LATVIAN TRANSGRESSORS

Programme "Latvian transgressors" created in collaboration with film journalist Kristīne Matīsa.

 

 

I

October 23, 18:00, KSuns

Riga style. Beginning and continuation
The evolution of the famous Riga School of Poetic Documentary cinema - first radically different steps, monumental essence along with some sidesteps.

MY RIGA /
MANA RĪGA
, Aloizs Brenčs, documentary, 1960, 22'

A personal story about Riga and its residents, a brave step towards intimacy in a century, when documental cinema is a weapon of ideological propaganda. The film surprised the contemporaries with humanly natural and poetic intonations in the image and text, thus paving the way for the Riga school and a new era in documental cinema.

THE WHITE BELLS/
BALTIE ZVANI
, Ivars Kraulītis, 1961, 24'

A turning point in Latvian cinema - a film shot using elements of fiction, that becomes a footstone for the Riga School of Poetic Documentary Cinema and in 1998 was included in the hundred best short films in the world. Documental observations, intended as a backdrop for a touchingly naive story of a little girl, creates a vivid and expressive character of the city, that nowadays has not only an artistic, but also a historic value.

SEND-OFF/
CEĻA MAIZE
, Aivars Freimanis, 1963, 20'

Young authors' film about a group of youngsters working at an old-fashion kolkhoz. This film caused a fatal clash between the old and new generations regarding the perceptions of the true nature of the language of the cinema and documentary film making. The new thinking won the ideological conflict, opening possibilities for the evolution of documental cinema.

HALLO, MOSCOW!/
HALLO, MASKAVA
, Gunārs Binde, 1966, 11'

First photographic film in the history of Latvian cinema - Gunārs Binde's photo montage, in which the apparently static image becomes allive, creating a spacious and multi-layered image of the then capital of the Soviet Union.

THE LONG DAY/
GARĀ DIENA
, Jevgeņijs Paškēvičs, 1981, 21'

One of the paths of Riga School of Poetic Documentary Cinema about 20 years after the birth of the New wave - immersion into ordinary events, a delicate observation that blends together with the reality of life at a house of an old country blacksmith.

 

 

II

October 21, 18:00, Ksuns

Herc Frank. Existential questions
Questions about the meaning of life, asked in radically different situations - as a soul is being born, reaching maturity and facing death.

THE TRACE OF THE SOUL/
MŪŽS
, 1972, 22'

A testimony about a new period in documental cinema - a famous kolkhoz director Edgars Kauliņš is pictured not as a performer of social functions or an ideological role, but as a human and personality. The rough manly tear fits perfectly in this psycological portrait, becoming one of the highlights of the history of Latvian documental cinema.

10 MINUTES OLDER/
VECĀKS PAR 10 MINŪTĒM
, 1978, 10'

A genius and remarkably simple idea - the camera observes a little boy's face for 10 minutes, while he lives trough a wide range of emotions from fear to excitement, experiencing the battle between good vs evil. The best known Latvian film still, after 35 years, is timely in both festivals and film school programmes.

THE LAST JUDGEMENT/
AUGSTĀKĀ TIESA
, 1987, 73'

A film - confession, in which a deathrow prisoner finds himself facing his conscience - the last judgement. Valery Dolgov, who killed 2 people at the age of 24, after 3 years in prison together with the director of the film unravels his life looking for the moment it broke. A film that caused such ethical discussions as - how deep can a documentarian "dig into" someone's soul?

 

 

III

October 18, 12:00, LNB chamber hall

Laila Pakalniņa. Retrospective
A cross-section of the unique style of Laila Pakalniņa - an onbervation from the sidelines becomes an observation from within.

THE LINEN/
VEĻA
, 1991, 10'

A muted observation of the everyday life of a children hospital - a truck driver regulary delivers clean laundry to hospital departments, where small, gripping dramas of life and death are unfolding. Laila Pakalniņa's debut and a great start of her creative biography - final work from the studies in the Moscow Film Institut.

FERRY/
PRĀMIS
, 1994, 16'

A ferry croses the river, transfering people from one shore to the other, from one country to another - never stoping, during any season. The film is shot on the border of Latvia and Belaruss in the early 90's - in a time, when the Soviet Union is starting to cruble and Latvia retrieves it's independance.

THE MAIL/
PASTS
, 1995, 20'

An observation of the everyday life of a mail man, that toghether with "The Linen" and "Ferry" concludes the trilogy, proving the refined style of Laila Pakalniņa - real cinema, a visuality indescribable in words. As a proof - the FIPRESCI (the international federation of film critics) award at the Cannes Film festival in 1996.

