Andrejs Rudzāts

The film tells the story of an artist avoiding a confrontation with power and the artistic and personal consequences of this choice. A powerful historical drama on the true story of Maria Leiko, famous actress who late in her career has to decide between fame and love for her grandchild, between her ideals or the lies of Stalin’s totalitarian regime.

The story of Marģers Vestermanis is special since he is one of the few Holocaust survivors in Latvia. Can you live a full and targeted life after your family has been murdered but you have undergone through ghetto and concentration camp? Not everyone has managed – many remained trapped in the past and were not able to find the strength of living on. If you asked Marģers Vestermanis, he would most probably say that there was no other choice for him. However, this film is not only a story about Marģers Vestermanis who survived Holocaust. This is a story about man's place after surviving a tragedy, about how it changes him and the ones around him. And it is also a story about us.

What happens in the eyes of a 100-year-old filmmaker? Rolands Kalniņš, one of the great masters of Latvian cinema, sits down to have his photo taken and looks straight in the lens. Kalniņš’ life has spanned an authoritarian regime, a world war, long years under Soviet occupation and censorship, and retirement in independent Latvia. His films have been censored, destroyed, found and restored. But here, like Herz Frank once did with a child, for ten minutes we shall observe the micro-emotions of a man who has dedicated his life to film. Confronted directly by the tool of his trade, the camera. As we face Kalniņš eye to eye, we hear the sounds of his present, and the memories of his past.

A journey into the complex world of today, full of hopes, desires, and fears for the present. The film invites us to follow a voice whose thoughts and doubts about the present become a meditation accompanied by works of art. The film features all the artworks exhibited at the second Riga Biennial of Contemporary Art (RIBOCA2). Reminiscent of a Tarkovskyan dystopia, the united ecosystem of living nature, a disused power plant, an abandoned paintball field, warehouses, flocks of birds, cruise ships and railway tracks, makes the film’s space its own metaphor for the collapse of Soviet ideals and capitalist hopes.

En 1913, el mundo está a punto de cambiar de manera radical. Dentro de poco, millones de personas se dirigirán a las trincheras. Justo antes, Peter de Letonia está recorriendo Europa. Empieza a trabajar como portero en Riga, pero se ve envuelto en los planes revolucionarios de los comunistas, anarquistas, nacionalistas y protofascistas. Su odisea por Europa le hará vivir toda una serie de aventuras y desventuras.

When his family moves to the city of Zlín and 16-year-old David joins a new hockey team, the Wolves, he is determined to succeed. There’s, however, the other goalie, Miky – and his position seems unshakeable. The team doesn’t welcome David with open arms either. Captain Jerry and his gang do as they please, while the team follows the ‘law of the pack’. David has been weakened by his recently discovered diabetes, and that is not tolerated here. He is still coming to terms with his body, learning to estimate the insulin doses his life depends on. On the team, David is the outsider, bracing the avalanche of bullying that gradually gains speed.

Closing day of the season in the boarding house at the Vietinghoff Palace in the province of Latvia. Here the material world and atmosphere of the 1930s are reconstructed as fully as possible. According to the rules of the institution, guests must abandon all their means of digital communications. And this is what they are looking for: to disappear, at least for a while, and become inaccessible to the outside world. The lingering summer heat drags the guests into an insane frenzy where surrealistic and grotesque situations build up an ambiguous comedy.

During Latvia’s centennial year, 15 filmmakers created each his own film portrait of a person living in Latvia on the background of centenary events. Documentary 2018 combines these stories into a unique poetic vision based on analogy with the documentary 235 000 000, a classic of the Riga school of poetic documentary cinema. This film is an attempt to make sure whether the codes of the poetic cinema are still relevant and accessible today.

Hardly anyone would have predicted that Žanis Lipke would miraculously become a hero. He was a completely ordinary Latvian blue-collar worker. In order to be able to support his family under wartime conditions, he worked at the German military aviation warehouses and supplemented his income by smuggling at night. This film attempts to answer the question whether Žanis’ courage stems from his adventurous and daring spirit, stubbornness, or a sense of responsibility towards people in need.

At the end of the Second World War, when the German army retreated from Latvia, it also took along 700 boxes of materials from Latvian museums. If not for a young woman named Mērija Grīnberga, the exhibition halls of many museums in Latvia would be empty today. Grīnberga was the only volunteer who in 1944 went along with the train carrying the treasures of Latvian art in order to return with them back to Riga. The German occupying forces tried to take them away; the Soviet occupation forces brought them back; Mērija completed her duty. As gratitude for her journey, Mērija was sacked from her job at the museum and incessantly viewed with suspicion.

