The UK premiere of four works from the distinctive aesthetic landscape of Estonia, exploring human nature through time, language and empathy, via conversations between lovers and across generations, linguistic loss and family separation. Filmmakers featured in this programme include Anna Hints and Tushar Prakash, Piibe Kolka, Len Murusalu and Liina Siib.
The screenings will be followed by a conversation with Len Murusalu, who conceived the project and commissioned the films.
Kissing Your Tongue, Anna Hints and Tushar Prakash, 14mins
Two lovers, separated by languages, confess to each other in their own native tongues.
Please note this work deals with issues of racism and prejudice.
Cellula Filia, Piibe Kolka, 20 mins
A conversation through time between a woman and her great grandmother. Piibe Kolka uses PXL2000 toy camera to record pixelated visuals and various messages on audio cassettes in an attempt to establish a time travelling communication. The film probes an epigenetic hypothesis that individual life experiences could influence biological inheritance and gene expressions. The result is a science fictional play between generations, addressing life histories, inherited doubt and the search for possible adventures.
After Betelgeuse, Len Murusalu, 19 mins
A journey through the past and future myths of the dormant Livonian language.
World War II, mass deportations to Siberia and marginalisation during the Russian occupation caused the extinction of the language of the indigenous people of Livonia. Narrated in Livonian and inspired by a folk song as well as Finnic mythology, the story seeks hope in the perishing time and in memories forgotten.
In the Storm of Roses, Liina Siib, 20 mins
‘In the Storm of Roses’ reflects our time through the life choices of retired Estonian nurse Helgi Kuusik. We see her in a dream-like rose garden, in Southern Estonia, which she established years ago thanks to working in Finnish hospitals and commuting between the two linguistically close, yet economically unequal, countries.
The brief scenes of her idyllic rural garden resemble Victorian-era paintings while being linked with Helgi’s visit to her daughter’s family, who ended up living on the other side of the Gulf of Finland.