In Tallinn, Estonia – Industry @ Tallinn and Baltic Event, a significant industry event in Northern Europe, concluded on November 22 with an awards ceremony. Notably, Germany was the standout nation in the list of 15 winning projects at various stages of development or post-production. Additionally, two promising producers were recognized with special accolades.
For the very first time, the opportunity was extended to the general public to vote for each category, thereby potentially increasing the visibility and recognition of numerous projects within the market.
One of the most highly valued honors, the €20,000 ($20,800) Eurimages Co-Production Development Award from Baltic Event Co-Production Market, was presented to the German-Bulgarian project “The Worker,” directed by Bulgarian-born Eliza Petkova. Her debut feature, “Zhaleika,” received a special mention at the 66th Berlinale.
The story centered around Roma Bulgarian Gorgi, who resorted to dishonesty and treachery in Berlin to support his family back home in a Bulgarian village, garnered acclaim from the jury for its depiction of displacement within Europe. This tale transports us and the main character on an unforeseen voyage. On this journey, the director encourages viewers to reconsider the essence of community and masculinity. The production of this film is being handled by Nicolas Konauer for Germany’s ROW Pictures and Fourmat Film.
For the first time, films for kids and youth joined the market pitches, an inclusion that benefitted the Ukrainian helmer Sveta Solovyova (“Oxygen Station”) and writer Ivan Tymchenko who scooped the €20,000 Eurimages Special Co-Production Development Award for their heart-warming animation/documentary hybrid “English Lesson.”
The pic consists of six-seven stories told by Ukrainian children during an online lesson, who confide about their life experience of war. Ukrainian producer Svitlana Soloviova of SvitlorforFilm is co-producing with Estonia, Sweden and the Czech Republic. The pic also grabbed a €1,000 ($1,040) grant from Many More Films.
In the Works in Progress session, the €7,000 ($7,280) best international project pitch went to Greek debut helmer Stefanos Tsivopoulos for “Late Shift” (“a.k.a Kindness”). The story of a Romanian single mum with a history of activism who struggles to fit in in Greek society is being produced by Nikos Smpiliris for Boo Production. “This film deals with a timely topic regarding migration and assimilation through the unique lens of the Greece process, featuring captivating acting by the lead actress,” said the jury.
In the realm of film appreciation, I was thrilled to learn that “Wolves,” a Swiss production by Jonas Ulrich, nestled within the vibrant underground music scene, was honored with a Special Mention. Notably, Bartosz Bielenia, who charmed us all in the Oscar-nominated “Corpus Christi,” lends his captivating voice to this film. I can hardly wait for Dynamic Frame to bring this masterpiece to life!
Experienced Latvian film producer Uljana Kim (Studio Uljana Kim), who received the Eurimages International Co-production Award last year, won the Best Baltic Project Prize for her production “Renovation,” directed by Gabrielė Urbonaitė, a graduate of Columbia University and an award-winning director for her short films “The Swimmer” and “Back.” The jury described the film as exploring the anxious feelings of young adults in their thirties, delving into themes of self-discovery and the intricate emotions of love and companionship. Kim is collaborating on this project with Alise Rogule from Lithuania’s Mima Films.
A new filmmaker from Finland, who studied at the American Film Institute in L.A., named Risto Tuominen, won the top prize at the European Genre Forum for his thriller “The Dark Architect”. This movie tells the story of a student living in a rundown apartment building, who is given a disturbing task by its inhabitants. The production of this film is being handled by established Finnish producer Ilkka Matila from MRP Matila Röhr Productions (known for “Mother of Mine” and “The Eternal Road”), along with Estonia’s Taska Film.
Simultaneously, two projects hailing from Latin America received notable accolades: “Emi” by Argentinian filmmaker Ezequiel Erriquez Mena earned the Best Just Film Project from the children and youth category, while “The River,” helmed by emerging Chilean director Cristóbal García, was awarded the public’s choice.
Reflecting on the 23rd Industry@Tallinn and Baltic Event, Marge Liiske, a key figure in the industry, expressed her immense satisfaction with the turnout of over 800 delegates from 47 different countries. These attendees demonstrated a keen interest in our activities and films and series produced in the Baltics. Due to high demand, we had to close accreditations ten days before the event began as the Nordic Hotel Forum couldn’t accommodate more participants. Next year, we might make minor adjustments, but we plan to continue using our central headquarters, which facilitates easy networking for both festival and industry guests.
Among the international representatives present, Arnaud Chevallier from Paris-based B-Rated International – representing the festival Competition entry “The Exalted” – commended Tallinn’s vibrant and welcoming industry exhibition. He found it an ideal venue to showcase projects before the year’s end, finalize our lineup ahead of Berlin, and discuss deals with buyers in a laid-back market atmosphere. Chevallier, a former Mediawan sales executive, particularly appreciated the high-quality works in progress, regardless of their origin – be they unique, director-driven, or genre films.
