Uldis Cekulis

Instead of Einars Pelšs' eighth poetry book, he publishes his collected works, but the buyer of the book receives an ordinary brick. He translates the authors of the Russian Golden Age and publishes them under his own name, challenging the boundaries of literature. Is a poet who makes fun of art unique or exactly what we expect from contemporary authors? Einarrative is an extraordinary story that portrays the narrative of the life of Einārs Pelšs. In the film, this narrative is an experience of contrasting changes both in its visual style and in Einars’ poetic works and personality, allowing him to get involved in the depiction of the narrative himself, making the film as Einārs Pelšs' audiovisual collected works.

Direct and meticulous observation of interpersonal relations is a classic subject in documentary films. In this film the title of which alludes to “Hamlet”, we will observe the birth of compassion in people. Compassion is something that has to be dealt with in very rigorous terms, something that needs to be stripped of the layers of clichés that this word has amassed over the years. Is it always a true feeling or just an imitation? How does a deep compassion spring forth? Who are the true “masters of compassion” and what are they like?

Andrejs, a meticulous outdoor adventure guide, takes a film crew to a wild river valley for a vegetarian sausage commercial shoot. The enterprise suffers an unexpected setback as the crew goes missing. Little they know that in autumn the valley unleashes a strange, wondrous phenomenon whose reckless power does not spare even the locals. Finding the missing clients is no child’s play because he who seeks to find will lose himself.

Mother takes her eight-year-old daughter Antonia to a children’s creativity camp. Antonia is not happy about having to spend time under close adult supervision. On their way, she spots a sign saying ”The Robots Have Escaped!” The sign unleashes Antonia’s imagination and grows into a fantasy of how exciting her stay in the camp might turn out to be. Of course, Antonia’s and the robots’ paths intersect at the camp, where they intend to steal children’s dreams during their afternoon nap to convert them into ingenious commercials. Thriller-like events unfold. Thanks to Antonia’s inquisitive and rebellious nature and with her best friend and favourite toy Yeti by her side, the robots’ intention is averted.

More than twenty years after Vladimir Putin came to supreme power in Russia on May 7, 2000, Russian society is deeply divided. A young, modern generation opposes the growing repression by the regime, which still retains the support of many members of previous generations. Who are these ordinary citizens who dream of living in a different Russia? What price will they have to pay to achieve the freedom and justice they so desire?

Vilis is a 6 year old boy who lives between two time zones. In the morning he goes to a preschool in Riga, Latvia where he sings, draws, learns to read and plays. In the afternoon he is already a first grader, logging in the Zoom class in a New York public school. While most of the world is worried that school closures and remote learning during the pandemic has left kids without education, the pandemic has given Vilis a chance to study in two schools at once. Vilis’ mom has been documenting these weird times on her phone. The experience in both schools will be challenged when Vilis starts the first grade this fall for the second time in his hometown.

New performers have recently moved into the 130-year-old building of the Riga Circus. Having built a stage in the stables, actors Ance, Āris, Klāvs, Reinis and the other members of the theatre company Kvadrifrons are reinvigorating and preserving the tradition of live art in the circus. The name of the group is an acronym in Latvian that conveys their ethos: they are an organisation that can chill with their friends, have bursts of amazing creativity, and whose members are far from unintelligent. And all the while, the strong smell of elephants wafts through the building. Here and there, the life of the previous inhabitants makes itself known. Soon shamanistic rituals alternate with clowning around, fortune-telling with illusion juggling, stagecraft with personal choices. Then suddenly, out of Nothing… emerges Theatre.

Dinārs is a Latvian schlager singer popular with the ladies and known for his big cat mane. The eponymous film follows his path over a turbulent season of work.

In the Cold War years of the 1970s, an American patrol boat meets a Soviet ship off the east coast of the United States for talks about fishing rights in the Atlantic. In the midst of this, while Russian commanders are aboard the U.S. Coast Guard vessel where the talks are being held, a Lithuanian sailor jumps across the ten feet of icy water separating the boats. Crash-landing on the deck of the American ship, he desperately begs for asylum. Though they try, the Americans ultimately fail to provide protection and the Soviets are allowed to capture him and brutally return him to their vessel. Thus begins a stranger-than-fiction story of imprisonment, discovery, fame, and freedom. Through rare archival footage and a dramatic first-person re-enactment of that fateful day by Simas Kudirka, the would-be defector himself, this tale of one of the biggest Cold War muddles takes us on a journey of uncanny twists of fate, and the emotional sacrifices of becoming a universal symbol of freedom.

