Lithuanian Cinema

Special Edition for Lithuanian Film

Days in Poland 2015
 Lithuanian Cinema
Special Edition for Lithuanian Film
Days in Poland 2015
Content

Introduction 5

Lithuania and Poland. Neighbourship in Filmic Form in the Cinema of the 1960s 6

A Short Review of Lithuanian Cinema 12

Feature Film after 1990: Generation Change, New Aspects and Challenges 18

Raimundas Banionis: Film Plots Dictated by Reality 22

Algimantas Puipa: My Work Starts Where the Novel Ends 26

Gytis Lukšas: I Measure My Life in Films 30

Valdas Navasaitis: Everything Is a Private Matter 34

Audrius Juzėnas: Evil Is Not an Abstraction; It Influences Our Destinies 38

Kristijonas Vildžiūnas: Finding Historical Truths 42

Kristina Buožytė: Film Is the Door to a Specific World 46

Ignas Jonynas: I Belong to a Generation Very Rich with Experience 48

Šarūnas Bartas’ Films 52

Šarūnas Bartas: The Philosopher of Lithuanian Cinema 54

Jonas Mekas’ Diary Films 60

Documentary Film after 1990 64

Audrius Stonys: Showing the Invisible 70

Arūnas Matelis: Films Emerge from Sensations 74

Janina Lapinskaitė: Heroes Carry Their Sadness Along with Them 78

Julija and Rimantas Gruodis: We Are Trying to Walk on the Bright Side of Life 82

Giedrė Žickytė: Film Is an Emotion 86

Index 89
 Introduction

O
ver the past decade, Lithuanian cinema of Lithuanian filmmakers is also pursuing new
has experienced a period of intense opportunities and original forms of expression.
change. The production of films in Films by such female film directors as Alantė
Lithuania has been on the increase, as has the Kavaitė, Kristina Buožytė and Giedrė Žickytė
audience’s interest in films produced domestically. exude confidence. They bring the complex world of
Founded in 2012, the Lithuanian Film Centre, human emotions, aspirations, inner experiences,
under the auspices of the Ministry of Culture, and relationships, and the conflict between carnal
implements important strategic guidelines passions and reason into the spotlight. Freely
concerning cinema policy. Lithuanian cinema collapsing the space between a fictional and a
has received increasing international recognition: documentary film, these filmmakers experiment
film premieres take place at international film with different genres and expand the boundaries
festivals such as Cannes, Berlin, San Sebastian of reality and fantasy.
and Sundance. For a long time, the generation
of filmmakers that lived during the most recent We are pleased to introduce you to the key stages
turning point in Lithuanian history have in the development of Lithuanian cinema and
continued to put forth works of distinction. These the country’s most famous film directors in this
include such film directors as Šarūnas Bartas, catalogue dedicated to Lithuanian Film Days in
Valdas Navasaitis, Arūnas Matelis and Audrius Poland. Prominent film critics, historians and
Stonys, who created their first films in the late theorists have contributed to the preparation of
1980s. After the restoration of the independence this material. We hope that the articles, interviews
of Lithuania, they established their voice and and insights provided in this catalogue will lead to
unique shooting style characterised by ellipses, better knowledge of Lithuanian cinema.
slow rhythm, mythologised space, and artistic
and philosophical undertones.
Editor Auksė Kancerevičiūtė

Such filmmakers as Audrius Juzėnas, Kristijonas

Vildžiūnas and Ignas Jonynas, who made their
debut later, reflect on the themes of historical
memory and delve into the consequences of the
failed communist system and the new social
challenges and moral dilemmas. They seek to
understand and reveal the duality of human
nature and the juxtaposition between ideals
and reality. The films by these directors can
be easily defined as the first films of this type.
Vildžiūnas’ Kai apkabinsiu tave (Back to Your
Arms), which recreates the Cold War era, was
made in collaboration with Studio Filmowe
TOR and was the first Lithuanian and Polish
co-production. Ekskursantė (The Excursionist)
by Juzėnas is the first Lithuanian feature film
about the mass deportations of people to Siberia.
Lošėjas (The Gambler) by Jonynas is the first
joint Lithuanian and Latvian feature film in 20
years of independence. The youngest generation

4 5
Lithuania and Poland. Neighbourship in Filmic
Form in the Cinema of the 1960s
By Anna Mikonis

T
here is a perception of Lithuanian Warsaw Pact countries. Then, in November of the
cinema which has hitherto maintained a same year, Michalina Meškauskienė, Lithuania’s
lively grip in Poland. It is conceived of as deputy minister of culture who held the brief
oscillating between the Romantic Mickiewiczian for cinema, welcomed a Polish delegation as it
representation of Dziady (Forefather’s Eve), crossed the border of her country. Its members
Czesław Miłosz’s magical and sentimental valley were Tadeusz Zaorski, the deputy minister of
in Tadeusz Konwicki’s auteurist interpretation culture and the arts, who was also the head of
and the latter’s nostalgic depiction of the land of Polish cinema at the time, directors Stanisław
his childhood, as portrayed through the lens of Lenartowicz and Witold Lesiewicz, film historian
Andrzej Wajda. Meanwhile, if we were to turn and critic Krzystof Teodor Toeplitz, and Helena
that point of view on its head and try looking at Lemańska, the editor-in-chief of the Polska
Polish cinema from the Lithuanian perspective Kronika Filmowa (Polish Film Chronicle). The
and look for connections between Lithuanian notion of making what would have been the
cinema and filmmakers and the cinema of first co-production in the history of Lithuanian
their neighbour, what would become evident cinema was discussed. Unfortunately, with the Polish delegation on a tour in Trakai (1958). From the right: 1. Krzysztof Teodor Toeplitz, 2. Tadeusz Zaorski, 3. Stanisław Lenartowicz,
is a marked divergence from the romantic authorities exercising firm control over the 6. Witold Lesiewicz, 7. Helena Lemańska. Source: Lithuanian Central State Archives, photo by M. Baranauskas.
and sentimental vision of “kith and kin from initiative, nothing but a politically oriented
Lithuania”, to use Tadeusz Lubelski’s description. concept for collaboration found favour. The film
It is a topic that is beyond the limits of this to be made by the “two nations” was to show the of a new generation of promising filmmakers division into good and evil central characters
short essay, but that nevertheless endeavours staunch struggle of the Polish and Lithuanian made itself heard. Alumni of the All-Union State and their roots firmly set in the dominance of
to encapsulate it in a concise whole, giving a communist movement under the leadership of Institute of Cinematography (VGIK) in the main, dialogue, gave way to a more interesting visual
brief presentation of the themes common to “outstanding Polish communist” Jan Przewalski they were thirsting to create a wholly different form and auterist individualism. The image of
the filmmakers of both countries, as well as the against the “burgeois” nationalists. Witold model of cinema. They all made their debut, be it the cinema that the young Lithuanians sought
sources of inspiration that Lithuanian cinema Lesiewicz was commissioned to direct the picture, documentary or feature, on their home soil, at the to create was one they had acquired both from
found in its neighbouring counterpart during with the screenplay being assigned to Juozas Lithuanian film studios; Vytautas Žalakevičius the film school and from the creative atmosphere
that most fascinating and really rather complex Baltušis, an author popular during the Soviet began with a full-length feature, Adomas nori of metropolitan Moscow. All-Union State
political era that was the 1960s. era and Jerzy Stawiński, the Polish Film School’s būti žmogumi (Adam Wants to be a Man, 1959), Institute of Cinematography (VGIK), one of
foremost screenwriter. However, the common while Arūnas Žebriūnas and Marijonas Giedrys the first institutions devoted to film education,
Together with the “thaw” in political relations friendship declared at the highest echelons failed contributed two of the four films that constituted functioned as a true melting pot of nationalities
between the Soviet Union and the West that to materialise on the ground. The screenplay was Gyvieji didvyriai (Living Heroes, 1960), in other and cultures, and it was while studying there that
occurred during the 1960s, interest arose not only never written. words, Paskutinis šūvis (The Last Shot) and Mums Vytautas Žalakevičius struck up a friendship
in American culture, but also in the culture of nebereikia (We Don’t Need It Anymore). Shortly with Jerzy Hoffman and Edward Skórzewski and
other Central and Eastern Europe states. The first In the meantime, changes of a more vital nature afterwards came Raimondas Vabalas’ debut with cinematographer Donatas Pečiūra talked the
links with Polish cinema originated in political were taking place within the creative milieu. Žingsniai naktį (Steps in the Night, 1962) and nights away with his roommates, Jerzy Grotowski
directives from the Soviet nomenklatura and they In the late 1950s, the cinema of Lithuania Almantas Grikevičius’ poetic documentary and Roman Farat. Both Hoffman and Žalakevičius
were intended to support mutual collaboration and Poland alike belonged to the upcoming about the history of Vilnius, Laikas eina per had Mikheil Chiaureli as their tutor, but it would
between Lithuanian filmmakers and those of generation, and they were changing its face. miestą (Time Walks Through the City, 1966). seem that Stalin’s “court” filmmaker neither
the other “people’s republics”. Early in 1958, the The Polish Film School was born on the wave influenced the works of the former nor lent wings
USSR’s Minister of Culture issued an ordinance of revival that followed Stalin’s death, while the As this new generation of artists stepped into the to those of the latter. They both graduated in 1955
on the improvement of relations between the 1960s proved to be a period of thriving debuts Lithuanian film studios, the former, ideologically and, in addition, they were linked by the creative
film industries of the Soviet Union and the other in Lithuanian cinema. It was then that the voice unequivocal works, with their axiological concepts they shared. Hoffman’s and Skórzewski’s

6 7
 graduation film, which marked the beginning of classics and the latest productions from the under the influence of which Vytautas Žalakevičius Algirdas Dausa in Jausmai (Feelings, 1968). Their
the “black series” in Polish documentary cinema, French New Wave and Italian Neo-Realism made his full-length feature debut, Adam Wants to dramatic representation of the fate met by the
was a creative impulse for Žalakevičius as well. movements, but also Polish works. It was not by be a Man and in the French New Wave, as can be Lithuanian resistance movement was constructed
Over the next decade, inspired by the ruling idea chance that the students and directors learned to seen in the works of Almantas Grikevičius, but by means ambiguous in expression and both
of the two Poles’ documentary debut, Uwaga, speak of the tragic fate of their nations from those also in the Polish cinematic oeuvre. Much later, metaphoric and Aesopian in idiom. The Poles
chuligani! (Attention, Hooligans!, 1955), he made films, as Andrei Konchalovsky recollected: Almantas Grikevičius admitted: clothed their catastrophic post-war realities in
Vienos dienos kronika (One-Day Chronicle, the costume of young men’s tragedies, while the
1963); innovative in terms of feature-film form, “Oppositional political thinking came to us not “I’ve always liked and admired Polish cinema. I felt Lithuanians clad them in family and individual
it reflects the selfsame central theme1. This from the West, but from our own, socialist Gulag. a great affinity with it. And I wasn’t the only one; dramas. A value both crucial and common to all
conviction as to society’s passivity and collective [...] The first world-class, anti-Soviet film was so did other Lithuanian directors. Most probably these works was the understanding of history as
responsibility for the spread of hooliganism was Popiół i diament (Ashes and Diamonds). It came because a shared history connects us, particularly viewed from the perspective of individuals and
to become a motif common to Hoffman and as an absolute shock. […] How I envied the Poles! the history present in Andrzej Wajda’s films”. the difficult choices they faced within a politically
Skórzewski’s documentaries and Žalakevičius’ And there they were, complaining that there was entangled society. Here, history takes the stage not
feature films alike. no freedom in their country”. Depicting the history of a subjugated society is by way of storming crowds, spectacular battles,
a motif shared by, and connecting, Polish and revolutionary headquarters, or frenzied rallies,
Moreover, at the All-Union State Institute of The latest films made behind the Iron Curtain Lithuanian cinema during the period in question, but as embodied in individual people shown in all
Cinematography (VGIK), the students were also came to film festivals in Moscow and, when as is the form we use to interpret it. In 1958, their existential complexity.
introduced to films from all over the world Polish films were screened in the cinemas of the Andrzej Wajda set Ashes and Diamonds in the
and this, of course, was one of the factors that Soviet Union, it was standing room only. Years immediate aftermath of the Second World War, In all of these works, we are also looking at that
influenced their development and did so in a later, Vladimir Baskakov, the most important telling a metaphorical tale of a young hothead refined and subtle cinematic idiom which is
way so evident as to need no explanation. For censor of this “most important of arts”, recalled: who lifts his hand against the Soviet authorities. Aesopian language. This symbolic, visual space,
they had unlimited access to the Gosfilmofond Two years earlier, in Kanał (They Loved Life, filled with double meaning, is present in the films
film archives, which held not only world cinema “The state film distribution departments had no 1956), he had recreated a realistic picture of the of Almantas Grikevičius, Vytautas Žalakevičius
fear of Andrzej Wajda’s A Generation, nor of his Warsaw Uprising resistance fighters perishing in and Andrzej Wajda. The white horse of Andrzej
1
In Attention, Hooligans!, the unseen narrator snatches a Ashes and Diamonds, nor of Jerzy Kawalerowicz’s the sewers beneath their capital. Less than two Wajda’s Lotna (1959) steps majestically into
newspaper from the hands of an elderly lady, saying, ‘Look! Mother Joan of the Angels, even though those films decades later, the ruptured and dissonant history Almantas Grikevičius’ Time Walks Through the
You’ve got to look! Just a step away from you, a crime’s been
committed. That’s it, that’s what your indifference leads to’. met with enormous criticism in official circles at of Lithuania’s post-war reality was unfolded by City to wander the backstreets and alleyways of
In Žalakevičius’ work, the central character stands under the time”. Vytautas Žalakevičius in Niekas nenorėjo mirti Vilnius as a symbol of the shared history of the
a tree, watching passively as, nearby, two young hooligans
knife a passer-by to death. Off-camera, the judge’s voice (Nobody Wanted To Die, 1965), Raimondas two nations, a history passed over in silence.
asks, ‘Why did you stand there, under the tree, while a During that period, Lithuanian filmmakers found Vabalas in Laiptai į dangų (Staircase to the Sky, Maciek, dying in agony on the rubbish heap of
person was being killed nearby?’ And the witness to the
event replies, ‘It was raining.’ inspiration not only in French poetic realism, 1967) and Almantas Grikevičius together with history and the crucifix hanging upside down

Lucyna Winnicka’s and Alicja Sędzińska’s visit to Vilnius (1966). Advertisement for Polish film week in Vilnius (1970). Source: Lithuanian A shot from A. Grikevičius’ Laikas eina per miestą (Time Walks Through the City). Birutė Žibaitė and Donatas Banionis. A shot from
Second from the right is Vytautas Žalakevičius, next to him Alicja Central State Archives, photo by M. Rebi. R. Vabalas’ Marš, marš, tra-ta-ta (Go, Go! Rub-a-Dub!).
Sędzińska and Lucyna Winnicka. Source: Lithuanian Central State Photo from the archive of cinematographer Donatas Pečiūra.
Archives, photo by M. Baranauskas.

8 9
in Ashes and Diamonds, the village horses “Roman Polański’s Dwaj ludzie z szafą (Two Army was used in the battle scenes. As the film Award for Best Documentary went to Drygas’
somnolently hauling the Soviet truck through the Men and a Wardrobe, 1960) made an enormous correspondent for Głos Wybrzeża reported from own film, Usłyszcie mój krzyk (Hear My Cry,
oak forest, with a Pensive Christ, symbol of agony impression on me. The irrational scene where the site: 1991), which restored Ryszard Siwiec’s story to its
and sorrow, affixed to one of the trees visible in the two men pull the wardrobe from the sea is rightful place in history.
the background in Nobody Wanted To Die; these the most beautiful in the history of cinema. It’s a “The crowd scenes feature the Polish army, under
are just a few of the visual metaphors with which masterpiece”. the instruction of six experienced stunt artists, For Lithuanian directors, Polish cinema was a
the works in question are endowed. Here, the as well as sixty-five horses and grooms from the model for emulation and a source of inspiration.
symbols construct a world that has shifted out of Towering over friendship and fascination alike, stud farm in Starogard and the Pedigree and It was thus that a subconscious notion arose;
kilter and where traditional values have ceased to though, was the sparkling penmanship and Thoroughbred Breeding Station in Gajowo. The the notion that Polish films were films that
exist; they are also a metaphor, silent, yet so very perception of a man enamoured of Lithuanian Starogard mounts are already seasoned film Lithuanian cinema lacked and could have made
eloquent, for a subjugated society. cinema, Janusz Gazda. It was, indeed, thanks extras. After all, they won their on-camera “spurs” had it enjoyed the same unconstrained creative
to the writings of this film critic for Ekran that in Knights of the Teutonic Order”. freedom as that which, in accordance with the
On the other hand, Raimondas Vabalas’ political Lithuanian cinema has a place in the reflections conviction of the time, existed in Poland. Along
pamphlet, Marš, marš, tra-ta-ta (Go, Go! Rub-a- of Polish 20th century film scholarship, as well as However, work on the film was interrupted and with inspiration and filmmaking experience,
Dub!, 1964), is very far removed from cinematic being appreciated and written about. the material shot by Grikevičius, with all its verve, Lithuania’s directors drew the courage to speak
drama. The director, who was born in Paris and its extraordinarily evocative battle scenes and its out on vital national matters from the Polish Film
is descended, on his mother’s side, from a noble It was also thanks to Poland’s film-oriented notable injection of naturalism, was thrown out School. Moreover, they were always able to count
Polish family, the Górskis, uses grotesquerie to print media that her cinema permeated the by the censors, shattering the director’s life2. on the support of their Polish friends.
tell the story of a Lithuanian youth, Zigmas, and consciousness of Lithuanian audiences. At the
his love for a Polish girl, Jadwiga, a tale which is time, it was the only foreign press of its kind to It also seems only right to look at one more It could thus well be said that the specific nature
played out against the backdrop of two battling reach the Soviet market regularly with what was, historical connection, even though this means of the historical experience uniting the two
political factions, Centia and Groszia. The source for the time, something of a mass circulation. moving slightly ahead. The turn of the 1960s is countries, the shared past of bitter experiences
of the film lay in a screenplay entitled Kiškis Binders of Film, Ekran and Kino can still be found marked by events of a singular nature that took and the affinity of mutual friendship bolstered
(The Hare), by Lithuanian-Jewish writer Grigorij today in the libraries of Lithuanian directors, place in Poland and Lithuania alike; the “human by that past, form links connecting the film
Kanovičius and the prematurely deceased Ilja film critics and cinema lovers alike. Polish actors candles” lit in self-immolation as an act of directors of the neighbouring states of Lithuania
Rudas-Gercovskis. That work was a light-hearted Daniel Olbrychski, Zbigniew Cybulski, Beata dissent against the USSR. In the 10th Anniversary and Poland.
tale inspired by Andrzej Munk’s Zezowate Tyszkiewicz, Lucyna Winnicka and Pola Raksa Stadium in Warsaw in 1968, Ryszard Siwiec
szczęście (Bad Luck, 1960). In a manner both enjoyed a great deal of popularity, with their set himself ablaze in protest against the Soviet
colourful and supremely comic, it told the story photos being clipped out of magazines and used invasion of Czechoslovakia. In 1972, 18-year-
of a noble but hapless official whose doings lay to adorn the front windscreens of thousands of old Romas Kalanta set himself on fire in the
bare the vices of a small town in the pre-war lorries on every road in the Soviet Union. municipal square in Kaunas, leaving a note that
borderlands of Poland and Lithuania. The script read, “Please blame the Soviet Union for my
also spoke with profound irony of the political It is also worth mentioning an initiative that was death”. The fact that film versions of both these
tension in relations between the two countries, never to see the light of day. The 1960s came to profoundly moving manifestations exist is down
which the eponymous hare heedlessly inflames by a close at the Lithuanian film studios amidst the to the initiative of documentary maker Maciej
accidentally crossing the border. turbulent atmosphere of the work on Almantas Drygas, who, incidentally, is the husband of Vita
Grikevičius’ Herkus Mantas, an historical epic Želakevičiūtė-Drygas, Vytautas Žalakevičius’
The fascination of Lithuanian directors with about the Great Prussian Uprising against the daughter. In 1990, Raimundas Banionis made
Polish cinema was also reinforced both by their Teutonic Knights in the Middle Ages. One of Vaikai iš “Amerikos” viešbučio (The Children of the
travels on the festival circuit and by friendship. the factors determining the undertaking of Hotel America); the screenplay, which tells of the
Vytautas Žalakevičus came to know Andrzej such a major venture was Lithuanian audiences’ Soviet authorities’ repression of Lithuania’s youth
Wajda, and Krzysztof Zanussi’s friendly support rather ambiguous reception of Aleksander Ford’s as a result of the events of the spring of 1972, was
and advice helped Almantas Grikevičius get Krzyżaków (Knights of the Teutonic Order). The written by Drygas and translated into Lithuanian
through some difficult moments in his life. studio decided to portray its own vision of the by Želakevičiūtė-Drygas. A year later, the Felix
Arūnas Žebriūnas got to know Roman Polański’s nation’s struggle against the Order, although the
work at film festivals and, years later, this creator way in which the filming of an historical epic 2
A film about the Prussian leader was made in 1972, with
of Lithuanian poetic cinema remembered: was approached was learned from the Poles. the same title but less successfully, by another director,
Shooting took place in Malbork and the Polish Marijonas Giedrys.

10 11
A Short Review of Lithuanian Cinema
By Linas Vildžiūnas

C
inema is the only art form that does not the local colours into schemes of socialist realism.
have a patron muse, yet the exact date
of its birth is well known: 28 December The sudden breakthrough of real Lithuanian
1895. On that evening, two brothers, Louis and cinema was sudden and unexpected. At the end
Auguste Lumière, presented a public viewing of of the 1960s, the Lithuanian film studios saw the
moving pictures in the basement of the Grand rise of a new generation of young film directors,
Café in the Boulevard des Capucines in Paris. supplemented by students returning from the
They called their first camera and projector a Moscow Institute of Cinematography. This was
cinematograph. This invention, which astounded the generation of directors Vytautas Žalakevičius,
the audience, was destined to become not only Arūnas Žebriūnas, Raimondas Vabalas, Almantas
the most popular form of entertainment in the Grikevičius, Marijonas Giedrys and Algirdas
20th century, but also a fine art that perfected the Araminas; cinematographers Jonas Gricius,
distinctive and evocative language of images. Algimantas Mockus and Janas Tomaševičius; and
Although a quick end was predicted more than documentary filmmakers Robertas Verba and
once for the so-called Tenth Muse, especially Henrikas Šablevičius. They searched for ways
with the invention of television, films even now to express the distinctive Lithuanian worldview
continue to rule over the public’s feelings and through cinema and reveal the dramatic theme
Inga Mickytė. A shot from A. Žebriūnas’ Gražuolė (The Beauty). Source: Lithuanian Theatre, Music and Cinema Museum.
minds, while the art of cinema is seen as an of the postwar period. Drawing inspiration
integral part of every nation’s culture. from national literature and art, this time they
created an original style of Lithuanian cinema
The Lumière brothers’ cinematograph reached characterised by slow, thoughtful narrative, (Adam Wants to be a Man, 1959). However, the of Vytautas Žalakevičius and his talent as
Lithuania relatively quickly. The first showing poetic metaphors, and the evocative plasticity of calling card for our cinema was the anthology a cinematic playwright are reflected in the
in the terrace theatre of the Vilnius botanical monochrome. Of course, the rise of Lithuanian film Gyvieji didvyriai (Living Heroes, directors publicistic pathos and innovative form of Vienos
gardens (now the Bernardine Gardens) took place cinema coincided with the easing of the political Marijonas Giedrys, Balys Bratkauskas, Arūnas dienos kronika (One-Day Chronicle, 1963). In his
on 3 July 1897. After a decade, Kaunas became system, the so-called “thawing”. The 1970s was Žebriūnas and Žalakevičius), which was created most famous film, Niekas nenorėjo mirti (Nobody
the birthplace of puppet animation. Władysław the heyday of cinema in Russia and the other a year later and awarded the main prize at the Wanted to Die, 1965), Žalakevičius searched for
Starewicz, who later became a famous director in Soviet republics, but Lithuanian, as well as Karlovy Vary International Film Festival. The an artistic generalisation of the post-war period,
Russia and France, in 1910 created here the first Georgian, cinema stood out even in this bright individual sections of Living Heroes, uniting into utilising the structure of a metaphorical epic
spatial animation in Walka żuków (The Battle of spectrum, and more than once garnered acclaim a harmonious whole different creative styles and ballad. Understandably, this was a glimpse not
the Stag Beetles). However, due to unfavourable at festivals held in the Baltic States, in the Soviet themes, foreshadowed the diversity in genre and from the “perspective of the forest”. Therefore,
historical and economic circumstances, cinema Union, and internationally. It was not a free stylistics in Lithuanian cinema. once Lithuania regained its independence, the
became more popular only half a century later in expression of creativity. Cinema, as a collective film was sharply, but straightforwardly criticised.
the context of national culture. and financially and ideologically dependant art, The short film Paskutinis šūvis (The Last Shot), However, for the viewers of the time, Nobody
had to fight against censorship and the ignorance which creates a broad portrait of a girl in a Wanted to Die imagined the recent history that
The young independent Lithuanian state in the of officials and learn to bypass certain obstacles polka-dot dress and expresses the contraposition people had previously feared to even speak about.
1920s and 1930s was unable to create its own by creating new, sometimes very sophisticated, of the pure world of a child against an adult’s
cinematography, and the Lithuanian film studios authentication codes, although the audience harsh world, was expanded on by Žebriūnas in In a historically and psychologically convincing
founded during the Soviet regime, which in the could easily comprehend them. For them, this his films Paskutinė atostogų diena (The Girl and manner, Raimondas Vabalas’ Laiptai į dangų
post-war period made only film chronicles and art form was emotionally close, appealing to their the Echo, 1964), awarded the Grand Prize at the (Stairway to Heaven, 1966), a film rich with stern
documentaries, performed mainly propagandistic common identity. Cannes Youth Film Festival, the television film realism and based on a novel by Mykolas Sluckis,
functions. The few Lithuanian-themed features Mirtis ir vyšnios medis (Death and the Cherry revealed the post-war period. The film Jausmai
that appeared at that time were directed by The pioneering film of Lithuanian cinema was Tree, 1968), and somewhat differently in Gražuolė (Feelings, 1968), by directors Almantas Grikevičius
directors from Russia who artificially included Vytautas Žalakevičius’ Adomas nori būti žmogumi (The Beauty, 1969). The conflictive temperament and Algirdas Dausa, from the background of

