Estonians like to tell you that their country is small. Indeed, at 1.4 million people, it is slightly on the tiny side (though I have been to Iceland, and that’s even tinier. But I politely declined to mention it). And it seems pretty much everyone is a cinema fan, if the attendance figures at the 13th Black Nights Film Festival are anything to go by. The cinemas were full for screenings of more than 220 films from 74 countries: and, with a large selection of the latest films that had already garnered a strong reputation on the festival circuit (including Moon, Welcome and Katalin Varga), some premieres, a section devoted to Baltic films, numerous themed programmes and a large industry programme, the crowds had plenty to choose from.
Out of the EurAsia competition and special sections, I managed to catch I Am Not Your Friend, the latest film from Taxidermia director György Pálfi. The main feature, about a number of characters whose lives interweave in a string of infidelity and petty crime, was something of a disappointment considering Pálfi’s reputation for pushing boundaries. It all seemed rather staid and conventional, despite some compelling performances and a refreshingly bitter undercurrent.
More interesting is the accompanying short, a pre-school set documentary. Intended to juxtapose the sometimes cruel yet innocent behaviour in the relationships between toddlers with the manipulative and often twisted ones of the adults of the main feature, it’s the short that really stays in the mind. Reminiscent of Etre Et Avoir, in it being a fascinating examination of how youngsters act, the rumours are that Pálfi will have a full feature film version of the documentary available soon.
More successful was Tatarak the latest film from Polish master Andrzej Wajda. Originally the film was going to be an adaptation of a tender story of middle aged woman Marta who finds possible love with a younger man but, when the husband of actress Krstyna Janda (who plays the lead) passed away, Wajda decided to move in a different direction. The film continues as a dual narrative, with the story of Marta contrasted with monologues from Janda reflecting upon her sense of loss. It never feels contrived and combines an extraordinary performance of warmth and strength from Janda with a tender rumination on growing old and loss. It’s by no means Wajda’s best work, but it is still a moving and powerful affair.
Also worth looking out for is Icelandic gem Reykjavik-Rotterdam. It’s a well crafted thriller about a ex-smuggler talked in to taking one last job, with kudos going to Ingvar E. Sigurðsson for his measured and menacing portrayal of a best friend with some devious intentions. It keeps the tension high and, while it sometimes begins to drift into the arena of the unbelievable, it’s an engaging and exciting film. However, one of my personal highlights was the superlative Mary And Max (main picture), the animated feature debut of Adam Elliot. Those who know his previous short films, such as the award winning Harvie Krumpet, will be delighted to know his style hasn’t been altered for a feature length exertion.
Elliot sets up a world of grotesque yet surprisingly likable characters who find themselves at odds with a cruel world. In this instance, it’s nine year old Mary – an awkward Australian girl – who forms an unlikely pen friendship with Max, an overweight, fortysomething New Yorker with Asperger’s Syndrome. Some perfectly judged moments of humour are carefully balanced with emotional moments of pathos thanks to Elliot’s unique style and voice acting from the likes of Philip Seymour Hoffman, Toni Collette and the legendary Barry Humphries. For my money this is even better than Disney-Pixar’s Up and an a UK cinema release should be awaited eagerly.
My main focus of the festival was on the Baltic Competition (as I had the honour of being on the FIPRESCI jury), which consisted of nine films from Estonia, Lativa and Lithuania. The festival highlighted that the selection showed “…the good and bad of Baltic film.” Certainly, the programme was a mixed bag with some films showing a lack of ambition and drive. But there were rewards for those who looked hard enough.
A particular highlight was (eventual winner of the FIPRESCI Award), Disco and Atomic War, a documentary from Estonian filmmaker Jaak Kilmi. The film tells the story of the time when, under the grip of Soviet rule, those who lived in Northern Estonia could pick up TV signals from nearby Finland. Documenting the increasingly desperate efforts of the Soviet leaders to prevent the Western influence from ‘corrupting their citizens’, the film is a genuinely interesting mixture of political history and personal reminiscences (including a lovely account of the time Emmanuelle premiered on Finnish TV and most of Southern Estonia travelled north to ‘visit their relatives’).
At the other end of the spectrum for Estonian film was, December Heat, a slick and glossy action film that uses the failed Communist Revolution of 1924 as its inspiration. This is a Hollywood action film all the way (well, apart from the fact that it’s in Estonian) and– whilst it ultimately feels quite empty – it provided some moments of action and a fun performance from Tõnu Kark as old school military officer General Põdder.
More obtuse was the excellent Latvian film, The Hunt, an engaging feature about several people whose lives intersect during a hot day. Less concerned with narrative coherence and more with evoking atmosphere The Hunt is full of affecting and surreal moments – such as the train that doubles as a home for pregnant mothers – and a tangible sense of heat and intensity. Another unique atmosphere was invoked from Low Lights, a Lithuanian road movie that was set in the confines of the cars our protagonists travel in. The main characters of the films – a discontented career man, his former school friend and a mysterious woman – look for escape from a world of drudgery and routine and find it on the night time roads. Director Ignas Miskinis brings the artificiality and headache greys of a world of petrol stations and lay-bys and imbues it with a sense of the other worldly and the romantic. Whilst it’s not entirely successful – it sometimes feels contrived and over stretched – Miskinis deserves much credit for attempting to do something that is unique and different.
The accompanying Black Market – screening more Baltic films for industry professionals – and the Baltic Event – which saw many projects pitched and discussed – showed that there is a passion and creativity coming from the Baltic film scene. Certainly, the announcement that Estonian film The Temptation of St. Tony had been accepted into the 2010 Sundance Film Festival also bolstered hope and expectation for the local film industry: let’s hope it can build upon its successes.
Yet the Black Nights Film Festival proved it is truly a worldwide film festival, with a very large industry presence, numerous guests and the aforementioned enthusiastic audiences. Creating a vibe of discovery and fun (including the Closing Night Ceremony which took place as the jurors enjoyed a three course meal. On stage. Whilst the audience watched. Never say you feel self-conscious about eating until you have done so in front of 200 people) with some great panel discussions and even one or two club nights on offer. As the Western world seems to run itself down in the run up to Christmas period, the Black Nights Film Festival provides much warmth and illumination that should fulfil all of your filmic needs until the end of the festive season.
Laurence Boyce would like to thank Margit, Shahla, Viktor and Jaanus for being a pleasure to work with. He would also like to say thanks to Alison, Andre, Francine, Heili, Jason, Jan, Joseph, Karmen, Kat, Laura, Leon, Max, Pen-Ek, Scott, Tiina and Xavier.
Go to www.poff.ee for more information on the Black Nights Film Festival.