A laid-back journey in search of one of the world’s most fascinating families, observed and examined from within its most intimate relationships, where the truth and depth of a memoir meet the ironic tone of an indie comedy.

In a completely typical building, in a typical apartment, in a completely typical kid's room there stands a not at all typical wardrobe. Behind its doors, behind the dresses and blouses, the shirts and trousers that obediently live on the hangers, lives a secret darkness of the imagination from which some interesting characters appear and begin to live in the children's room. You only need to knock to see how the dust fairies start to play with others in the room - even starting to play the piano! This is a carefree story about the world which goes up! and down!

Apatity, a far-north industrial town in Russia, first came into being as a USSR concentration camp. Although its environment is at the brink of ecological disaster, the people here still believe in the state’s promise of immortality that can be gained through sacrificial service to the fatherland. This is how the elite in a totalitarian state buy a person’s will, strength, talent and, indeed, life, turning the human being into another resource that is as faceless as a grey lump of ore. ‘I cannot fight big corporations or state structures with a film. But I hope that there is someone in the darkness of the cinema whose heart will get a bit warmer after seeing it,’ says the director. The larger part of the film was shot during the polar night.

“Roses are red, violets are blue, I had my friends, but now they're dead.” When Anna Zaķis was young, she experienced the upswing of social networks. Once active cultural life has slowed down but the desire for real conversations is still there. She will fight to the end... for a chance to talk with someone.

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.

What binds a person to a certain place on Earth? What lets him say, “I'm from here, and this is my land?” What’s setting the boundaries of our existence? The film immerses us in the daily life of a village near Moscow, where local old-timers live side by side with immigrants from Tajikistan. How do the fences arise, then are destroyed and arise once again between cultures and people?

At the beginning of the 1960s, when the French pioneers of cinéma vérité set out to achieve a new realism, and when direct cinema in Québec began to vie for notice, the Baltics wit-nessed the birth of a generation of documentarists who favored a more romantic view of the world around them. This meditative documentary essay – from a Latvian writer and Lithuanian director whose composed touch has long dovetailed with the stylistically diverse works of the Baltic New Wave – pushes adroitly past the limits of the common his-toriographic investigation to create a portrait of less-clearly remembered filmmakers. The result is a consummate poetic treatment of the ontology of documentary creation. Also a cinematic poem about cinema poets.

Por trás das equipes de elite do ciclismo mundial há lutadores desconhecidos, verdadeiros heróis do ciclismo, que caem, se levantam e voltam. Uma odisseia que revela um olhar incomum sobre os "maravilhosos perdedores", aqueles que sacrificam as suas carreiras profissionais pela glória dos seus companheiros de equipe. O que os motiva a continuar, a pedalar no absoluto anonimato, em um dos esportes mais exigentes física e psicologicamente? Seguimos esses "Sancho Pança" do ciclismo profissional durante sete anos e descobrimos a vida - até então invisível - desses homens, sem os quais as equipes profissionais ficariam sem pódio, nem troféu.

A person’s face and eyes preserve experience better than any document or recorded memoir. Particularly if a person has experienced as much as the well-known dissident Lidija Lasmane-Doroņina. Actually, she does not even think of herself as a dissident. She received her three terms in prisons and labour camps – fourteen years in all – as punishment not for underground struggle but for daring to remain true to her principles, convictions and faith. The ideals Lidija obtained as a child – the idyllic image of Latvia as an independent country, strong family values and faith in God as a moral measuring stick for any action. Her eyes are bright even today, at the age of 91, and they look at this world full of life.

Accomplished European scenographer and educator Andris Freibergs paints a self-portrait by shaping the stage for an imaginary production titled “Andris Freibergs”. He transforms himself into a space that contains close to eighty years worth of stunning success, tragic loss, birth and death. It is an attempt to create the perfect empty space – one that would simultaneously encompass everything and nothing, the beginning and the end.