12 13
 historical upheaval, raises to the foreground the Mill) he created the stylish, still-popular musical works as Verba’s Čiūtyta Rūta (1968), Šimtamečių in their voice this cinema was already different,
inner feelings of the characters. The film’s rich Velnio nuotaka (The Devil’s Bride, 1974) and the godos (Centenarian Dreams, 1969), and Paskutinė distancing itself from the so-called objective
atmosphere and multifaceted expressiveness was lyrical comedy Riešutų duona (Walnut Bread, vienkiemio vasara (The Farmstead’s Last Summer, reality, sharing an author’s expression, and
probably what drove its recognition as the best 1977) based on a story by Saulius Šaltenis. 1971) and Henrikas Šablevičius’ Kelionė ūkų conveying an individual’s worldview. Although
Lithuanian film as determined by film critics on Algimantas Puipa brought a breath of fresh air lankomis (Journey Through the Fields of Nebulas, the new Lithuanian cinema was not engaged
the occasion of a century of cinema in 1995. Even into Lithuanian cinema with his dramatic films 1973), Žiniuonė (Wise Woman, 1975), and socially, the melancholy of irreversibility that
today Grikevičius’ talent to express complicated Velnio sėkla (The Devil’s Seed, 1979), Moteris Pabuvam savam lauki (We Were In Our Own Field, encased it, the feeling of degradation, the
reflections on history only through visual ir keturi jos vyrai (A Woman and Her Four 1988). Even during the years of independence this weathering that pervades the image, reflected
associations in the documentary film Laikas eina Men, 1983), and Amžinoji šviesa (Eternal Light, tradition was continued in the films of Diana and its own time and revealed the worldview of the
per miestą (Time Passes Through the City, 1966) 1987), giving them a sense of the grotesque and Kornelijus Matuzevičius, Už slenksčio (Beyond socially fractured generation. The individualism
continues to fascinate. paradoxical and stylistic deformation. the Threshold, 1995) and Laukimas (Waiting, of creation in part was driven by the fact that
1997). We can also find echoes of it in feature cinema was not systematically supported by
Lithuanian cinematography was not abundant, In 1965 the cinematographer Robertas Verba films as well: Gytis Lukšas’ Vasara baigiasi rudenį the state and ended up at the fringes of cultural
but it was very diverse and ambitious. In the created a humble documentary with the symbolic (Summer Ends in Autumn, 1981); Vakar ir visados policy. Along with independence, almost all of the
psychological drama, Birželis, vasaros pradžia title Senis ir žemė (The Old Man and the Land), (Yesterday and Always, 1984), which was inspired well-known cinematic masters had to withdraw
(June, the Beginning of Summer, 1969) Vabalas, which gave rise to a current of Lithuanian artistic by the poetry of Marcelijus Martinaitis; and the from active work, while the younger generation
together with the writer Icchokas Meras, raised documentary that continued for almost three 2009 film adaptation of Romualdas Granauskas’ learned to create films by producing them,
sensitive issues of social responsibility, while decades. Its most important hero was a tenderly novel Duburys (Vortex). founding studios, searching for foreign partners,
this director’s perseverance in restoring the portrayed villager, while the most important etc. According to Stonys, cinema in Lithuania is
achievement of Darius and Girėnas in his film theme was the connection with one’s native Naturally continuing the tradition of national created through blood and many compromises.
Skrydis per Atlantą (Flight over the Atlantic, land and inherited tradition and the cracking cinema were also the first films created by the Lithuanian cinema survived with the help of its
1983) was comparable to a civic feat, and the and systematic destruction of these bonds. If art generation of directors in independent Lithuania: artistic quality and international recognition. The
film was met with appreciation by audiences. The in the conditions of captivity is a hidden form Praėjusios dienos atminimui (In Memory of a pure visual suggestion of Bartas’ films Trys dienos
first and so far only historical epic film, Herkus of resistance, than this feature was particularly Day Gone By, 1989) by Šarūnas Bartas, Dešimt (Three Days, 1991), Koridorius (The Corridor,
Mantas (1972), was directed by Giedrys. Algirdas represented by documentary films, which minučių prieš Ikaro skrydį (Ten Minutes Before the 1995), Mūsų nedaug (Few of Us, 1996), Namai
Araminas subtly explored the issues of a young consistently captured the death of the traditional Flight of Icarus, 1991) by Arūnas Matelis, Neregių (The House, 1997), and Laisvė (Freedom, 2000)
person maturing in the films Kai aš mažas buvau village and conveyed this social drama through a žemė (The Earth of the Blind, 1992) by Audrius became a synonym for Lithuanian cinema abroad,
(When I Was a Child, 1968) and Maža išpažintis melancholic mood and visual symbols, sometimes Stonys and Rudens sniegas (Autumn Snow, 1992) although they were often filmed outside Lithuania
(A Small Confession, 1971). Žebriūnas went in the speaking openly and sometimes simply by Valdas Navasaitis. Their common features were with the help of French and Portuguese producers.
direction of genre searching, and based on Kazys poeticising old rural values. Among the many visual associations containing multiple meanings, Stonys’ 1992 film Neregių žemė was awarded the
Boruta’s novel Baltaragio malūnas (Baltaragis’ films using these poetic devices are such vivid long takes, and internal emotional intensity. But Felix Prize as the best European documentary

Antanas Šurna. Shots from M. Giedrys’ Herkus Mantas. Source: Lithuanian Theatre, Music and Cinema Museum. Remigijus Sabulis. Shots from R. Vabalas’ Skrydis per Atlantą (Flight over the Atlantic). Source: Lithuanian Theatre, Music and Cinema Museum.

14 15
film. Matelis’ touching film about the little patients
in the leukaemia ward at Santariškės Children’s
of Arts graduate Reda Bartkutė Tomingas,
Kaltė (Guilt, 2013), was the first Lithuanian film
Cinema Timeline
Hospital, Prieš parskrendant į žemę (Before Flying invited to participate in the Annecy International
Events in culture, art, history
Back to Earth, 2005), earned multiple awards Animated Film Festival. The Berlin Film Festival’s Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
at international film festivals, and in 2007 the Panorama Programme in 2011 began with the
1895 The first private screening of projected
director was honoured with a Directors Guild debut of anthropologist Mantas Kvedaravičius: motion pictures was held by brothers
of America Award for artistic achievements in a film about the Chechen tragedy, Barzakh, the Auguste and Louis Lumière in Paris
in 1895.
documentary cinema. creation of which was supported by the famous Léon Gaumont’s film company Comptoir
Finnish director Aki Kaurismäki. The artistic général de Photographie was founded.

The high artistic status of Lithuanian cinema is identity of Lithuanian cinema is beautifully 1896 One of the earliest films by the T.A. Edison
affirmed by the National Cultural and Artistic described in these words by Matelis: “Our films film company – William Heise’s John
C. Rice-May Irwin Kiss brought the first
Awards presented to Bartas, Stonys and Matelis. come from similar homes: from not speaking, demand for film censorship.
Despite difficulties with financing, it remains the growth of silence. In films one can feel the The Pathé-Frères Company was founded by
Charles Pathè.
creative and varied. A personal cinematic shared experiences of us all. Few can understand
chronicle is continuously being created by Romas our feelings, for example, regarding January 13th. 1897 The first screening of projected motion
Lileikis, various aspects of social isolation are But even the most banal song that was heard in pictures by brothers Auguste and Louis
Lumière took place in the Bernardine
explored by Kristijonas Vildžiūnas, Giedrė those days can unite us. We are from another Garden in Vilnius.
Beinoriūtė explores various genres of cinema, and island. You can neither run nor not run from it.
more and more young filmmakers are making In our experience, there have been moments that 1898 Publication of Vincas Kudirka’s poem
Tautiška giesmė (The National Hymn),
their debuts. Animated films, pioneered by are important and meaningful for only us. And which later became the national anthem,
in the newspaper Varpas.
Zenonas Šteinys and Ilja Bereznickas, almost did those moments will be the cause of an intangible
not have the conditions to allow them to develop commonality of sight or silence.” 1899 The Vitagraph Company of America was Publication of the translation by Vincas
founded. Kudirka of the 3-scene drama Dziady
further, but the debut film of Vilnius Academy (Forefathers’ Eve) (Part 3) by Adam
Mickiewicz in the newspaper Varpas.
The first public performance of Amerika
pirtyje (America in the Bath) was staged in
the Lithuanian language in Palanga.

1900 James Williamson’s film Attack on a China Publication of Juliusz Słowacki’s drama
Mission. Mindowe. Król litewski: Obraz historyczny
George Albert Smith’s Grandma’s Reading w pięciu aktach (Mindaugas. The King of
Glass, one of most famous films of the Lithuania) (translated by Vincas Kudirka).
Brighton School.

1901 James Williamson’s film The Big Swallow. Mikalojus Konstantinas Čiurlionis’
symphonic poem Miške (In the Forest).
Publication of Lietuviškos kalbos gramatika
(Lithuanian Grammar) by Jonas Jablonskis
in Tilsit.

1902 International success of Georges Méliès’

film Le Voyage dans la Lune (A Trip to the
Moon).

1903 Edwin S. Porter’s film The Great Train Mikalojus Konstantinas Čiurlionis painted
Robbery. the series of paintings Laidotuvių simfonija
(Funeral Symphony).

1904 Robert W. Paul’s film An Extraordinary Publication of the first Lithuanian language
Cab Accident. daily Vilniaus žinios (Vilnius News)
in Vilnius (published until 1909).
The ban on publications in the Latin script
was withdrawn (May 7).

1905 The premier of the first Italian film La presa The first permanent cinema buildings The Great Seimas of Vilnius
di Roma (The Capture of Rome), director were erected in Vilnius and Kaunas. Up to (December 4–5).
Fileteo Alberini. 30 cinemas were built before 1914.

16 17
Feature Film after 1990: Generation Change,
New Aspects and Challenges
By Renata Šukaitytė

T
ogether with its Baltic neighbours Latvia sound design; contrasting urban and countryside
and Estonia, Lithuanian film production settings; and de-dramatised narrative structure
is one of the world’s most modest. It rose and slow camera movements attuned to the
to international prominence in the early 90s with a traumatic experiences of disaffected, alienated,
new identity, which was distinguished and defined insular, and existentially damaged protagonists
by art cinema works. It should be noted that facing up to the new reality (the transition from
Lithuanian film quite quickly evolved from being the Soviet to the capitalist system) and dealing
a marginal to a transnational phenomenon due with traumatic memories from the Soviet
to the sympathy and great interest of prestigious past, which often feels like a slowly emerging
international festivals and the combined efforts apocalypse.
of filmmakers-auteurs who had started their
careers during the Soviet period in Lithuania It should be noted that the Soviet period is one
(including Vytautas Žalakevičius, Algimantas of the most represented in historical Lithuanian
Puipa, Gytis Lukšas and Janina Lapinskaitė) and cinema, as film directors lived in this time and
those who debuted during the period of political still have fresh memories about it. Thus historical
A shot from Š. Bartas’ Laisvė (Freedom).
and economic transition in the late eighties and films came to prominence in the national
early nineties (such as Šarūnas Bartas, Valdas cinema through the thoroughly personalised
Navasaitis, Romas Lileikis and Audrius Juzėnas). cinematic form, which was used as a certain
vehicle for filmmakers’ major concerns and filmmakers, such as Jonas Vaitkus (Vienui vieni Ivanauskaitė; Gytis Lukšas’ already mentioned
In the 90s the films of Šarūnas Bartas (Trys dienos preconditions regarding the situation through [Utterly Alone, 2004]), Kristijonas Vildžiūnas (Kai film Vortex (2009), based on the novel by
[Three Days, 1991], Koridorius [Corridor, 1995], which they lived and in which they were living. apkabinsiu tave [Back to Your Arms, 2010]), and Romualdas Granauskas; and Donatas Ulvydas’
and Mūsų nedaug [Few of Us, 1996]) and Valdas Gytis Lukšas is perhaps the best director (next Audrius Juzėnas (Ekskursantė [The Excursionist, Tadas Blinda. Pradžia (Tadas Blinda: The Legend
Navasaitis (Kiemas [Courtyard, 1999]) became to Bartas) to discuss, as his works remain among 2013]) are more explicit in dealing with historical is Born, 2011), inspired by Rimantas Šavelis’
a marker of Lithuanian cinematic auteurism, the most interesting and profound in dealing issues in their films and focus on personal rather novel. This film genre is the most admired by the
which has been synonymous with the extremes with the recent Lithuanian past. Lukšas’ Duburys than collective dramas in their highly visual and local audience and the statistics prove this. For
of the art cinema style (long takes, fragmentary (Vortex, 2009), based on the novel by Romualdas emotional cinematic works.
narrative, minimalist acting, and the use of Granauskas, is yet another apocalyptic image
desolate and vanishing locations as central points of Soviet Lithuania and reveals the gradual It is worth noting that national literature is
of reference in their thematic preoccupations) degradation of Soviet citizens, both the colonised yet another important inspiration for local
and rejection of many of the tenets of mainstream (the Lithuanians) and the colonisers (the filmmakers. Adaptations of books by famous
filmmaking (a clear plot, action-based narrative, Russians), as forced deterritorialization and Lithuanian writers are among the most popular
straight-forward characters, etc.). The early reterritorialization makes people feel rootless film genres that have been brought to the big
works, as well as more recent films, namely Laisvė and alienated, even in their own country or town. screen by filmmakers, e.g. Janina Lapinskaitė’s
(Freedom, 2000), Septyni nematomi žmonės (Seven The film is composed of stylish black and white Stiklo šalis (A Land of Glass, 2004), based on a
Invisible Men, 2005), and Eurazijos aborigentas images and uses mainly long takes for revealing story by the writer Vanda Juknaitė; Algimantas
(Eastern Drift, 2010) by Bartas and Perpetuum the emptiness and stagnation of the place in which Puipa’s Dievų miškas (Forest of the Gods, 2005),
Mobile (2008) by Valdas Navasaitis, which already the main protagonist resides and interacts with which is based on the novel written by Balys
contain some genre film elements (i.e. crime others. However, the director leaves the viewer Sruoga; Nuodėmės užkalbėjimas (The Whisper
drama and road movie) are instantly recognisable (and post-Soviet Lithuania) hope since at the end of Sin, 2007) and Miegančių drugelių tvirtovė
for long takes and fluid, sometimes sinuous, of the film the main protagonist surfaces from (Fortress of the Sleeping Butterflies, 2012), both of Elžbieta Latėnaitė. A shot from K. Vildžiūnas’ Kai apkabinsiu tave
camera movement; picturesque sets and ambient the vortex after trying to drown himself. Other which were based on the literary work of Jurga (Back to Your Arms).

18 19
 example, in 2005 the feature film Forest of the the films of the 2000s, the city and urbanity in international funders, promoters, and audiences. in crossing national borders and attracting
Gods climbed to the top of the domestic box office general have finally assumed a kind of cultural International collaboration is getting more international film festivals such as the Cannes
(186,372 euros) and was viewed by approximately and ideological dominance. Several films such as important in producing features with higher International Film Festival (Seven Invisible Men in
70,917 cinemagoers, while Tadas Blinda. The the drama Nuomos sutartis (The Lease, 2002) by production value and easier access to international 2005 and Aš esi tu [You am I, director Vildžiūnas]
Legend is Born broke all records for attendance in Kristijonas Vildžiūnas, the films Diringas (Diring, markets. Among the most successful recent in 2006), the Berlin Film Festival (Eastern Drift
Lithuania in 2011, surpassing even the American 2006) and Artimos šviesos (The Low Lights, 2009) international co-productions are Back to Your in 2010 and The Summer of Sangailė in 2015), the
blockbuster Avatar and garnering a box office of by Ignas Miškinis, the black comedies Zero Arms, directed by Kristijonas Vildžiūnas and Montreal World Film Festival (Loss in 2008 and
over 1 million euros. (2006) and Zero II (2010) by Emilis Vėlyvis, coproduced by Studio Uljana Kim (Lithuania), Vortex in 2009), the International Film Festival
the criminal drama Perpetuum Mobile (2008) Studio TOR (Poland), and Studio Pola Pandora Rotterdam (You am I in 2007 and Perpetuum
Recent Lithuanian cinema, especially the films by Valdas Navasaitis, the psychological drama Film (Germany); Eastern Drift, directed by Mobile in 2008), the Cairo International Film
made by younger filmmakers, has become Kolekcionierė (The Collectress, 2008) by Kristina Šarūnas Bartas and coproduced by Kino Bez Festival, (Perpetuum Mobile in 2008 and Loss in
increasingly preoccupied with adapting and Buožytė, Nereikalingi žmonės (Loss, 2008) by Granits (Russia), Lazennec Films (France), 2008), the Shanghai Film Festival (Loss in 2008),
experimenting with generic templates borrowed Maris Martinsons, the sci-fi melodrama in Saulius and Studio Kinema (Lithuania), and which the Karlovy Vary International Film Festival (A
from Hollywood cinematic models and Western Drunga’s directorial debut feature Anarchija premiered at the Berlinale Berlin International Land of Glass in 2005, The Collectress in 2009, The
popular cinema. However, these films incorporate Žirmūnuose (Anarchy in Žirmūnai, 2010) and Film Festival in 2009; Vanishing Waves, jointly Low Lights in 2009, and Vanishing Waves in 2012),
not only certain genre conventions, but also art Kristina Buožytė’s Aurora (Vanishing Waves, made by Temora (Lithuania) and Acajou Films the Edinburgh International Film Festival (The
cinema in general. The attractiveness of the 2012), the musical drama Narcizas (Narcissus, (France) and internationally premiered at the Vortex in 2009), the Palm Springs International
generic formula to the young generation of 2012) by Dovilė Gasiūnaitė, and Lošėjas (The Karlovy Vary International Film Festival in Film Festival (Vortex in 2009 and The Loss in
filmmakers is evident. Genre films tend to be Gambler, 2014) by Ignas Jonynas are marked with 2012; Emilis Vėlyvis’ Redirected! (2014), which 2009), and the San Sebastian International Film
suitable for dealing with current issues of modern an attempt to visualise the city in what had been was coproduced by Kinokultas (Lithuania) and festival (The Gambler in 2014).
life in Lithuania (migration, alienation, new forms a missing discourse in Lithuanian literary and Wellington Films (UK) became a national hit,
of sexuality, cultural diversity, the emancipation visual culture for a while. It should be noted that and in one month earned more than 1 million To sum up, since the 90s, Lithuanian filmmakers
of women, the expansion of the black market, the city in these films is a city of the imagination euros; and Alantė Kavaitė’s Sangailės vasara (The have continued to tread a cinematic path between
etc.), to appeal to a young audience, and to have that film directors (and city dwellers) inhabit and Summer of Sangailė, 2014), a coproduction of extreme auteurist films like Bartas’ Freedom and
the potential to cross over the national border. which inhabits them. Fralita Films (Lithuania), Les Films d’Antoine Eastern Drift, which easily gain international
The economic development of Lithuania and (France), and Viking Film (Netherlands), which visibility, and on the other hand, the so called
the triumph of a capitalist modernity with all its Transnational Gestures. Due to the generic, was selected to the programmes of prestigious audience film by producing best-selling literary
advantages and disadvantages and new heroes (all stylistic and thematic diversity and dynamism film festivals such as Sundance and Berlinale. adaptations like Fortress of the Sleeping Butterflies
kinds of dealers, a new creative class, gamblers, of the transnational collaborative practices or black comedies like Redirected, which have
businesswomen, pop-stars, etc.) have suddenly of the local cinema, it is becoming more The internationalisation of the Lithuanian film pulling power at the box office.
occupied the Lithuanian screen. Very visibly in internationalised and successful in attracting industry has made the films more successful

Julija Steponaitytė and Aistė Diržiūtė. A shot from A. Kavaitė’s Povilas Budrys and Jurga Kalvaitytė. A shot from J. Lapinskaitė’s Giedrius Kiela and Oksana Borbat. A shot from G. Lukšas’ Vytautas Kaniušonis. A shot from I. Jonynas’
Sangailės vasara (The Summer of Sangaile). Stiklo šalis (A Land of Glass). Duburys (Vortex). Lošėjas (The Gambler).

20 21
 Raimundas Banionis: things changed. Modris Tenisons, the legendary
founder of the Kaunas Pantomime Group and
from rumours what had happened. It was a very
strong impetus for my generation and led to
Latvian film director and artist, was thrown out people taking interest in the history of Lithuania
Film Plots Dictated by Reality of Lithuania. Prominent theatre director Jonas
Jurašas was in two years’ time forced to emigrate.
and its national symbols and formed a perception
of freedom. Before that an independent state was
And the editor of Nemunas, an advanced, non- something well in the past and we knew little about
ideological magazine, was replaced. The police it. All of a sudden these things became relevant.
tried to catch us in the seaside town of Palanga So the film emerged as a story of my generation.
Raimundas Banionis was born into the family of theatre actors Donatas and Ona for having long hair and wearing jeans; this I wrote the script together with my course mate
Banionis. Since his first feature films Greitis mano dievas (Speed is my God) and Mano continued throughout the summer. We would go Maciej Drygas in 1988–1989. At that time I also
mažytė žmona (My Little Wife), he has worked with young Lithuanian actors and to a dancing place laid out in front of Tyszkiewicz completed the documentary film Fontano vaikai
chosen themes concerned with youth. Released in 1990, his film Vaikai iš “Amerikos” Palace in Palanga, and there they were waiting for (The Fountain Children). The witnesses who were
viešbučio (The Children from Hotel America) marked the beginning of the independent us: policemen with dogs. It was a different epoch still alive talked about their experiences.
Lithuanian cinema. that broke a lot of people. There was a longhaired
The film The Children from Hotel America also
guy in Kaunas, totally innocent, had nothing to
talks about freedom. Interestingly enough, it
do with hippies. After the events in May, one day
Raimundas Banionis. has remained very highly watched to this day.
he joined us and we noticed he had short hair. We
Photo by Evgenija Levin. My colleague Artūras Jevdokimovas presented
asked, “Juozukas, did they shave you too?” “No, I
the film in Latvia, Croatia, and last year in the
did it myself ” was the reply.
You created full-length features for over a I used this phone number only once: in my Czech Republic. Now I have an invitation to go
decade (1980–1992). This was a period of film The Children from Hotel America. There So was the plot for The Children from Hotel to California. The film continues to live because
important historical changes for Lithuania, was a scene where Kostas (played by Arūnas America dictated by reality? it talks about what was prohibited by the Soviets.
when Sąjūdis (the reform movement of Sakalauskas) was interrogating Jagger (played by They prohibited basic innate human freedoms: to
Yes it was. Kalanta set himself on fire on 14 May,
Lithuania) took shape and the aspirations Augustas Šavelis), and then after threatening him, listen to and say what you want and to live where
and five days later there was an amateur film
for independence strengthened. Although Kostas tells Jagger to call him if he remembers you want. And also to believe what you are saying
festival for schoolchildren in Kaunas. My father
indirectly, this atmosphere is reflected in anything about his friends. The Children from and to say what you are believing. After all the
did not want to allow me to go, but I went. I
your films. So could the censorship of films Hotel America was the first independent film. practice was to say one thing and to do something
remember walking around Kaunas, it was a warm
finally be disregarded? Moscow allocated money for it, but it no longer totally different. Andrei Tarkovsky liked to say
spring day and there was no trace of the riots.
controlled the production. We filmed it in 1990 that beauty would save the world. It’s absolutely
The film Neatmenu tavo veido (I Don’t Remember The city was clean, beautiful and tidy. Someone
when the Soviet Union announced its blockade clear to me that only tolerance can save it. Once
Your Face) already reflected changes in the mood, was washing Lenin’s head (a monument – editor’s
of Lithuania. We were going from Vilnius to we stop destroying people or suppressing them
because the rallies of the Sąjūdis movement had note) and there was nothing else there. We learned
Klaipėda and came across only two cars on our
started that year in Vingis Park. I took this film
way. There was no fuel. We needed a helicopter, so
to Romania, a very interesting country that at
we hired it in Latvia, because they still had some
the time was at odds with America, Israel and
fuel left. Although we did not have the money,
the Soviet Union. When I returned to Lithuania
our enthusiasm was overflowing. We filmed in the
around 1988, just before shooting The Children
summer and half a year later, in February, the film
from Hotel America, I was invited to speak to a
premiered in a fully packed cinema.
person from the state security. I thought that
maybe they were interested in what things were The introductory credits of The Children
like in Romania. I told them my experience as a from Hotel America read “Kaunas 1972”.
tourist. The man calmly listened and then asked, This was the year of the self-immolation of
“And how about at your film studio? Who is Romas Kalanta in Kaunas. Did this event
saying what?” Realising that they were trying affect the worldview and thinking not only
to recruit me, I angrily said, “So, you want me of the heroes of the film, but also of your
to squeal on people?” You can imagine where I generation?
would have gone had I said those words 30 years
I believe so. I called my generation the “shaved
earlier. However, before saying good-bye he just Augustas Šavelis and Gabija Jaraminaitė. Shots from R. Banionis’ Vaikai iš “Amerikos” viešbučio (The Children from Hotel America).
off ” generation. After Kalanta’s self-immolation,
wrote his name, Kostas, and his phone number.

22 23
because they think or speak differently, and these
people stop hitting back for suppressing them,
Selected filmography
Greitis – mano dievas (Speed Is My God, 1979,
Cinema Timeline
we will start to live better. In the times of theatre short fiction, 30 min., 35 mm, colour)
Mano mažytė žmona (My Little Wife, 1985, Events in culture, art, history
director Juozas Miltinis, it was most important Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
feature, 75 min., 35 mm, colour)
that after the stage performance you would start
to think about the man and the meaning of his
Šešiolikmečiai (Sixteens, 1986, feature, 200 min., 1906 The first Lithuanian opera Birutė was
35 mm, colour) staged.
life. Now I often see a circus on the stage or in Neatmenu tavo veido (I Dont‘ Remember Your
the cinema, yet people say – he acted well and he Face, 1988, feature, 81 min., 35 mm, colour) 1907 The Lithuanian Scientific Society was
founded.
acted badly; the music was good or the music was Fontano vaikai (Fountain Children, 1988, short Publication of the social, political and
documentary, 20 min., 35mm, colour) cultural newspaper Viltis (Hope) in Vilnius
bad. Art has lost its original, inherent meaning. (published until 1915).
Vaikai iš “Amerikos” viešbučio (Children From The first exhibition by Lithuanian artists
the Hotel America, 1990, feature, 93 min., 35 mm, was opened in Vilnius.
Interviewed by Auksė Kancerevičiūtė colour) The first Congress of Lithuanian Women
took place in Kaunas.
Džiazas (Jazz,1992, feature, 90 min., 35 mm,
colour)
1908 The premier of the first Russian feature
Adomas Mickevičius 1798-1855. Realybės versijos film Stenka Razin (director Vladimir
(Adam Mickiewicz 1798-1855. Versions Of Reality, Romashkov).
1998, documentary, 40 min., Beta CAM, colour) André Calmette and Charles de Barguy’s
film L’Assassinat du duc de Guise
Juozas Miltinis. Nežinomas interviu (The Assassination of the Duke de Guise)
(Juozas Miltinis. An Unknown Interview, 2000, presented by Film d’Art.
documentary, 40 min., Beta CAM, colour) The first international success of Italian
cinema – Arturo Ambrosio and Luigi
Maggi’s film Gli ultimi giorni di Pompei
(Last Days of Pompei).
Pathe Studio was the first in the world to
begin the cinema newsreel Pathé-Journal.

