The Academy Award-winning film “Flow” by Latvian artist Gints Zilbalodis has catapulted Baltic animation to unprecedented levels. Currently, local artists are brainstorming strategies to capitalize on the wake of its triumph.
Occasionally, a minor culture may receive a significant break from destiny. However, it’s uncertain if one isolated success can fully define an entire discipline; this will be revealed as time progresses, according to Peep Pedmanson, the Animation Film Commissioner at the Estonian Film Institute.
In the world of animation, you’ll find two types of people: those who follow the crowd and those who set the pace. Estonian animations have always been part of the innovative group. When it first emerged during the Soviet era, it swiftly distinguished itself from the norm. The artists behind these works were exceptionally independent-minded.
However, there’s a common thread that binds them: a unique style that doesn’t view the audience as passive observers, but as active collaborators instead.
As a passionate movie buff, I found myself captivated by the unique charm that permeates through the cinematic landscape of Estonia, nestled among the Baltic nations. Being one of the smallest countries in this region, it’s easy to get lost amidst the global film trends, but the Estonian spirit is resilient. Every day, they fight to preserve their cultural identity, much like the mist that seeps into our forests and bogs, leaving an indelible mark on those who experience it.
According to Aurelia Aasa, the founder of AAA Creative, Baltic animation has long held a significant role and set trends on the global animation festival scene.
She notes, ‘In brief formats,’ it’s more challenging for representatives of smaller nations to shine. However, being small doesn’t always mean being insignificant. For instance, ‘Sierra’ is the sole Estonian film available on the Criterion Channel. Yet, smallness can offer unique advantages, such as agility and the ability to present novel viewpoints.”
Or more concisely:
“She points out that it’s tougher for smaller nations to stand out in brief formats, but being small doesn’t necessarily mean being weak. For example, ‘Sierra’ is the only Estonian film on the Criterion Channel, yet its smallness can provide agility and fresh perspectives.
The Oscar-nominated filmmaker Sander Joon from Estonia plans to make a short film titled “Hair of Hare” after his previous work “Sierra.” This movie is about an architect whose beard comes to life as a hare. He has found inspiration in hares, Pippi Longstocking, and architecture. He’s eagerly pursuing creative liberty, expressing his joy and humility at the positive response he’s been receiving.
As stated by Kalev Tamm, producer at Eesti Joonisfilm who is currently working on “Luna Rossa” for Annecy, there’s a noticeable surge among Estonian creators in producing full-length animated films. However, one of the difficulties they face is finding suitable financing structures.
While ‘Flow’ may not immediately spring to mind when considering this new project, it could be seen as a sign of a larger evolution in the animation industry. With its roots deeply embedded in Estonia, this genre boasts a robust tradition of auteur-driven works characterized by their sharp, surreal undertones and thought-provoking themes.” (Movie Critic perspective)
Marianne Ostrat is taking “Saima: Scenes from a Midlife Crisis,” the inaugural animated feature by Chintis Lundgren (from Estonia) and Draško Ivezić, to Annecy’s MIFA. She finds it exceptionally intriguing, motivating, and uplifting to create and foster an animated feature in Estonia and throughout the Baltics.
Over the last ten years, numerous independent studios have arisen, yet we’re all constructing upon a deep, sturdy – albeit delicate – base of tradition. She believes there is significant untapped potential in Estonian and Baltic animation,” she expresses.
Our team boasts creators with unique and captivating visual aesthetics. To continue thriving, expanding, and shining in this field, we need additional animation producers, funding opportunities, and projects, including service assignments.
Kristel Tõldsepp from A Film Estonia states, “I firmly believe that the Estonian animation industry is thriving. Not only are we seeing an increasing number of animated films being produced, but there’s also a growing trend of collaborative projects between Baltic studios. I anticipate this positive momentum to continue.” The company is working on a follow-up titled “Raggie – Friends Forever,” which serves as the sequel to the 2020 release, “Raggie.
Five years later, ‘Raggie’ remains one of the most-viewed movies on Estonian video-on-demand services. The film has been distributed globally and purchased by approximately 60 different countries, as she explains.
However, due to the scarcity of available resources, a successful run with short film production only allows us to create an animated feature film once every 2-3 years. Additionally, there’s currently no financial backing for producing animated series.