This film represents a figurative view on the developments of contemporary art in Latvian modern environment by following the path of a piece of art to the audience for a certain period of time and by finding a unified system of characters in the process. One piece of art is advancing the story on the background of a previous piece, the next one is continuing it in another direction just like in a movie two shots alongside create the third one and result in another modern art object – film.

A dreamer by nature, Quanqi Zhu decides to set up a unique installation at the hillside of Sacred Songshan mountain in China. Despite the language barrier, his best companion is Latvian architect Austris Mailitis. As the building of the object begins, the creators themselves have to levitate between cultural differences, conventions and personal ambitions.

The film tells a story about the latest musical revolution in recent history – the early days of the rave scene and the golden age of techno culture. International political changes in the mid-80s and early 90s, including the fall of the Berlin Wall and the collapse of the Soviet Union, in a short period of time allowed this cultural phenomenon to become a mass movement which was almost completely independent from the global corporations and which did not fight with the system but created its own system.

Filmmaker John Webster sets out on a road-trip with his imaginary great granddaughter in an attempt to understand the moral and behavioural choices that make tackling climate change so difficult. A documentary film with humoristic overtones about a fundamental question: what is our responsibility to future generations?

The three speakers represent two of the dialects, with the most common one - the middle dialect spoken in Riga and central parts of Latvia - not featured in the film. In intimate surroundings, a farmer, a schoolteacher, and a herder of ostriches talk about perceived differences between Latvian speakers, and about language policy and their lives.

Driving in their yellow Lada flying its own little Ukrainian flag, they travel from incident to incident – calming an angry neighbor, investigating the discovery of a body, struggling to unfold a stroller and attempting to re-integrate Vova, the freeloader who eats other people’s dogs but actually longs for a normal existence – just like everyone else here. The seasons pass until political developments reach the village by way of the TV screen, sowing separatist discord.

Little kids, big dreams and smashingly good music – Dixieland follows the amazing progress of four members of a Ukrainian children’s brass band from Kherson. Through steady practice under the wildest of conditions, Roman (12, trumpet), Polina (10, trombone, drums and many other instruments), Nikita (12, drums) and Nikita (14, piano) produce magical music with ancient, wobbly instruments. Not least due to their wit and good humor, they persevere together, helped along by their 80+-year-old conductor and a young teacher. These children of the post-Soviet provinces use American tunes to achieve their dream – to become someone in the world and make something of their lives, no matter how dire the circumstances. From the authors of an awards winning documentary film Ukrainian Sheriffs.

The Samtskhe-Javakheti region in southern Georgia, which has a mostly Armenian population, suffers under silent ethnic tensions caused by a historical burden. It is a unique place to study the role of the human factor in ethnic conflicts through the eyes of a Georgian photographer and the ears of a Latvian film director.

The Samtskhe-Javakheti region in southern Georgia, which has a mostly Armenian population, suffers under silent ethnic tensions caused by a historical burden. It is a unique place to study the role of the human factor in ethnic conflicts through the eyes of a Georgian photographer and the ears of a Latvian film director.

Budding lawyer Vik is disappointed in himself. He tries to change and please everyone until he looses sight of himself. Vik meets the mysterious Mirror Man who offers to help him regain his self-esteem and become the kind of person Vik dreams of becoming. Vik agrees, but the Mirror Man at times leaves Vik in situations where he surprises others not just by his new-found self-confidence, but also by insolence that causes a rift with his closest friends. Soon the Mirror Men in Vik’s life are too many to control, and when he tries to back away – it’s too late. Vik has alienated himself from his own essence and become one of them – a nameless, faceless human devoid of personality.

THOSE WHO DARE outlines the Baltic nations’ (Estonia, Latvia and Lithuania’s) struggle for the restoration of their independence, from 1986-1991, Gorbachev's perestroika paving the way. It recaptures the dramatic course of events in the Baltic capitals of Vilnius, Riga and Tallinn in January 1991 when the Soviet military attempted to brutally suppress the independence movements. At that moment, Jón Baldvin Hannibalsson, the minister of foreign affairs of Iceland, was the only western foreign minister to travel to the Baltic capitals to show his support, thus inscribing Iceland in golden letters in the minds of the Baltic people.

