As an ardent admirer of cinema that delves deep into societal issues and cultural clashes, I find myself utterly captivated by the works of Juris Kursietis. His latest masterpiece, “The Exalted,” is yet another testament to his unparalleled storytelling abilities and keen eye for detail.
After receiving acclaim for his series “Soviet Jeans” (winner of the audience award at Series Mania 2024) and his films “Modris” (Latvia’s submission for the Oscars in 2014) and “Oleg” (entered in Cannes Director’s Fortnight in 2019), Latvian filmmaker Juris Kursietis is set to compete at the Official Selection of Tallinn’s Black Nights Film Festival. His new work, “The Exalted,” will have its world premiere on November 14.
The new French sales company, B-Rated International, has recently secured the rights to a satire that explores cultural conflicts between Eastern and Western Europe, viewed through the lens of an affluent couple. This film was not sold in Estonia, Latvia, or Greece for co-production purposes.
Arnaud Chevallier, previously with Mediawan International Sales and founder of a Paris-based company, stated that ‘The Exalted’ presents an unforgiving and skeptical depiction of the elite. He appreciates the movie’s exceptional and nuanced direction and believes it will strike a chord with global audiences because of its universally applicable themes and various languages used in the film.
Kursietis remarks that “The Exalted” provokes contemplation on the disparities between smaller Baltic nations and Western Europe, specifically our mutual perceptions towards each other. It’s unlikely for anyone from our region to have avoided encountering discrimination within a European setting. Essentially, we continue to be viewed as the outcasts in the family, he notes.
The narrative delves into the lives of Anna, a celebrated German organ soloist, and her husband Andris, a Latvian entrepreneur. However, their tranquil existence is shattered when Andris is apprehended by anti-corruption authorities on allegations of bribery. This unexpected event leaves Anna’s carefully constructed life in disarray, threatening not only their prosperous family but also the foundation of their relationship. As the disparity in their views on corruption – influenced by their respective Western and Eastern upbringings – grows more pronounced, it puts a significant strain on Anna and Andris’ bond.
Joining lead actors Johanna Wokalek, known for “Spy City” and “The Baader Meinhof Complex,” and Juris Žagars, recognized for “Troubled Minds” and “The Dark Deer,” are an array of talented international performers. This group includes Judith Hofmann (“The Innocent”), Hanna Hilsdorf (“In the Fade,” “The Empress”), Yorgos Pirpassopoulos (“Chevalier”) and Pekka Strang (“Tom of Finland”).
Distinguished department heads feature Oscar-nominated editor Yorgos Mavropsaridis (“Poor Things,” “The Favourite”), cinematographer Bogumil Godfreijów (“A Man Thing,” “Modris”) and Estonian costume designer Jaanus Vahtra (“Compartment Nr.6”).
Kursietis, who jointly claims credit for the script alongside his partner Liga Celma-Kursiete and co-writer “Oleg”, reveals that the concept for this movie came to him roughly six to seven years back. This was a period marked by numerous high-profile corruption scandals in Latvia, which were centered around state-run corporations.
Kursietis mentions that initially, he wasn’t drawn to investigating the cases, but rather understanding the effects of these scandals on the families – were they aware or suspicious? How do people manage when they find themselves losing control unexpectedly? This curiosity led him. Then, the war in Ukraine made this subject even more pertinent,” Kursietis explains. “What happens when you’re safe and secure but suddenly your life is jeopardized? How do you adjust to such a change?
In conversation with his frequent collaborator Godfreijów, the catalyst for the narrative was a talk they had. They mused that both ‘Modris’ and ‘Oleg’ delved into societal outcasts. This film, however, presented an opportunity to broaden the theme by zeroing in on the elite, those who occasionally manipulate their influence for political and monetary gains, thereby burdening the underprivileged with their power plays. Thus, this film could be seen as a somewhat free-flowing sequel within a trilogy, given Kursietis’ continued use of improvisational acting and fluid camerawork techniques.
As a cinephile, I’ve always been intrigued by the director’s exploration of art versus financial gain and the moral dilemmas that arise when money is tainted or harmful. “In the world of art, should we question the source of our funds? With Russia’s invasion of Ukraine, many Europeans now view Russian money as poisonous. Yet, some European companies still choose to sell their movies to Russian distributors, and that’s like accepting blood money here in Europe,” rails Kursietis, clearly outraged by this conundrum.
My curiosity led me to examine how art intertwines with finance, focusing on Anna, who is both an organist and a renowned classical musician, and her spouse, Andris, a successful entrepreneur.
To get ready for her role, Wokalek (who was already proficient at the piano) spent six months training with the renowned Latvian organist Iveta Apkalna. The film, produced by the experienced Alise Gelze for White Picture (“Oleg,” “Mother I Love You”), was filmed entirely in Latvia within a tight 19-day schedule due to budget restrictions. As explained by Kursietis, the budget had been set in 2019, but with COVID and the war in Ukraine, there were four years of inflation at approximately 30%. It was challenging, but Alise worked diligently to secure the necessary funds. Unfortunately, German co-producers couldn’t be involved, so partnerships were formed with Estonia’s Stellar Film and Greece’s Asterisk, having previously collaborated on “Modris.
Moving forward, the previous journalist from Latvian Television has a plan for a movie about a family and their daughter with Down Syndrome taking on the system. The director shared that the story will be deeply personal as they have a brother with Down Syndrome. They aim to begin filming in fall 2025.
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2024-11-11 13:48