‘The Visitor’: Vytautas Katkus’ Feature Directorial Debut Is a Cinematic Meditation on Solitude

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As a gaming enthusiast diving into the realm of movie fandom, if you haven’t kept tabs on the growing influence of Lithuanian cinema in international film festivals lately, you might not be familiar with the name Vytautas Katkus – but trust me, it won’t be long before that changes! With the news that his debut feature as a director, The Visitor, would make its world premiere at the Crystal Globe Competition during the 59th edition of the Karlovy Vary International Film Festival (KVIFF), industry insiders from the independent and arthouse film scene are buzzing! This is a significant achievement for both Katkus and KVIFF, marking an exciting time in the world of global cinema.

As summer comes to a close, Danielius, a father in his mid-thirties living in Norway, departs from his family and journeys back to his Lithuanian homeland. His mission is to sell the family flat that once belonged to his parents. However, upon reuniting with old friends, he finds that their once strong connection has faded. Instead of hastily returning to his young family to escape the oppressive silence, Danielius chooses to stay put, embracing his solitude and allowing it to guide him.

The KVIFF website offers a contemplation on the human experience, as it describes, “Time appears to stand still in a realm that illuminates the delicate nature of the human spirit and depicts scenes of a dwelling that is no longer ours.

The principal actors are Darius Šilėnas, Vismantė Ruzgaitė, and Arvydas Dapšys. The premiere of the film The Visitor takes place in the Crystal Globe Competition at KVIFF on Monday, July 7.

Born in 1991, Katkus has been honored twice by the Lithuanian Association of Directors of Photography as the best young cinematographer. In 2019, his debut short film, “Collective Gardens,” was featured in the Cannes Critics’ Week, and the following year, his second short, “Places,” made its premiere in the Venice Film Festival’s Horizons program. His most recent work, “Cherries,” was chosen for the 2022 Cannes Film Festival.

Over the past few years, I’ve been captivated by the stunning cinematography that I’ve encountered in various Lithuanian films, such as Marija Kavtaradze’s “Summer Survivors” and “Johatsu,” directed by Lina Luzyte and Nerijus Milerius. Last year at the Locarno Film Festival, the film “Toxic” by Saulė Bliuvaitė, where I served as the director of photography, took home the prestigious Golden Leopard, their top prize.

Given the anticipation, it’s hardly unexpected that Katkus’ first feature film directing project, produced by Marija Razgutė and Brigita Beniušytė, has been a highly sought-after ticket for Karlovy Vary 2025. This event started on Friday and continues until July 12. By the way, Katkus also served as the cinematographer for this movie and collaborated with his friend Marija Kavtaradze on the screenplay, who was mentioned a moment ago.

The editor of this movie is none other than Lithuanian director Laurynas Bareiša, who was responsible for Lithuania’s submission to the best international feature film category at the 2025 Oscars with his second feature, “Drowning Dry.” (His debut feature, “Pilgrims,” also received the Horizons section award for best film at the Venice Film Festival in 2021.) The distribution of “The Visitor” is handled by Totem Films.

In an exclusive interview with THR, Katkus shared insights on the movie, emphasized the significance of seclusion, discussed his preference for unconventional camera angles and creative framing, and hinted at his upcoming projects.

Vytautas Katkus is kindly provided by KVIFF (Karlovy Vary International Film Festival)

Or alternatively,

Vytautas Katkus has been generously made available by the Karlovy Vary International Film Festival.

The concept behind “The Visitor” emerged from themes partially delved into in his shorts, as well as various other sources. According to Katkus, “The Visitor” is a compilation of these smaller elements. “There are numerous intricate details,” he said to THR. “Each detail in ‘The Visitor’ represents a fragment of my personal experiences, experiences from making short films – thoughts I had while creating the shorts and aspects I wanted to delve deeper into.

Originally, Katkus and Kavtaradze envisioned crafting three distinct tales centering on the same theme. However, they soon found it more effective to concentrate on a single narrative. As Katkus clarifies, their aim was to construct a story within one universe that addresses loneliness or solitude in a non-negative light. They wished to demonstrate that at times, being alone is necessary and, when embraced, can be enjoyed. Drawing upon personal and friends’ experiences, they wove together a mosaic of stories.

Katkus deliberately crafts an environment within his films that allows audiences to draw their own conclusions and take away unique lessons. As he puts it to THR, “I aim to offer viewers the chance to delve into various dimensions and ponder their personal emotions.” He is clear about his message, but prefers it to be subtly communicated rather than directly stated. So, each of the 100 people who watch one movie might have a distinct experience.

In the film The Visitor, nostalgia is a persistent motif. The director remarks that while there are numerous nostalgic scenes, he aimed not to create a overtly nostalgic movie. For instance, Danielius is savoring the final days of summer and appears to want to prolong it slightly. “Deep down, he understands he can return, but he still yearns to recapture that sense of joy or happiness from times past.

In essence, just as Seinfeld is frequently referred to as “a show about nothing” due to its focus on minor aspects of everyday life, The Visitor follows a similar pattern. As Katkus puts it, “The Visitor has a narrative, but it’s not a traditional story; instead, it’s a narrative guided by emotion.” He likens it more to a kaleidoscope.

Katkus’ cinematography often involves unconventional perspectives and compositions. He attributes this style to a combination of thorough preparation and an openness to improvisation on set. He also values giving actors ample room for creativity and dislikes rigidly setting up scenes with marked positions for the actors. For him, lighting, camera placement, and other elements should adapt to the actors’ energy rather than the other way around, allowing him to capture spontaneous moments.

Using that method, the production crew might deviate from their pre-set choreographies and prepared elements. However, I find that this ‘documentary-style’ or ‘reality check’ approach in movies is deeply captivating.

Katkus finds himself facing a bustling Karlovy Vary. Apart from directing The Visitor, which is part of the main competition, he also worked as the cinematographer for Gabrielė Urbonaitė’s Renovation, a more intimate production that will be screened in the Proxima Competition section of the festival.

If you’re a fan of Katkus and curious about his future plans in writing and directing, here’s some exciting news! According to him, he shared with The Hollywood Reporter, “I have some ideas.” Although the specifics aren’t finalized yet, he mentioned, “I’m currently working on something I’m trying to write. I’m figuring out the best approach for this idea, and Marija [Kavtaradze] is part of it.

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2025-07-06 09:25