Baltic TV Shows – and Locations – Are on the Rise: ‘Our Appetite Is Growing’

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The nations that make up the Baltic region – Latvia, Estonia, and Lithuania – are geared up for an increase in locally produced television content, and they extend invitations to potential international collaborators.

According to Toomas Ili, head of content at Elisa Estonia, our country presents an engaging blend of modernity and innovation alongside a rich Soviet legacy. Our landscapes and architecture remain relatively unknown globally, which has sparked interest from Hollywood productions in the Baltics. Furthermore, our knack for accomplishing much with limited resources is notable. The latest series he’s involved with, the Ukrainian-Estonian drama titled “My Dear Mother,” focusing on a woman grappling with her mother’s heartbreaking demise, will debut at Berlinale Series Market Selects.

“I was asked which series it resembles. The answer is none,” he says.

In his stories, writer Raoul Suvi skillfully weaves together each element, maintaining suspense by keeping both the audience and characters guessing until the very end.” When Elisa Estonia began creating dramas six years ago, Estonian series were in a poor state, according to him, due to minuscule budgets and negligible production quality.

Currently, our interest is piqued, and we’re scouring the horizon for collaborative partners who share similar visions in production. In Estonia, “Von Fock,” the nation’s first large-scale co-production with Italy, Latvia, and Germany, has been drawing attention as a period crime drama, according to director Arun Tamm.

Tamm praises the series in their area, stating it’s like a unicorn. He attributes this unique quality to the vision of producers Toomas Luhats, Jevgeni Supin, and Helen Lõhmus. The aim is for it to open doors for more projects with global prospects, while also highlighting local talent and inspiring filmmakers to dream big. Tamm believes that our concepts can captivate on a much larger scale.

Since I last directed a TV show in 2015, the landscape has shifted significantly regarding budgets and local streaming services. Nowadays, there are more scripts being produced. However, as he points out, funding constraints often hinder their development. There’s still progress to be made when it comes to delivering captivating narratives.

As per Edith Sepp, director of the Estonian Film Institute, the selection of “My Dear Mother” by the Berlinale signifies a remarkable achievement in the realm of Estonian television series.

She mentions that this addition significantly boosts the profile of Estonia’s television and movie sector, creating fresh possibilities. She hints at a state-of-the-art recording studio in Tallinn, which she believes will attract international film crews like a magnet. She asserts that this move will place Tallinn on the map as a top contender for premium production work in Northern Europe.

To stay competitive and maintain growth, Estonia should consider enhancing its cash rebate program and welcome high-quality TV dramas with a minimum budget of €200,000 ($207,000) per episode. Each series must also have a local spend of at least €70,000 ($72,000). Efforts to expand this initiative started last year, and it’s essential that we explore opportunities beyond our own region to remain competitive in the industry.

Jevgeni Supin, a producer at Zolba Productions, commends the straightforward approach taken by creators from the Baltic region.

He notes that along with attractive tax benefits, Estonia’s stunning nature and urban landscapes make it a boundless resource for artistic endeavors. He emphasizes the importance of collaborative productions, stating that without international partners, our capabilities for generating genuinely competitive works are significantly restricted.

Ice was in motion” and the works by Baltic Productions, such as Lithuania’s “Troll Farm”, Latvia’s “Soviet Jeans”, “My Dear Mother”, and “Von Fock”, are gaining more attention, notes Supin.

Despite being exceptionally large for our area, their budgets were relatively small when compared to those in all of Europe. Nonetheless, these initial ventures represent a significant move towards daring collaborative productions from the Baltic region. Broadcasters throughout Europe are expected to embrace these projects eagerly.

Zane Valeniece, the leader of acquisitions at Latvian Television, pointed out that back in 2024, Latvian Public Service Media (LPSM) launched an endeavor to organize a competition for financing TV series. Another round is set to occur in March.

In light of the shifting trends in our industry and the types of content that resonate with our audience, producing a national TV series is one strategy I find myself embracing to tackle a wide range of themes, delve into our nation’s identity, and preserve our cultural heritage. Each locally produced series becomes a significant milestone here in Latvia. The upcoming series by Staņislavs Tokalovs and Teodora Markova, titled “The Last Divorce of Communism,” offers an intriguing portrayal of a 1980s couple feigning a split to maintain their apartment. This dynamic duo is also the mastermind behind “Soviet Jeans,” a series distributed by Beta Film.