FOURTY-TWO/
ČETRDESMIT DIVI
, 2013, 57'

The director, with a camera attached to her forehead, along with other DoP's and crew, is running a marathon. She claims - it is undescribable in words, you can only try to show it - the images, noises, texts, lights, an absolutely phisycal understanding of the shadow and the sun, about water, movement and also peace.

 

 

IV

October 22, 18:00, KSuns

Fiction. From silence to noise
A game with all possible means of expression - sound, colour, conditional reality and absurd drama.

COUPLE/
DIV
I, Mihails Bogins, 1965, 37'

An unusual love story between a conservatory student and a deaf-mute girl; they both reveal to each other an unknown world, that affects even the films' means of expression. The film has received 17 awards from different international film festivals.

MARITIME CLIMATE/
PIEJŪRAS KLIMATS
, Rolands Kalniņš, 1974-1992, 32'

Afilm by a Latvian film classic Rolands Kalniņš with the most tragic destiny - a story about the everyday life in a "gas office" and young love was meant as a conditional style and grotesque aesthetics, but it in no way met the socialist realism's understanding of cinema. Thus the production was shut down and the shot material was destroyed; only a few hundred meters of film survived. Almost 20 years later the director organized these fragments in a united composition, and now it's the only testimony to exactly what kind of courage and freedom the Latvian cinema is missing.

THE TRIP TO TUKUMS/
CEĻOJUMS UZ TUKUMU
, Andrejs Ēķis, 1992, 45'

Once again an affirmation to a new era in Latvian film history - the long established system of film making collapses during the early 90's - the rules of only making shots, that are approved and educated, no longer apply. As it turns out - all you need is enthusiasm, a hundred dollars and a fun group of people, to make a road-movie in the style of absurd and make your way to Latvian film history.
 
 

 

 

CYCLOPES TV

October 23, 22:00, KKc cultural centre

October 24, 22:00, KKc cultural centre

Cyclopes TV (orig.: Ciklops TV) is a phenomenon in the history of Latvian National Television. It was the first time that experimental content was broadcasted as a separate show. As the director of the show, Gintars Kavacis, noted: “TV people were furious.” The show had four editions starting in 1989 – and this year is known not only for its political changes but also for changes in film. After VHS cameras suddenly also video mixers became available which caused – along with a French-Latvian video art festival – an explosion of video montage and art films. Cyclopes TV was a natural reaction to this process: it was an experimental show in content and form. The show featured filmmakers and artists like Herc Frank, Juris Poskus and Dainis Klava who are all long established by now. The programme consists of films that were screened, as well as excerpts of interviews and artistic intros that reveal the show’s experimental spirit.

ROLL HOMO/
HOMO RULLIS,
Dainis Klava, 1989, 5'

If a roll consists of a center and the mass around it, that a man – Homo – consists of a head and the mass below it, but the head can easily roll off... That's the basis for the solution of the Salome theme in video art. By working with the roll, a man is capable of compensating one's imperfections of mass location using tractive and resistance forces. As a result Salome gets what she wants and horizontale becomes a vertical.

THE ONLY WAY, Viesturs Grazdanovics, 1990, 5'

The montage of the film, using documental black and white shots, is an attempt to make the audience feel the spirit of the time and maybe remember their childhood in a maximum concentrated way.

XXX, Askolds Saulitis, 1989, 7'

Grotesque story about the life in USSR during the Awakening time. Film includes at the time innovative elements of filmmaking – scraping the tape; frame staining, etc.
The film has participated in several international film festivals, as well as received Grand Prix in the Baltic non-professional film festival in 1990.

MAIDEN/
JUMPRAVA,
Valdis Poikans, 1989, 7’

The video is created using latest technology at the time – video effect consoles, using several video sources and mixing the Picture in the real time, constructing a concert-video for the latvian music band Jumprava.
This video is the first of it’s kind to start the ‘VJ’ video art movement in Latvia.

’NAIL’ FROM THE FILM SERIES "JAM"/
"NAGLA" NO FILMU SĒRIJAS "IEVĀRĪJUMS"
, Raivis Zigmunds and Kaspars Roga, 1989, 4’

The First steps in acting and filmmaking for Kaspars Roga and Renārs Kaupers, currently best known as members of Brainstorm - the most succesful music band in Latvia.

COITUS, Arnis Ritups and Haralds Elcers, 1989, 2’

Coitus is an experimental film created using film tape as a material for chemical process and as a result the creators have created an abstract piece of art.

SIGULDA, Raivis Zigmunds, 1989, 4’

Quoting Kaspars Roga (asked about the idea for the film):
It all happened about 25 years ago, what idea?! Just kids having fun!!! I really don’t remember the motive for creating this film, the only thing clear was - we have to make a film!

MISSION IN KABUL/
MISIJA KABULĀ,
Juris Poškus, 1989, 3'