Helen suspects that her beloved son has a girlfriend what he is trying to hide. She is terrified of the possibility that her son could leave her for his girlfriend. Dainis invites her to a party in the hope that they both will be able to become friends, but due to missunderstanding a disaster strikes.

In April 1969 Ilya (Eliyahu) Rips, then a young student of mathematics, tried to burn himself in a public square in Riga, Latvia protesting against the Soviet invasion of Czechoslovakia. He was stopped and eventually sent to a psychiatric hospital for two years. Thanks to international pressure from the mathematical community in 1972 he was allowed to emigrate to Israel. Now he is considered one of the most brilliant mathematicians in the world. At the same time, for most people familiar with his name, Rips is first of all associated with the development of the so called Bible Code – a mathematical program allegedly helping to decipher hidden messages encoded in Torah – the Five Books of Moses. He is attacked by both the scientific and religious community, yet his research continues.

In the final years of World War I a retired German field medic is sent to a remote sanatorium for soldiers suffering from post-traumatic mental disorders. There he encounters a strange, dreamlike state of existence that challenges his own war-torn mind.

Ģirts and his friend plan an excursion to a mystical place, the abandoned Potassium Park. In order to get the family car, Ģirts lies and says he is going fishing, so his parents compel him to take his younger brother along. Ģirts’ friend backs out, and he is forced to go fishing after all. Bitter about the failed plan, Ģirts is mean, but his brother’s joy over the first fish caught is a self-revelation of his pervasive injustice towards his younger brother. As a gift, Ģirts shows him the secret entrance to Potassium Park. The brothers head off on an exciting foray through the abandoned and mysterious structures, until they accidentally uncover a box of explosives that tests their newly-developed camaraderie.

A story about a city built as a paradise but turned into hell – a city slowly turning into paradise again, just in a different way. Igor has been living in the Chernobyl Zone for almost ten years, for peace and a chance to escape modern civilization. Psychological issues, both personal and global, are still troubling him, and he embodies both harmonizing peace and supernatural stress. And an existential secret – the secret of the essence of life. He is surrounded by the elderly inhabitants of Chernobyl, living in villages entirely overcome by nature. They lead their unrealistic Atlantean lives, from which even war in Ukraine seems to be happening on another planet.

Lonely, 45 year-old worker Kasandra has just received a lethal diagnosis from her doctor. She goes to her high school reunion, confused, and is faced with phantasmagorical events that completely shatter her daily routine. Kasandra flees from the city. In the forest, she is engulfed by a river and brought to a secluded sea shore. Alone and over time Kasandra experiences an unusual healing and rebirth.

The film is based on true events, it tells the stories of two outstanding personalities of the 20th century – Sergei Eisenstein and Isaiah Berlin, who were both born and spent their childhood in Riga but soon had to leave the city. The film follows the lives of the two characters during the turbulent first half of the 20th century, telling how one of them becomes “the greatest film director of his generation” in the totalitarian Soviet Union, and the other “the greatest thinker of his generation” in liberal Great Britain.

A film about one of Europe's best young theatre directors, Latvian-born Alvis Hermanis, and his distinctive method, marked by a renunciation of classic dramatic material.

A film documenting contemporary Latvian reality along the banks of the river Gauja while channelling one of the first Latvian sound documentary films, Gauja (1934). “Along with producers Sandijs Semjonovs and Gundars Rēders and editor Atis Klimovičs, we witnessed incidents and events along the banks of the river some 80 years later. We captured them along with the views of folks on this river in a documentally poetic style reflecting the reality in Latvia,” explains director Mārtiņš Grauds.

The story of the German occupation of Latvia and one of Rīga’s major 20th century historical tragedies, which will be remembered by the people of Rīga forever. French teacher Riva Šefere, lawyer Aleksandrs Bergmanis, music teacher Gabriela Paraša, film historian Valentīna Freimane and historian and founder of the museum “Jews in Latvia” Marģers Vetermanis are just a few of the 30 000 Latvian Jews who were imprisoned in the Riga ghetto. These are eyewitness memories of the holocaust that need to be told.

Three young men head to an isolated country house to shoot a film that they hope will bring them fame. They have no experience, but possess the will to change their lives. They make various attempts, but none seem to work. The team comes to a creative impasse, but the stakes are too high to give up. In hopes of drawing out their talents, they spend more and more time chipping away at each other. Previously hidden character traits come to light further complicating their relationship and the making of the film. Soon it's each man for himself. Just when the experiment seems utterly failed, one of them is discovered dead. It's not clear whether it's accidental, suicide or murder, but a real body in the scene satisfies - this could be the start of The Film.

