Rimvydas Leipus

Na Tailândia, um refugiado cria uma nova identidade como profissional do sexo e se vê envolvido nos esquemas perigosos de um cliente, que podem levar a uma vida melhor.

Anna Khamasi Omutsani is a widow. One day, her husband Peter Dianga goes to work and doesn’t return home. Anna’s attempts to contact him on the phone are fruitless. After a restless night, the neighbour girl Abigael knocks on the window and reports that she had seen Peter lying in the stream under the bridge. Men from the community pull his body out. The police pronounce him dead, but do not investigate the circumstances of his death. The Council of Elders, convened under the shade of a mango tree, deals with the existential affairs of the community. The Council decides Peter Dianga’s death was an accident, so he is buried properly, to the right of the door of the house. Anna’s greatest dream is to educate her children – the source of Anna’s quiet yet proud strength.

Anna Khamasi Omutsani is a widow. One day, her husband Peter Dianga goes to work and doesn’t return home. Anna’s attempts to contact him on the phone are fruitless. After a restless night, the neighbour girl Abigael knocks on the window and reports that she had seen Peter lying in the stream under the bridge. Men from the community pull his body out. The police pronounce him dead, but do not investigate the circumstances of his death. The Council of Elders, convened under the shade of a mango tree, deals with the existential affairs of the community. The Council decides Peter Dianga’s death was an accident, so he is buried properly, to the right of the door of the house. Anna’s greatest dream is to educate her children – the source of Anna’s quiet yet proud strength.

Anna Khamasi Omutsani is a widow. One day, her husband Peter Dianga goes to work and doesn’t return home. Anna’s attempts to contact him on the phone are fruitless. After a restless night, the neighbour girl Abigael knocks on the window and reports that she had seen Peter lying in the stream under the bridge. Men from the community pull his body out. The police pronounce him dead, but do not investigate the circumstances of his death. The Council of Elders, convened under the shade of a mango tree, deals with the existential affairs of the community. The Council decides Peter Dianga’s death was an accident, so he is buried properly, to the right of the door of the house. Anna’s greatest dream is to educate her children – the source of Anna’s quiet yet proud strength.

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 Lithuanian doctor, priest and a war refugee Alexander Ferdinand Bendoraitis (1919-1998) resettles to the Amazonian jungle in the 1960’s and becomes a local hero: he establishes a boat- clinic network, the first jungle radio, starts the pacification of local indigenous tribes and builds the most modern hospital in Amazonia. However, as he gets involved in a brutal crime, countless fake narratives that he had created around himself begin to resurface.

1971, Odessa Film Studio. The KGB studio curator orders a re-edit of just finished movie about the events of Ukraine’s 1920s "civil war" of a young director in line with the Party’s view on the historical events. This re-editing work is entrusted to a young female editor, which consequently realizes she must protect the director’s vision and the safe-guard the truth about her country under Soviet occupation.

1971, Odessa Film Studio. The KGB studio curator orders a re-edit of just finished movie about the events of Ukraine’s 1920s "civil war" of a young director in line with the Party’s view on the historical events. This re-editing work is entrusted to a young female editor, which consequently realizes she must protect the director’s vision and the safe-guard the truth about her country under Soviet occupation.

An old man who isolated himself from civilization receives an unexpected visitor.

An old man who isolated himself from civilization receives an unexpected visitor.

A bitter twist of fate: during the drawing of demarcation lines between the Soviet Republics in 1939 nobody dared remove Stalin’s pipe from the map, consequently the borders were drawn around it. It was thus that the Belarusian village of Narvilishky ended up being allocated to Lithuania. At the time nobody foresaw the implications of this decision.

N recounts the story of the Frenchman Raymond Borremans, who left Europe for Africa in the mid-20th-century. He devoted his life to the creation of the first encyclopaedia of this other world, dreaming of eternal recognition. He died, however, having only reached the letter N. With his encyclopaedia incomplete, his restless spirit drifts around West Africa, caught between life and death, past and present. This is the story of how he tries to complete his unfinished task from beyond death. N is both visually and musically a truly striking film. It is a multi-layered audio-visual symphony of great narrative richness. Hovering between dream and reality, this magical film plays on the confrontation between the Western mind and African spirituality.

During the final winter of WWII, as displaced persons return to their former homes in the Soviet Union, an 8-year-old boy is left alone when his mother dies en route.

Set in the frozen steppes of Mongolia, a young nomad is confronted with his destiny after animals fall victim to a plague which threatens to eradicate nomadism.

A few fugitives... And a very, very long way to freedom.

The first feature of Lithuanian Valdas Navasaitis is a drama which unravels the hopeless 1970s, when people were deprived of their roots and forced to sit and watch their lives slip from their fingers. In a decrepit house that once belonged to a bourgeois family, several families seek shelter. Senis, a 65-year-old alcoholic, lives on the ground floor with his wife and their 16-year-old daughter. Senis is a survivor of the Nazis as well as the communist camps. He drowns the pain of his memories in a nearby pub and in talking to a depressed young laborer, Lorenca. Later on, a young couple and a lonely eccentric who enjoys only his cat's company join the inhabitants. Children wile away the time with useless games or spying on adults. When Lorenca hangs himself at the ruins of a nearby factory, the lives are shaken up. During the dinner held for the deceased, they find a moment of common hope.

A documentary film about the everyday life of Lukiskes prison residents.

Abstrata, belamente fotografada e quase muda, exceção feita a narração limitada, esta excursão arthouse sem trama do realizador de culto lituano Šarūnas Bartas presta tributo a uma velha mansão grande junto ao lago e à cultura lituana.

The atmosphere of a corridor between yesterday and tomorrow, where many doors open into the unknown. A series of faces, gestures and images both real and imagined time. A fragmentary narrative without dialogue depicting several people in Vilnius.

With this film a cinematographer Rimvydas Leipus made a debut as a documentary film director. By casting its gaze to the periphery of Vilnius, Užupis, the film follows the tradition of the first generation of independent filmmakers. The result is the mute portrayal of a furnace caretaker Jonas Valeiša and a graphic artist Šarūnas Leonavičius.

The film springs from at least three ideas connected to each other in an irrational way: the story of a cow being taken to the butcher, the description of simple pleasures, how to ascend to the top of a hill and descend in a wheelbarrow, and the portraiture of a several blind people. The great, big eyes of the cows are seen in contrast to the unseeing eyes of the blind people.