THOSE WHO DARE outlines the Baltic nations’ (Estonia, Latvia and Lithuania’s) struggle for the restoration of their independence, from 1986-1991, Gorbachev's perestroika paving the way. It recaptures the dramatic course of events in the Baltic capitals of Vilnius, Riga and Tallinn in January 1991 when the Soviet military attempted to brutally suppress the independence movements. At that moment, Jón Baldvin Hannibalsson, the minister of foreign affairs of Iceland, was the only western foreign minister to travel to the Baltic capitals to show his support, thus inscribing Iceland in golden letters in the minds of the Baltic people.

Viktors is an entrepreneur with a unique offer – he has built a bar, bakery, spa, hotel and an auto-shop in a former “sovkhoz” cafeteria in the village of Lone. Viktors understands life, and that his words carry weight – almost 500 village inhabitants are now employed. Lone is a lively place both day and night, full of youths and many other businesses. Viktors is very proud.

When the world was younger, ships, explorers and merchants carried not only foreign goods, but also stories. Those stories drew a map of the world and taught people that there are broader horizons beyond their own fences. Baltic amber has always been valued as the Gold of the North, so two young Latvians set out on the ancient amber trade route from the Baltic coast to the south of India to learn how this Stone of the Sun has changed the world we live in.

When the world was younger, ships, explorers and merchants carried not only foreign goods, but also stories. Those stories drew a map of the world and taught people that there are broader horizons beyond their own fences. Baltic amber has always been valued as the Gold of the North, so two young Latvians set out on the ancient amber trade route from the Baltic coast to the south of India to learn how this Stone of the Sun has changed the world we live in.

A cinematic journey into one of the greatest European noble families, the Radziwiłłs. Even the King would stand up when Radziwiłł the Black entered the room. Members of the Radziwiłł family weren’t afraid to defend the Reformers when the fires of the Inquisition burned across Europe. It was a Radziwiłł who went on one of the most challenging pilgrimages from Vilnius to Jerusalem and then published an account, becoming the pioneer of travel literature. A mix of documentary and fiction, past and present, and history and its re-enactment, brings to life the essence of a once-popular saying: “I don’t want to be a king. I want to be a Radziwiłł.”

The code to unlocking this feature documentary is 1949, the year the director was born, and also the year of the return of Soviet repressions to Latvia. The film tells a very personal story against the background of less visited historic events – the death of director’s father due to the KGB repressions, which is closely linked to the devious game Soviet Latvia’s KGB played against Swedish-British-American spy agencies.

Psychological thriller connecting three different people in the mysterious vortex, trying to untangle the dramatic fight of border between the truth and fantasy. Rob, a former real estate broker, unemployed, starts following a strange Japanese woman, Oki, who constantly moves from house to house. He drags his roommate Wylie into the investigation during which they have to face the dark past and curse of Oki, while dealing with the history of their own.

After the fall of the Soviet Union large numbers of immigrants from the East stayed in Latvia for good, Latvians simply call them “Russians”. Over 20 years of independence later mutual suspicion and bias are still there in the most part of the local community. Therefore, a Latvian director involves an independent Russian speaking Norwegian colleague in helping him understand Latvian “Russians” and coming up with an integration plan. But soon enough it becomes clear that only Latvians themselves can manage the challenge. And so begins director’s journey away from the division “us / them”.

There is a Man, called Mitrais by locals, who is one of the first professional nature inspectors in Latvia. For an older generation people his name is associated with an image of a real ranger, while youngsters who know him highly respect him. Mitrais is sure that among today’s youth there are more idealists than ever before. And they are ready to do something real and tangible, and not surrender to the overwhelming virtual pseudo-reality.

As soon as I finished my first marathon, I wanted to become a tripod in order to make a film about it. That is because words are certainly not the right instruments to tell us what it’s like to run a marathon. I think we can try to show it through the characters, noises, texts, lights, the absolute physical understanding of shadows and of the sun, the water, the motions and the serenity. For those who do not practice running in marathons because they don’t want to or because they can’t, I wish to bring something from inside the marathon, out; for example, for my Mum, whose legs ache. I am acting like a spy sent into the marathon.

