เป็นที่นิยม จาก Lithuania

EYES ABOVE THE CROSSES is a film about Stanislovas Jameikis who was deported in 1941 and overcame a six hundred kilometers long perilous march through Siberia.

With every moment – one more memory. But memory sometimes goes blind and what is left becomes hazy.

Lithuanian medics battling COVID-19

Romanas, his parents Aivaras and Diana and their little dog live in a cramped place in the Lithuanian harbour town of Klaipėda. Linas Mikuta takes an unprejudiced look at a loving family structure where dreams are interpreted, worries are shared and news negotiated over cigarettes and cake, while at the same time the narrative of a timeless childhood summer full of headstands by the side of the road, somersaults on the beach and afternoons in box houses unfolds.

The film reflects the care of recreation and preservation of the cultural heritage of Vilnius Jews shown by our state and international community. lfc.lt

There is probably no stronger, more desirable feeling than love. But why does it bring not only happiness, but also pain and dramatic experiences? This is the subject of the animated film Žilvinas and Eglė, based on the work of the same name by Vincas Mykolaitis-Putinas.

An allusion to the last song of the Kauai 'o'o Bird.

The narrative of the film Kaimietis is based on the monologues of two individuals, who do not know each other.

Critical film about the misuse and recycling of household waste.

After the 1941 Lithuanian deportations to Siberia, this is a story of a woman who grew up there and watched her parents struggle through the aftermath of the traumatic events.

He is Georgian. She is Lithuanian. They meet in Moscow for two hours - To break up. But the hotel is not the best place for breaking up, when your neighbors are making love.

An unknown artist repents in Lithuanian places of pilgrimage, as she is not famous in this success-oriented society and therefore has a guilty conscience.

Colour documentary about Lithuania in 1937-1938 by Motūzas Brothers is made for Lithuanian community schools and youth organisations in Canada to show Lithuania's life before the Soviet occupation in June 1940. It shows the Lithuanian countryside, cities and towns, architecture, people's daily life, the most important events of 1937 - 1938 years.

The focus of attention in one of the earliest films by a highly prolific documentary director Edmundas Zubavicius is a veterinary clinic in Kaunas; the observation of its daily routine reveals the longing for human sympathy as if yearning for a prayer. Quite a sophisticated relation between the visual and the sound is outweighed by the junctions of poetic film language and realistic shots. They invite to contemplate the relationship between nature and man.

When Henrikas Šablevičius started filming Lithuanian “oddballs” – a professor, a fortune teller, racers, and many others who fell short of the concept of the “model citizen” – he invented a bizarre new genre of documentary biopic. Characteristic of these portraits is a sense of mocking irony directed not at their subjects (on the contrary, the filmmaker’s affection for them is palpable) but at the “Soviet hero” genre. The subject of this film is Apolinaras, a kindhearted policeman who even outwardly looks very unlike the ideological “guardian of morals.”.

Film reel and its material qualities are inseparable from an image it carries. Polarity between the physical marks on celluloid and the photographic image that it supports was an inspiration to create a stereoscopic sculptural illusion, titled Stains and Scratches.

Eimantas and Migle finally decide to move in together. One day Eimantas notices a snake in the toilet. While this confrontation ends without any casualties the atmosphere between the couple changes when the fear of a reptile at their house, slowly turns into the real paranoia.

Two brothers and their cousin are preparing an etude based on Lord Of The Rings. Patrik finds it hard to concentrate, Robert is teasing Demin and Demin himself is head over heels trying to explain the secrets of stage art to his younger relatives.

The main hero of this film is the city of Vilnius. Vilnius is also a metaphor for the historicity of Lithuania. However, this film is unique not only for its cinematographic historical reflections on the statehood of Lithuania; it also reveals the history of cinema, encompassing both Soviet montage techniques and the first traces of cinéma-vérité in Lithuanian cinema.