1909 D.W. Griffith became the principal director Władysław Starewicz from Kaunas shot Publication of the first translation of Adam
of the Biograph Studio. Nad Niemnem (Beyond the River Nemunas). Mickiewicz’s Sonety krymskie (The Crimean
Antanas Račiūnas arrived in Lithuania Sonnets) (translated by Motiejus Gustaitis).
from the USA to shoot images of the
country.

1910 Urban Gad’s film Afgrunden (The Abyss) Władysław Starewicz made the first model
with Asta Nielsen. animation film Walka żuków (The Battle of
Filmmakers start moving to Hollywood. the Stag Beetles) in Kaunas.

1911 Aleksandr Khanzhonkov created the Kazimieras Būga published a study entitled
first full-length Russian film Oborona Apie lietuvių asmens vardus (Lithuanian
Sevastopolya (Defence of Sevastopol). Personal Names).

1912 Mack Sennett set up the Keystone Film

Company in California. Thanks to the
studio, such comic performers as Mabel
Normand and Roscoe “Fatty” Arbuckle
came to fame.
Carl Laemmle founded Universal Pictures.

1913 Production of one of the most popular Publication of the first Lithuanian literature
series, Louis Feuillade’s Fantômas. and art magazine Vaivorykštė (published
Stellan Rye and Paul Wegener’s film Der until 1914).
Student von Prag (The Student of Prague).
Yevgeny Bauer’s film Sumerki zhenskoi
dushi (Twilight of a Woman’s Soul).

1914 Vaudeville actor and pantomimist Charles

Chaplin started his career in film.
Giovanni Pastrone’s (Italy) film Cabiria,
a prototype of all spectacular and
monumental epic films.
Paramount Pictures and Fox Films were
founded in the USA.

24 25
 Algimantas Puipa:

My Work Starts Where the

Novel Ends

Puipa is one of the most famous Lithuanian film directors who generally uses Lithuanian
classical and contemporary literature for his films. The filmmaker has over 20 films in his
portfolio and has won numerous awards at international film festivals and competitions.
With a creative biography spanning over four decades, Puipa remains an intriguing film
director able to convey the original relative world.

Algimantas Puipa.
Photo by Kristina Sereikaitė.

You are by far the most prolific Lithuanian to accept a different version of the same text.
film director. What has helped you to retain Stanley Kubrick said that the most important Janina Lapinskaitė. A shot from A. Puipa’s Miegančių drugelių tvirtovė (The Fortress of Sleeping Butterflies).
your creative energy for such a long time thing was to break the code of the book. Then
and to generate new ideas? you become free and can work with the book as a
personal piece of work. writers. I admired the cooperation between film There were negotiations regarding each
When making films, I use literary works, although
these aren’t screen adaptations. A literary work When does the dialogue with the writer director Krzysztof Kieślowski and screenwriter centimetre of the naked body. In Whisper of Sin,
is perhaps more like a map for the film and start? What is the relationship with the Krzysztof Piesiewicz. But I, however, haven’t there was quite a lot of open eroticism, because
supplements the shortage of scripts. I read a lot writer and to what extent do you take the found anybody with whom I could venture on a that was what the book called for. Since I did not
of literature. Sometimes, after a while, images I’ve wishes of the writer into consideration? lifetime travel to that world of fantasy. have experience in the field, I kept reinventing
read about come back to me and I understand the bike.
I have worked with writers who were also authors Your films Nuodėmės užkalbėjimas (Whisper
that the text is calling to me. If the idea happens of Sin) and Miegančių drugelių tvirtovė (The How important is the search for your own
of the script. On the one hand, it’s nice and makes
to coincide with my idea, I start to interpret. My Fortress of Sleeping Butterflies) based on style to you?
life a lot easier when you don’t have to worry about
work starts where the novel ends. Jurga Ivanauskaitė’s works contain erotic
how to create a screenplay yourself. But there are I would assign myself to the proponents of the
How did this “addiction” to literature start? moments when, inevitably, you start to argue. For motifs. Do you think cinema is capable of
visual narrative. When I start thinking about
example when shooting Amžinoji šviesa (Eternal revealing the nature of physical senses?
By coincidence, I got to know Vytautas the film, I check out many photographs and art
Light), writer Rimantas Šavelis kept repeating, In global cinema many authors have proved books and seek inspiration there. I always think
Žalakevičius, one of the most prominent figures
“Trust my literature. Why don’t you respect it?” that cinema has huge potential for revealing about who my cameraman will be. Sometimes it
in Lithuanian cinema. He wrote the script for the
to which I used to reply, “In literature there could those senses. Take, for example, the outrageous is enough to show several reproductions to the
film Velnio sėkla (The Devil’s Seed), based on the
be an image, which in the film may look highly Lars von Trier. With each new film he is still cameraman and I don’t have to look through
works of the Lithuanian writer Petras Cvirka. Of
didactic. For example, I can’t cut up the bells looking for a new letter in the alphabet of the lens of the camera again, because he has
course, there is an unwritten rule that literature
at the end as you wrote.” When making Ir ten cinema. Meanwhile Michael Haneke successfully already understood the basic principles of the
and cinema are two completely different genres.
krantai smėlėti (Over There the Shores Are Sandy), explores the inner world and the stream of composition.
Literature often defeats cinema, because the book
I did not communicate with Juozas Aputis, on the subconscious. Anyhow, those who are in
can convey thoughts in a much more interesting That’s why there is a great focus on visual
whose works I relied. After watching my film, the forefront regularly prove that cinema has
and compelling way than do the tools available in presentation in your films?
he said, “I’ve written so many stories that I don’t numerous means of expression. When we had
cinematography. Moreover, each reader creates
remember half of those used in the film”. There to film erotic scenes, there were many problems. Yes, the cameraman’s opinion is important to me.
his own image of the text and it becomes difficult
is a perpetual conflict between filmmakers and

26 27
 The cameraman is my eyes and the soul of the suggested this novel and the main character old age and the fragility of existence to unfold. I Selected filmography
film. I find it interesting to work with Rimantas was again a woman. The Lithuanian cinema of was thinking of shooting a funny film about old Kelio ženklai (Road Signs, 1974, short fiction,
Juodvalkis (Eternal Light, Bilietas iki Tadž Mahalo the Soviet era was dominated by men, again, age and death, but then I realised that there was 20 min., 35 mm, colour)
[Ticket to the Taj Mahal], and Over there the Shores not without the help of Žalakevičius. And it just nothing funny in it. As a result, I turned to what is Atpildo diena (The Day of Retribution, 1975,
feature, 76 min., 35 mm, colour)
are Sandy). Viktoras Radzevičius changed my happened to me that the literary adaptations I eternal and unchangeable. This is a sensitive topic
Nebūsiu gangsteris, brangioji (I Won’t Be a
style, which I first envisaged in my TV film Žaibo wanted to make contained that dramatic male- or perhaps more a reflection on the passing of Gangster, My Dear,1978, feature, 75 min., 35 mm,
nušviesti (In the Light of Thunderbolt), and gave female conflict that helped new actresses to be time that we cannot turn back. colour)
it a “soft” image; in Vilko dantų karoliai (A Wolf discovered or gave them a dominant part. Velnio sėkla (Devil’s Seed, 1979, feature, 69 min.,
Teeth Necklace) he outright dominated. There was 35 mm, colour)
You have touched on the post-war theme Interviewed by Auksė Kancerevičiūtė Arkliavagio duktė (A Horse–Thief ’s Daughter,
one frame in A Wolf Teeth Necklace that was just
in your early films Eternal Light and Ticket 1981, feature, 80 min., 35 mm, colour)
like a painting. Then Wiktor Grodecki, one of
to the Taj Mahal. Later, you dropped it, Moteris ir keturi jos vyrai (A Woman and Her
the most controversial Polish directors who had Four Men, 1983, feature, 91 min., 35 mm, colour)
although many film directors successfully
worked for a long time in Hollywood, noticed Elektroninė senelė (Electronic Grandmother, 1986,
exploited it. Why did you do that?
Viktoras. Now they are inseparable friends. I have feature, 63 min., 35 mm, colour)
been cooperating with Viktoras for twenty-six Back in the Soviet era, following the release of Amžinoji šviesa (Eternal Light, 1987, feature,
years now. Žalakevičius’ film Niekas nenorėjo mirti (Nobody 89 min., 35 mm, b/w)
Wanted to Die), the post-war theme started Žuvies diena (Fish Day, 1989, feature, 89 min.,
You depict women vividly in your films. 35 mm, b/w)
dominating. There was hardly a director who
What is fascinating about the woman’s Bilietas iki Tadž Mahalo (Ticket to the Taj
would not explore this topic. My films appeared
world? Mahal,1990, feature, 88 min., 35 mm, b/w)
in independent Lithuania. I did not use state
Ir ten krantai smėlėti (Over There the Shores Are
The roots for this are in The Devil’s Seed. In his support in producing Ticket to the Taj Mahal and Sandy, 1991, feature, 89 min., 35 mm, colour)
script Žalakevičius was masterful in crafting the I was therefore completely free. I remember when Procesas (Process, 1994, feature, 136 min., Beta
main characters. Morta was played by Eugenija Werner Herzog saw this film in Munich he said CAM, colour)
Pleškytė, who later admitted that, after her part that it was the most beautiful film he’d seen that Ašarų pakalnė (A Hill of Tears, 1994, short
as Kotryna in Marijonas Giedrys’ play Herkus year. For me, this was the highest recognition. I feature, 54 min., Beta CAM, colour)
Mantas, this was one of her most beloved and realised that in spite of an autonomous subject, Žaibo nušviesti (Hit by Lightning, 1995, feature,
93 min., 35 mm, colour)
strongest parts in cinema. I became interested these signs are understood by others too. Eternal
Vilko dantų karoliai (A Wolf Teeth Necklace, 1997,
in the woman’s world, because it’s not familiar Light won the Grand Prix at the San Remo Film feature, 97 min., 35 mm, colour)
to me. I have no insight into it. I collaborated Festival in Italy. Even though we talked about Elzė iš Gilijos (Elze’s Life, 2000, feature, 129 min.,
with Žalakevičius in Moteris ir keturi jos vyrai specific things, the form in which they were 35 mm, colour)
(A Woman and Her Four Men). It was he who presented was universal. Over time, I became Trys mylimos, arba Paskutinė diena
interested in other themes, new ideas emerged. (Three Beloved or The Last Day), 2002, short
feature, 40 min., video, colour)
Currently you are working on your latest Dievų miškas (Forest of the Gods, 2005, feature,
film Edeno sodas (The Garden of Eden). 110 min., 35 mm, colour)
The action of the film transposes us into Nuodėmės užkalbėjimas (Whisper of Sin, 2007,
feature, 98 min., 35 mm, colour)
a prosperous future Lithuania, where
Miegančių drugelių tvirtovė (The Fortress of
all the wealthy emigrants return to their Sleeping Butterflies, 2011, feature, 120 min.,
homeland to die. What inspired these future 35 mm, colour)
predictions?
It is a delicate utopia depicted by writer
Janina Survilaitė in her novels Vila Edelveisas
(Villa Edelweiss) and Pašnekesiai su Helvecija
(Conversation with Helvetia). Originally I wanted
to specify the year in which the action takes place,
namely 2025. Then I would be the same age as my
A shot from A. Puipa‘s Miegančių drugelių tvirtovė protagonists. But I dropped the date and stuck
(The Fortress of Sleeping Butterflies). to a more abstract time for the painful joys of

28 29
 Gytis Lukšas: reach back into the past, into Lithuanian
villages and farms. Is this nostalgic gaze
Time passed. I myself changed and increasingly
wanted to discard any secondary elements from
caused by the national literary tradition the frame. If it were my choice, I would not use
I Measure My Life in Films or the desire to capture what is inevitably
disappearing?
any props or scenery. I find it interesting to focus
on my characters as if peering at them through a
microscope and seeing the structure of their cells.
I have no roots in a village and I’m not trying
I tried to do this in my film Vortex. I discarded
to produce anything specifically about villages.
colours and used light differently from the way
Over the four decades of his creative career, film director Gytis Lukšas has created more Maybe I find something real there, something
light had earlier been used in filmmaking. I said
than ten feature film adaptations of Lithuanian literary classics: Virto ąžuolai (When the that is disappearing like smoke. Each farm is like
this to cameraman Viktoras Radzevičius: “Let the
Oaks Fell), Mano vaikystės ruduo (Autumn of My Childhood), Vasara baigiasi rudenį a miniature model of my life. A metaphor for
spotlight act as a scalpel or a narrow beam that
(Summer Ends with Autumn), Žalčio žvilgsnis (The Serpent’s Gaze), Žemės keleiviai the entire space we occupy. In my films I speak,
illuminates only a certain part of the body or
(Pilgrims on Earth), Mėnulio Lietuva (Lunar Lithuania), Dieviškoji šviesa (Divine however, from the present. I cannot reproduce the
space”. In addition, shadows can sometimes be
Light), Duburys (Vortex), etc. Lukšas is currently the president of the Lithuanian Union past accurately, so I talk about what is and must
more effective than images. They are reminiscent
of Filmmakers. be important today. Is it easier to retain one’s
of an etching technique in graphic arts. Then,
own self or personality today or in the past? It
there is a different way to arrange the composition
Gytis Lukšas. is most important for me to reveal relationships
of the frame, and the camera must be placed
Photo by J. Matonis. between people and the development of those
differently than usual.
relationships. In any historical period, people fell
You started your creative path in the 1970s, learned to fight against Soviet censorship. It was in love with each other and desired happiness. The Actors bear a great burden in your
the period of Soviet ideology. Nevertheless, most important to me to talk about my land and most dramatic stories can be conveyed through films. Nevertheless, they open up from
from your very first feature films, Žvangutis the roots of my fathers and forefathers in my films. different tones. You don’t need special scenery or an unexpected side, for example, as
(The Handbell) and Virto ąžuolai (When mass scenes; two people are all you need. I want Algimantas Masiulis did in Autumn of My
How did Lithuanian literature, which has
the Oaks Fell), you emphasised Lithuanian to have time to understand them and reveal it. I Childhood or Oksana Borbat in Vortex. What
served as the basis for nearly all your film
national themes. Why? want my greatest special effect to be the blink of objectives must a director express for actors
scripts, affect your creative work?
the hero’s eyes. to discover themselves in a way they did not
In 1973, I released my debut, a comedy called
Most films are literary adaptations. It does not suspect they could?
Telefonas (Telephone), in the three-part feature How did you opt for the model of
matter whether the film is made in Hollywood or
film Linksmos istorijos (Funny Stories). This was psychological realism based on classical Masiulis was already a recognised actor, when
in Europe; literature is the basis. When I read a
the first Lithuanian film commissioned by Soviet dramaturgy and the strong inner conflicts of he played Teofilis in Autumn of My Childhood.
book and I feel that I am shaking all over, because it
Central Television. I remember how our famous characters? Imagine the situation: a classic, one of the greatest
resonates with something in my soul, I try to turn
filmmakers Arūnas Žebriūnas and Raimondas theatrical actors and a star in films in Lithuania
it into a film. This is how I created Autumn of My
Vabalas laughed and said, “finally, a man who will
Childhood by Juozas Aputis or Summer Ends with
make comedies has appeared in the Lithuanian
Autumn and Vortex by Romualdas Granauskas.
film industry”. God, how wrong they were! I
And all the writers whose works I brought to the
never became a creator of comedies. I was free
screen, although they were older than me, sooner
to do what I wanted and what was dear to me.
or later became my friends. Then we could no
In 1982, at bleakest point of the Brezhnev era,
longer distinguish where the creative process
I released Summer Ends with Autumn. In the
ended and human communication in general
film, bulldozers, like tanks, are destroying an old
started. Romualdas Granauskas, Juozas Aputis and
Lithuanian farmstead, a metaphor that is obvious
Marcelijus Martinaitis, who are no longer with us,
even today. Two characters played by Algimantas
and Kazys Saja and Rimantas Šavelis, who still are,
Masiulis and Valentinas Masalskis are sitting on
become my lifelong friends. That’s why they allow
the edge of the ditch and singing: “But for the
me to choose their works, because they trust me
golden summers, but for the blue cornflowers”.
as a human being, because we see the world and
This was a song sung by people being deported
understand life in a similar way.
to Siberia. I was summoned to the KGB for that
song. I was threatened and I was told that they In your films Vortex, Lunar Lithuania, Vakar Dainius Kazlauskas and Antanas Šurna (sitting). A shot from Rimas Tuminas. A shot from G. Lukšas’ Žalčio žvilgsnis
could destroy my whole life in a day. But we’d ir visados (Yesterday and Forever), etc., you G. Lukšas’ Žalčio žvilgsnis (The Serpent’s Gaze). (The Serpent’s Gaze).

30 31
and Russia agrees to work with a young, still
unknown director. He gave me wonderful lessons.
place; there are debut films by young directors
who tell authentic stories.
Cinema Timeline
And then suddenly, one night I had a call from
Events in culture, art, history
Yalta where he was shooting a film. He said in an Date Events in World Cinema Events in Lithuanian Cinema
Interviewed by Auksė Kancerevičiūtė and politics of Lithuania
angry voice: “Do you know what you’ve done to
me? Now I understand that I can play not only 1915 David W. Griffith’s film The Birth of a Beginning of the German occupation.
Nation. The first Lithuanian gymnasium was
intellectual fascists. You have shown what I did Louis Feuillade’s Les Vampires established in Vilnius.
(The Vampires) series.
not know I had”. Selected filmography
Linksmos istorijos (Funny Stories, 1973, 1916 Victor Sjöström’s film Terje Vigen (A Man
I love actors, and when I write a script, I know a novel Telefonas (Telephone), feature, 79 min., There Was).
which actor I am writing it for. I hate screen tests 35mm, colour) Charles Chaplin’s film The Tramp.
Yakov Protazanov’s film Pikovaya dama
of actors and try to avoid them. Actors helped Žvangutis (The Handbell, 1974, feature, 80 min., (The Queen of Spades).
35 mm, colour)
me to discover myself. I am concerned not only
with the outcome of the film, but also with the Virto ąžuolai (When the Oaks Fell, 1976, feature, 1917 David W. Griffith’s film Intolerance.
88 min., 35 mm, colour) Vsevolod Meyerhold started work on
time spent together with actors and the sensitive the literary adaptation of Stanisław
Mano vaikystės ruduo (Autumn of My Childhood, Przybyszewski’s Mocny człowiek
people close to me. I measure my life in films. 1977, feature, 76 min., 35 mm, colour) (A Strong Man).
It is then that I am my true self. I could have Vasara baigiasi rudenį (Summer Ends with
been wrong or missed something, but what I did Autumn, 1982, feature, 90 min., 35 mm, colour 1918 Yakov Protazanov’s film Otets Sergiy Establishment of the independent state of
(Father Sergius) was the highlight of the Lithuania (February 16).
occupied my entire life. Anglų valsas (Waltz, 1982, feature, 70 min., Russian pre-Revolution cinema.
35 mm, colour)
You are the president of the Lithuanian Vakar ir visados (Yesteday and forever, 1984, 1919 David W. Griffiths’ film Broken Blossoms. Antanas Smetona was elected president of
Union of Filmmakers. What does this activity feature, 63 min., 35 mm, colour) Abel Gance’s anti-war film J’accuse. Lithuania.
Charles Chaplin, Douglas Fairbanks, David Women were granted the right to vote
mean to you and what processes could you Žolės šaknys (Grass Roots, 1988, feature, 2 series, W. Griffith and Mary Pickford established (women voted for the first time in 1920).
highlight as essential in the national film 35 mm, colour) United Artists Corporation. Tautos teatras (The National Drama
Theatre) was established in Kaunas.
industry? Žalčio žvilgsnis (The Serpent’s Gaze, 1989, feature,
95 min., 35 mm, colour)
For me, this activity means the same thing as 1920 Robert Wiene’s film Das Cabinet des Production of Lithuanian newsreels started. Suwałki Agreement with Poland was
Žemės keleiviai (Pilgrims on Earth, 1992, feature, Dr. Caligari (The Cabinet of Dr Caligari) signed.
filmmaking. I care about the legislation about 92 min., 35 mm, colour) gave a start to German Expressionism. Vilnius was taken by a unit of the Polish
Army General Lucjan Żeligowski.
cinema and the centres that are established here. Mėnulio Lietuva (Lunar Lithuania, 1997, feature,
100 min., 35 mm, colour)
I have proposed guidelines for the establishment 1921 The FEKS (the Factory of the Eccentric Publication of Jonas Basanavičius’ study
of a Lithuanian film centre and made proposals Dieviškoji šviesa (The Divine Light, 2005, Actor) group was founded in St Petersburg. Apie trakų-prygų tautystę ir jų atsikėlimą
documentary, 44 min., video, colour) Victor Sjöström’s film Körkarlen Lietuvon (Regarding the National Origin
regarding the Law on Cinema. As for the processes, (The Phantom Carriage). of Trakai-prygai and Their Settlement in
Duburys (Vortex, 2009, feature, 140 min., 35 mm, Lithuania).
they are similar both in overall culture and in art. b/w) Lithuania joined the League of Nations.
An increasing number of simulacra are appearing.
I have never been against entertainment, but it 1922 F.W. Murnau’s film Nosferatu. Eine Lithuanian University (since 1930 –
Symphonie des Grauens (Nosferatu. Vytautas Magnus University) was founded
must be professional and tasteful. Everything A Symphony of Horror) featured the first in Kaunas.
is turning into a one-day value and losing its vampire character. Publication of the avant-garde manifesto
Robert Flaherty’s film Nanook of the North. Keturių vėjų pranašas (Prophet of the Four
essence in one day. The Soviet years gave birth to Winds).
a Lithuanian school of cameramen (I mean the Antanas Stulginskis was elected President
of Lithuania.
professionalism of our cameramen such as Jonas Adoption of the permanent Constitution
Gricius and Algimantas Mockus) and an entire of Lithuania.
Adoption of the Land Reform Act (land
group of the finest actors such as Algimantas was granted to about 65,000 poor and
Masiulis, Vytautas Tomkus, Bronius Babkauskas, landless residents of Lithuanian).
Donatas Banionis, Gediminas Karka, Regimantas
1923 Cecil B. DeMille’s film The Ten Lithuania took over Klaipėda region.
Adomaitis, and Juozas Budraitis. Looking at Commandments.
Abel Gance’s film La Roue (The Wheel).
recent releases, I question what we’ll leave today Fernand Léger’s film Ballet Mécanique
to others. Of course, we have interesting young (Mechanical Ballet).
artists who produce fascinating documentaries
1924 Erich von Stroheim’s film Greed. Publication of the film magazine Apžvalga The first Lithuanian Song Festival was held.
and feature films. A generational change is taking Sergei Eisenstein’s film Oktyabr (October). (Review). Publication of the culture magazine Židinys
(published until 1940).

32 33
 Valdas Navasaitis:

Everything Is a Private Matter

Valdas Navasaitis is the creator of such documentaries as Tofolarija (Tofolaria; co-

production with Šarūnas Bartas), Rudens sniegas (Autumn Snow), Pavasaris (Spring),
and Diapausis (Dia-Eared) and the feature films Kiemas (Courtyard) and Perpetuum
Mobile. In 1999 Navasaitis founded his own film studio, VG Studio, where young directors
created their films. Giedrė Beinoriūtė created her Troleibusų miestas (Trolleybus City)
and Dovilė Gasiūnaitė made her short film Kas miega šalia tavęs (Who is Sleeping Next
to You) in this studio.

Valdas Navasaitis.
Source: Studio Uljana Kim.

Starting with Autumn Snow, all your films independence in the country, conditions changed.
are a kind of a glimpse into the life cycle of There was the additional activity of finding
humans. You associate it with the cycle in funding for films. But this is a meat grinder.
nature. You talk about the inevitability of Relationships in the production process have A shot from V. Navasaitis’ Kiemas (Courtyard).
life and death, autumn, winter and spring. changed. For the older generation of filmmakers,
Reality and the everyday routine that exist this transition both their hope and desire to do
there outside the window are not your focus. anything. Many are simply tired. In addition, accidental. [...] In addition, it is not expected was not a single student from Lithuania. They are
today most film directors find it very difficult to that everyone working in film industry produces all geniuses. Well, at least before they start making
Well, after all, inevitability isn’t marked with a
admit that they are the same as everyone else. I at the top standard. After all, there are many a film.
minus sign. Cinema is a way of understanding
would understand if it was actors who found this theatre directors too, but there are few good stage
the world. For some, the environment and the And yet, in your studio you work with young
difficult. Directors should make an effort. And performances. This is normal. In cinema, the
buzz have a major influence and change their people. This means that there are young
the exaggerated sensitivity towards one’s own self opportunities are even fewer. It’s hard for young
philosophy. There are people, however, who are people who want to make films. You are
can’t help with living. people to start making films. But not everyone is
essentially unaffected by what is happening, it
is of little importance to them. For example, the Does the concept of national film, in your aware that, if they have an opportunity to make a
word morality has for for the past seven years just opinion, have any substance in any sense? film, they have a great chance to actually test their
been a cause of laughter for many. It has become Can we talk about trends? profession. And if you don’t grab that chance –
a declarative concept. On the other hand, it’s just everything is finished.
Although I have never studied at the Lithuanian
funny – public morality. Morality is everyone’s The situation can be illustrated by the following.
film school, my films are presented as Lithuanian
private matter. I call the buzz an imitation of life When I was shooting Courtyard, it was reported
cinema. I don’t know what it is today.
and joy. Those imitating and demonstrating are in the professional magazine Screen International.
deceiving themselves. I don’t respond to it at all. There are films made by several individuals The producer of the film in France immediately
and these can be recommended to anybody had about twenty calls from various film schools
Speaking about today’s cinema in Lithuania,
from any part of the world interested in the art and institutes. The callers were asking for
the issue of the spectator is often raised.
of cinema. I doubt whether you have to attach permission to come to the film set. Just to have the
Film directors are often reproached, at least
the word Lithuanian to them. Just because these opportunity to see the process and to participate
behind the scenes, that they don’t try at all
films, in terms of their cinematic language, are in it. The opportunities were, to put it mildly,
to define or imagine the person to whom
of high or world quality? limited, because everything was taking place in the
they address their films.
Life in cinema is not as intense as it is, for example, Lithuanian language. But one Belgian managed to A shot from V. Navasaitis’ Perpetuum mobile.
Let’s remember that a while ago film production Photo by D. Matvejev.
in the theatre. Therefore, many things may seem get to us and stayed with us for a month. There
was a regulated process. After the restoration of

34 35
doing your best to make sure that they
make films, and finally you help them by
Selected filmography
Tofolarija (Tofalaria, 1986, co-directed with
Cinema Timeline
assuming some responsibility. Šarūnas Bartas, short documentary, 16 min.,
16 mm, b/w) Events in culture, art, history
Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
Responsibility is really a strange feeling. I never Rudens sniegas (Autumn Snow, 1992, short
get involved in any creative matters. I can give my documentary, 16 min., 35 mm, b/w) 1925 Sergei Eisenstein’s film Bronenosets Mikalojus Konstantinas Čiurlionis Picture
Potyomkin (Battleship Potemkin). Gallery was opened in Kaunas.
opinion when I’m asked for advice, but not more. Pavasaris (Spring, 1997, short documentary, Charles Chaplin’s film The Gold Rush.
It’s normal when people make mistakes. It’s one 20 min., 35 mm, colour)
thing to think about how you will work, it’s quite Kiemas (Courtyard, 1999, feature, 90 min., 1926 Fritz Lang’s film Metropolis. Film companies Akis and Lietfilm were Kazys Grinius was elected president of
35 mm, colour) founded. Lithuania.
another to work. It’s very difficult to materialise As the result of a coup d’état, Antanas
your vision. There are many corrections and Diapausis (Dia-Eared, 2000, short documentary, Smetona became president of Lithuania.
16 min., DVCAM, colour)
compromises to be made. When working on your
Dviese ant tilto (Two on the Bridge, 2004,
1927 The first Alfred Hitchcock’s film The Lodger. Short comedy Gydytojas per prievartą
first film, there are numerous questions. A person Buster Keaton’s film The General. (Shotgun Doctor) (was never released or
co-directed with Marius Ivaškevičius, short The first ceremony of the Academy Awards survived).
who is more sensitive and wiser will always documentary, 25 min., video, colour) (the future Oscars) took place.
be afraid. This is a good feeling, if, of course, it The first “talkie”The Jazz Singer by Alan
Perpetuum mobile (2008, feature, 90 min., Crosland.
doesn’t paralyse you. Then you must get to the 35 mm, colour)
bottom of the causes and act upon it, so that the 1928 Carl Theodor Dreyer’s La passion de Jeanne Jurgis Linartas’ short feature Kareivis -
person isn’t afraid. This doesn’t mean that you d’Arc (The Passion of Joan of Arc). Lietuvos gynėjas (Soldier – Defender of
Lithuania) (did not survive) commissioned
have to speak about films to such a person – there by the General Staff. The film was released
are many possible solutions to the problem. What in 1931.

is the true desire to make a film? I know that only

1929 Dziga Vertov’s film Chelovek s kino-
when you really want to create a film, you start apparatom (Man With A Movie Camera).
The first Luis Buńuel’s film (made with
to have that fearsome feeling and doubt about Salvador Dali) Un Chien Andalou (An
whether you should proceed. Andalusian Dog) – a surrealist manifesto.