There is a popular Latvian folksong which begins with the phrase "I was singing out high on a mountain". The irony of it is that according to physical geography there are no mountains in Latvia. So what exactly is the place where the Latvians are "singing out"? It may be safely said that it's the same place where they are skiing. That's how we make mountains out of molehills...Snow-covered mountains, to be sure.

There is a popular Latvian folksong which begins with the phrase "I was singing out high on a mountain". The irony of it is that according to physical geography there are no mountains in Latvia. So what exactly is the place where the Latvians are "singing out"? It may be safely said that it's the same place where they are skiing. That's how we make mountains out of molehills...Snow-covered mountains, to be sure.

Ramin, an ex-wrestler who once won seven matches in 55 seconds, lives alone in the east Georgian town of Kvareli. Long time ago he fell in love with a girl whom he lost soon after he met her. Now, at 75, still unmarried but full of life, he travels to a remote Georgina village to seek her out. This film presents Ramir's journey through the Georgian landscape and through the memories of this man with a old aged body and an unbeatable heart.

In 1946, a group of Latvian Brazilian Baptist missionaries arrived to Rincon del Tigre (“Jaguar’s Corner”), in the backwoods of Bolivia, to preach God’s word to the Ayoreo Indians. After sixty years of selfless work in a largely hostile environment, something seems to have gone terribly wrong. Habituated to living under the protective wings of the mission, the Ayoreos seem neither to be willing to support themselves and start living on their own, nor able to return to their traditional way of life in the jungle. Dressed in second-hand clothes, they are stranded in the backwoods of Western-style civilization, with no particular way to go.

In 1946, a group of Latvian Brazilian Baptist missionaries arrived to Rincon del Tigre (“Jaguar’s Corner”), in the backwoods of Bolivia, to preach God’s word to the Ayoreo Indians. After sixty years of selfless work in a largely hostile environment, something seems to have gone terribly wrong. Habituated to living under the protective wings of the mission, the Ayoreos seem neither to be willing to support themselves and start living on their own, nor able to return to their traditional way of life in the jungle. Dressed in second-hand clothes, they are stranded in the backwoods of Western-style civilization, with no particular way to go.

This is a film about the generation of the 1970s, about its teenage dreams, hopes, choices and its adulthood reality. When the director of the film was in year 7 at school, he got a 8 mm film camera from his dad. The first thing he did was film his classmates and record their visions of future. Thirty years have passed. The future is here. Have they succeeded in fulfilling their dreams?

A short poetic documentary about greatest miracle in the world - birth.

This is the extraordinary story of the life of a white man – a tiger hunter in Brazil whose fame reached even as far as Hollywood. Was glory his aim and adventurousness - his means to reach it? Or was the jungle simply the perfect environment for this man of steely character and with a fighter’s gene to evolve in?

This is the extraordinary story of the life of a white man – a tiger hunter in Brazil whose fame reached even as far as Hollywood. Was glory his aim and adventurousness - his means to reach it? Or was the jungle simply the perfect environment for this man of steely character and with a fighter’s gene to evolve in?

A trip through the mystical Coral Castle and the big question - did some regular, unschooled man during the first part of 20th century in Florida seriously discover the secret of levitation and understand the principles by which the Pyramids were built? Or was the Coral Castle, which became the inspiration for Billy Idol's "Sweet Sixteen", created merely as a commemoration for a lost love?

Latvian artist Gustavs Klucis embraced the technological revolution of the early 20th century and applied it to his art, becoming a classic of Russian constructivism. He created photo-montage and Lenin’s public image, and became the most important Soviet artist. Killed by Stalin’s regime, his artistic career poses many unanswered questions. This documentary reveals many secrets and intimate moments of his dramatic personality – the unequal duel between the Artist and the Power.

Three elderly country bachelors idle away their time amidst semi-wild nature, closer to birds and pond fish than to humans.

A reindeer herdsman’s life is as gently monotonous as the tundra itself. It flows in synchrony with the life of the reindeer herd from one migration to the next. The time between these two points belongs entirely to the herdsman. It’s áigi - the herdsman’s time.