In agreement with Kadriann Kibus from Rebel Frame, it’s now feasible that long-form narratives aren’t beyond our grasp anymore.
Up until this point, brief formats have dominated the Baltic region. These formats seem to align particularly well with the more abstract, mysterious, and narrative-free style that’s typical in Estonian animation.
Beyond “Adult Bedtime Stories,” Rebel Frame currently has two animations in the pre-production phase, set to attend Annecy’s MIFA: “Schrödinger,” an oil painted animation by Sergo Kibus, and “Penguin,” a 2D animation by Kaspar Jancis. It is hoped that these projects will potentially be co-produced with France.
As a movie reviewer, I find myself reflecting on the practicalities of creating an expansive, feature-length animated film. It’s clear that such projects can’t be realized without collaboration and a broader international perspective. The Baltic region, while charming, is simply too modest to sustain and gather a substantial audience large enough to support such an ambitious endeavor.
In Lithuania, recognized not only for its traditional clothing but also for its collaborative efforts, co-productions have expanded the creative landscape. Art Shot, established by Agnė Adomėnė, has recently supported the Polish epic “The Peasants.” Meanwhile, the children’s character “Nelly Jelly” and its related brand are experiencing significant growth as well.
As a fervent admirer, I’d like to highlight that Lithuania’s animation sector, while relatively new, brims with energy, ambition, and raw talent. In the trenches at ‘Nelly Jelly’, we’ve witnessed this local potential in full force. Our 2D series and feature film have garnered remarkable success across the Baltics, even outshining the likes of ‘Super Mario Bros.’ at the box office, securing the top spot. This level of impact underscores both the creative prowess and market strength that Lithuania harbors.
What remains to be achieved? “Improved access to worldwide financing, collaborative production channels, and learning environments that can empower our studios and creators to thrive in international competition. However, we’re making progress. Lithuania is prepared to join the global dialogue on animation.
At present, our team is collaborating with UK-based company 3Megos to develop tales that are rooted in the trials of childhood, enriched by a pinch of whimsical chaos courtesy of Nelly Jelly’s creature companions.
What sets this project apart, as well as a large portion of Lithuanian animation, is its unique mix of heartfelt honesty and whimsical oddity. Unlike many, we embrace flaws and emotions, which are evident in the overall mood and character creation.”
(The goal here was to maintain the original meaning while making it more natural and easy to read.)
In addition to their international counterparts, Latvian creative minds have also been thinking on a grand scale. For instance, Ilze Burkovska-Jacobsen’s “My Favorite War” and Edmunds Jansons’ “Jacob, Mimmi and the Talking Dogs” are just a few examples of their impressive works. Notably, “Roach Coach” by Burkovska-Jacobsen was presented at MIFA.
Signe Baumane delves into deeply personal and comically tragic themes in her works “Rocks in My Pockets,” “My Love Affair with Marriage,” and her upcoming third feature, the Latvian-American co-production “Karmic Knot.” The film will feature the voices of Patrick Wilson and Matthew Modine.
This upcoming project will mark my final personal film. It’s not because I lack personal stories, but rather, I’m eager to explore new creative avenues. However, animation can be time-consuming. By then, where will the world be? Will I have the necessary resources, stamina, and mental capacity to embark on a completely fresh project?
As an ardent movie enthusiast, I’ve noticed that independent filmmaking and pushing creative boundaries is never a walk in the park. “It’s quite challenging to introduce a fresh visual narrative during pre-production, as innovative films rarely grab attention before they even hit the screen.” Financiers might have good intentions, but they often struggle to envision anything beyond what has already been produced.
To Baumane, it’s not as uniform as you might expect: Baltic animation, beyond its employment of visual metaphors, natural motifs, and illuminating the shadows within us, showcases a diversity that defies easy categorization.
In Latvia, the achievement of animators has been largely driven by determined individual artists who were passionate about creating their films, as well as growing backing from the National Film Centre of Latvia and Culture Capital Foundation. Over the past few decades, they have come to appreciate the worth of the creations produced by these relentless individuals.
For Sniedze Kāle of Studija Kokles, this marks a significant turning point or breakthrough in the Latvian film industry.
The influence of ‘Flow’ has significantly boosted the status of creative individuals within Latvian society. It not only motivates budding filmmakers who aspire to debut their works at Cannes, but also amplifies the recognition given to artistic expressions as a whole.
