Martin

Little Anna is waiting for her first Christmas.

An absurdist farce centering around a school in post-Soviet Latvia. After a rather disgusting prank (someone defecates in the school attic), the tyrannical headmistress deems that no one can leave until the culprit is caught. When the photographer's pet python escapes, havok breaks loose.

This documentary follows a bustrip from Tallinn to Kaliningrad. A route that was so common in the Soviet times now passes through 4 different countries and crosses 3 different borders.

The Stoļarova congregation is building its own church.

A film about everything changing while remaining the same. Or rather – everything remaining the same while changing. We observed this (and wanted to share) while standing (standing regularly and for a long time) on a road rather close to the Eastern border of Latvia, because we followed the suggestion of the locals who asked to shoot “that horrible road”.

There are places that we don’t want to know anything about, places that we would rather pretend don’t exist at all. One such place is a dumpsite. From the humans’ point of view, it is a ghastly place, a stinking desert of trash. But it’s a desert that is teaming with life.

The ferry crosses the river, transporting people from one shore to the other, from one country to another. It runs year round, never stopping. The footage was filmed on the Latvian-Belarussian border in the early 1990s - a time when the Soviet Union began to crumble and Latvia regained its independence.

The morning begins when the mail is delivered - this has been a tradition for almost an eternity. This film looks at daily things, daily movements, daily life and the daily routines of the postman, which are nevertheless meaningful to those who await and receive newspapers and letters.

Twenty-five films from twenty-five European countries by twenty-five European directors.

The late 1950s. Every night, Soviet tractors comb the coast of Latvia looking for signs of anyone who could have infiltrated the Soviet border from the sea. One morning, three Soviet patrolmen discover a woman’s shoe in the sand and footsteps leading to the quaint little village of Liepaja.

Three elderly country bachelors idle away their time amidst semi-wild nature, closer to birds and pond fish than to humans.

The camera stands in a house, the lens pointing through the window, outdoors, where the occupants of the home are standing. They respond patiently to the camera operator’s directions: a small step to the left, a little bit forward, no, back just a bit, yes, that’s perfect. Dozens of people pose in this way for a full minute. There’s a man who lives alone, a large family, an older woman on a trampoline. Some are entirely at ease, others more self-conscious. Rabbits, dogs, and cats are allowed to join these portraits, too. All of them are captured within the natural frame of the windows, along with the lace or floral curtains.

A film about a plastic spoon and a society that has reached a high level of development – oil is being retrieved from subterranean depths, transported to processing plants, turned into plastic, transported to another plant, where it acquires the shape of a spoon, transported to convenience stores, where we buy it, and is then soon tossed into the trash. In other words, this is a film about the efforts put into making a spoon that can be thrown away so effortlessly.

As soon as I finished my first marathon, I wanted to become a tripod in order to make a film about it. That is because words are certainly not the right instruments to tell us what it’s like to run a marathon. I think we can try to show it through the characters, noises, texts, lights, the absolute physical understanding of shadows and of the sun, the water, the motions and the serenity. For those who do not practice running in marathons because they don’t want to or because they can’t, I wish to bring something from inside the marathon, out; for example, for my Mum, whose legs ache. I am acting like a spy sent into the marathon.

There is a popular Latvian folksong which begins with the phrase "I was singing out high on a mountain". The irony of it is that according to physical geography there are no mountains in Latvia. So what exactly is the place where the Latvians are "singing out"? It may be safely said that it's the same place where they are skiing. That's how we make mountains out of molehills...Snow-covered mountains, to be sure.

Waterfall and I, and – no, the other way around! This film is, of course, about nature – human nature. Or – what a human can do with the widest waterfall in Europe.