A reindeer herdsman’s life is as gently monotonous as the tundra itself. It flows in synchrony with the life of the reindeer herd from one migration to the next. The time between these two points belongs entirely to the herdsman. It’s áigi - the herdsman’s time.

In the ice-free months of the year Father Gennady captains a barge transformed into a floating Orthodox Church on a mission trip along the Volga-Don Canal to the remote Russian villages. At each port of call Father Gennady leads church services, distributes holy sacraments and hears confessions. But some unexpected circumstances cause the mission to suddenly take a rather different turn.

Every day, come rain or shine, Theodore used to bike the seven kilometres from his house to the centre of the village to sit and drink beer in the bus stop. For him, no doubt, this place was the centre of the Universe. With his death, the centre has moved elsewhere, and the bus stop is just a bus stop again.

Every day, come rain or shine, Theodore used to bike the seven kilometres from his house to the centre of the village to sit and drink beer in the bus stop. For him, no doubt, this place was the centre of the Universe. With his death, the centre has moved elsewhere, and the bus stop is just a bus stop again.

Sigurds operates a hundred-year-old lift in a large hospital in Riga, absorbing the sounds of daily hospital life while between floors. Meanwhile, in the adjacent shaft, a new, automatic lift is being installed.

Inese (41) and Karlis (62) occupy an illegally built hut in the suburbs of Riga in Latvia. After the collapse of socialism, they have found themselves at the bottom of the social ladder, doomed to fighting for mere existence. They live on a single retiring allowance and other people’s leftovers. They are neither alcoholics nor criminals, they are les misérables of today. They are growing scraggy vegetables, picking mushrooms, gathering windfallen branches for fuel, and breeding earthworms for anglers. Everything they put their hands to falls through… After fifteen years of living together, Karlis and Inese are expecting their first baby.

The narrow, sandy strip of the seashore is a neutral zone that belongs equally to the sea and the mainland. This zone possesses an unusual chracteristic, namely, it attracts people with a practically magnetic power, transforming the beach into something like a playground where the old and the new, the primitive and the civilised, the traditional and the modern all coexist.

There are places that we don’t want to know anything about, places that we would rather pretend don’t exist at all. One such place is a dumpsite. From the humans’ point of view, it is a ghastly place, a stinking desert of trash. But it’s a desert that is teaming with life.

In Seda, a remote peat miners' town in Latvia, time seems to be frozen in the Soviet era. Built in 1952 and inhabited by a multi-ethnic workforce from different parts of the former USSR, it still preserves intact the inflated style of a Stalinist "shock work" construction project. Culturally Seda's people feel like a community apart. Their lingua franca is Russian, and their social life is a mixture of Soviet and Russian Orthodox traditions. They don't want the European Union, they want to live in their own state - the Marshland.

The world seen through the eyes of children. The action takes place in Karosta, the former military port of Liepaja city – however, it is not that important, as the film could take place anywhere. We observe children playing on the beach, revealing the core of Pakalnina’s work: perceiving and transmitting emotions.

The world seen through the eyes of children. The action takes place in Karosta, the former military port of Liepaja city – however, it is not that important, as the film could take place anywhere. We observe children playing on the beach, revealing the core of Pakalnina’s work: perceiving and transmitting emotions.

In the early 1980’s two hundred pairs of common terns (Sterna hirundo) were forced to abandon their last natural nesting place on a river island near a major European capital Riga. Looking for a new habitat, the birds chose the flat pebbled roof of a concrete island – a printing house – in the middle of the city. The first generation of birds to grow up on this roof and fly to Southern Africa every winter have covered the distance from the Earth to the Moon. During the film various human attitudes towards the terns will emerge. The attitude of the birds is clear – they view things form above.

The relationship between humans and a river throughout the seasons.

The relationship between humans and a river throughout the seasons.

After enduring horrors during the War in the Eastern part of Ukraine (2015), three young Ukrainian war veterans return home, both stronger than before and full of scars. They try to find out how to belong in this old but new reality and win their private wars, try to understand how to live civil life. But in February 2022 full-scale Russian invasion of Ukraine started and they are faced with new challenges of reality. What experience do the heroes gain in these wars, and how are they initiated by accepting death?