"November" is based on Estonian novel "Rehepapp" by Andrus Kivirähk, a bestseller of the last twenty years. The film is a mixture of magic, black humor and romantic love. The story is set ... See full summary »
A group of sleepless nerds should be taken into sanitarium for hard-therapy. They are taken to a lonely island but no sanitarium is in sight. Suddenly turns out that the nurses have ... See full summary »
The thrilling drama based on the world's greatest masterpiece by Fyodor Dostoevsky. Half-sane Prince Myshkin returns from Swiss psycho-clinic to face the glamorous world of St Petersburg. ... See full summary »
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Urmas Eero Liiv's feature film "Must alpinist" (Ghost Mountaineer) is a youth film with elements of horror which is based on real life events which took place during the Soviet era. It ... See full summary »
This movie is about the Estonian War of Independence (1918-1920), specifically the students fighting on the nationalist side, but also shown the conflict between two ideologies (Estonian nationalism and communism).
After being denounced as an outcast in school and frightened away from home by his mother's developing schizophrenia, there is no other way out for Johannes but to start improving his life by reforming himself.
* Contains spoilers * This film was seen at, and has been reviewed for, Cambridge Film Festival (UK) in September 2012 It will be clear early on, when we meet Prince Myshkin during a journey, that pews in the aisle of what turns out to be a very large church are representing a railway-carriage. (His title means next to nothing at this stage, in practical terms, for he is penniless.) However, arrival at the destination and coming face to face with a neon-fuelled icon is enough to show that we are not going to be playing with physical spaces (as in Lars von Trier's Dogville (2003), but transforming them.
Moreover, they are discreet, identifiably different spaces, and, without leaving the building at any point, we will see a flower-garden and the sea. Yet, as Dostoyevsky's novel runs to at least 700 pages, and we have a little over two hours, we must necessarily concentrate on what most centrally concerns Myshkin. Played by Risto Kübar, we learn early on of his medical history, about which - this is his complete and utter nature - he is unnecessarily open, and its manifests itself, as the role is played, as a helplessly shimmering passivity.
All the more contrast, which is at the heart of the book, not just with his distant relative's husband and family, but with the vibrancy, to everyone's cost, of Nastasja Filippovna, which it would have been tempting for Katariina Unt to overdo. The adaptation and direction by Rainer Sarnet have taken risks, but confined them, leaving the abiding feeling that the claustrophobic nature of the setting, with all its overtones of the influence of the church on convention and conduct, has strengthened the telling of the central part of Myshkin's story.
My only regret is being so tired during this screening, which, through my fault, detracted from the compelling nature of the production.
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