Not My Land

"Roots" tells six very personal stories - a first, big love, the loss of a child, ageing, infidelity, fragile relationships with close ones. Six different views on what our family and environment has left in us and what we leave behind.

A woman’s greatest joy is giving the gift of life to a new human being. Her deepest sorrow – the loss of a child. This very personal and touching film is not about death, it is about the beauty of life and how miraculous it is that we are alive. Waiting for a miracle was never planned to be filmed. It was dictated by the unique unusual situation, and life was the main scriptwriter. The director hopes that her work can be therapy for people in similar situations.

The heroes of the film are the people of Kiev, who have not lost their zest for life: they cook shashlik in their courtyards by candlelight and dance to the sound of generators. We see shelters in maternity wards and pregnant women ready to give birth as sirens wail. A story of incredible resilience and light that shines brightest in the darkest times, uniting different cultures in a common cause.

A documentary about the Estonian artist Kaarel Kurismaa shows the viewer an insight into the world of artists. Kaarel changed his creative direction several times; he explored different artistic styles. Kaarel Kurismaa laid the foundations for Estonian kinetic and sound art. He is a highly versatile artist whose creative energy is divided between painting, sound, installation, monumental art, and film. On the crest of the avant-garde wave of the 1970s, he created several important sound and kinetic objects in Estonian art history.

A friendsbook was like Facebook during the Soviet times. Many had one. Russian kids called it a Form. Classmates were asked to write in it and say what they thought love is, what they wanted to be when they grow up, what their favourite food was. It was mostly girls who had friendsbooks, of course. Twenty-five years later, Alyona Surzhikova browses her 6th grade friendsbook and decides to go and find her then classmates to ask whether their dreams have come true. She travels to Russia and Germany and even Cambodia and puts together a thought-provoking aggregate portrait of the Russian generation that grew up during the restoration of Estonia’s independence. Many of them have left Estonia by now, with half of Surzhikova’s classmates living abroad. Why did they do that? What do they think about Estonia? And what would they write into the Form now?