The co-leaders of ‘TV Beats Forum’, Petri Kemppinen and Roosa Toivonen, were equally pleased with the industry gathering in Tallinn that catered to smaller market players in the Baltics. This event provided an opportunity for these ecosystems to connect with top global partners. As Toivoven put it, “Over two days, we zeroed in on the present times where businesses need to grasp what content to create, market, and acquire, and how we can adapt to serve our audience amidst shifting financial and viewing trends.
Kemppinen noted that our series program was thoughtfully structured with masterclasses, case studies, and storytelling as the central focus. He highlighted the involvement of prominent industry figures such as Keshet International, Media Musketeers, WildBunch, Baltic platforms Elisa and Go3. His aim is to draw in more TV commissioners for 2025,” (paraphrased)
Moving forward, Toivonen expressed her intention to consult with the organizers of Industry @ Tallinn and Baltic Event regarding establishing a think tank in Tallinn. The goal is to foster collaborations across Europe to keep content creators competitive in a rapidly evolving market. As she emphasized, “It’s crucial that we empower producers to excel in securing financing, protecting intellectual property, and enriching European culture.
Here are some five takeaways and the full list of award winners:
Democracy under threat
In light of the enduring impact of Russian or Soviet rule on the Baltic countries, it was only natural that support for Ukraine, independent Georgian cinema, and Belarusian filmmakers in exile became a unifying cause in Tallinn. During the discussion titled “The Edge of Democracy,” Belarusian filmmakers Tanya Haurylchyk, Yuliya Pogrebnyak, and Volia Chajskouslakay (founder of the Northern Lights Nordic Baltic Film Festival in exile) spoke about their struggles living and working abroad and emphasized the importance of their expatriate community remaining united and resilient.
In a situation where things seem gloomy, let’s aim to share our tales with a touch of whimsy to captivate more people,” suggested Haurylchyk, a sentiment echoed by Andrei Kashperski, who is currently based in Poland working on the comedy slasher “Judgement of the Dead.” David Vashadze, leader of the Georgian Film Institute, emphasized that film can be a powerful double-edged sword. On one hand, it serves as an inspiring tool for filmmakers to express their protest; on the other, it can be wielded by authoritarian regimes to stifle democratic voices through propaganda.
Simultaneously, experienced documentary producer Uldis Cekulis from VFS Film, who is currently collaborating on two Ukrainian documentaries, encouraged dissident filmmakers and producers to spread their messages and narratives swiftly. He proposed that short films could be the most effective method for reaching audiences at maximum speed.
I firmly believe that those of us living in relative comfort within Western Europe ought to be mindful of the stakes at hand amidst today’s surge in populism. Let’s not forget that democracy and freedom are precious, hard-earned privileges, not guaranteed entitlements.
Co-productions: All Eyes on Germany
For smaller film-producing countries like Estonia, Latvia, and Lithuania, who share a history with Germany, the Tallinn Focus on Germany offered a chance for German funding representatives to clarify the upcoming changes in their film financing system. This event also aimed to reignite collaborations that had dwindled over the past few years. Bérénice Honold, advisor to the CEO for international and European affairs at the German Federal Film Board (FFA), explained that the industry-supported reform, expected to take effect from January 1 following Bundestag approval, will involve two main aspects.
The selective support will move towards an automatic support which make producers freer to take their own decisions, although a point system will still be in place. Secondly, a new tax incentive model due to replace the German Federal Film Fund (DFFF) and the German Motion Picture Fund (GMPF), will provide 30% non-repayable grant on German spend to producers of major features and high-end series, as well as service providers. “I hope these changes will be positive for the international community. Within Europe, we need a strong Germany, and a stronger German film industry will benefit everyone,” said Honold.
Edith Sepp, head of the Estonian Film Institute, expressed optimism that the reform in German film production would increase our joint film projects, given our inherent partnership with Germany. She also highlighted the swift nature of our support system and 30% tax rebates, stating that decisions on support are typically made within 30 days, and reporting on costs is equally prompt. Edith hopes that the new automatic process in Germany will further expedite things for us.
Buzzy film projects
Today’s challenging circumstances inspired many projects in the co-financing markets, focusing on raw human narratives about migration, conflict, bullying, climate change, and screen addiction. Despite their heavy themes, these stories were often presented with a touch of playfulness and humor to appeal to a broader audience. Notable projects included “The Worker,” “English Lesson,” “Push the Button,” and “The Flood” among others, but also the Estonian-Norwegian thriller “Container” by Arun Tamm, featuring Danish actor Dar Salim (“The Covenant,” “Darkland”). Additionally, the Latvian-Slovenian dramedy “The Last Meal” by Elza Gauja caught attention. Uldis Cekulis, a veteran producer from Latvia known for “The Rossellinis” and “Immortal”, is overseeing production.
Among the numerous projects being developed internationally, the highly anticipated thriller “Papers,” penned by two-time Oscar nominee Arturo Montenegro, is generating a lot of buzz. This project shares the spotlight with other successful titles such as “Late Shift,” “Wolves,” and “Interior.
