region will maintain a robust presence in film festivals. “Lithuanian films, as well as those from the Baltic region, have been performing exceptionally well lately, and I’m eager to see this momentum continue.”
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2024-08-05 09:26