Sofia-based Markova commends the skill of Latvian filmmakers, stating they are capable of holding their own alongside those from more established film industries. However, he acknowledges that the main obstacle is overcoming stereotypes and creating stories in innovative, unconventional manners. To achieve global competitiveness, Markova suggests adopting more adaptable financing options and opportunities for Latvian productions. There’s a determination from the Latvian Film Centre and the Ministry of Culture to provide the necessary support.

Markova emphasizes that the toughest hurdle lies in consistently obtaining annual funding for top-tier television series, implying adequate budgets. She likens this to a significant leap for smaller nations, yet ‘Soviet Jeans’ demonstrated its value.

Allocating funds for minority co-productions in series could help our region flourish, as it fosters “relationships that transcend boundaries,” according to Markova.

Dita Rietuma, the head of Latvia’s National Film Centre, has pointed out that over the past few years, six top-tier TV series have received backing. From 2022 to 2024, with an extra €6 million ($6.2 million) in funding, four television productions were completed, one of which was “Soviet Jeans.

According to Rietuma, historically, television series in Latvia were made by stations with modest means, primarily catering to local viewers. However, the participation of the National Film Centre demonstrates that creators of Latvian series possess the capability to capture an international audience.

According to Rietuma, to carry on with the style set by “Emily. Queen of the Press,” “Soviet Jeans,” and “Mutiny,” the institution needs to ensure it has enough financial resources to continue producing this series.

It’s crucial for our series production to focus on global collaboration. Joining the Eurimages series support program, which Latvia will do this year, is vital.

To make our series production successful, it needs to be about teamwork across borders. This year, we’re joining the Eurimages series support program, a key part of that international cooperation.

Deimantas Saladžius, temporarily leading the film production department at the Lithuanian Film Centre, commends the adaptable and dependable tax incentive program for foreign films. He highlights the system’s flexibility as one of its key strengths. “Our budget cap is set annually at €55 million ($57 million),” he explains, “which allows us to expand and prevents us from encountering funding shortages mid-year.

Places like Vilnius are equally important, as they often stand in for cities such as London, Berlin, Oslo, and others in various films and television series. As Saladžius points out, it offers an ideal setting for portraying the reality of Soviet-era or modern Eastern Europe.

Despite lacking a significant sound stage, this is a challenge we face. However, our neighbors in Estonia have made substantial progress in setting up such facilities, as noted by Saladžius. This presents an opportunity for cooperation among the Baltic States, enhancing our partnership and offering more extensive assistance to international film productions.

Lithuania has been the location for shows like “Chernobyl,” the fourth season of “Stranger Things,” “Ronja, the Robber’s Daughter,” and a growing number of German series such as “Sisi,” which was renewed for four consecutive seasons on Netflix. According to Saladžius, Lukiškės Prison had an “extraordinary part” in Netflix’s production “Clark.

Jūratė Pazikaite from the Vilnius Film Office pointed out that Vilnius and Lithuania are now highly sought-after locations.

2024 sees Kaleidoscope Pictures returning to Hamburg to shoot ‘Truth and Conviction,’ set in 1941, according to Pazikaite. Additionally, they had previously filmed ‘Whiskey on the Rocks’ there, furthering their collaborative efforts with Norway, Finland, and Sweden. Sony Pictures Television opted for Vilnius as the location for “Star City,” a spin-off of the sci-fi drama “For All Mankind.

According to Pazikaite, in the Baltic area, you’ll encounter a warm spirit of collaboration, as well as a variety of locations and resources easily accessible.

As a discerning film critic, I find myself compelled to share my insights on the burgeoning cinematic landscape of the Baltic States. Collaboration appears to be the key to unlocking their full potential, as by pooling our resources and strengths, we can effectively address each other’s shortcomings. This strategic alliance seems primed to propel our industries towards new heights of success.

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2025-02-17 23:48