1930 Joseph von Sternberg’s film Der blaue Engel

Interviewed by Rasa Paukštytė (The Blue Angel) initiated the myth of
Marlene Dietrich.
Alexander Dovzhenko’s film Zemlya
(Earth).

1931 Fritz Lang’s film M (M). Petras Malinauskas’ short film Sužeduotinis Publication of the weekly cultural magazine
Bela Lugosi plays a vampire in Tod per prievartą (Shotgun Fiancé), (has not Naujoji Romuva (published until 1940;
Browning’ film Dracula. survived). publication resumed in 1994).
Vladas Sipaitis’ full-length feature Jonukas
ir Onutė (has not survived).
Publication of the weekly magazine
Kinas (Cinema) (until 1932); in 1934 the
publication was resumed as a biweekly
magazine (until 1935), editor-in-chief
Vytautas Alseika. It was resumed as a
monthly in 1972 and as a quarterly
from 1998.

1932 Howard Hawks’ film Scarface and William Cinemas were instructed to play
Wellman’s The Public Enemy marked the Lithuanian newsreels before films – at least
beginning of the gangster film genre. 330 metres of tape.
The first film festival was held in Venice. Naujoji Romuva published the article “How
to Prevent an Influx of German Films”
signed P.A.K.

1933 Merian C. Cooper and Ernest B.

Schoedsack’s film King Kong.
Alexander Korda’s film The Private Life of
Henry VIII.

1934 Directorial debut of Billy Wilder. Petras Babickas’ documentary Tautos vado
Jean Vigo’s film L’Atalante. sukaktuvės (Anniversary of the Leader of
the Nation).

36 37
 Audrius Juzėnas: what impact did this material have
on the storyline?
different soul is looking at you both in life and
from the screen. You cannot mistake Russians
even in cosmopolitan Hollywood films. What is
Evil Is Not an Abstraction; Pranas Morkus is a very specific and disciplined
playwright. Everything he creates is a real
real should be real if you are telling a true story;
otherwise lies have short legs. Therefore, Russian

It Influences Our Destinies

reflection of reality or inspiration. It is sometimes
actors came to play in a Lithuanian film. They
hidden behind the symbols, between the lines
have seen and experienced a lot, and they are
in dialogues, or just in the atmosphere. The
talented and lively. They turn the post-war period,
Excursionist conveys the story of a genuine
the times of Stalin’s rule and the terrible story into
refugee. Cinema, however, is more than just
a reality. They are professionals and I think are an
The creative career of film director Audrius Juzėnas started with contemporary cognitive educational reality. It is actually a hybrid
example for many Lithuanian actors, because they
films: the fictional feature film Rojuje irgi sninga (It Also Snows in Paradise) and reality or projection that changes into a personal
work both in the theatre and in films.
documentaries. The filmmaker earned international recognition with his recent experience. Therefore, sometimes, in order to
feature-length films Vilniaus Getas (Ghetto) and Ekskursantė (The Excursionist), achieve their objective, screenwriters can express Not only a long journey, but also many
which reach back into the tragic moments of Lithuanian history in the 20th century. The far more through artistic reality than people or challenges lay ahead of the heroine of the
films also raise the philosophical and moral issues of whether it is possible to resist evil the story that has inspired it. The protagonist film, eleven-year-old Marija, played by
and save humanistic ideals. created by Morkus is no exception. She is not Anastasija Marčenkaitė. How did Anastasija,
devoid of certain “artistic” digressions; I mean the whose film debut it was, perceive the
Audrius Juzėnas.
surreal dreams, which can hardly be replicated, emotional experience and internal
Photo by Rūta Juzėnienė. but this works well as an artistic tool within the transformations of the heroine?
framework of a given work.
Anastasia listened to what I told her on and off the
What drives you to explore the legacy of the dangerous journey of a teenager back to
Russian film stars Raisa Ryazanova, Kseniya set. She tried to understand not only the character’s
the 20th century and emphasise the conflict her homeland?
Rapoport and Sergey Garmash played motivation, but also the rules of the game. She is
between ideals and reality?
The topic of exile is complicated. I’ve seen many memorable parts in The Excursionist. just a gift from God to this film, the director, and
When I think about it, I feel as if I were looking at films by different filmmakers in which people are How and why did you choose these actors any producer. There is an impression that she lives
myself straight through my image in the mirror. divided into executioners and victims. All the rest and what is special about the Russian school on the screen rather in life. It just happens that her
I don’t always understand what I really see and I falls outside the framework of the genre. But then, of acting? instincts are those of a real actress.
become anxious about the immeasurable gulf that the key element of the vitality of life is missing.
Lithuanians are not Russians. The screen does How did you manage to recreate
lies there. As a result, there is a wish for something
In The Excursionist our girl from the train with not lie, you cannot deceive the viewer or yourself, the period of Stalin’s rule and the vast
clear, secure and real. Ideals are the aggregate
deportees is like a light in which the world is and neither tricks nor costumes or makeup will expanses of the Russian taiga?
of human values and collective experience.
changing and shining with all the colours of the help. Movements, manners and gaze differ. A What problems did you face?
With the help of ideals, we create bridges to the
rainbow. She is more than just a deportee or
future and without ideals we are just a gang of
the protagonist of the film. She is our collective
ignorant monkeys with atomic clubs. Therefore,
experience, our pursuit of meaning, our common
the collective experience and, in other words, an
denominator, and the whole of Lithuania. Her
ideal or a myth referring to it is perhaps the most
story is all our experiences in which human
important signpost for the survival of humanity.
ideals and the efforts of the many – scriptwriters,
After all, hope is all that remains. It’s the same
producers, actors, film crew, director, film critics,
as the mirror in which you cannot see through
film experts, and viewers – intertwine. If any one
yourself, but you can feel that your struggle
of them is missing, the pyramid of our collective
is eternal. And there are neither victories nor
experience will collapse and so will any meaning.
defeats here.
Without her, we are just pitiful fellow travellers
The Excursionist is the first Lithuanian from Marija’s train with deportees.
feature film about the mass deportations
The screenwriter of the film, Pranas
of people to Siberia. Nevertheless, the focus
Morkus, relied on documentary material.
of the story is on a girl who managed to
Because the film is not an accurate Anastasija Marčenkaitė. A shot from A. Juzėnas’ Ekskursantė Anastasija Marčenkaitė. A shot from A. Juzėnas’ Ekskursantė
escape from a train with deportees. (The Excursionist). Photo by Rūta Juzėnienė. (The Excursionist). Photo by Jurij Grigorovič.
reconstruction of historical events,
Why did you decide to focus specifically on

38 39
The post-war period and the end of Stalin’s rule
was in one or another way familiar to people of
single director wanted to do it. I happen to have
a persistent character, like a bull terrier, and if
Cinema Timeline
my generation from the stories of our parents and I cling to something with my teeth, I won’t let
Events in culture, art, history
grandparents. Of course, the stories were grim. go even if my death is imminent. Only now do Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
In my childhood years, the overall atmosphere I realise that the film might have never been
changed little: red-nosed father frosts, swearing completed. At some point the producer wanted 1935 Boris Barnet’s film U samogo sinego morya Jurgis Linartas and Feodijus Dunajevas set
(By the Bluest of Seas). up the film company Mūsų Lietuva, which
war veterans, total and mass parades in gratitude to “put it on the shelf of the Ministry of Culture”. had a film concession between 1935 and
1940 and became a major Lithuanian film
to the Communist Party, Communist ideology, Later, the film started to have a life of its own, producer. During the 1935–1940 period,
Russian songs, mass drinking, and many other and critics and film academicians appeared along the company produced the newsreels Mūsų
Lietuva (Our Lithuania).
attributes of a “happy childhood”. We were with festivals and audiences, who somehow felt
“nearly” the same as Russians, because everyone or understood the essence and the idea of this 1936 Charles Chaplin’s film Modern Times. The first Lithuanian “talkie” Kaunas
melodijų nuotaikoje (Kaunas in a Melodic
was one grey mass, the Soviet people. So this was film. They felt sympathy and even love for us, Mood) (directors Alfonsas Žibas and Stasys
quite familiar to me. Therefore, it was not difficult and hatred for historical injustice and evil. Evil is Vainalavičius).
to relocate the characters of the film to a bygone not some abstraction; it influences our destinies.
1937 Jean Renoir’s film La Grande Illusion
era. It was a lot harder with the vast Siberian What happened to us could have happened to (The Great Illusion).
and Altai landscapes, because the majority of other Western cultures had Stalin’s generals not
deportees were sent to this area. We hoped to go been satiated with violence and atrocities in 1938 Marcel Carné’s film Le Quai des Brumes The first short-length puppet film Storulio
(Port of Shadows). sapnas (Dream of a Pudge) by directors
on an expedition with the group and looked for Berlin, Königsberg, Prussia, and elsewhere. But Henrikas Kačinskas, Stasys Ušinskas and
Alfonsas Žibas.
ways to get at least to the north of Finland, but The Excursionist is also about what unites us and
the crisis in Lithuania and the total tightening of makes us human. 1939 Victor Fleming’s film Gone With the Wind. Klaipėda region was annexed to Germany.
belts to the extent of losing consciousness turned Jean Renoir’s film La Règle du jeu According to an agreement with the USSR,
(The Rules of the Game). Vilnius was returned to Lithuania.
the fate of our film in a different direction. Despite Interviewed by Auksė Kancerevičiūtė The Molotov-Ribbentrop Pact was
everything, we did what we could; we shot in the signed (23 August). According to the
Secret Protocols of the Pact, Lithuania
environs of Vilnius, in the ethnographic region of came under the “sphere of influence” of
Dzūkija, and in the town of Anykščiai, anyplace Germany.

that resembled the forests and rivers of the Selected filmography

1940 Charles Chaplin’s film The Great Dictator. Cinema was nationalised. A studio for Lithuania was occupied by the USSR; fake
north and Siberian railways, cities and villages. Rojuje irgi sninga (It Also Snows in Paradise, 1994, John Ford’s film The Grapes of Wrath. Lithuanian newsreels (later – Lithuanian elections were held and Lithuania “joined”
feature, 81 min., 35 mm, colour) film studios) was founded in Kaunas. the USSR. Censorship was introduced.
The talent and experience of art director Jurijus Screening of the newsreels Mūsų Lietuva
Grigorovičius turned the whole film in the right Neatrasti skraidantys objektai (UFO, 1996–97, (Our Lithuania) was banned.
short documentary, 10 min., 35 mm, b/w)
direction, and cameraman Ramūnas Greičius
Gyvoji kontrabanda (Live Contraband, 1996, 1941 Orson Welles’ film Citizen Kane. The German occupation government The Lithuanian SSR Art Decade in
and costume designer Daiva Petrulytė made their short documentary, 10 min., 35 mm, colour) distributed the documentary Raudonoji Moscow.
contribution. What was not possible to shoot was migla (Red Mist) about the crimes of the The first mass deportations of the
Bosnia via Denmark (1997, short documentary, NKVD in Lithuania. Lithuanian population to Siberia started.
produced by computers. 20 min., 35 mm, b/w) The June Uprising took place and the
Fronto linija (Front Line, 1999, documentary, Provisional Government of Lithuania was
The film has earned international 53 min., 35 mm, colour) formed.
The Jewish genocide started in Lithuania.
recognition; it was awarded a Silver Crane Vilniaus Getas (Vilnius Ghetto, 2005, feature, Lithuania was occupied by Germany.
by the Lithuanian Film Academy and a 100 min., 35 mm, colour)
Nika by the Russian Film Academy. Did Ekskursantė (The Excursionist, 2013, 110 min., 1942 Michael Curtiz’s film Casablanca.
35mm, colour) Luchino Visconti’s film Ossessione
you expect such popularity when you were (Obsession).
making the film?
1943 Shooting of Marcel Carné’s film Les enfants
No, because I doubted whether the topic was at du paradis (Children of Paradise) started.
The film was released in 1945.
all interesting to viewers. Times have changed.
We would like to forget our nightmares and look 1944 Sergei Eisenstein’s film Ivan Grozny The Lithuanian film studios was Lithuania was again occupied by the USSR.
(Ivan the Terrible). re-established in Kaunas. Lithuanian anti-Soviet resistance started
to the future with the naive eyes of a child. After (continued until 1953).
producing Ghetto, I never thought of wading Speech by Antanas Sniečkus, the First
Secretary of the Central Committee of the
into the same river of darkness. I easily accepted Lithuanian Communist Party, about the
the proposal to shoot this film, however, as a Sovietisation of culture.
job that had to be done, because no one, not a

40 41
 Kristijonas Vildžiūnas:

Finding Historical Truths

Since 1995, film director Kristijonas Vildžiūnas has created three short films and three
full-length films. The world premiere of his feature debut, Nuomos sutartis (The Lease),
took place at the Upstream Competition of the Venice International Film Festival. The
world premiere of his second feature Aš esi tu (You am I) took place at Un Certain Regard
Competition of the Cannes Film Festival. His film Kai apkabinsiu tave (Back to Your
Arms) was recognised the best Lithuanian film in 2011.

Kristijonas Vildžiūnas.
Photo by Audrius Kemežys.

The story of Back to Your Arms reaches back come across this letter? How much time
to the Cold War era. What dilemmas did you had passed before the idea became a
face in making this historical film or finding screenplay?
historical truths? Jurga Jutaitė and Andrius Bialobžeskis. A shot from K. Vildžiūnas’ Aš esi tu (You Am I).
This is the film that took the longest time for me
The era depicted in the film is on the borderline to create. The first version of the script was written
of historical memory. Before creating the film, back in 1995. But I couldn’t debut with this
I remember going on a subway in Berlin and project, could I? So I turned to other films and in Bridging past and present with this film, I ask What was most important in trying to find
looking at an elderly man reading a newspaper 2007 I returned to the idea. I received the letter the viewer and myself whether we are able to the correct form for the film?
and thinking how my film could be interesting written by Dalia Juknevičiūtė from my father, who understand what we want and what we are pursuing
The main challenge was to fuse archive material
to him. My film will probably have nothing had read it in a magazine. In 1995, Juknevičiūtė’s as individuals. Do we understand our desires and
with the material we shot. We had to provide
to verify his personal attitude to history. The experience in Berlin seemed very interesting. fears? Do our personal traumas prevent us from
sound to silent archival material as if it were our
division of Berlin was a drama to him, his Our country was just out of the clutches of being being masters of our own destiny and entrench us
own material. The trick worked. The archival
family, and his community, whereas for me, isolated from the rest of the world. It was very in illusions? And, finally, are our weaknesses used
material does not differ from the part actually
a representative of another generation and interesting to find out what had happened to us, by the system that aims to control us?
filmed by us, although we didn’t even try to hide
another country, this is only the means to Lithuanians, behind the Iron Curtain. Berlin was Where did you shoot the film? Did you it. We sometimes inserted archival material in
reflect on and to express a universal theme. It a very symbolic city, as if a brother in arms. have to put a lot of effort into locating the the scenes of the film. As a result, the whole film
was evident that the young woman sitting at the appropriate spaces and artefacts? is shot in the style of a documentary, without
The most important thing was to understand
other end of the carriage would perhaps accept aiming for a pictorial effect.
what the Lithuanian story in Berlin could tell We filmed in Kaunas and a few scenes in Berlin.
the film better. To pupils in Lithuania, the story
us about the common fate of Europe, which we We focused on costumes and props, because we Both actors, Andrius Bialobžeskis and Jurga
of the Berlin Wall is only a not particularly
were a part of and have become a part of again. could not financially afford to build scenery. There Jutaitė, also played in your You Am I. Why
interesting history lesson that they will forget
So I was forced to sacrifice the form of a diary are a number of authentic interwar interiors still did you decide to try them in another role?
at the end of the trimester. It is not possible
containing the subjective experiences of a young left in Kaunas. We looked for apartments and
to integrate everyone’s perspectives on history I knew that they would play in a convincing, not
woman and to introduce more characters and furnished them with post-war furniture and items
into a single film. I realised that not everybody banal, manner. Andrius had minimal means of
parallel action. brought from Berlin. From the start we put all the
would accept my interpretation of the epoch. expression, but for example he played brilliantly
Each historical film also tells about the filming locations together into a puzzle and only
in the scene where the father is standing with
The storyline was inspired by a letter then started shooting. Sound also played a visual
times in which it was created. What do his back to the camera and putting gifts into
written by Lithuanian-American Dalia function in the film. You can hear the sound of the
you think Back to Your Arms tells us about the suitcase for his daughter. You can feel his
Juknevičiūtė for her husband, the ships going along the River Spree and screaming
ourselves and the people who live next emotions from his hand movements.
poet Algimantas Mackus. How did you seagulls in the background.
door to us?

42 43
 How did you select Elžbieta Latėnaitė, the
main character in the film?
actress for the main role and reassured me that
the film was not bad. I was very happy, because I
Cinema Timeline
had been overcome by deep doubts.
I saw her for the first time in the play Three Sisters Date Events in World Cinema Events in Lithuanian Cinema Events in culture, art, history
Antoni Komasa-Łazarkiewicz, a young and politics of Lithuania
directed by Rimas Tuminas in Vilnius. Elžbieta
has energy and a high emotional intelligence. I Polish composer, wrote music for the film. 1945 Roberto Rossellini’s film Roma città aperta Resolution of the Lithuanian Communist
(Rome, Open City) marked the start of Party (Bolsheviks) and of the People’s
knew it would be difficult to work with her, but I What assignment did you give him and why Italian neorealism. Commissariat Council of the Lithuanian
really wanted to try. did the song “Back to Your Arms” become a The first film festival in Cannes was held. SSR regarding the use of cinema for
Bolshevik propaganda.
leitmotif in the film?
Back to Your Arms is the first Lithuanian
and Polish co-production and was made in I knew I had chosen a simple style and therefore 1946 The first film by Ingmar Bergman Kris Newsreel Tarybų Lietuva (Soviet Lithuania)
(Crisis). was launched.
collaboration with the film company Studio I was going to use minimal off-screen music. As René Clement’s film La Bataille du rail
a result, the entire load concerning the meaning (The Battle of the Rails).
Filmowe TOR, which is managed by the
famous Polish film director and producer of the film fell to the song “Back to Your Arms”. 1947 Actor’s Studio was founded. Starting in 1947, all Lithuanian-themed
Krzysztof Zanussi. What did this cooperation Antoni wrote four songs, all sung by his wife, the Wanda Jakubowska’s film Ostatni etap feature films were made at the Mosfilm and
(The Last Stage). Lenfilm film studios.
give to the film? singer Mary Komasa. Three songs were written
for the dance club scene and the fourth song for 1948 Vittorio De Sica’s film Ladri di biciclette Publication of Adam Mickiewicz’s Konrad
I consider Krzysztof Zanussi to be one of my (Bicycle Thieves). Wallenrod and Sonety krymskie
the end of the film. The last song is heard against
teachers. As a student I visited his workshop (The Crimean Sonnets) (translated by
the images of the construction of the Berlin Wall, Vincas Mykolaitis-Putinas).
and his thoughts about films later helped me
which absorb the energy of personal drama,
make Likusios dienos (The Days Are Left), my 1949 Carol Reed’s film The Third Man. The Lithuanian film studios was re-located Lithuanian anti-Soviet resistance
universalise it, and at the same time provide hope, to Vilnius. commanders signed the Declaration of
graduation work. Krzysztof liked the screenplay
because we know that the wall will ultimately be Lithuania’s Liberation Movement.
of Back to Your Arms. In his opinion, the idea
destroyed. So far, we still live in a world in which
was relevant to Central European countries, and 1950 Akira Kurosawa’s film Rashômon.
shake-up is necessary so we can grow spiritually
this was later backed up by the reviews of the
and become wiser. 1951 Elia Kazan’s film A Streetcar Named Desire.
expert commission of the Polish Film Institute. The first issue of the Cahiers du Cinéma
The film could not have been created without the magazine.
Robert Bresson’s Journal d’un curé de
help from Poland. But even with their support Interviewed by Elena Jasiūnaitė
campagne (Diary of a Country Priest).
and aid from the European Cinema Support
Fund Eurimages, the budget of the film was 1952 Vittorio De Sica’s film Umberto D. Full-length documentary colour film
Sovetskaya Litva (Soviet Lithuania) was
minimal. After editing the material, I went to Selected filmography awarded the Stalin Prize.
Warsaw to show the draft version to Zanussi. He Likusios dienos (The Days Are Left, 1995, short
fiction, 30 min., 35 mm, b/w) 1953 Yasujiro Ozu’s film Tôkyô monogatari Alexander Fainzimmer’s feature film Aušra
immediately asked where I found such a great (Tokyo Story). prie Nemuno (Dawn Near the Nemunas)
Biblioteka (Library, 1997, short fiction, 35 min., Kenji Mizoguchi’s film Ugetsu Monogotari was the first feature film about collective
35 mm, b/w) (Tales of the Silvery Moonlight in the Rain). farms (also known as the kolkhoz)
in Lithuania made in the context of
9 vartų miestas (9 Gate City, 1999, documentary, presumptions of social realism.
40 min., Beta CAM, b/w)
Nuomos sutartis (The Lease, 2002, feature, 1954 Akira Kurosawa film Shichinin no samurai
90 min., 35 mm, colour) (Seven Samurai).

Aš esi tu (You Am I, 2006, feature, 90 min.,

35 mm, colour) 1955 Nicholas Ray’s film Rebel Without a Cause
initiated the myth of James Dean.
Kai apkabinsiu tave (Back To Your Arms, 2010, Agnès Varda’s debut film La Pointe Courte.
feature, 90 min., 35 mm, colour)
1956 Alain Resnais’ film about the Holocaust
Nuit et Brouillard (Night and Fog).
Andrzej Wajda’s film Kanał (They Loved
Life) – start of the Polish Film School.
Satyajit Ray’s film Pather Panchali.

1957 Ingmar Bergman’s film Smultronstället Vytautas Mikalauskas’ first full-length film
(Wild Strawberries). Žydrasis horizontas (The Blue Horizon)
Andrzej Munk’s film Eroica. based on the works of Romualdas
A shot from K. Vildžiūnas’ Kai apkabinsiu tave (Back to Your Arms). Lankauskas, was the first feature film made
at the Lithuanian film studios in Vilnius.

44 45
 Kristina Buožytė: based on a story. The story can be conveyed in
one sentence, but after the end of the film, his
for a person with whom I could write screenplays.
I don’t think it’s fair that in Lithuania a film
characters continue to live on. This is something director must also be a screenwriter. Each must
Film Is the Door to a Specific World magical, some kind of alchemy. To me this is a
sign of professionalism in filmmaking.
do what he knows best. Since Bruno is strong
at visualising and conceptualising and I am
good at communicating, we complement each
Why did you choose the genre of science
other. When working with him, I’m continually
fiction for your film Vanishing Waves?
convinced that a film means thinking and talking
Kristina Buožytė, a film director representing the younger generation of filmmakers,
I love science fiction and in my teenage years I read in images and that it isn’t only telling a story. All
released her debut feature film, Kolekcionierė (The Collectress), in 2008. Her second
film Aurora (Vanishing Waves), which was four years in the making, has earned the a lot of science fiction and enjoyed the fantasy films that is left after watching a film is a kind of image
director worldwide recognition. It was awarded Best European Science Fiction Film at of the 60s and 70s. In Vanishing Waves, the science that cuts into your brain. When I try to remember
the Sitges Festival in Spain in 2012 and earned the best film, best director, best screenplay, fiction genre is only a platform for expressing any film, there is always some kind of scene that
and best actress awards at the Fantastic Fest Festival in Austin (USA). It continued its thoughts and talking about problems. The budget affects me and is imprinted in my memory.
momentum by winning the special programme East of West Prize at the Karlovy Vary of the film was not large. My colleague, writer
As for Feliksas, he challenges me. He’s a great
Festival in the Czech Republic. Bruno Samper, came up with the idea: “What if
cameraman who sets high standards for both
we create an adventure in the human mind rather
himself and those around him. When you meet
Kristina Buožytė. than in reality?” I really liked the idea. Then we
Photo from a personal archive. people with whom you can create and share, when
started to think about what to do to give science
your attitudes and certain standards (we are all
fiction a real basis; we wanted the story to be
Starting with the full-length feature The Does it all start from the theme? perfectionists) coincide, you just don’t let them go.
based on true scientific information rather than
Collectress, your graduation work, you
No, it doesn’t. Filmmakers usually say so, but in depict conversations that have nothing to do with
continued creating only feature films. Interviewed by Elena Jasiūnaitė
reality it doesn’t. There is some sort of concept, reality. We communicated with scientists and
This, even in financial terms, is a far more
an image or a fragment of something. You spot it doctors, and we discussed whether science in the
complicated undertaking for a young
and start adding new aspects to it: philosophical, future could take this path and whether similar
director than working on other types of
social and emotional. Everything connects and effects could then be achieved.
films. Why did you choose feature films? Selected filmography
little by little becomes a logical whole.
Since your first film, you have collaborated Pakeisk Plokštelę (Change the Record, 2005, short
I don’t know. It was a natural choice, though to fiction, 19 min., video, colour)
How did the idea to create The Collectress with screenwriter Bruno Samper and
watch and to discover something unexpectedly Kolekcionierė (The Collectress, 2008, feature,
come about? cameraman Feliksas Abrukauskas. How is
is very interesting. I’m frightened that in a 80 min., colour)
their participation important in the creative
documentary I wouldn’t be able to control the The film was based on intuition. At that time, I Aurora (Vanishing Waves, 2012, 126 min., colour)
process of the film?
situation. I’ve been in the film industry for only a had no idea how to create a feature film. Later,
few years. I think that if you want to do something when I understood how to write a script, I started Bruno is my creative partner. I’ve always looked
good it requires a lot of input. If I’d chosen to make to integrate themes, action, new characters, and
documentaries, I’d have to dig deep until I get to problems; I started to work in an entirely different
their essence. It takes a long time to understand way. The starting point for The Collectress was a
how to purify the theme of a film, how to “access” fragment of a story about a woman watching
its characters, and what language to speak to them. films and being able to experience emotions only
I’m trying to find this essence in feature films. through a film.

