An observational documentary about homelessness and faith. A very big snowstorm named Monica hits Tallinn, Estonia in December 2010 and the film crew visits a soup kitchen opened for people in need. The film tries to observe the activities during Christmas holiday and document how people in need are coping with the ongoing storm.
The story is about 9-year old Hendrick and Annie, and about their relationship. They have to find their own ways to overcome social prejudices before they can become true friends.
This short documentary is about a friendship between neighbors who have known each other for entire life. A cold winter, silence, loneliness and thoughts of nostalgia are surrounding their every day life. Their sincerity opens up a world of unusual friendship in the isolated countryside of Estonia.
A documentary about the Lutsis, a vanished group of Estonians, and an exploration of their former villages on the eastern edge of Latvia in search of people who still remember them. The parallel story details Estonian academic and public intrest in their Lutsi countrymen from the late 19th to the mid-20th centuries. Attempts to save "the lost tribe" from assimilation failed, but the Lutsi Estonians nevertheless deserve to be remembered.
The film shows the Victory Day parade dedicated to the 20th anniversary of the Republic of Estonia and the Defense League and preparations for it.
Spring has turned into autumn, and the beauty and yield of the garden have changed.
In a barren dystopian landscape, a remnant of a human searches for sources of oxygen. In it's journey it finds mind altering experience.
A plane is leaving for abroad tomorrow morning. A young man, who has just graduated from high school, spends his last day in his hometown and says goodbye to his old life.
A floating bed and a woman carefully - and gently - holding a mouse close to her body. Gazing into the void, she is carried by a train of (sub)consciousness. Chimes and (human and animal) voices punctuate this windy, grassy journey. Like in a possible (sleep) paralysis, the terrain of the real and otherworldly are in permanent tension. She fails to close her eyes.
Original Estonian underground rave generation video art – it's cheap, it's loud, it looks like a home video, it's a manifesto against the male-dominated, post-Soviet art world. Created for the exhibition "private views. space re/cognized in contemporary art from Estonia and Britain" (curated by Mare Tralla and Angela Dimitrakaki in the Estonian Art Museum, 1998) Kiwa was the only male artist on the show and chose, quite pertinently, to focus on the space most associated with male creativity. The mythology of the artist's studio as the protected sanctuary of freedom and self-expression par excellence has risen across diverse techniques of visual signification. Access to the studio means access to a celebrated subjectivity.
According to pop culture mythology, Paris Hilton “invented” the selfie in 2006. In factual terms, Uber and its rideshare model was officially launched in 2010. Mare Tralla’s video precedes - and reflects - both of these cultural landmarks that have since become nouns. In this piece, no words are needed: a woman rides in the backseat, entranced by pulsing rhythms. Through a double-layered image - or perhaps an altered state of mind - we follow the movements of a fleeting moment inside a car.
Mirror on the wall, camera on the ceiling: fast tracked images of waves of an influx of movement inside a women’s bathroom. Entering, waiting, using, leaving: this is a surveillance-style depiction of the transitory life in a non-place filled with possibilities.
An encounter between two men in a club in Riga. A stagnant, distant but carefully observant capturing of a hypnotising pole dance to Frank Sinatra’s New York, New York, that ultimately leads to a personal/closer connection, with general introductory questions about life (and its expectations).
1. Catherine's Ring 2. Body Rider
The documentary explores the origins and influences of Subbi’s painting through the recollections of his closest friends.
Lost film. Helja, an Estonian woman, and his British groom John have met during the Estonian War of Independence. They hear from an old professor of an old folk tale about the dark past of Estonia. Estonian pageboy Mangu who works at von Sternhell's manor proposes a pretty slave girl Linda. However, von Sternhell gives orders to steal the bride right in the middle of the wedding. She will be taken to von Sternhell's castle according to the brutal middle-age custom – the law of the first night. Together with fellow villagers, Mangu gets into a desperate battle with the noblemen in order to save his wife's pride.
This film portraits Leonhard Lapin, who becomes one of the most outstanding avant-garde artists on the Soviet Estonian art and architecture scene. Lapin is especially inspired by pre-war Estonian funk architecture and Russian constructivists. In contrast, the bleak mass production on the actual building arena provokes protest and anger. He finds many like-minded people, and his artistic circle of friends is diverse and active. Several groups grow out of Lapin’s inner circle, among them the legendary group of architects that the Finnish architect Komonen started calling ‘the Tallinn school’. The rebel Lapin becomes the leading avant-garde artist of Soviet Estonia, whose diverse portfolio includes paintings, graphics and architectural drawings, architectonic works and architectural projects, performances and happenings, writings and poetry, and his own theory of architecture and colour. His fiery temper gets him into conflicts with the authorities as well as passionate human relations.
Low IQ lad named Fuuskur tries to find perfect formula for his homemade snus.