AI For All
Liiske, a tech enthusiast, encourages us not to let technology control us but instead strive to conquer it. As a tech expert, she incorporates AI workshops and discussions into her professional curriculum. One of the most enjoyable AI presentations was given by Steve Matthews, Content Partnerships Executive at Banijay, during his third round of ‘Steve vs Machine’ game. In this competition, he had to guess which pitches were generated by AI. Unfortunately, he guessed incorrectly. Reflecting on the experience, Steve admitted, ‘In reality, the human concept was superior; I overvalued the machine and undervalued the writer.’
In the context of AI in screenwriting, Matthews stated, “I have no objection to AI being employed as a brainstorming tool, constantly churning out ideas until the team discovers one that strikes a chord. I understand how such a technology could aid in the laborious aspects of intricate storytelling, like research, drafting pitch decks or summaries. However, AI will never be capable of exploring the profound depths of characters like Tony Soprano, Walter White, or Logan Roy – the human aspect, the courageous and painful exploration of the human condition, can only be achieved by a real, human writer.
In Tallinn, AI made a significant stride with the introduction of Susi, the initial recommender system designed for festival-goers. Mikk Granström, Tallinn’s administrative head, explained that “Susi isn’t merely a search tool, but an interactive buddy who converses in various languages and provides intelligent suggestions. This enhances the festival experience for international attendees by making it more accessible. It’s clear now that Susi has attracted new visitors to the festival.
Training and Upskilling
This year’s edition expanded the ongoing film circulation training programs for up-and-coming industry professionals within IT & BE, by introducing the first Tallinn Industry Academy in collaboration with LocarnoPro. Out of 50 applications, 15 individuals from countries such as the Baltics, Czech Republic, Poland, Hungary, Finland, France, U.K., and Germany were chosen to enhance their abilities in sales, distribution, and festival programming.
As a movie critic hailing from a region without sales companies in the Baltics, I was thrilled to extend invitations to aspiring agents and festival coordinators from around the globe. It’s crucial for us to nurture the next generation of professionals, not just in their technical skills but also in leadership and understanding human dynamics. The landscape of our work has shifted; empathy and care towards one another are now more important than ever.
Eva Duriez, manager of festivals for Gaumont’s French major, expressed that the program offered her a precious understanding of the intricacies of film distribution, and moreover, it facilitated connections with an energizing cohort of up-and-coming European professionals in the field.
Full List of Awards:
Baltic Event Co-Production Market
Standout Production: “The Laborer” (Germany, Bulgaria)
Directed by Eliza Petkova, produced by Nicolas Kronauer from ROW Pictures and Fourmat Film
Eurimages Joint Production Development Prize for the film “English Lesson” (Ukraine, Estonia, Sweden, Czech Republic): Directed by Ivan Tymchenko, produced by Svitlana Soloviova of SvitloforFilm
People’s Choice Prize: “Press the Button” (from Norway, Sweden, and Denmark)
The Producers Network has awarded Yann Sochaczewski, Miriam Kunde, Rūta Petronyté, and Justinas Pocius for their exceptional work on “Amy, Great Adventures on Little Paws!” and “The Flood.
Works in Progress
Outstanding Global Production: “Late Shift” (also known as “Kindness”) (Hailing from Greece)
As a passionate cinephile, let me give a special shout-out to the film “Wolves,” hailing from the beautiful country of Switzerland. This masterpiece was skillfully directed by the talented Jonas Ulrich and wonderfully produced by none other than Nicole Ulrich, under the banner of Dynamic Frame.
People’s Choice Award Winner: “Interior” (Germany)
Directed by Pascal Schuh and Produced by Timo Ackermann, Katrin Haase, and Olivier Arnold of U5 Filmproduction & Co.
Top Baltic Venture – “Revitalization” (Latvia-Lithuania)
Fan Preferred Prize: “Sand In Your Hair” (Lithuania) – Directed by Mantas Verbiejus and Produced by Živilė Gallego of Fralita Films
Title for the Film Project: “Emi” (Argentina, Uruguay)
People’s Choice Award: “The River” (Chile, Argentina) – Directed by Cristóbal García and Produced by Francisco Bisanez and Santiago Ortuzar from Vórtice Films
European Genre Forum
Noteworthy Production: “The Dark Architect” (Hailing from Finland)
Under the direction of Risto Tuominen and production by Ilkka Matila (MRP Matila Röhr Productions)
Notable Film: “Vrykola” (Greece)
Audience Preferred Prize: “Neighbor” (Estonia)
Script Pool
Most Notable Production: “Kingpins” – Directed by Kristians Riekstins and Produced by Alise Rogule from Mima Films (Latvia)
People’s Choice Award: “Fabula Rasa” (A Collaboration between Germany, Luxembourg, and Canada)
2021 Enterprise Estonia Film Award Winner: “The Code of Thule” (Estonia)
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2024-11-23 19:57