What do you think is important in And how about Vanishing Waves?

a feature film?
It was prompted by the desire to create a love
An opportunity to talk about topics that are story. At the same time, I wanted it to be an
relevant to me. And to search for ways to talk about adventure. In general, a film for me is the door
it, to create in a film a new world that resembles to a very specific world, and you want it to be an
reality as closely as possible, and to direct it. You exclusive, suggestive journey.
wish to make the world of the film compelling, so
Over the summer, I watched a lot of Michelangelo
that the viewer can empathise, follow the progress Jurga Jutaitė and Marijus Jampolskis. Shots from K. Buožytė’s Aurora (Vanishing Waves).
Antonioni’s films. They were the first inspirations
of the storyline, and feel something.
for Vanishing Waves. Antonioni’s films are not

46 47
 Ignas Jonynas:

I Belong to a Generation Very

Rich with Experience

For 10 years film director Ignas Jonynas worked at the State Youth Theatre in Vilnius
and created commercials. He then made his debut as a film director with his short films
Sekmadienis toks, koks yra (Sunday As It Is) and Šokantis kirminas (Dancing Worm).
In 2013, he released Lošėjas (The Gambler), the first film from the Baltic countries to
have its world premiere at the San Sebastian Film Festival. The film won the Special Jury
Prize at the Warsaw Film Festival.

Ignas Jonynas.
Source: Vilnius IFF Kino pavasaris,
photo by Frgmts.

You worked as a stage director and created but I needed time for a perspective, a temporal
commercials for a long time. What does this distance to understand what was going on with A shot from I. Jonynas’ Lošėjas (The Gambler).
experience give you in making a full-length us. In the face of the economic crisis and all the
feature film? perturbations in Lithuania and the world, the
issue of moral choice become relevant as never a range of conflicting characteristics: a mixture of discover an artistic form that would be attractive
Although I worked in the theatre, I was always
before. I felt that this was the perfect moment to idealism and cynicism, despair and faith, and the to the viewer who demands higher artistic quality,
thinking about films. Some people even described
sum up my experience. Together with Kristupas fight for well being and going with the flow. These but at the same time would not discourage mass-
my stage productions as “cinematographic”.
Sabolis, the co-author of the screenplay, we started are experiences of different political systems. production film buffs.
But theatre is of course a far more intimate and
looking for borderline situations that would best Contradictions born out of these systems affect
quieter place than a cinema. In the theatre I What was most important when choosing
reveal the duality of human nature. I remember the behaviour or outlook of this generation.
learned improvisation with actors, which is handy actors for the film? What were the
that Kristupas told me about a few friends in Italy
in filmmaking. My experience in the production There are very many different ways to put a
who jokingly bet on which celebrity would pass
of commercials helped me to understand the theme on the screen. What was important in
away from a drug overdose or from some other
entire shooting process. I learned to work with choosing the form of The Gambler?
reason that year. I proposed moving this idea to
filmmaking equipment and gained organisational
an ambulance unit, and we gradually developed a I wanted to provoke and to find an attractive form
experience.
scheme for the game. to address an unattractive issue. I like different
How did you discover the theme for your kinds of films, for example, those of Carlos
The generation that lived at a turning point
debut feature film, The Gambler? Why did it Reygadas and David Fincher. Both are brilliant
in Lithuanian history is the focus of the film,
seem important to you? professionals and both deal with complex topics,
and you are one of the representatives of
but both are going along radically different paths.
I belong to a generation very rich with experience. that generation. Who and what kinds of
One deliberately ignores the principles of classical
This generation graduated from secondary people represent this generation, and how
narrative in a film and looks for a new artistic
schools in Soviet times and began their higher important do you think the experience of
language, and the other very strongly controls
education under capitalism. At the junction of this generation is?
the film’s narrative and tries to involve a broad
two regimes and two centuries, the duality of
I think that the main feature of this generation is its range of viewers into the story by employing
human nature, spontaneous attempts to adapt to
ability to adapt, both in the positive and negative the measures typical of Hollywood productions.
the new conditions, and the revaluation of moral Oona Mekas. A shot from I. Jonynas’ Lošėjas (The Gambler).
sense of that word. These are realists who are pretty I find it interesting to combine both paths: to
values came to the fore. I wanted to talk about it,
critical about the environment. My generation has

48 49
requirements for Vytautas Kaniušonis and
Oona Mekas, who were in the leading roles?
The Gambler is a Lithuanian and Latvian
co-production. How did Latvians become
Cinema Timeline
involved in the creative process, why you
To a certain extent I already imagined my film Date Events in World Cinema Events in Lithuanian Cinema Events in culture, art, history
chose them, and what did it add to the film? and politics of Lithuania
heroes while writing the script, but screen tests
often adjusted my preconceived ideas. In some Janis Eglitis, the cameraman, is not only a great 1958 Andrzej Wajda’s film Popiół i diament Publication of Adam Mickiewicz’s Dziady
(Ashes and Diamonds). (Forefathers’ Eve) (translated by Justinas
cases, the discovery of a suitable actor led to professional, but also my friend, and we have Marcinkevičius).
changes in the age of the character and the qualities produced a lot of commercials together. I shared
of his character. I was looking for unknown faces. the idea of the film with him, he willingly agreed to 1959 Alain Resnais’ film Hiroshima mon amour. Vytautas Žalakevičius’ film Adomas nori
François Truffaut’s film Les quatre cents būti žmogumi (Adam Wants to Be a Man)
The story is fictional and very specific. I didn’t join, and then I thought that maybe it would be of coups (The 400 Blows). based on Vytautas Sirijos Gira’s story
want the audience to have any questions about its interest to a Latvian producer. Janis recommended Billy Wilder’s film Some Like It Hot. Buenos Aires heralded the beginning of a
Jerzy Kawalerowicz’s film Pociąg national film tradition.
authenticity. As a result, we discarded all familiar Roberts Vinovski and this is how our cooperation (Night Train).
faces from the world of TV and entertainment. began. Our common historical and cultural
It was necessary to discover characters from real experience apparently helped find a common 1960 Jean-Luc Godard’s film À bout de souffle Novella film Gyvieji didvyriai (Living Resolution of the Secretariat of the Central
(Breathless). heroes) which consists of four short Committee of the Lithuanian Communist
life, the ones you might meet in your stairwell or language in the film too. We are very pleased that Federico Fellini’s film La Dolce Vita films by directors Marijonas Giedrys, Party regarding ideological shortcomings
(The Sweet Life). Balys Bratkauskas, Arūnas Žebriūnas in the publication Ekrano naujienos
in a queue in the supermarket. It took us more this is the first joint Lithuanian and Latvian feature Michelangelo Antonioni’s film L’Avventura and Vytautas Žalakevičius was awarded (Screen News).
than half a year to select the actors. But the result film in 20 years of independence. As far as I know, (The Adventure). the Grand Prix at the Karlovy Vary Film
Aleksander Ford’s film Krzyżacy (Knights of Festival.
was not disappointing. there are more projects like this now. the Teutonic Order).
I was looking for a man who would not stick-
Interviewed by Elena Jasiūnaitė 1961 Pier Paolo Pasolini’s film debut Accattone. The screenplay “Gott Mit Uns” by Resolution of the Bureau of the Central
out from a group of passers-by for Vincent’s role: Jean Rouch and Edgar Morin’s film Grigorijus Kanovičius and Vytautas Committee of the Lithuanian Communist
Chronique d’un été (Chronicle of a Žalakevičius was published in the magazine Party regarding incorrect selection of films
a person doing his work in good faith, but not Summer). Pergalė (No. 9). The story was about a priest for public screening.
getting adequate consideration and showing no who hid a Jewish boy and a Soviet partisan
during the Nazi occupation. By order of
special emotional involvement in what is going Selected filmography the Central Committee of the Lithuanian
on in reality; a person who is going with the flow Sekmadienis toks, koks yra (Sunday as It Is, 2003,
Communist Party the film was banned
from being made.
and is not very emotionally satisfied either with short feature, 31 min., 35 mm, colour)
his work or gambling. For the part of Eve, I was Šokantis kirminas (Dancing Worm, 2006, short 1962 David Lean’s film Lawrence of Arabia. Resolution of the Bureau of the Central
looking for a character who stood out from the feature, 20 min., 35 mm, colour) Agnès Varda’s film Cléo de 5 à 7 (Cleo from Committee of the Lithuanian Communist
5 to 7). Party regarding measures to strengthen
crowd, a woman whose appearance and internal Lošėjas (The Gambler, 2013, feature, 109 min., Terence Young’s film Dr. No – the first film control over cinematography.
colour) about James Bond. Resolution of the Bureau of the Central
attitudes differed from others. Oona appeared to
Andrei Tarkovsky’s film Ivanovo detstvo Committee of the Lithuanian Communist
be precisely such a person. (Ivan’s Childhood). Party regarding the celebration of the
anniversary of the 1863 Uprising.
You wrote the script for the film together
with philosopher Kristupas Sabolius. Now 1963 Federico Fellini’s film 8½ started the theme Vytautas Žalakevičius’ film Vienos dienos
of filmmakers and filmmaking. kronika (A Chronicle of One Day) was the
you are working on your second film. Why Roman Polanski’s film Nóż w wodzie first Lithuanian film of the “thaw” period in
did you choose Sabolius and what does this (Knife in the Water). the Soviet Union.
cooperation provide you?
1964 Michelangelo Antonioni’s film Il deserto Arūnas Žebriūnas’ film Paskutinė atostogų
rosso (Red Desert). diena (The Last Day of Vacation) marked
I work with Kristupas because I like when the Bernardo Bertolucci’s film Prima della the beginning of the poetic trend in
boundaries of collaboration dissolve. We rewrite rivoluzione (Before the Revolution). the Lithuanian cinema and films about
A heavily censored version of Marlen children and teenagers.
each other’s scenes, share ideas, and correct each Khutsiev’s Mne dvadtsat let (I’m Twenty Raimondas Vabalas’ film Marš, marš,
other’s dialogues. We are sufficiently different, but Years Old), originally entitled Zastava tra-ta-ta! (Go, Go! Rub-a- Dub!), a satirical
Iliycha (Lenin’s Guard), was released. grotesque experiment about Lithuanian
at the same time tolerant people who are able to Wojciech Has’ film Rękopis, znaleziony w and Polish relations before Second World
agree on a compromise. It is not always easy, but Saragossie (The Saragossa Manuscript). War in an original film form.
in six years we have already honed each other’s
sharp edges. We stick to the rule that if you are
able to convince each other with arguments, this
is a sign that the viewer may also be convinced.

50 51
 Šarūnas Bartas
By Renata Šukaitytė

Š
arūnas Bartas (b. 1964) is the most esteemed remains of a once “powerful” empire and question
and acclaimed auteur in Lithuania. He the loss and disappearance of a previously common
consistently deals with the multiplicity of territory and form of shared belonging. The films
the experiences of homo sovieticus and the process do this, among other things, through an emphasis
that those living on former Soviet territory go on close ups and long shots. The characters in the
through to form new identities. His interest in films (who unmistakably are anti-heroes) silently
this problem could be explained by the fact that observe the outside world and each other, but are
Bartas launched and nurtured his cinematic career not able to establish sensible relations with each
as an experimental film maker just on the eve of other, or change their lives. They are closed inside
the collapse of the Soviet Union and produced their own world, which consists of an assemblage
his first professional film, Praėjusios dienos of recollections and dreams and a sense of an
atminimui (In Memory of a Day Gone By, 1990), unstable present. The editing in these films
during the period of political and cultural shifts intentionally lacks logical connections so as to
just after Lithuania announced its independence. give an impression of spontaneity and uncertainty
Bartas’ obvious artistic talent, coupled with his with reference to the newly crystalizing nation
entrepreneurial outlook and strategies, made him and state. These films have the feel of a kind of
an inspirational figure for the 1990s generation of mnemonic, a sort of artificial memory, referencing
local filmmakers, many of whom were influenced a past associated with sadness, uncertainty and Oksana Chernych. A shot from Š. Bartas’ Namai (The House).

by his filmmaking style, with its lack of emphasis alienation. His 1991 film Trys dienos (Three Days)
on narrative, non-verbal storytelling, long takes, manifested the first full expression of this unique
Šarūnas Bartas’ films can also be perceived as a multi-cultural and multi-national belonging.
ambient hypnotic sound, amateur actors, etc. In style, which became a common denominator of
bridge of communication linking post-communist Bartas’ films implicitly suggest the increasing
all his works starting with In Memory of a Day the national auteur film and was further nurtured
Eurasia with Western Europe. He depicts different threats of moral and mental deprivation in
Gone By, Bartas reflects on and reveals small joys in Koridorius (Corridor, 1995), Mūsų nedaug (Few
post-communist groups (Russians, Tofalars, traumatised dystopian societies. However, he
and passions, inner conflicts, fears, and longings of Us, 1996), Namai (The House, 1997), Laisvė
Lithuanians, Ukrainian, Tartars, and people in leaves some hope for the viewer and indirectly talks
for freedom of a man in the presence of societal, (Freedom, 2000), Septyni nematomi žmonės (Seven
Kaliningrad Oblast) healing historical traumas about the necessity for a new human sensitivity, as
economic and political stasis and shifts. Bartas’ Invisible Men, 2005), and Eurazijos Aborigenas
and grappling with the issue of post-1989 identity, well as for healing historical social traumas.
early films accurately document the vanishing (Eastern Drift, 2010).
including the damage of an artificially created

Dmitri Podnozov and Rita Klein. A shot from Š. Bartas’ Šarūnas Bartas. A shot from Š. Bartas’ Eurazijos Aborigenas Katerina Golubeva. A shot from Š. Bartas’ Mūsų nedaug (Few of Us). Piotr Kishteev. A shot from Š. Bartas’ Mūsų nedaug (Few of Us).
Septyni nematomi žmonės (Seven Invisible Men). (Eastern Drift).

52 53
 Šarūnas Bartas:

The Philosopher of Lithuanian

Cinema

Šarūnas Bartas.
Source: Studio Kinema.

Did you create your first feature film Trys did historical and social change have on
dienos (Three Days) after completion of your the themes of the young filmmaker and Audrius Stonys. A shot from Š. Bartas’ Trys dienos (Three Days).
studies in Moscow? his subsequent creative work? Did this
changing context affect the state of mind
Not exactly. I started making Three Days during
of the film director? on what we are looking at, but also what has very short interval of time is even recreated in a
my third year of studies. I was in a rush, because
happened to us earlier in our life. We may be painting. It is presented to a viewer, who looks at
there was not really much for me to do in It’s hard to say. I think it probably never had a
looking at the same point, but for one of us the it and his life becomes easier, because after seeing
Moscow, nor indeed for many others. Three Days profound effect, although, of course, we live in a
reality would be at this angle (showing), while the a little piece of the world with someone else’s
was the first independent Lithuanian film (not certain period of time and shoot what we know.
other may forget what he is looking at and may eyes, the viewer finds more points of reference. It
sponsored by the Lithuanian state budget) co- For example, the shooting of the documentary
at that time think and “see” their interlocutor’s becomes easier for him to find his own place and
produced with Estonians. Nothing like this had film Praėjusios dienos atminimui (In Memory of a
face. So these would be two different realities at to understand himself. Perhaps this is why such
ever happened in Lithuania before, so everyone Day Gone By, 1990) started and was completed in
the same time. Even in a single four-dimensional
was very suspicious of me. Halfway through the Soviet period. Had it not been for perestroika,
space there could be many realities.
shooting we had to terminate our cooperation the All-Union State Institute of Cinematography
with the Estonians because of disagreements in Moscow (VGIK) might not have allowed me Reality should also be separated from stylisation.
related to the content of the film. Furthermore, at to make it, though at that time there were indeed Reality in cinema is mutilated. For example, the
that time we also established the first independent attempts to prevent and prohibit it. And concerning action showed in my Three Days takes place over
film studio, Kinema, in Lithuania. And then all the developments in Lithuania at that time, they a few days, but my film lasts only one and a half
the events leading to the restoration of Lithuania’s are directly reflected in my later film Corridor. hours, so time is compressed and quite different
independence, like the economic blockade laws apply than in reality. We are probably talking
Can we compare you with those realists who
and other events, started. We suspended the about a reality that in order to make the show
tried to document and reflect reality in their
shooting of Three Days but continued shooting easier and happier is deliberately further stylised
films instead of constructing it?
documentary material with the money that was and simplified for the show to take place. This is
left. Some of the footage of the events at the You see, everyone constructs reality in films, not a bad thing, because this is a spectacle with its
Seimas (Parliament) building was later used in whether reflecting it or not. Realism in films is own laws. It should be noted that even as the show
my film Koridorius (Corridor, 1995). an entirely different matter. We can’t tell what is is being created, attempts are made to reproduce
real and what isn’t. Each of us even has a different an illusion of reality. All creators or producers Katerina Golubeva. A shot from Š. Bartas’ Trys dienos (Three Days).
When you started your film Three Days
perception of reality, because we rely not only are trying to recreate an interval in time. A
you were only 23 years old. What effect

54 55
art has been created since ancient times and has Acting is not a profession that can be learned, just conveyed by text, play an important part. And impressed by Roman Balajan’s film Flights in
been in demand. as it is possible to learn to sing, but it is impossible this is happening for a reason, otherwise a person Dreams and in Reality (Polyoty vo sne i nayavu). I
to learn to have a very good voice. Recreation would not be able to do household chores or make didn’t even know that such films existed, because
Many of your films contain features
and saving one’s energy are a professional actor’s pancakes with the TV on. Everything on TV is before that I had only watched films about
characteristic of a documentary film
skills that are usually quite easily learned, but the conveyed by the text and the image becomes just American Indians. When I saw Balajan’s film, I
(a realistic depiction of the environment,
essence of a good actor is different. On the other a background. Of course, I think that filmmaking was fifteen years old, but I’ve never forgotten the
non-professional actors playing themselves,
hand, a person may seem completely realistic, also tries to simplify the whole business. This is impression it made on me. Later I was also very
the use of diegetic sounds, etc.). What do
but be bland and uninteresting. Directors choose done for the purpose of distributing the film more impressed by Fellini’s films. Then the whole of
you think about the difference between a
models for the characters in their films in the broadly and making it more understandable. After Europe flocked to cinemas to see them, so they
documentary and a fictional film?
same way that painters choose models for their all, if someone has a couple of hours available and were very commercial, but today, behold, they’ve
I think that there is hardly any clear boundary paintings. walks into a cinema, that person isn’t always in become almost experimental (smiling). So the
between a documentary and a fictional film. the mood for for anything heavy. He just wants development of films has its own ups and downs.
There are often no precise time and space
Documentary films can be divided into journalistic- to relax, forget about something, or whatever. The Italians can be a great example, because today
boundaries in your films, and an action
style reporting, TV, or other documentaries, but And he’ll be unhappy if any effort is required. they hardly create anything very interesting,
usually develops in an abstract, distant and
in each case we record a certain interval in time We know that many works of art, books, films, or although they have given the world many of the
unfamiliar space in an indefinite time, so
and the extent to which it seems real to us depends stage performances require an effort on the part all-time greatest film directors. The development
I want to ask: how much time in which we
on how much effort we put in for it to look so. I of the viewer. But not everyone wants to do that, of the cinematography requires a lot of time. First
live is important to you when making a film?
disagree that non-professional actors who play so there are other stories available for those who for canonisation, then for breaking down the
in my films bring my films closer to reality. You We probably can’t even use the word important don’t want to do that. canons, as it was in painting.
are wrong to say that they’re playing themselves, here, because the time in which I live is all I
You probably know that your films are often You not only direct your films, but also
because this isn’t indeed so at all. These actors can have, which is the same for any one of us. It is
compared with the works of other directors. perform other technical functions: you are
be compared with the people in some American that foam of life that came to the surface and that
I wonder what film director (or directors) a cameraman (in the film Septyni nematomi
films who have also been picked up on the street we carry forward into the future. It is at this time
has had a strong impact on you? žmonės [Seven Invisible Men]), a sound
and who are certain types in the film. Federico that we are foaming and are alive. None of us,
engineer, and you are even going to act. Is
Fellini, who could never be called a documentary no matter how young, will be here one hundred I’ve heard such comparisons, but in my opinion
this the true model of an auteur film?
filmmaker, picked up nearly all his actors on the years later, so the time in which I live is the entire they have no real grounds, because this is
street, but they didn’t play themselves. There is no essence, because I don’t know any other time. done after the fact and often based not on real First, without the knowledge of all the professions
such expression as playing oneself; a good actor On the other hand, our imagination is based on similarities, but rather differences. In much the of filmmaking, it would be foolish to imagine
doesn’t act at all. memories and these, as we know, wear out. The same way music is popular, modern or classical, that you could manage everything. Imagine
brain arranges our memories the way it likes. there are attempts to categorise film directors. that a conductor does not know how to play
What are the most important features for
Therefore, we can hardly grab even the time in Back when I had nothing to do with films, I was the violin or he can play the piano, but knows
you in an actor?
which we live by the tail.
In each film, even in the so-called entertaining
In your films (especially the early ones)
films, actors who can’t act are the most valued. If
there is little dialogue, the language is
someone says, “that actor really knows how to act”,
minimalist, and the storytelling is almost
it means that he acts pretty convincingly. Acting
static, unlike usual narrative cinema in
is a part of our communication, because we are
which language is a very important link in
social creatures and constantly convey something
the story. Do you agree that the language
to others with our expressions (face, gestures
of images in cinema is more important
and language). We usually don’t understand
than words?
the emotions of animals (well, perhaps only
tail wagging), because we are different. But we I don’t know. Both the image and sound must have
understand each other, because we are united by their place. There could be fewer or more words.
our means of communication. When we can see Sometimes the text can say more, because it helps
that a person is lying, it means that he is a poor the viewer to understand more about the scene or
actor. Of course, there are people who know how character, though I don’t see the need to illustrate
to lie very well, which means that they believe each image with a sound. This is all related to TV, Viacheslav Amirhanian. A shot from Š. Bartas’ Koridorius (Corridor). Eimuntas Nekrošius. A shot from Š. Bartas’ Koridorius (Corridor).
what they’re saying. in which series, where practically everything is

56 57
nothing about other instruments. Conductors
can play virtually all instruments and are fully
Selected filmography
Tofolarija (Tofalaria, 1986, co-directed with
Cinema Timeline
aware of their potential (smiling). Therefore, it Valdas Navasaitis, short documentary, 16 min.,
16 mm, b/w) Events in culture, art, history
would be ridiculous to say that you can create an Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
Praėjusios dienos atminimui (In Memory of a Day
image without knowing how the main tools for Gone By, 1990, short documentary, 40 min.,
doing it work. 35 mm, b/w) 1965 Elmar Klos and Ján Kadár’s film Obchod na Vytautas Žalakevičius’ film Niekas nenorėjo
korze (Shop on the Main Street). mirti (Nobody Wanted to Die) was the
Trys dienos (Three Days, 1991, feature, 76 min., Repulsion, the first film by Roman Polanski first film centred round the post-war
But conductors themselves don’t play, and 35 mm, colour) created in the West. clashes between Lithuanian anti-Soviet
resistance fighters and Soviet government
in order to conduct it’s sufficient for them to Koridorius (The Corridor, 1995, feature, 80 min., representatives in a Lithuanian village.
know how the instruments work. 35 mm, b/w) This film became the best known
Lithuanian film across the USSR.
Mūsų nedaug (Few of Us, 1996, feature, 105 min.,
Of course, but if it was really necessary they could 35 mm, colour)
Robertas Verba’s documentary Senis ir
žemė (The Old Man and the Earth) marked
play. But this depends on the case. As for me, as Namai (The House, 1997, feature, 120 min., the beginning of the Lithuanian poetic
I said, I did a lot of shooting prior to my studies 35 mm, colour) documentary trend.
at All-Union State Institute of Cinematography Laisvė (Freedom, 2000, feature, 94 min., 35 mm,
colour) 1966 Ingmar Bergman’s film Persona. Almantas Grikevičius’ film Laikas eina per
(VGIK). Then I did not have any assistants and I Věra Chytilová’s film Sedmikrásky (Daisies). miestą (Time Passes Through the City) –
had to figure out what, where and how. Therefore, Nieko nepraranda vaikai (Children Lose Nothing, Jiří Menzel’s film Ostře sledované vlaky reflections on the history of Lithuania were
5 min. segment in feature having several creators, (Closely Watched Trains). conveyed through associative images of
I can work professionally with the camera, but Visions of Europe, 2004, 140 min., 35 mm, colour) Vilnius.
if I don’t have to, I don’t do it. In my opinion, Raimondas Vabalas’ film Laiptai į dangų
Septyni nematomi žmonės (Seven Invisible Men, (Stairway to Heaven), based on a novel
directors must intervene in any process that’s not feature, 2005, 116 min., 35 mm, colour) by Mykolas Sluckis, initiated a different
going the way they think it should be going. After approach to the portrayal of the post-war
Eurazijos aborigenas (Eastern Drift, 2010, feature, Lithuanian anti-Soviet resistance struggle
all, you can’t say in the credits that someone on 90 min., 35 mm, colour) in the Lithuanian cinema.
the creative team has failed.
1967 Luis Buñuel’s film Belle de Jour.
Andrei Tarkovsky’s film Andrei Rublev.
Interviewed by Lukas Brašiškis
1968 Stanley Kubrick’s film 2001: A Space Almantas Grikevičius and Algirdas Dausa’s
Odyssey. film Jausmai (Feelings) was allowed to be
Roman Polanski’s film Rosemary’s Baby. screened only in Lithuania. In 1988 it was,
Pier Paolo Pasolini’s film Teorema. however, “removed from the shelves”.
In 1995 it was recognised the best
Lithuanian film of all time.
After his role as the spy Ladeinikov in
Savva Kulish’s film Myortvyy sezon
(The Dead Season) the Lithuanian actor
Donatas Banionis became one of the
popular Soviet stars. Until the collapse
of the Soviet Union, Lithuanian actors
regularly appeared in films made in
Russia, Ukraine, Belarus and other Soviet
republics.