Mr. Schmidt, a young man who is recovering from a recent nervous breakdown, arrives at a country manor. As he waits for the governess Mrs. Rosenbaum, Schmidt is scared by the gardener but then meets a bored, young woman, Vera, who kindly accompanies him through the house. Vera tells Schmidt about a great tragedy. Precisely three years ago, members of her aunt’s family passed away, but the bodies were never found. Mrs. Rosenbaum does not believe in the death of her relatives and continues to wait for their return. Coming close to madness, Mr. Schmidt escapes from the mansion, and the missing family members return from an actual hunting expedition. As it turns out, Miss Vera makes up legends because of boredom.

This documentary deals with faith, human aging, a struggle to fulfill your vision and above all - one particular building. In its poetical minimalism the film observes the construction of the new Latvian National Library, which has become a metaphor for a temple, a boiling-point for an entire nation.

Composers are regular people – they drive public transport, do sports, pay their bills. And still – they are very different as they are able to comprehend sound. The documentary film Sounds Under the Sun is an inspiring cinematic journey all over the world to meet some of the world-famous contemporary classical music composers. Visiting Alaskan forests, skyscrapers in Tokyo, and war zone in Georgia, the film gives a glimpse of how the composers share their struggle to create music from the moment of sonic creation till the moment when their music is interpreted for public (the film features composers Sir John Tavener from the UK, Leonid Desyatnikov from Russia, Giya Kancheli from Georgia, Dobrinka Tabakova from Bulgaria, John Luther Adams from the USA, and Ko Matsushita from Japan, and one of the world’s best youth choirs, Kamēr..., from Latvia).

The documentary draws a portrait of an opera director who is staging Richard Wagner’s Die Walküre. He is torn between the tragicomic routine of an opera house and his own perception of Wagner and the Ring cycle. The film witnesses the director’s drama in maintaining the fragile link between a well-constructed performance and his own vision that lies within the music and the narrative, and is seen as German expressionism-like nightmares.

To touch the paper, to hear the sound of the pencil and to always trace himself - those are the rules of Latvian artist, Ilmārs Blumbergs. The story of a man who does not create art for around or within, but has instead made it a constant state of being.

Following an ad in the paper, Ilze leaves her native village to become an actress. She fails the audition, but her pride won't let her return home. Her boyfriend is skeptical about her ambitions, so he comes after her to bring her back home. The plot evolves around their relationship as they pretend and lie to each other trying to end the emotional stand-off.

Ten years ago the Latvian National Opera was reopened after an immense reconstruction. Now this is the place where artists and the stage come together in an unusual atmosphere to create “the miracle” of music, action, text – elements of the opera phenomenon.

Two men in post-communist Latvia go around preaching Gods word and get involved into all kind of encounters. Erik is a super-pious moralist. But Daniel is a super-consumerist who preaches the gospel of wealth. Their arguments and battles are laugh-out-loud funny as they attempt to convert the heathen (who smile and look on in pure amusement).

A modern story of love and how dangerous it is to play with the feelings of another.

A family drama circling around a love triangle - a mother, a daughter and a son-in-law. The plot is focusing on the mother's psychological manipulation with the son to "make a man" of him.

An omnibus film consisting of ten parts, each directed by a different young director from the Latvian Academy of Culture. The unifying element of the ten shorts is the place where they take place - the airport. A lot can happen there - including a strike by a comet, a malicious attempt to break havoc by passengers, or an exploration of the old airport guard's house where not a lot has changed since the collapse of the Soviet Union. The film consists of the following parts: A Mishap (Nediena) by Arta Biseniece, Blurp (Šļurp) by Aija Bley, Alien Sky (Svešās debesis) by Viesturs Kairišs, 5 Versions (5 versijas) by Dzintars Krūmiņš, Comet (Komēta) by Māra Liniņa, Cleptomania (Kleptomānija) by Andis Mizišs, Alfredo's Poetry (Alfredo dzeja) by Igors Varenieks, Little Hand (Mazā roka) by Ilze Vidauska, Comet 2 (Komēta 2) by Anna Viduleja, and Life No. 2 (Dzīve nr.2) by Kristīne Želve.

The film is based on true events leading up to the historical 2013 resignation of Benedict XVI. After succeeding John Paul II, and serving as Pope for eight years, Joseph Ratzinger shocked the world by becoming the first Pope to voluntarily resign in over 600 years. In light of moral and ethical upheavals in the Catholic Church, and the unique challenges of the 21st century, Ratzinger's cited reason of declining health raises more questions than it answers.