Elza Radziņa

King Lear, old and tired, divides his kingdom among his daughters, giving great importance to their protestations of love for him. When Cordelia, youngest and most honest, refuses to idly flatter the old man in return for favor, he banishes her and turns for support to his remaining daughters. But Goneril and Regan have no love for him and instead plot to take all his power from him. In a parallel, Lear's loyal courtier Gloucester favors his illegitimate son Edmund after being told lies about his faithful son Edgar. Madness and tragedy befall both ill-starred fathers.

Shakespeare's 17th century masterpiece about the "Melancholy Dane" was given one of its best screen treatments by Soviet director Grigori Kozintsev. Kozintsev's Elsinore was a real castle in Estonia, utilized metaphorically as the "stone prison" of the mind wherein Hamlet must confine himself in order to avenge his father's death. Hamlet himself is portrayed (by Innokenti Smoktunovsky) as the sole sensitive intellectual in a world made up of debauchers and revellers. Several of Kozintsev directorial choices seem deliberately calculated to inflame the purists: Hamlet's delivers his "To be or not to be" soliloquy with his back to the camera, allowing the audience to fill in its own interpretations.

The 1980s. Kārlis did his military service in Afghanistan and is now confined to a wheelchair. Before he left, he had fallen in love with the teacher Judīte, but she has now married a rich man...and poses nude for Kārlis' neighbour, the cynical photographer Rūdofs. Soon Rūdolfs is found dead, and Kārlis admits to having murdered him. But investigator Konrāds suspects that Kārlis is incriminating himself.

The 30-year war still goes on. Riga headmasters have decided to submit themselves to mercy of Polish-Lithuanian Duke. Rigas' defenders disagree strongly and steal the ceremonial Key of Riga. Will they succeed in their fight against all odds? Will three Latvian musketeers have their happily ever after?

Based on a stage play of the same name by the one of the biggest names in the history of Latvian literature Rainis, "Put, vejini" tells a story of an unconventional love that blossoms between the handsome, wealthy and impetuous merchant Uldis and the timid, humble and clear-hearted orphan Baiba.

A medieval love story with lots of adventures. The times are troubled - there's a revolt of peasants going on. To secure its safety a monastery chases for a relics of a holy Brigitte. A nobleman promises to get it if he gets beautiful Agnes as a reward. But she fells in love with a handsome adventurer. The monastery has to act shrewd now and play double game.

Latvia in the late 19th century. Edgars, the coachman of Alaine manor, loves Kristine, the washerwoman's daughter, although he is too hot-headed for Kristine's mother to consider him a good suitor for his daughter. Servant Viskrelis and stable boy Sutka try to tempt Edgars to a life of drinking and a relationship with the barmaid Matilde. Meanwhile, Kristine is courted by a rich landowner, Akmentins.

The colourful musical comedy Maritime Climates could have been a triumph of smart political satire – if people in positions of power hadn’t got worried by the rushes they saw, which lead them to terminate the production. In 1992, Rolands Kalniņš made this edit of the remaining material – an elegy to lost hopes and illusions.