1969 Dennis Hopper’s film Easy Rider. Raimondas Vabalas’ film Birželis, vasaros
Éric Rohmer’s film Ma nuit chez Maud pradžia (June, the Beginning of Summer)
(My Night at Maud’s). was allowed to be screened only in
Andrzej Wajda’s film Wszystko na sprzedaż Lithuania.
(Everything for Sale). Robertas Verba’s documentary Šimtamečių
Sergei Parajanov’s film Sayat Nova godos (The Dreams of the Centenarians),
(The Color of Pomegranates). one of the key films of the Lithuanian
poetic documentaries.

1970 Luis Buñuel’s film Tristana. Marijonas Giedrys’ film Vyrų vasara (Men’s
Don Siegel’s film Dirty Harry. Summer) uses the Lithuanian anti-Soviet
resistance struggle as the basis for an
adventure film about a KGB officer among
Lithuanian partisans.

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 Jonas Mekas’ Diary Films
By Maksim Ivanov

A
t the age of 93, Jonas Mekas (b. 1922) is Two weeks after his arrival in New York, Jonas
one of the oldest active filmmakers in the bought a Bolex camera and started recording
world and remains an avid practitioner bits of his day-to-day life. In the beginning, it
of the diary film genre, which he famously was merely a way of getting acquainted with the
pioneered in the second half of the 20th century. filming process and keeping the necessary skills
in shape, without any intention of incorporating
Mekas’ films have been screened extensively the collected footage in a proper film project.
at some of the world’s biggest film festivals Little did he know that documenting the everyday
and contemporary art venues, and he is often on film would become his life-long obsession.
considered to have played a crucial role in the
emergence and formation of the New American Despite being critical of the avant-garde film scene
Cinema of the 1960s, significantly influencing at first, Mekas had become one of its prominent
the global scene of avant-garde filmmaking of the figures by the mid-1960s. His leadership skills
following years. and organisational abilities paved the way for
the establishment of an entire underground film
Born in a small agricultural town in Lithuania as industry, fully independent from Hollywood’s
the fifth child in the family (with the sixth soon to network of film studios, cinema chains, and
follow), Mekas left his homeland with his younger distribution companies. A shot from J. Mekas’ Reminiscences of a Journey to Lithuania.

brother Adolfas in 1944, when they were in

danger of getting arrested for their participation In 1954, Jonas and his brother started the seminal
in the anti-Nazi resistance movement. Without magazine, Film Culture, which would go on to Mekas made his first major diary film, the three- temporally from the filmmaker’s first days in the
ever reaching their destination, the two spent the become the agora of avant-garde filmmakers hour-long Walden: Diaries, Notes & Sketches, USA to the moment of the film’s editing. Yet the
next few years moving from one displaced persons and their supporters. In 1962, Mekas and twenty in 1969. Since then, he has focused almost main focus is almost invariably on the close-knit
camp in Germany to another, until landing in the of his colleagues organised the Film-Makers’ exclusively on this type of filmmaking. circle of his family, friends, and fellow artists or
USA in 1949. Cooperative, aimed at the distribution of avant- filmmakers.
garde films. His next diary film was the Reminiscences of
a Journey to Lithuania (1971–1972), which The earlier films normally contain soundless
From 1964 to 1967, he presented a series of New depicted his and Adolfas’ reunion with their footage, set to the accompaniment of either
American Cinema festivals and expositions, family after 27 years of separation. In 2006, the separately recorded, desynchronised sound or
which toured the USA, Europe, and South film was added to the National Film Registry selected musical pieces, as well as Mekas’ voice-
America. In 1970, he founded Anthology Film of the Library of Congress in recognition of its over commentary. The newer films, more often
Archives, a unique centre for the preservation, cultural, aesthetic and historical significance. than not, feature synchronised sound, giving
study and screening of independent, avant-garde way to voice-over here and there. Mekas also
and experimental films. Some of Mekas’ other notable diary films include consistently uses stylised written intertitles to
Lost Lost Lost (1976), He Stands in a Desert both distinguish between separate sequences of
The year 1961 saw the release of Mekas’ own Counting the Seconds of His Life (1985), Scenes the film and provide relevant information about
feature debut, Guns of the Trees, which not only from the Life of Andy Warhol (1990), Zefiro Torna their respective subjects.
had a plot and a cast, but also included spoken or Scenes from the Life of George Maciunas (1992),
interludes by the legendary Beat poet Allen and As I Was Moving Ahead Occasionally I Saw Persisting throughout Mekas’ filmography, the
Ginsberg. In 1964 The Brig, a filmed version of Brief Glimpses of Beauty (2000). voice-over is usually self-reflexive, with the
The Living Theatre’s performance of a play of the filmmaker contemplating the very activity of
same name, came out. The film was awarded the Many of Mekas’ works, although centred on a making a film about the people he cares about
Jonas Mekas. Photo from a personal archive. particular topic, group of people, or series of and the times that have irrevocably passed. In this
Grand Prize in the documentary section of the
Venice Film Festival. events, manifest a diversity of material, ranging context, filmmaking appears as a way of escaping

60 61
the confines of time and preserving the past. Such
an approach to cinema culminated in 2007, when
Mekas’ recent films include the five-hour-long
Lithuania and the Collapse of the USSR (2008),
Cinema Timeline
Mekas would post a film each day on his website which is composed of American television
Events in culture, art, history
as part of “The 365 Day Project”. newscasts of the 1989–1991 events, shot off Mekas’ Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
home television, and the more traditional diary
After Lithuania regained independence in 1990, pieces Sleepless Nights Stories (2011, premiering 1971 The first Steven Spielberg’s film Duel and Iskusstvo kino (No. 1), a film magazine
George Lucas’ first film THX1138. published in Moscow, featured Boris
Mekas embraced the new opportunities to take at the Berlin International Film Festival) and Bernardo Bertolucci’s Ultimo tango a Parigi Runin’s article “Images, Symbols and
(Last Tango in Paris). Hieroglyphs”, which for the first time
part in the cultural life of his country. In the 1990s Outtakes from the Life of a Happy Man (2012). Luchino Visconti’s film Morte a Venezia identified and critically reviewed the
and 2000s, he helped popularise in Lithuania the (Death in Venice). Lithuanian cinema tradition.
heritage of fellow Lithuanian-born American The latter two show Mekas as an aging artist,
1972 Francis Ford Coppola’ film The Godfather. Marijonas Giedrys’ historical epic film
artist and founder of the Fluxus movement, for whom filmmaking is perhaps the best Bob Fosse’s film Cabaret. Herkus Mantas, which tells the story of
George Maciunas. In 2007, the Jonas Mekas means of reconciling with the passing away of Andrzej Wajda’s film Wesele (The Wedding). the uprising of a Baltic tribe – Prussians –
against the Crusaders.
Visual Arts Center opened in Vilnius. his friends.
1973 Federico Fellini’s film Amarcord. The Lithuanian film studios started making Vytautas Žalakevičius’ film Eto slakoje slovo
Mekas was also partly involved in the activities of Martin Scorsese’s film Mean Streets. TV films commissioned by Gosteleradio svoboda (The Sweet Word Freedom) made
Werner Herzog’s film Aguirre, der Zorn (Soviet Central Television and Radio). at the Mosfilm film studio was awarded
the Ministry of Fluxus, a one-year-long art project Gottes (Aguirre, the Wrath of God). Henrikas Šablevičius created masterpieces the Golden Prize of the 8th Moscow
established in Vilnius in April 2010. In addition, Krzysztof Zanussi’s film Iluminacja of the Lithuanian poetic documentary – International Film Festival.
(The Illumination). the short documentaries Kelionė ūkų Speech by Juozas Petkevičius, chairman
he has had several books of poetry and essays, his Wojciech Has’ film Sanatorium pod lankomis (Journey Through the Fields of of the KGB of the Lithuanian SSR, at
dream journal from the 1970s, and a book about klepsydrą (The Hourglass Sanatorium). Nebulas) and Apolinaras. an operational staff meeting regarding
the ideologically harmful views of the
George Maciunas, Yoko Ono and John Lennon intelligentsia.
published in Lithuania.
1974 Wim Wenders’ film Alice in den Städten The first Lithuanian musical Velnio nuotaka
(Alice in the Cities). (The Devil’s Bride) by Arūnas Žebriūnas.
Andrei Tarkovsky’s film Zerkalo
(The Mirror).

1975 Steven Spielberg’s film Jaws. Algimantas Puipa’s, one of the most
Andrzej Wajda’s film Ziemia obiecana devoted authors of literary adaptations in
(The Promised Land). Lithuanian cinema, debut film (co-directed
with Stasys Motiejūnas) Atpildo diena
(The Day of Retribution).

1976 Martin Scorese’s film Taxi Driver.

Nagisa Ôshima’s film Ai no korîda (In the
Realm of the Senses).
Nikita Mikhalkov’s film Neokonchennaya
Pyesa Dlya Mekhanicheskogo Pianino
(An Unfinished Piece for a Player Piano).

1977 George Lucas’ film Star Wars. Iskusstvo kino (No. 1) featured Vidas
Andrzej Wajda’s film Człowiek z marmuru Siliūnas’ article “Poetry and Truth”, which
(Man of Marble). promoted a discussion about the situation
of Lithuanian cinema and its relation with
national literature.
Petras Abukevičius’ documentary Nauji
Nidos nuotykiai (New Adventures of Nida)
launched a cycle of educational films about
nature.

1978 David Lynch’s film Eraserhead. Arūnas Žebriūnas’ film Riešutų duona
(Nut Bread) – one of the most popular
Lithuanian films of all time.
Viktoras Starošas’ documentary Aš myliu
direktorę (I Love the Director) was the first
to tell about children abandoned by their
parents.

62 63
 Documentary Film after 1990
By Rasa Paukštytė

T
he first years after the restoration of the abused him. The story therefore became a
independence of Lithuania were a time diagnosis of the society of the late Soviet era.
of recovery, breakthrough, diversity, and
creative ideas in the Lithuanian documentary Changes in the style and format of films took place.
film industry. Some of the ideas, the moral and Short films were replaced by full-length films and
ethical beliefs, and the requirements of high poetic films were replaced by journalistic-type
artistic quality that matured at that time shaped reporting films. Henrikas Šablevičius, master
the documentary film scene in Lithuania today. of the short poetic documentary, created some
detailed and coherent film narratives aiming to
After long years of Soviet censorship, where expose many themes that were forbidden during
genuine and honest documentary filmmaking the Soviet era: stories of Lithuanian freedom
provided a permanent refuge for creators who fighters and their struggle against the Soviets
aimed to remember and to remind their audiences in the film Už tėvynę Lietuvą (For Lithuania,
of one’s own self and identity and where the the Homeland, 1991), the memoirs of political
style of Aesop became the main instrument of prisoner Balys Gajauskas in Sustingęs tvermės
the language of film, Lithuanian documentary metas (The Frozen Time of Endurance, 1990),
filmmakers took the opportunity of the period and the story of a visit to Jonas Pajaujis, a former
of reformation and openness and spoke out participant in the resistance movement and an A shot from O. Buraja’s Liza, namo! (Lisa, Go home!).

about previously suppressed historical traumas, inhabitant of the island of Gotland, in the film
analysed the rapidly changing here-and-now, and Laba diena – God Dag (Good Day – God Dag,
summarised the most important, dramatic events 1993). Film director Edmundas Zubavičius, and Lietuva. Žodžiai į sąžinę (Lithuania. Words The young generation that set out on its creative
in the country. Vėliava iš plytų (The Brick Flag, an observer of social realities with a hallmark to the Conscience, 1991) dedicated to the path path in the early years of independence could
1988), an investigative documentary by Saulius lyrical style, and cameraman Romualdas Damulis leading to the restoration of the independence of only rely on themselves. It was difficult for the
Beržinis, was a particularly important film of the went on to create many films featuring the Lithuania. This diptych perhaps most accurately new country to support the expensive film
transitional period. This is a story about Artūras wounds left by the Soviet period, but the two reflects the type of films being made by the older industry (and this partly explains the abundance
Sakalauskas, a Soviet Army private from Lithuania, epitomising works of the period were their Dar generation of documentary filmmakers in the of documentaries and dearth of feature films at
who shot the soldiers who had humiliated and sykį Lie-tu-va (Once Again Lithuania, 1990) first years of independence. that time). The Lithuanian film studios, earlier
the only base for film production, became just
Among the documentaries that reflected the one of several studios in the country. Financial
general mood and problems of the nation, independence encouraged many young directors
several stood out. The film Sala (Island, 1990) by to become film producers and control the fate
film director Rimtautas Šilinis and cameraman and distribution of their own productions. The
Viktoras Radzevičius depicted a mental hospital Kinema Studio established by Šarūnas Bartas
as a metaphor for the post-Soviet society. There became one of the most important centres of
was also a series of four films by Rimtautas Šilinis attraction for young creators.
together called Penktas Dievo įsakymas (The Fifth
Commandment of God, 1991–1994). These films The film directors of that generation focused on
were dedicated to the most important political unusual spaces and identified with marginalised
events of 1991, including the attack on the TV people, thus communicating the message of the
tower in Vilnius and the victims of that attack separation of the directors from the crowd and
(13th January), the massacre of border officials rediscovering the suggestiveness of the poetic
at Medininkai (31st July), and a timeline of the mode of expression in the new reality. The noise
A shot from A. Stonys’ Neregių žemė (Earth of the Blind). A shot from L. Mikuta’s Pietūs Lipovkėje (Dinner). events that took place during the August Coup of rallies and speeches were juxtaposed with the
in Moscow. silent heroes and a prayer at the foot of the Gates

64 65
of Dawn (Praėjusios dienos atminimui [In Memory 1993), reminds us that the creative world film projects, a producer, and an initiator of and adulthood and also talks about the trap of
of a Day Gone By, 1889], director Šarūnas Bartas), and culture have always been very important civil campaigns. His most famous films have belonging to one social layer or another. The
the incoherent mutter of Misha, a resident of the subjects for documentary makers in Lithuania. been awarded at Leipzig, Amsterdam, Cannes, “bottom” layer of society is a vicious circle for the
Užupis area in Vilnius (Dešimt minučių prieš Ikaro Film director Vytautas V. Landsbergis and film and other prestigious film festivals. His films hero of Galutinis tikslas (Final Destination, 2013),
skrydį [Ten Minutes Before the Flight of Icarus, chroniclers such as Vytautas Damaševičius and Sekmadienis. Evangelija pagal liftininką Albertą which was directed by Ričardas Marcinkus. The
1990], director Arūnas Matelis), the silence of the Juozas Matonis have immortalised many figures (Sunday. The Gospel According to Lift-Operator film reveals the director’s attempts to change the
blind (Neregių žemė [Earth of the Blind, 1992], of culture in their films. Albertas, 2003), a grim joke of a film reminiscent hero’s life and the tenacious reality threatening to
director Audrius Stonys), the creaking of snow of Samuel Beckett’s play Waiting for Godot, and steal the hero’s attempts to change.
underfoot during a funeral procession (Rudens After a traineeship at Jonas Mekas’ Anthology Prieš parskrendant į Žemę (Before Flying Back to
sniegas [Autumn snow, 1992], director Valdas Film Archives in New York, film director Earth, 2005), a riveting fable about transience Answers to important questions about the world
Navasaitis), and the sounds of the daily life of Algimantas Maceina created his memorable and eternity dedicated to children suffering from and life are provided by children from difficult
Roma in the Pavilnys area of Vilnius (Kirtimų experimental film, Juoda dėžė (Black Box, 1994), cancer, are today part of the “golden collection” backgrounds in Pokalbiai rimtomis temomis
idilės [The Idylls of Kirtimai, 1992], director which featured the then unusual film diary form. of Lithuanian documentary films. The film (Conversations on Serious Topics, 2012) directed
Artūras Jevdokimovas). The works of these In this film the director tells about his trip to racked up awards at several international festivals by Giedrė Beinoriūtė, who pursues sincerity
filmmakers also showcased a silent protest against bring back the remains of his grandfather who and became the only documentary film created and authenticity by using radical minimalism.
the spirit of films containing a lot of dialogue. had been deported to Siberia by the Soviets. Film outside the USA to receive recognition from the Young filmmakers Linas Mikuta and Kristina
They projected slow, contemplative images director Janina Lapinskaitė, who at that time had Directors Guild of America. Sereikaitė regularly bring representatives of
that were a declaration of their desire to create just started her career in TV, chose to depict odd socially marginalised groups of the population
anthropological films or what they considered to people and outcasts who live next door to us in Over the past decade, trends concerning to the screen: Dzūkijos jautis (Dzūkija Ox,
be pure films. These images captured stories filled her films: Iš skruzdėlių gyvenimo (From the Life the making of history-centered and social 2013) and Pietūs Lipovkėje (Dinner, 2014).
with internal energy about human loneliness in of Ants, 1995), Venecijaus gyvenimas ir Cezario documentaries have been coming into focus. Compassion, social survey, and reflections of
the vortices of history and about the universal mirtis (The Life of Venecijus and Caesar’s Death, These types of documentaries were often the Lithuanian poetic film tradition are the
and currently relevant pursuit of inner spirituality 2002), and Traukinys stovi penkias minutes (The compromised in the Soviet era and therefore constant themes of these films.
in our everyday life. The new film dissemination Train Stops for Five Minutes, 2009). Documentary were viewed with distrust for a long time. Now
opportunities that opened up for this generation filmmakers Rimantas and Julija Gruodis portray documentary filmmakers more frequently opt to In recent years we have also witnessed the
brought international recognition to filmmakers. a consistent and subtle anthology of today’s life examine social life, however. The international increased attention of documentary filmmakers
In 1992 Earth of the Blind by Stonys received the in Lithuania’s outlying areas and the work and premier of Liza, namo! (Lisa, Go Home!) to the world at large, and therefore the geographic
European Film Award for Best Documentary joy of ordinary people in Pirtis (The Bathhouse, by Oksana Buraja took place at the Leipzig and thematic arena of Lithuanian films is rapidly
of the Year from the European Film Academy. 1997), Šeimyna (Household, 2001), Brasbendas International Documentary and Animated Film expanding. The social implications of everyday
(The particular contribution of Rimvydas Leipus, (The Brass Band, 2006), Upė (The River, 2009), Festival in 2012. The film, which has featured at life in different countries, unfamiliar cultures,
the cameraman and co-creator of many films and Sėkmės metai (Lucky Year, 2014). dozens of international festivals, tells the story or the scars of aggressive political policies have
made during the transitional years in Lithuanian of the divide between the worlds of childhood become objects of exploration. Memorable
history, must be emphasised in creating the story Documentaries by Matelis and Stonys, the
and visual expression of Earth of the Blind). filmmakers of the generation that lived at the
Films by Navasaitis and Matelis earned awards turning point in Lithuanian history and laureates
at Oberhausen, Pärnu, Paris (Cinéma du Réel), of the National Culture and Art Award, have
Babelsberg, and other festivals. remained important representatives of the
Lithuanian world of film at the most famous
The focus on the self, the spiritual world, and international festivals and events. With a portfolio
individuality is the trademark of the generation of of nearly twenty documentary films, Stonys is one
filmmakers of this period, and older filmmakers of the most creative and prolific filmmakers of
followed this trend. Kornelijus Matuzevičius, the the middle generation of Lithuanian filmmakers.
cameraman of Šablevičius’ films, and his wife, His films Kenotafas (Cenotaph, 2013), Raminas
film director Diana Matuzevičienė, continued (Ramin, 2011), Varpas (The Bell, 2007), Ūkų ūkai
the tradition of the 1960s poetic mode in (Uku ukai) (2006), and others accommodate a
documentaries in their Šičionykštė (A Local, 2001) clear visualisation of reflections on existence and
and Šiandien (Today, 2003), while their most rough everyday life, randomness, experimental
famous creation, a story about writer Jokūbas spirit, and loyalty to his own cinematic voice. A shot from M. Survila’s Stebuklų laukas (The Field of Magic). A shot from A. Matelis’ Dešimt minučių prieš Ikaro skrydį
(Ten Minutes Before the Flight of Icarus).
Josadė told in the documentary Iliuzijos (Illusions, Meanwhile, Matelis is the creator of unique

66 67
 debuts in recent years have put filmmakers such
as Maratas Sargsyanas (Tėvas [Father, 2012]),
of women, who lived through the Soviet period,
within the context of current everyday life in
Cinema Timeline
Lina Lužytė (Igruški [Igrushki, 2012]), and Tomas Europe.
Events in culture, art, history
Smulkis (Rojaus beieškant [Paradise Road, 2012]) Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
on the map. Anthropologist Mantas Kvedaravičius’ film
Barzakh (winner of the Ecumenical Jury Prize at 1979 Krzysztof Kieślowski’s film Amator
(Camera Buff).
Director Audrius Stonys avails of his extensive the 61st International Berlin Film Festival and the Francis Ford Coppola’s film Apocalypse
Now.
experience in documentary filmmaking in Amnesty International Film Prize) and naturalist Woody Allen’s film Manhattan.
order to observe what he has always found Mindaugas Survila’s film Stebuklų laukas (The
interesting – the spiritual content of human life Field of Magic) were born from the belief in the 1980 Rainer Werner Fassbinder’s film Berlin
Alexanderplatz.
and its manifestations. The once famous Georgian power of the camera. Kvedaravičius spent three
wrestler Ramin Lomsadze in Stonys’ film Ramin years filming Chechen people waiting for the 1981 István Szabó’s film Mephisto. Almantas Grikevičius’ film Faktas (Gruppa
Margarethe von Trotta’s film Die Zeit krovi nol / Fact) was shown at the Cannes
(The Grand Prize at Pärnu International Festival return of their missing relatives. The director bleierne (Marianne and Julianne). Film Festival competition. Yelena Solovey
Award in 2014) feels lonely among his fellows seeks to present the condition between life and won the award for Best Supporting Actress
and dreams of meeting his old love and bringing death, hope and illusion, and knowledge and in this film.

back the illusions of the past stolen by time. uncertainty. The existential, even mystical sense The Lithuanian film studios made the
In his recent film Avinėlio vartai (Gates of the of being in this film has reporting and political anti-Western propaganda film Medaus
mėnuo Amerikoje (Honeymoon in
Lamb, 2014), Stonys aims to depict the meaning undertones. Survila created an anthropological America) – the only film not to have the
of baptism. He studies sacred rituals of various and moving film about the people we encounter name of the director in the credits.

nations and people of different ages and social on a daily basis and who are considered invisible
1982 Steven Spielberg’s film E.T. Vytautas Žalakevičius returned to
backgrounds and creates a seemingly generalised as they happen to live below the poverty line. The Ridley Scott’s film Blade Runner. Lithuania and made the film Atsiprašau
(I’m Sorry).
sense of faith. films Barzakh and The Field of Magic have been
created by sharing life with the heroes and facing 1983 Nagisha Oshima’s film Senjō no Merī Raimondas Vabalas made the film Skrydis
UB Lama (2011), Vertelytė’s film made in their pain or poverty. Kurisumasu (Merry Christmas per Atlantą (Flight over the Atlantic) about
Mr. Lawrence). Darius and Girėnas’ flight in 1933 in the
Mongolia, shows the efforts of a mischievous boy Juraj Jakubisko’s film Tisícročná včela plane Lituanica. The film became the most
to get closer to his dream of becoming a Buddhist Historical reflection in films has also been gaining (The Millennial Bee). watched domestic film and its record
remains unrivalled.
monk. Young film director Julija Zubavičienė set momentum. In her Gyveno senelis ir bobutė Lithuanian film studios started making
out together with her grandmothers on a trip (Grandpa and Grandma, 2007), Beinoriūtė offers animated films: Nijolė Valadkevičiūtė’s
debut film Medis (The Tree).
across Europe in her film Lida, Vanda, Liusia a unique creative documentary and animated
(2014) to get to know themselves and their film project reminding us of the deportations 1984 Jim Jarmush’s film Stranger than Paradise. Instruction by Juozas Petkevičiaus,
relatives better and to discuss the experiences to Siberia. A trilogy interpreting Soviet myths Sergio Leone’s film Once Upon a Time in chairman of the KGB of the Lithuanian
America. SSR, to local units regarding the control of
and realities is offered by Giedrė Žickytė in her video distribution.
Baras (Bar, 2009), Kaip mes žaidėme revoliuciją
(How We Played Revolution, 2011) and Meistras 1985 Claude Lanzmann’s film Shoah. Raimundas Banionis’ debut love drama
Mano mažytė žmona (My Little Wife).
ir Tatjana (The Master and Tatyana, 2014).
Vytautas V. Landsbergis has created a film about 1986 David Lynch’s film Blue Velvet. Theatre director Jonas Vaitkus’ debut
Zodiakas (Zodiac), an experimental film
the last Lithuanian partisans of the post-war about Mikalojus Konstantinas Čiurlionis.
period (Trispalvis [Tricolour, 2013]). Interest
in films made by these film directors is a sign 1987 Wim Wenders’ film Der Himmel über A retrospective of the documentary films
Berlin (Wings of Desire). of the Baltic countries at the 19th Nyon
that Lithuanian history awaits interpretation Krzysztof Kieślowski started working on International Documentary Film Festival
and deeper exploration to help people to better his TV series Dekalog (The Decalogue). (Switzerland) was the first comprehensive
presentation of Lithuanian documentary
understand the genesis of the spiritual condition films abroad.
of today’s society.

A shot from M. Kvedaravičius’ Barzakh.

68 69
 Audrius Stonys:

Showing the Invisible

Film director Audrius Stonys set out on the path of filmmaking in 1989 and has produced
over 20 documentaries since, most of which have won awards at various festivals. In
1992, his Neregių žemė (Earth of the Blind) received the European Film Award for Best
Documentary of the Year from the European Film Academy. Stonys is a voting member
of the European Film Academy and a member of the European Documentary Network.

Audrius Stonys.
Photo by Evaldas Ivanauskas.