This year, an extra €1 million [approximately $1.1 million] has been found by the Latvian government for additional animation support. As a result, the upcoming projects of Gints Zilbalodis and Matīss Kaža will benefit from increased production financing.
As a dedicated fan, I’ve noticed that Latvia is steadily garnering more focus from distributors and sales agents. Each passing year seems to bring a fresh and captivating animated feature to the global scene. However, despite this growing recognition, Kāle continues to yearn for the reassurance necessary to map out a long-term strategic plan.
From our past experiences, we realize that being geographically close to a potential threat means we can’t afford complacency or depend on assistance from others in maintaining peace. I appreciate every day when the most significant worry is the scarcity of co-production opportunities at the Latvian Film Centre, or the funding being insufficient for projects like an animation series or a feature film.
Currently, the studio is concentrating on its debut production titled “The Northern Star”: a family-friendly 18th-century road adventure film helmed by Kārlis Vītols and influenced by Nikolaus von Himsel, the pioneer who established the first publicly accessible museum in the Baltic region.
Being the guardians of three kids, we frequently yearn for top-notch entertainment that we can all appreciate collectively. Our goal with this movie is to provide exactly that – an immersive cinematic journey blending excitement with enduring morals, something suitable for family viewing.
Due to funding being shifted towards defense, creators may need to adapt to working with fewer financial resources in the coming years, according to Lauma Kaudzite and Sabīne Andersone from the Latvian Animation Association. They point out that an unpredictable global environment and the current geopolitical situation are significant challenges facing the industry.
More features are yet to emerge on the horizon, but it’s worth noting that Latvia has been consistently churning out a significant number of full-length animations by auteurs. This is quite rare in our region, asserts Andersone, who is currently engaged in the production of Edmunds Jansons’ upcoming film “Born in the Jungle.
I’m optimistic that the film will capitalize on its current pace and connect with global families everywhere. It carries a powerful message about compassion and accountability, making it relatable across different cultures.”
This version maintains the original meaning while using simpler language to make it more accessible to a broader audience.
Through its legacy of artisanal animation and a desire for innovation, the Baltic region has left an indelible impression. However, there is a strong yearning for sustainable strategies that foster industry development, along with enhanced global collaborations.
There’s increasing acknowledgement of Baltic animation, with fresh talent emerging and increased cooperation across borders. It makes me proud that ‘Born in the Jungle’ is riding this wave of positivity.
The film is based on a true account of an adventurer’s family who opted to reside in the dense jungles of Venezuela during the late 1950s. This production is jointly made by Atom Art (Latvia), Letko (Poland), and Hausboot (Czech Republic). International distribution is managed by Dandelooo Cinéma, with a planned release date in 2026.
For now, two Latvian films are set to attend Annecy: “Cleanliness,” directed by Andrejs Brīvulis, and “Thelma’s Perfect Birthday” by Reinis Kalnaellis. In the latter, we follow a young penguin as it navigates a world consumed by perfection.
“We’re experiencing a paradox,” admits Kalnaellis.
While ‘Flow’ showcases the raw talent and potential of Baltic animation, it lacks a solid, strategic, and inclusive structure for long-term growth. Unlike larger industries, we haven’t yet been standardized, which can be an advantage. But what we need are comprehensive development programs and open dialogue between institutions and creators. Instead, many rely on piecemeal or voluntary production, which stifles longevity.
But many are optimistic – and eager to benefit from the momentum.
We’re in a thrilling period, as Zilbalodis demonstrates the potential for filmmakers from the Baltic region – not just in storytelling but also in audience impact,” asserts Oskar Lehemaa, one of the directors behind “The Old Man Movie” together with Mikk Mägi. They’re suggesting that Zilbalodis is setting a new standard for filmmakers from this region, showcasing both creative and commercial potential.
He playfully notes that the movie’s success likely sparked a lot of motivation in people. Whether it was due to jealousy, a common feeling among Estonians, or simply inspiration, he jokes. Grafik’s Erik Heinsalu further comments, ‘It attracted more focus to our area. We know the limelight won’t last forever, so we must act quickly to make the most of this opportunity.’
Baumane remarks, “We’re not done yet – there’s still much to come. Let’s discuss ‘the Baltic animation legacy’ once everything has concluded!
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2025-06-10 08:51