Your films continue the Lithuanian poetic very visual. We peer at a person’s face and try to
documentary tradition. How would you read the story in it. It is true that today this kind
describe your relationship with this of film is undergoing a transformation, becoming
tradition? more sociable and communicative; there is much A shot from A. Stonys’ Avinėlio vartai (Gates of the Lamb).
less silence and more action in it.
The relationship with the national poetic
documentary mode is undeniable. Arūnas Matelis, You are the only director in Lithuania who
Valdas Navasaitis, Šarūnas Bartas and Giedrė has been awarded the Felix, the European chimney had made on me. I had a desire to share outcome will largely depend on the cameraman’s
Beinoriūtė, everyone who had anything to do Film Award for Best Documentary, by this impression when one’s breath is taken away approach and the “dialogue” between us. When
with the creative work of Henrikas Šablevičius or the European Film Academy for your film at a high altitude. I am curious to see objects and I feel that there is an inner connection between
communicated with him became “infected” with Earth of the Blind in 1992. What does this phenomena that are right by our sides and yet are us, we can get down to work. In a documentary,
poetry. The essence of poetic documentary does recognition mean to you? often unnoticeable. I have never been aiming at the cameraman is very independent, especially
not lie in the poetic depiction of beautiful images, global recognition, and for this reason I accepted during filming.
The award has made my path easier, but it did the Felix as an unexpected quirk. When I found
but rather in the attempt to cast a view on the other
not destroy me. I was only 26 and all my life out about the nomination, I thought, “Ah well,
side of reality in the belief that in addition to fact,
was before me, so it made no sense for me to perhaps they’ll invite me to Berlin!” That was all
character and incident, there is some kind of space
stop and bask in the honour of receiving such I expected.
and it would be very interesting to see it. It seems
an important prize. I wanted to search for
that nothing is happening in Šablevičius’ films; How does the cooperation with cameramen
untried means of expression and new themes.
for example his Kelionė ūkų lankomis (Journey take place? They often appear to be,
My next film was Griuvėsių apaštalas (Apostle of
Through the Fields of Nebulas) depicts a man sitting whether it is Rimvydas Leipus, Audrius
Ruins), in which I rejected metaphors and used
by his cottage, railway workers replacing rails, and Kemežys or Laisvūnas Karvelis, thinking in a
the Georgian language and colour, because I
then a train travelling into the mist. Yet watching similar vein as you.
wanted to do something completely different
the film, one is thinking about lost values, human
from what I’d discovered in Earth of the Blind. In documentary filmmaking the input of a
simplicity, and innocence. Or, for example, in
My story was inspired by my acquaintance with cameraman is altogether crucial. If you wish to
Šimtamečių godos (Dreams of Centenarians) by
Alexander Oboladze, a Georgian who had once achieve what you are dreaming of achieving, then
Robertas Verba, old people talk about their lives
been a party animal and a lover of restaurants, during filming the director and the cameraman
and that’s it. But behind their conversation is a
but suddenly became infinitely lonely. The next must understand each other without words. At this
huge layer of meaning.
film was Antigravitacija (Antigravity). Two years point other senses are activated. I strive towards
A shot from A. Stonys’ Avinėlio vartai (Gates of the Lamb).
Lithuanian poetic film is closely linked with after the completion of Earth of the Blind, I still a creative relationship. I understand that the
black-and-white photography, and as a result it is had the impression that a man climbing a big

70 71
 How long does filming take? After all it is The film Uku ukai emerged from a desire opposite. When I was shooting Trys minutės po Selected filmography
necessary to find a common language not to expose the beauty industry, but in the didžiojo sprogimo (Three Minutes after the Big Atverti duris ateinančiam (Open the Door to Him
only with the cameraman, but also with the course of shooting your attitude changed Bang), it seemed that a simple person would Who Comes, 1989, short documentary, 10 min.,
35 mm, b/w)
characters at whom the camera is directed? radically. Does it often happen that life say very profound truths, but it turned out that
Baltijos kelias (Baltic Way, co-directed with
adjusts preconceived visions? it was all the same to this man: he didn’t care a Arūnas Matelis, 1989, short documentary,
It depends. It took 14 days to shoot Ramin and
fig. So I had to look into the mirror. But this is 10 min., 35 mm, b/w)
two years to shoot Kenotafas (Cenotaph). The Perhaps not a single one of my films was unaffected
just a natural thing in documentary filmmaking. Neregių žemė (Earth of the Blind, 1992, short
production of my current film, Moteris ir ledynas by this. The idea changes, because reality turns it documentary, 24 min., 35 mm, b/w)
The moment you think you know everything and
(The Woman and the Glacier), has also been upside down and destroys it. At first I was very Griuvėsių apaštalas (Apostle of Ruins, 1993,
it only remains to capture your “discoveries”, the
taking quite a long while. It took two years to frightened; it seemed to me that was it, that was short documentary, 18 min., 35 mm, b/w)
truth of life takes over and turns against you. So,
shoot Avinėlio Vartai (Gates of the Lamb). Each the end. I had an idea and everything took another Antigravitacija (Antigravitation, 1995, short
I let my visions be transformed. The essence lies documentary, 20 min., 35 mm, b/w)
film requires a different shooting time. One of the turn. Then I understood that this was supposed
in the quest. Subsequently, the films will live lives Skrajojimai mėlynam lauke (Flying over Blue
components of the film is establishing relations to be so. None of my films are as I originally
of their own. Field, 1996, short documentary, 20 min., 35 mm,
with the main character. Furthermore, there are conceived them. In Uku ukai both the theme b/w)
many other things that influence the duration of and the character changed. Instead of a strong, Uostas (Harbour, 1998, short documentary,
the filmmaking process. Sometimes even mystical healthy, young man who goes swimming every Interviewed by Auksė Kancerevičiūtė 10 min., 35mm, colour)
experiences are triggered when you feel that you day irrespective of whether it rains or snows, Fedia. Trys minutės po Didžiojo sprogimo
can no longer shoot, that there’s something in we have a tiny old woman tip-toeing across her (Fedia. Three minutes after the Big Bang, 1999,
short documentary, 10 min., 35 mm, colour)
the way, that there’s something you can’t find. A room. Viena (Alone) was supposed to be about a
Skrydis per Lietuvą arba 510 sekundžių tylos
month or two or three pass and suddenly you girl who was going to visit her mother who was (Flight over Lithuania or 510 Seconds of Silence,
realise that something had to be resolved inside in prison and talking what she sees and feels, but co-directed with Arūnas Matelis, 2000, short
documentary, 8 min., 35 mm, colour)
yourself. You realise that had you not waited those instead I made a completely silent film. Tas, kurio
three months, the film may not have appeared nėra (New Martyrology) was supposed to show Viena (Alone, 2001, short documentary, 16 min.,
35 mm, b/w)
at all. It’s a kind of internal, yet palpable logic, a man who died unbeknownst to anybody, but
Paskutinis vagonas (The Last Car, 2002, short
but difficult to understand. We could have shot instead the Lithuanian film director Augustinas fiction, 28 min., 35 mm, colour)
Cenotaph faster, but then the final scene where the Baltrušaitis, whom fate and circumstances tossed Tas, kurio nėra (Countdown, 2004, documentary,
soldiers remain unburied would have been lost, into complete oblivion, became the protagonist 42 min., 35 mm, colour)
and the film would have had a different meaning. of the film. When shooting Cenotaph it seemed Ūkų ūkai (Uku ukai, 2006, documentary,
In a documentary film, you must obey a certain that the film was about the meaning of reburial, 30 min., 35 mm, colour)
rhythm dictated by reality. but it turned out to be about meaninglessness. Varpas (The Bell, 2007, documentary, 56 min.,
colour )
The initial concept is therefore diametrically
Keturi žingsniai (Four Steps, 2008, documentary,
42 min., colour)
Aš perėjau ugnį, tu buvai su manim (Through Fire
I Went, You Were With Me, 2010, documentary,
38 min., colour)
Raminas (Ramin, 2011, documentary, 58 min.,
colour )
Kenotafas (Cenotaph, 2013, documentary,
61 min., colour)
Avinėlio vartai (Gates of the Lamb, 2014,
documentary, 61 min., colour)

A shot from A. Stonys’ Ūkų ūkai (Uku ukai). A shot from A. Stonys’ Ūkų ūkai (Uku ukai).

72 73
 Arūnas Matelis: one of the greatest experiences in my life, perhaps
equivalent to 13th January 1991 in the life of our
We wanted to achieve a sense of playfulness. If it
were my choice, I’d give the main prize to Andrius,
country [*as a result of clashes with Soviet military one of the main characters, for his contribution
Films Emerge from Sensations personnel, 13 civilians were killed on that day in
Lithuania], when I felt that the skies had opened
to the film. He made some fantastic shots about
how he communicated with the nurse and how
up. It was like a flash of lightning and suddenly I medicines worked. But for those shots, the film
understood a lot of things, even what people had would have been different. We wanted Andrius’
experienced during the Holocaust. I wanted to view from within. The story has a difficult ending,
share that experience. It became clear that many but Andrius did what no one had so far done
Arūnas Matelis is the first director from Eastern and Central Europe to earn the Directors
things just began at the oncology hospital. Yes, before. A child who’d had a first relapse of a severe
Guild of America Award (2007), one of the most important awards in the film industry,
there is pain, uncertainty and loss there. But at case of leukaemia filmed his magic and funny
for Outstanding Directorial Achievements. His film Prieš parskrendant į Žemę (Before
the same time there are many warm and bright moments of life full of happiness.
Flying Back to Earth), a story of children who are ill with cancer and of lessons of love,
moments. Human strength and the ability to be
faith and strength, was noticed and recognised across the world. The speeded-up image of clouds passing
happy open up, which when you are healthy often
and changing seasons outside the hospital
don’t even make you content. My arrival at the
walls and the relief image of the Earth.
hospital was natural, although the filming crew
Arūnas Matelis.
Did you conceive this form of storytelling
(Audrius Kemežys and Giedrė Beinoriūtė) found
Photo by Martynas Ambrazas. during filming?
it difficult. I said, “We’re going to make a film only
if you come to realise that you want to be here. We You don’t start shooting on impulse, but build and
Your first films, Baltijos kelias (The Baltic How did the flight motif appear in your films?
can’t come for an hour, do the shooting and leave.” think everything over. Of course, each day can
Way) and Dešimt minučių prieš Ikaro skrydį
Very simply. I was born three days after Gagarin We used to go to the hospital without a camera bring different frames that form a certain shape.
(Ten Minutes Before the Flight of Icarus),
flew into space. Maybe when I was in hospital, and walk around. Two months later, the mother There were things that had been quite clear from
appeared in 1990 when our country
the radio was broadcasting news of the first flight. of one patient phoned me and said that we could the start. There were discoveries; for example, the
experienced historic transformations.
This is a theme that got stuck in my mind. come back again, because she had to collect her boy filmed by Kemežys who could break a piece
Did these transformations inspire your
benefit payment. Then we understood we could of wood with a knifehand strike. Perhaps only
creative work or were they on the contrary a After Gagarin’s flight, the Communists
do the shooting, because there was a sense of Robert de Niro could perform so eloquently in
challenge that had to be overcome? insisted that there was no God. Your films
community between us; people began to trust us. an entire story involving a single piece of wood.
however contain prominent religious and
This historic turning point essentially gave me Surprisingly, I write a lot before filming, but after
mythological allusions and attempts to You left the camera to the children and they
very much, because the system had changed. the film is made, many things come out differently
guess how and why we are here. could freely record their lives and hospital
On the other hand, it was very difficult because from what I wrote. For example, episodes that I
For me, as a former mathematician, it’s clear that rituals. How did the heroes of the film
many film directors were seduced by the easiest wrote as theoretical ones appeared in the frame.
we are not alone in this world. Therefore, one of become creative collaborators?
option, flag waving. But in that case, there wasn’t
any place for a film, only for one-day political the most important things is to invite people to
reporting. When everything is bubbling around, communicate and to learn. There is a phrase that
it’s hard to understand where the artistic truth in feature films the director is God, in documentary
is, whether we’d better go to the barricades and films God is the director. Life is infinitely big and
defend the homeland or whether we should full. You can’t plan everything to the fullest.
continue shooting films. My colleagues and Generally, a sensation that is hard to explain
I opted for a kind of dissenting position. The gives rise to a film. You just need to be honest and
old film editors at the Lithuanian film studios sensitive and to wait for the appropriate moment.
were asking, “Where are your films with flags
What factors encouraged you to talk about
and songs? Why are you shooting a courtyard
children ill with cancer in the film Before
in Užupis?” I had to decide what really was
Flying Back to Earth? People are often afraid
important and what I wanted to talk about.
to cross that threshold and see the pain.
Everything seemed to have been opened up, but
a choice had to be made. That turning point in In a sense it was easier for me to take that
the history of Lithuania inspired me immensely decision, because I’d already had experience when A shot from A. Matelis’ Prieš parskrendant į Žemę A shot from A. Matelis’ Iš dar nebaigtų Jeruzalės pasakų
or maybe I only needed time to mature. my daughter was ill. On the other hand, this was (Before Flying Back to Earth). (From Unfinished Tales of Jerusalem).

74 75
The flight had already been filmed four years
before the film was shot.
The title is not yet clear. Either Gladiators or My
Beloved Losers. As long as the film hasn’t been
Cinema Timeline
made, I’m afraid to say anything. I’ve been waiting
Did you expect the film to be such a huge Date Events in World Cinema Events in Lithuanian Cinema Events in culture, art, history
for the film for a very long time, perhaps seven and politics of Lithuania
success?
years. We were perhaps the first after 40 years
During the creative process you don’t think about to obtain a permit to send our team to the Giro 1988 Martin Scorsese’s film The Last Temptation Algimantas Puipa’s film Amžinoji šviesa The initiative group of the Reform
of Christ. (Eternal Light) won a prize at the San Remo Movement (Sąjūdis) of Lithuania was
success. I just wanted people to appear who after d’Italia and to do the shooting. I’ve ridden one of Sergei Parajanov’s film Ashug-Kerib. Film Festival (Italy). founded.
A retrospective of the documentary films of
the screening of the film would like to help those those bikes myself, and I tried to get through those the Baltic countries at the 38th Berlin Film
children. Obviously, it’s pleasant to receive a prize mountains where the athletes compete. It’s almost Festival Panorama Programme.
Saulius Beržinis’ documentary film Vėliava
on the same stage with Martin Scorsese, but to impossible for an ordinary man to complete this iš plytų (The Brick Flag) was the first film
me human understanding is more important. For route, but still it’s interesting to identify with those about dedovschina (abuse of new conscripts
in the USSR army). The film won a prize at
example, after a screening in Aachen, the audience whom you are making a film about. the Oberhausen Film Festival.
decided to collect a large sum of money and build a Robertas Verba filmed all the rallies and
events of the Reform Movement (Sąjūdis)
small rehabilitation centre for the children, where Interviewed by Auksė Kancerevičiūtė of Lithuania.
they could, at least for a short while, forget about
their illness. Or the 100 Japanese musicians who, 1989 Giuseppe Tornatore’s Nuovo Cinema Šarūnas Bartas established the first
Paradiso (Cinema Paradiso). independent film studio Kinema bringing
after watching the film, came to Vilnius at their Tim Burton’s film Batman. together such filmmakers of the youngest
own expense and organised two charity concerts. generation as Audrius Stonys, Arūnas
Selected filmography Matelis and Valdas Navasaitis.
The money that was raised was used to buy Pelesos milžinai (Giants of Pelesa, 1989, short
children’s cancer diagnostic equipment for Kaunas documentary, 10 min., 35 mm b/w)
Clinics. These are the most important awards. 1990 Tim Burton’s film Edward Scissorhands. The collapse of the Soviet film production, Restoration of the independence of
Baltijos kelias (Baltic Way, co-directed with promotion and distribution system. Lithuania.
Audrius Stonys, 1989, short documentary, The Cinematography Committee of the
In addition to your work as a director, you 10 min., 35 mm, b/w) Lithuanian SSR was repealed and a cinema
are also a producer. You were among the department was established under the
Dešimt minučių prieš Ikaro skrydį Ministry of Culture.
first in Lithuania to establish your own (Ten Minutes Before the Flight of Icarus, 1991, Raimondas Vabalas’ film Miškais ateina
short documentary, 10 min., 35 mm, colour) ruduo (The Reflection of Autumn Coming
independent film studio, Nominum. Lately
Autoportretas (Self-portrait, 1993, 10 min., short in Forests) based on a novel by Marius
you have produced films by such young documentary, 35 mm, b/w) Katiliškis. This was the first censorship-
directors as Oksana Buraja, Eglė Vertelytė free film.
Iš dar nebaigtų Jeruzalės pasakų (From Unfinished Arūnas Matelis’ documentary Dešimt
and Ramunė Rakauskaitė. Why did you Tales of Jerusalem, 1996, short documentary, minučių prieš Ikaro skrydį (Ten Minutes
choose this course of action? 26 min., 35 mm, b/w) Before the Flight of Icarus) won the main
prize at the Oberhausen Film Festival.
Pirmasis atsisveikinimas su Rojum (First Farewell
I want to encourage film production, because to Paradise, 1998, short documentary, 15 min.,
35 mm, b/w) 1991 Joel and Ethan Coen’s film Barton Fink. Šarūnas Bartas’ film Trys dienos (Three Collapse of the USSR. The independent
it’s too difficult to give so much of yourself each Ridley Scott’s film Thelma and Louise. Days) was screened at the Berlin Young state of Lithuania begins to be recognised
time. However, even producing a film, I am Priverstinės emigracijos dienoraštis (The Diary of Film Forum. The film won the Ecumenical by the rest of the world.
Forced Emigration, 1999, short documentary, Jury Prize and the Fipresci Prize.
closely involved in the creative process. It’s very 22 min., video, b/w) Gytis Lukšas’ psychological drama Žemės
interesting for me to create and to participate keleiviai (Pilgrims on Earth) won the Silver
Skrydis per Lietuvą arba 510 sekundžių tylos Grape Award at the Central and Eastern
when new films are born from a joint effort. This (Flight over Lithuania or 510 Seconds of Silence, European Film Festival in Łagów, Poland,
process allows me to keep my form and to nurture 2000, co-directed with Audrius Stonys, short in 1993.
documentary, 8 min., 35 mm, colour)
my other works rather than just to sit and wait 1992 Clint Eastwood’s film Unforgiven. Audrius Stonys’ documentary Neregių
Sekmadienis. Evangelija pagal liftininką Albertą
for an inspiration or a favourable opportunity (Sunday. The Gospel According to lift-man
David Lynch’s TV series Twin Peaks. žemė (Earth of the Blind) won the Felix,
the European Film Award for Best
to appear. I’m very pleased with Buraja’s film Albertas, 2003, short documentary, 19 min., Documentary.
Išpažintis (Confession). For me, this is one of the 35mm, colour)
least conformist films in Lithuania. Prieš parskrendant į žemę (Before Flying Back To 1993 Jane Campion’s film The Piano. Lithuanian film studios started providing
The Earth, 2005, documentary, 52 min., 35 mm, Krzysztof Kieślowski’s first film of the services to German, American and French
colour) trilogy Trzy kolory. Niebieski (Three filmmakers who were shooting films in
There is also the new documentary film, Colours. Blue). Lithuania.
working title Gladiatoriai. Kita planeta
(Gladiators. A Different World) in the making. 1994 Quentin Tarantino’s film Pulp Fiction. Janina Lapinskaitė’s directorial debut
Steven Spielberg’s film Schindler’s List. Tai mano likimas (This Is My Destiny),
What will it be like? Béla Tarr’s film Sátántangó (Satan’s Tango). which established her as a director of both
Kazimierz Kutz’s film Śmierć jak kromka documentaries and feature films, and, also
chleba (Death as a Slice of Bread). an actress.

76 77
 Janina Lapinskaitė:

Heroes Carry Their Sadness Along

with Them
The characters portrayed by film director Janina Lapinskaitė are like new friends
who teach you a new outlook on life. Lapinskaitė has gained diverse experience as a
director, actress and teacher. She teaches future film directors and heads the Department
of Film and Television at the Lithuanian Academy of Music and Theatre. Lapinskaitė
has directed such documentaries as Iš skruzdėlių gyvenimo (From the Life of Ants),
Venera su katinu (Venus with a Cat), Iš avinėlių gyvenimo (From the Life of Lambs),
Venecijaus gyvenimas ir Cezario mirtis (The Life of Venecijus and Caesar’s Death),
and Traukinys stovi penkias minutes (The Train Stops for Five Minutes).

Janina Lapinskaitė.
Photo by Martynas Vidzbelis.

You were a student of film director Henrikas As second director I worked a lot on feature
Šablevičius. What influence did your films of Algimantas Puipa and that was enough. A shot from J. Lapinskaitė’s Traukinys stovi penkias minutes (The Train Stops for Five Minutes).
communication with this filmmaker have on Even now, when asked whether I will return
your films? to directing documentaries, I say yes. My path
is documentaries and I always long for them. burgeoning seedlings of goodness and this family, it is raining outside the window, I am angry and
I’m from the first group of students who were
Perhaps this is the influence of television, where whom I called elves, was just what I needed. generate many deeper, more meaningful thoughts.
trained as film directors in Lithuania. Before
I started. Whatever the times, television provided Although my heroes carry their sadness and
that all filmmakers were trained at the All-Union When I wanted to make a film about loneliness,
an opportunity to meet with people in towns or pain along with them and we may conclude that
State Institute of Cinematography in Moscow I discovered the character of Venecijus from the
outlying areas. The possibility to immerse oneself their lives are not very successful, I understand
(VGIK). We started our studies in 1970 and countryside. I found loneliness and his life with
in human simplicity was a very interesting, very when communicating with them that in spite of
after graduation went to work in television. Our his piglet called Caesar. When I was very hurt
important experience. Later, this began to unfold everything they are still optimistic.
training course was a bit experimental, and there by the journalistic approach to an individual,
in my documentaries.
were a lot acting courses, which later affected my by their aim to find a hero, draw him out, and
creative work. In most cases your protagonists are weirdoes, identify what is interesting to them rather than
people who live on the edge of society. How the hero’s inside, I found the heroine of the film
Šablevičius was my teacher and there was no
do you find them? Šokanti ant stogų (Woman Dancing on the Roof).
escape from his influence. He taught me to love
When I watched how easily she undressed on
my heroes. My documentaries are sometimes You know, the theme comes to me first, but not the
TV shows, it seemed to me that this woman was
referred to as creative and feature documentaries. hero. The theme starts “torturing” me, whether it’s
hiding many more interesting things. In my film,
I think that this style also features in Šablevičius’ the theme of loneliness or miscommunication or,
however, she does not undress physically. So my
films. For many years he was my teacher and then which happens in all times, lack of goodness or
films commence with the theme.
he was my colleague. I still think that the most kindness. When the theme takes possession of
beautiful documentary is Šablevičius’ Kelionė ūkų me, it seems that I become magnetised and start to Loneliness and sadness are often pervasive
lankomis (Journey Through the Fields of Nebulas). attract the characters, messages and information. in your films. Is that a conscious choice?
Everything slowly starts to build into a whole. For
Your creative biography includes only one It seems to me that joy is a transient euphoric
example, when I wanted to rethink the topic of
feature film, Stiklo šalis (A Land of Glass). state. When the sun is shining, it is warm, and
alienation, it resulted in the film Iš elfų gyvenimo
Why then did you opt for documentary there are good feelings, but they generally do A shot from J. Lapinskaitė’s Iš elfų gyvenimo (From the Life of Elves).
(From the Life of Elves). I wanted to find the
films? not call for further reflections. However, when

78 79
You said that your films are often called
feature documentaries. Do you allow
Selected filmography
Tai mano likimas (This Is My Destiny, 1994, short
Cinema Timeline
yourself to re-enact situations on a set? documentary, 20 min., video, b/w)
Iš skruzdėlių gyvenimo (From the Life of Events in culture, art, history
Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
Yes, I do, because I am not filming with a candid Ants, 1994, short documentary, 24 min., video,
camera hidden under a bed. But the characters b/w)
1995 Emir Kusturica’s Podzemlje (Undergound). Šarūnas Bartas’ Koridorius (Corridor) was
in my documentaries never behave in a way that Iš elfų gyvenimo (From the Life of Elves, 1996, Dogme’95, a manifesto signed by Lars von screened at the Panorama Programme of
short documentary, 25 min., video, b/w) Trier and a group of other directors. the Berlin International Film Festival.
they wouldn’t in real life. If, rather than using the Vilnius International Film Festival Kino
Venera su katinu (Venus with a Cat, 1997, short Pavasaris was held for the first time,
environment and habits of the protagonist, you documentary, 24 min., video, b/w) has become the biggest film festival in
started asking the protagonist to do what was Iš avinėlių gyvenimo (From the Life of Lambs, Lithuania.
alien to him, I think that would no longer be a 1998, short documentary, 23 min., video, b/w)
1996 Joel and Ethan Coen’s film Fargo. Šarūnas Bartas’ film Mūsų nedaug (Few of
documentary. Kelionių magija (The Magic of Travelling, 1999, Lars von Trier’s film Breaking the Waves. Us) was shown at the Un Certain Regard
documentary, 34 min., video, colour) Programme of the Cannes International
It is important for a maker of Aktas (Nude, 2000, documentary, 35 min.,
Film Festival.
documentaries to “tame” characters. 35 mm, b/w)
How do you approach them? 1997 James Cameron’s film Titanic. Šarūnas Bartas’ film Namai (The House) Retrospective of Krzysztof Kieślowski’s
Venecijaus gyvenimas ir Cezario mirtis (Venecijus’ Abbas Kiarostami’s film Taste of Cherry. was shown at the Un Certain Regard films was held in Vilnius.
Life and Cerzaris’ Death, 2002, documentary, Luc Besson’s film Le Cinquième element Programme of the Cannes International
None of my heroes asked to be filmed. I come 50 min., Beta CAM, colour) (The Fifth Element). Film Festival.
and I am in the position of one who is asking Stiklo šalis (A Land of Glass, 2004, feature,
for something. I try to tell them what I want 68 min., 35 mm, colour) 1998 Terrence Malick’s film The Thin Red Line. Algimantas Puipa’s film Vilko dantų Retrospective of Agnieszka Holland’s films
karoliai (The Wolf Tooth Necklace, 1997) was held in Lithuania.
to talk about and why I want to film them. A Našlių pakrantė (The Widows’ Coast, 2006, short won the Grand Prix at the Rouen Nordic
documentary, 28 min., Beta CAM, colour) Film Festival in France.
documentary filmmaker is a kind of psychologist.
Once he steps into the environment of the hero, Šokanti ant stogų (Woman Dancing on the Roof,
2008, short documentary, 25 min., Beta CAM, 1999 Jean-Pierre and Luc Dardenne’s film Algimantas Puipa’s film Elzė iš Gilijos (Elze’s Beginning of Polish Cinema Weeks in
Rosetta. Life) featured at the Panorama Programme Lithuania.
he must understand whether he can step into his colour) Andrzej Wajda’s film Pan Tadeusz. of the Berlin International Film Festival.
home too or whether he can only talk to the hero Traukinys stovi penkias minutes (2009,
in his yard. And after the “taming” part, there documentary, 57 min., Beta CAM, colour) 2000 Wong Kar-wai’s film Fa yeung nin wa Šarūnas Bartas’ film Laisvė (Freedom) was
(In the Mood for Love). screened in the Competition of the Venice
comes this state, as I put it, when we all begin to Vakar bus rytoj (Yesterday Will Be Tomorrow, Sir Ridley Scott’s film Gladiator. International Film Festival.
2013, short documentary 27 min., colour)
“play a film”. When the period of getting settled
in and taking the first steps into the hero’s life is 2001 Jean-Pierre Jeunet’s film Le fabuleux destin Šarūnas Bartas received the National
d’Amelie Poulain (Amélie). Culture and Art Award; this was the first
over, it is easy to work. But afterwards, it is very Michael Haneke’s film La Pianiste such award for a filmmaker in Lithuanian
(The Piano Teacher). cinema.
difficult to leave. We communicate as friends and
when we have to say goodbye, it hurts everyone. 2002 Roman Polanski’s film The Pianist. Kristijonas Vildžiūnas’ film Nuomos Retrospective of Marcel and Paweł
It’s as challenging as getting acquainted. Earlier it Martin Scorsese’s film Gangs of New York. sutartis (The Lease) was shown at the Łoziński’s films was held in Vilnius.
Upstream Competition of the Venice
seemed that I would be able to communicate with International Film Festival.
all my heroes until the end of life, but this is not
true. All our lives move on. 2003 Sofia Coppola’s Lost in Translation. Wiktor Grodecki’s film Nienasycienie
Andrey Zvyagintsev’s film Vozvrashchenie (Insatiability) based on the novel of
(The Return). Stanislaw Ignacy Witkiewicz was shot at
the Lithuanian film studios (cameraman
Interviewed by Elena Jasiūnaitė Viktoras Radzevičius).

2004 Michael Moore’s documentary Fahrenheit Lithuania joined the European Union.
9/11 won the Palme d’Or at the Cannes
Film Festival.

2005 Ango Lee’s film Brokeback Mountain. Audrius Juzėnas’ feature Vilniaus getas
Cristi Puiu’s film Moartea domnului (Ghetto) (based on a play by Joshua Sobol)
Lăzărescu (The Death of Mr. Lazarescu). about the Vilnius ghetto theatre.

2006 Jia Zhangke’s film Still Life. Kristijonas Vildžiūnas’ film Aš esi tu (You
Pedro Almodovar’s film Volver (Return). Am I) was shown at the Un Certain Regard
Competition of the Cannes Film Festival.
On the eve of the premier of Ignas
Miškinis’ film Diringas, young filmmakers
published the Cinema Manifesto inviting
people to explore new directions in
Lithuanian cinema and stop stagnating.

80 81
 Julija and Rimantas Gruodis:

We Are Trying to Walk on

the Bright Side of Life
The documentaries of Julija and Rimantas Gruodis such
as Pirtis (The Bathhouse), Šeimyna (Household), Dievo
paukšteliai (The Tiny Birds of God), Brasbendas (The
Brass Band), Upė (The River), and Sėkmės metai (The
Lucky Year) accommodate both social concern and poetic
intonation. The films show respect for their heroes who
live in Lithuania’s outlying areas and often on the fringes
of society.

Rimantas and Julija Gruodis.

Photo by Algimantas Gudelis.

Your full-length documentaries The Tiny dedicated The Milky Way to our grandparents
Birds of God and Pieno kelias – Paukščių and parents. A shot from J. and R. Gruodis’ Upė (The River).
takas (The Milky Way) focus on the painful
Rimantas: Julija was born and raised on a
themes of exile, escaping from the Soviet
collective farm. From an early age she did all
occupation, and collectivisation. What does witnessed it all except that we can’t do winning film in your biography. It was
the hard work very much like her mother, aunts
historical memory mean to you? anything.” Do you think a documentary film recognised the Best Documentary at the
and uncles did. My grandparents and great-
is capable not only of saying something, but 45th Karlovy Vary Film Festival, won the First
Julija: After the restoration of the independence grandparents were eternal exiles. The first time
also of changing something? Prize of the Jury at the Madrid International
of Lithuania, there were quite a few TV and the Gruodis family was deported to the areas
Documentary Film Festival, and was
feature films about partisans, deportees, and beyond the River Volga after the 1863 uprising. Rimantas: It can’t. Neither can a line from a
awarded a Silver Crane, a Lithuanian film
political prisoners. Lithuanians in the USA They then managed to return in their horse poem. It can cause us to think more deeply or
and TV award, for the Best Documentary of
have constantly been interested in the history of driven carts to free Lithuania, spent two decades stir certain feelings if a person who is watching or
the year. What makes this work important to
Lithuanian refugees. Unfortunately, all you had at home, and again were all deported. My father listening is sensitive.
you and where does its success lie?
in Lithuania were “happy” collective farmers. was born in exile. When my grandparents finally
Julija: During post-production of The River in
There was even such a poem: “We are happy returned to their farm in 1960, they found it Julija: The key dimension in The River is
Warsaw, we met a young Polish documentary
collective farmers, the sun of the Soviets shines completely ravaged by the collective farm. Rusted sensuality. If the viewer is not caught by what
filmmaker. We were stunned by his pessimism.
upon us”. But no one was interested in those parts of machinery that belonged to the collective is happening on the screen, he is not going to
“A man today doesn’t get help even from the
former “happy” collective farmers. We saw how farm were lying scattered around the well in the “enter” these people’s lives, and the film will
heavens. Only hot black asphalt is falling from
the generation of collective farmers was going meadow, the water in the well was contaminated, appear shallow and cold. The best Lithuanian,
it,” he said. Maybe because we are not that young
away. You could see those old women looking smelly tractors were in the spacious barns, the and not only Lithuanian, films are imbued with
we believe that we should walk on the bright side
through the windows in apartment blocks. Most doors of the building were all damaged, and all feeling, although there must also be moderation.
of life. You can then have a better view of the
of them had been widowed for a long time. So ornamentation had been removed. When they
mysterious and frightening depth of life and its Rimantas: The Czechs found the film remarkably
they hung around like that until one day you saw this picture, they could not stand the idea of
tragically fragile beauty. expressive. For example, they laughed when they
couldn’t see anybody in the window. They can living there and therefore moved to the city not to
heard the little heroine of the film say, “My father
no longer tell anyone anything. The time of our see the horror. Rimantas: On the other hand, you don’t want to
has no money; no one has money. Only gran
parents (that they spent suffering, mourning, take away all hope from yourself and others.
One of the characters in The Milky Way says, has money [...] We have two cars, but neither is
drinking, stealing) is being ousted from our
“We saw how masters became beggars and The River, which was released in 2009, working.” In such cases, you realise that words
memory, and no one wants to delve into it. We
now beggars have become masters. We’ve became the best-known and most award- spoken behind the scenes can mean very much: to

82 83
 convey the relationships and obligations invisible
to the naked eye. On the other hand, we saw
the films haven’t been sitting on a shelf, but we
just haven’t been trying to make a buzz or make
Cinema Timeline
some really good films with interesting themes, ourselves seem important.
Events in culture, art, history
but some of them were so verbal, lacked focus, Date Events in World Cinema Events in Lithuanian Cinema and politics of Lithuania
or were too long. Documentaries created by Interviewed by Auksė Kancerevičiūtė
2007 Cristian Mungiu’s film 4 luni, 3 săptămâni Arūnas Matelis’ documentary Prieš
filmmakers from large countries are particularly și 2 zile (4 months, 3 weeks and 2 days) won parskrendant į Žemę (Before Flying Back
verbal. They obviously have the time and money. the Palme d’Or at the Cannes Film Festival. to Earth) received the Directors Guild of
Joel and Ethan Coen’s film No Country for America (ARG) Award.
Furthermore, I can’t help but boast that the juries Old Men.
of international festivals, especially the Czech film Selected filmography 2008 Arie Folman’s animated film Vals Im Bashir A documentary film about Władysław
critics, highly praised the visual side of The River, Ona ir Mykolas (Ona and Mykolas, 1990, short (Waltz with Bashir). Starewicz Vabzdžių dresuotojas (The Bug
which is the contribution of cameraman Viktoras documentary, 10 min., 35 mm, colour) Steve McQueen’s debut film Hunger. Trainer) (directors Donatas Ulvydas,
Linas Augutis, Marek Skrobecki and Rasa
Radajevas. Without him the film would have been Giesmė (The Dirge, 1991, short documentary, Miškinytė).
different. Viktoras was well aware of what we 10 min., 35 mm, colour)
2009 Michael Haneke’s film Das weiße Band The Law on Cinema of the Republic of
needed and this made the story richer, clearer and Dykra (The Waste, 1993, documentary, 60 min., (The White Ribbon). Lithuania was adopted.
35 mm, colour)
brighter.
Slogutis (The Pain, 1995, documentary, 30 min., 2010 Roman Polanski was awarded the Silver The Lithuanian Film Academy was
Bear for the Best Director (film The Ghost founded.
In 1994, you set up your studio Periferija video, colour) Writer) at the Berlin International Film A Silver Crane, the Lithuanian Film and
and have produced at least one Pirtis (The Bathhouse, 1997, short documentary, Festival. TV Award, was founded.
10 min., 35 mm, colour) Sergei Loznica’s film Schaste moe (My Joy). Kristijonas Vildžiūnas’ film Kai apkabinsiu
documentary per year since, but you’ve tave (Back to Your Arms) was the first
avoided publicity. Why? Teritorija (Territory, 1999, short documentary, Lithuanian and Polish (Studio Tor)
12 min., video, colour) co-production.
Julija: We didn’t do anything on purpose. It just Šeimyna (Household, 2001, short documentary,
10 min., 35 mm, colour) 2011 Terrence Mallick’s film The Tree of Life won Mantas Kvedaravičius’ documentary
happened that way. We don’t like to babble on the Palme d’Or at the Cannes Film Festival. Barzakh opened the Panorama Programme
Kaliausė (Scarecrow, 2002, short documentary, Lars von Trier’s Melancholia was recognised of the Berlin International Film Festival.
about the film before it’s completed, but when the Best European film by the European Donatas Ulvydas’ film Tadas Blinda.
9 min., 35 mm, colour)
the work is finished we are pleased to present it Film Academy. Pradžia (Tadas Blinda. The Beginning) was
Meistras (The Master, 2004, short documentary, the start of the producer’s foray into the
to the Lithuanian people if there’s an opportunity. 18 min., 35 mm, colour) production of commercial films exclusively
In addition, some films such as The Bathhouse, Dievo paukšteliai (The Tiny Birds of God, 2005,
for the domestic audience.
Kaliausė (The Scarecrow) and Household were documentary, 80 min., video, b/w) 2012 Michael Haneke’s film Amour (Love) The Lithuanian Film Centre was Greg Zgliński’s film Wymyk (Courage) was
screened at the New York Museum of Modern Brasbendas (The Brass Band, 2006, garnered the main film awards. established. the winner of the New Europe-New Names
documentary, 60 min., 35 mm, colour) Kristina Buožytė’s film Aurora (Vanishing Programme of Vilnius International Film
Art, at the Centre Georges Pompidou in Paris, Waves) was the first Lithuanian science Festival Kino Pavasaris.
at the Belem Cultural Centre in Lisbon, on TV Pieno kelias. Paukščių Takas (The Way of Milk. fiction film.
Milky Way, 2007, documentary, 78 min., video, Marat Sargsyan’s documentary film Tėvas
abroad, and at international film festivals. So colour) (Father) received a prize at the Krakow
Film Festival.
Upė (The River, 2009, documentary, 30 min.,
35 mm, colour) 2013 Paolo Sorrentino’s film La grande bellezza Ignas Jonynas’ film Lošėjas (The Gambler) Sławomir Fabicki’s film Miłość (Loving) was
Lieknas (The Swamp, 2010, short documentary, (The Great Beauty). (Lithuanian-Latvian co-production) won the winner of the New Europe-New Names
Joel and Ethan Coen’s film Inside Llewyn the Special Jury Prize at the Warsaw Film Programme of Vilnius International Film
28 min., video, colour)
Davis won The Grand Prix at the Cannes Festival. Festival Kino Pavasaris.
Sėkmės metai (Lucky Year, 2013, short International Film Festival.
documentary, 28 min., full HD, colour)
2014 Richard Linklater’s film Boyhood. Emilis Vėlyvis’ comedy Redirected / Už Paweł Pawlikowski’s film Ida won the Best
Paweł Pawlikowski’s Ida. Lietuvą! (Redirected) was a Lithuanian Director at the Baltic Gaze Programme of
Lars von Trier’s film Nymphomaniac. box-office hit. Vilnius International Film Festival Kino
Premier of the first Lithuanian full-length Pavasaris.
animated film Aukso žirgas (The Golden
Horse) (directors Valentas Aškinis and
Reinis Kalnaellis).

2015 Paweł Pawlikowski’s film Ida won the Alantė Kavaitė won Best Director at the
Academy Award for Best Foreign Language Sundance Film Festival (USA) for Sangailės
Film. vasara (The Summer of Sangaile). The
Małgorzata Szumowska’s film Ciało (Body), film was screened in official Panorama
won the Silver Bear for Best Director at the Programme of the Berlin International
65th Berlin International Film Festival. Film Festival.
Actress Aistė Diržiūtė became the first
A shot from R. Gruodis’ Sėkmės metai (The Lucky Year). Lithuanian actress to participate in the
Shooting Stars project of the EFP.
Peace to Us in Our Dreams by Šarūnas
Bartas screened at Director’s Fortnight
Programme of the Cannes International
Film Festival.
84 85
 Giedrė Žickytė: daily rhythm. Everything was hyperbolised. But
the country had to live through this surreal stage
place, ours was really bright and playful, except, of
course, the victims of 13th January. The history of
for the transformation to happen. Then I started the Lithuanian revolution is a euphoria turning
Film is an Emotion to make my film. into a tragedy, but still with a happy ending, a
classical Hollywood screenplay.
Why did you choose the story of the
restoration of the independence of Even so, you had to use objective history
Lithuania as a leitmotif for the film? and archival footage for the story. How did
this work?
Film director Giedrė Žickytė has been producing documentaries since 2006. Rebellious If I’d thought I was making a film about the
and equally talented artists who lived and worked in the Soviet period are frequent history of Lithuania, I’d have been terrified of the I spent several years making this film. I am one of
protagonists in her films. A series of her portrait documentaries – Baras (Bar), Kaip mes responsibility and would probably have produced those people who, before starting to do anything,
žaidėme revoliuciją (How We Played Revolution) and Meistras ir Tatjana (The Master nothing. I was interested in Antis and the fairy tale must collect all available material. Only then the
and Tatyana) – delve into the unofficial world of the culture of Soviet Lithuania and the that surrounded them. Antis became a mask that idea of the future film crystallises. Of course, I
world of complex human feelings, aspirations, and internal experiences. allowed me to make any interpretations and to be read all the contextual history and conducted a
free to create. The magic story of Antis helped me lot of interviews. But the most interesting part
to build the backbone of the film and the musical for me was working with the archival material.
Giedrė Žickytė.
Source: Vilnius IFF Kino Pavasaris,
path of the group perfectly coincided with the I used the official information available in the
photo by Frgmts. path of Lithuania to independence. I wanted to Lithuanian State Archives. But I mostly looked for
tell this playfully rather than didactically. In fact, private archival material, which, in my opinion,
You created a few short films and then me. In the finite time in which my heroes lived,
the historical truth of the film lies in the archive gave the film a lot of charm. The archival material
proceeded with full-length documentaries. questions of moral choice and the confrontation
footage and human emotions. I discovered altered the film script. For example, I
What was the reason for that? between adaptation to the system and loyalty
knew I had to talk about the Molotov-Ribbentrop
to one’s ideals were at issue. I also love to dig And the word played used in the title of the
The themes and stories I discovered and found Pact. But how was I supposed to talk about it? I
through the past and archives “in search of lost film is the connection with the fairy tale?
interesting could best be told in a documentary. could put a historian in front of the camera and
time” and create my own interpretation and
For example, when developing the idea for How In the English title How We Played the Revolution, he would explain everything, but that wouldn’t
history based on the images of the past, and with
We Played the Revolution I was at the same time the word played has two meanings: to play a game be interesting. And then I found archival footage
the help of history, to understand my identity
thinking of a feature film. I even wrote a script and to play music. In the Lithuanian title, however, depicting an emotional discussion of teenagers
and historical memory.
with Kęstutis Navakas, but once I found archival there is only one meaning: to play a game. Our about the pact. Such gems allowed me to build
video material, I understood that there would be How did the idea for the film How We Played revolution was full of games and lightness. If we the backbone of the film. My aim was to tell an
nothing more authentic and evocative than that. the Revolution come about? compare the Lithuanian revolution with other objective history through the situations and the
I’m currently working on documentary projects, revolutions that have taken place or are taking archival material.
I got a proposal to make a film about the music
because reality surpasses imagination in the
group Antis. When I started collecting and going
stories I’ve found. I don’t know what will be next.
deeper into the material, I realised that the film
Three films – Bar, How We Played the would not be just about the group. My parents
Revolution and The Master and Tatyana – are were architects. When I was little, they used to
often seen as an unofficial cultural trilogy. take me to the concerts of their colleagues, the
Why did you choose three artists who were group of architects called Antis. I remember
prominent figures in the Soviet period for how they were getting ready for the New Year
your films? carnivals organised by architects, and then
together we went to the rallies of the reform
In fact, I never thought that this could be a
movement (Sąjūdis). Everything around was
trilogy. The protagonists in my films are not
very phantasmagorical, and it seemed that life
an ordinary musician, photographer, and
entailed regular dances and songs, flags, poetry,
independent filmmaker in Soviet times. They
prayers, and rallies. Twenty years passed, and I
are prominent, distinctive figures of the time
found the archival material and saw that this was
and by exploring them I can access the world
not only a childhood tale. Life at that time was
that surrounded them and the reality in which A shot from G. Žickytė’s Kaip mes žaidėme revoliuciją A shot from G. Žickytė’s Meistras ir Tatjana
in fact like a never-ending festival that could not (How We Played Revolution). (The Master and Tatyana).
they lived and get insight into topics that excite
have been subject to any laws of logic or normal

86 87
But the leader of the group, Algirdas
Kaušpėdas, remained in the film as a man
Selected Filmography
Vaidmuo (The Role, 2004, short documentary,
Index
with a mask. Was this done deliberately? 20 min., video, b/w)
Europa (Europe, 2006, co-directed by Rudolfas Abukevičius, Petras 63
He saw the film for the first time during the Levulis, short documentary, 10 min., video,
premiere and then shared his impressions with colour) Araminas, Algirdas 12, 14
me: “I was watching and everything looked Baras (2009, TV documentary, 49 min., video,
colour) Aškinis, Valentas 85
nice, but at the same time I’m thinking: aren’t
Paskui saulę ir ožkas (After Sun And Goats, 2010, Augutis, Linas 85
you going to show me as I am today? Almost documentary, 30 min., video, colour)
as if I were dead? And at the end, bang! It’s like Kaip mes žaidėme revoliuciją (How We Played Babickas, Petras 37
in Bulgakov’s The Master and Margarita, at first Revolution, 2011, documentary, 67min., video, Baltrušaitis, Augustinas 72
mystification and then unmasking.” So some sort colour)
of disclosure did occur. Or one mask was replaced Meistras ir Tatjana (The Master and Tatyana, Banionis, Raimundas 11, 22-24, 69
2014, documentary, 80 min., DCP, colour)
with another. Kaušpėdas was indeed supposed to Bartas, Šarūnas 5, 15, 16, 18-19, 21, 34, 36, 52-58, 65, 66, 70, 77, 81, 85
be like a mask. And what is behind the mask is a
Beinoriūtė, Giedrė 16, 34, 67, 68, 70, 75
story for another film.
Bereznickas, Ilja 16
So what you like in a documentary is an
Beržinis, Saulius 64, 77
opportunity to put individual masks on
objective history? Bratkauskas, Balys 13, 51

A film for me is a subjective emotion rather than Buožytė, Kristina 5, 20, 46, 47, 85
facts that can be found on the Internet or read Buraja, Oksana 65, 67, 76
in books. I dare say that it was not so important
Damaševičius, Vytautas 66
in this film on which day of 1988 our tricolour
was raised. It was much more important that Dausa, Algirdas 9, 13, 59
grandmas burst into tears at the sight of the flag. Drunga, Saulius 20
Drygas, Maciej 11, 23
Interviewed by Elena Jasiūnaitė
Fabicki, Sławomir 85
Fainzimmer, Alexander 45
Ford, Aleksander 10, 51
Gasiūnaitė, Dovilė 20, 34
Giedrys, Marijonas 7, 11-14, 28, 51, 59, 63
Grikevičius, Almantas 7, 9-14, 59, 69
Grodecki, Wiktor 28, 81
Gruodis, Julija 66, 82-84
Gruodis, Rimantas 66, 82-84
Has, Wojciech 51, 63
Hoffman, Jerzy 7, 8
Holland, Agnieszka 81
Jakubowska, Wanda 45
Jevdokimovas, Artūras 23, 66
Jonynas, Ignas 5, 20, 21, 48-50, 85
Juzėnas, Audrius 5, 18, 19, 38-40, 81

88 89
Kačinskas, Henrikas 41 Puipa, Algimantas 14, 18, 19, 26-29, 63, 77, 78, 81
Kavaitė, Alantė 5, 20, 21, 85 Račiūnas, Antanas 25
Kawalerowicz, Jerzy 8, 51 Rakauskaitė, Ramunė 76
Kieślowski, Krzysztof 27, 69, 77, 81 Sargsyanas, Maratas 68, 85
Kutz, Kazimierz 77 Sereikaitė, Kristina 67
Kvedaravičius, Mantas 16, 68, 85 Sipaitis, Vladas 37
Landsbergis, Vytautas V. 66, 68 Skórzewski, Edward 7, 8
Lapinskaitė, Janina 18-20, 27, 66, 77-80 Skrobecki, Marek 85
Leipus, Rimvydas 66, 71 Smulkis, Tomas 68
Lenartowicz, Stanisław 6, 7 Starewicz, Władysław 12, 25, 85
Lesiewicz, Witold 6, 7 Starošas, Viktoras 63
Levulis, Rudolfas 88 Stonys, Audrius 5, 15, 16, 55, 64, 66, 68, 70-73, 76, 77
Lileikis, Romas 16, 18 Survila, Mindaugas 67, 68
Linartas, Jurgis 37, 41 Szumowska, Małgorzata 85
Łoziński, Marcel 81 Šablevičius, Henrikas 12, 15, 63, 64, 66, 70, 78
Łoziński, Paweł 81 Šilinis, Rimtautas 65
Lukšas, Gytis 15, 18-19, 21, 30-32, 77 Šteinys, Zenonas 16
Lužytė, Lina 68 Tomingas Bartkutė, Reda 16
Maceina, Algimantas 66 Ulvydas, Donatas 19, 85
Malinauskas, Petras 37 Ušinskas, Stasys 41
Marcinkus, Ričardas 67 Vabalas, Raimondas 7, 9, 10, 12-15, 30, 51, 59, 69, 77
Martinsons, Maris 20 Vainalavičius, Stasys 41
Matelis, Arūnas 5, 15, 16, 66, 67, 70, 73-77, 85 Vaitkus, Jonas 19, 69
Matonis, Juozas 66 Verba, Robertas 12, 14, 15, 59, 70, 77
Matuzevičienė, Diana 15, 66 Vertelytė, Eglė 68, 76
Matuzevičius, Kornelijus 15 Vėlyvis, Emilis 20, 21, 85
Mekas, Jonas 60-62, 66 Vildžiūnas, Kristijonas 5, 16, 19-21, 42-44, 81, 85
Mikalauskas, Vytautas 45 Wajda, Andrzej 6, 8-10, 45, 51, 59, 63, 81
Mikuta, Linas 64, 67 Zanussi, Krzysztof 10, 44, 63
Miškinis, Ignas 20, 81 Zgliński, Greg 85
Miškinytė, Rasa 85 Zubavičienė, Julija 68
Motiejūnas, Stasys 63 Zubavičius, Edmundas 64
Munk, Andrzej 10, 45 Žalakevičius, Vytautas 7-13, 18, 26, 28, 51, 59, 63, 69
Navasaitis, Valdas 5, 15, 18, 20, 34-36, 58, 66, 70, 77 Žebriūnas, Arūnas 7, 10, 12-14, 30, 51, 63
Pawlikowski, Paweł 85 Žibas, Alfonsas 41
Polański, Roman 10, 51, 59, 81, 85 Žickytė, Giedrė 5, 68, 86-88

90 91
Lithuanian Cinema. Special Edition for Lithuanian Film Days in Poland 2015
EDITOR: Auksė Kancerevičiūtė
AUTHORS OF THE TEXTS: Anna Mikonis, Linas Vildžiūnas, Renata Šukaitytė, Maksim Ivanov, Rasa Paukštytė
CINEMA TIMELINE: Živilė Pipinytė
INTERVIEWS: Auksė Kancerevičiūtė, Elena Jasiūnaitė, Rasa Paukštytė, Lukas Brašiškis

TRANSLATION OF TEXTS TO ENGLISH, EDITING AND PROOFREADING OF ENGLISH TEXTS: UAB

Magistrai
TRANSLATION FROM POLISH TO ENGLISH OF THE TEXT “Lithuania and Poland. Neighbourship in Filmic
Form in the Cinema of the 1960s”: Caryl Susan Anne Speed
TRANSLATION OF TEXTS TO POLISH:
Translations by Małgorzata Żerel: “Timeline of Cinema”, “A Short Review of Lithuanian Cinema”, “Feature Film
after 1990: Generation Change, New Aspects and Challenges”, “Šarūnas Bartas’ films”, “Jonas Mekas’ Diary Films”,
and interviews with Gytis Lukšas, Audrius Juzėnas, Kristijonas Vildžiūnas, Kristina Buožytė, Ignas Jonynas,
Audrius Stonys, Arūnas Matelis, Janina Lapinskaitė, and Giedrė Žickytė.
Translations by Joanna Tabor: “Introduction”, “Documentary Film after 1990”, and interviews with Algimantas
Puipa, Šarūnas Bartas, Valdas Navasaitis, Raimundas Banionis, Julija and Rimantas Gruodis.

EDITOR FOR POLISH TEXTS: Jerzy Szeja

PROOFREADING FOR POLISH TEXTS: Ilona Siwak

PUBLISHED BY: The Lithuanian Film Centre

SUPPORTED BY: Embassy of the Republic of Lithuania in Poland, Ministry of Culture of the Republic of Lithuania
and Lithuanian Culture Institute
GRAPHIC DESIGN AND LAYOUT: Ads Press
PRINTING HOUSE: BALTO print

SPECIAL THANKS TO: Rasa Rimickaitė, Živilė Pipinytė, Linas Vildžiūnas, Lukas Brašiškis, Gediminas Kajėnas

TEXTS:
“A Short Review of Lithuanian Cinema” by Linas Vildžiūnas was first published in the booklet for the 10-litas coin
dedicated to cinema (from the series “Lithuanian Culture”). Published by the Bank of Lithuania, 2014.

The interview with Valdas Navasaitis by Rasa Paukštytė, “Everything Is a Private Matter”, was first published in the
magazine Kinas in 2001.

The interview with Julija and Rimantas Gruodis by Auksė Kancerevičiūtė “We Are Trying to Walk on the Bright
Side of Life” was first published on www.bernardinai.lt.

The interview with Šarūnas Bartas by Lukas Brašiškis, “The Philosopher of Lithuanian Cinema”, was first published
in www.bernardinai.lt.

The interview with Raimundas Banionis by Auksė Kancerevičiūtė, “Film Plots Dictated by Reality”, was first
published in the magazine Kelionė in 2015.

“Feature Film after 1990: Generation Change, New Aspects and Challenges” by Renata Šukaitytė was updated and
edited from the text “New Lithuanian Feature Films” by Renata Šukaitytė published in Lithuanian Culture Guide:
Cinema by the International Cultural Programme Centre, 2012.

ISBN 978-609-95744-0-0
Circulation: 2000
© Lithuanian Film Centre, 2015