From ambitious dramas to TV series inspired by the Danske Bank scandal, Baltic projects look for inspiration in the most unusual of places. According to director Ove Masting, the goal of Business as Usual was not to judge the characters, but to “understand how the system seduces them.”
“This is a world where bankers act like aristocrats, Danish executives function like kings, and oligarchies seem almost mythical. It’s a world that’s glamorous, terrifying, and willing to offer unimaginable riches for a few drops of blood.”
He said corruption doesn’t begin with grand criminal masterminds, but “with small compromises made by ordinary people who believe they can outwit the devil. Business as Usual is thrillingly absurd, visually bold and painfully relevant. It shows how billions of money quietly flow through Europe, unnoticed by politicians and regulators, until one day the truth becomes too big to hide.”
Just like War on Women, which depicts a network spreading anti-women and anti-LGBTQ messages, producer Elina Litvinova calls it “a story of increasing urgency for the protection of human rights and democracy for a global audience.” She added: “This is a deeply moving and personal journey that shines a light on global issues.”
As for documentaries, Sarunas Baltas talks about personal tragedy in Laguna, Eiste Jegrite explores microbes with Holy Destructors, and Goodnight Kiss, where the life of Holocaust survivor Irena Veisaite may serve as an inspiration to those suffering today.
“So far, domestic and international audiences have had the same reaction: that the film has a deeply calming effect. Although the film shows the brutal experiences of the 20th century and brings with it an unsettling sense that the darkness of history is returning, our heroine, through her humanity and inner strength, seems to offer a way to endure these turbulent times,” she said.
In debut director Ivan Pavlyutushkov’s Morten, a teenage boy suddenly comes face to face with two girls in his life, and “threads of folklore interweave the story, giving the film a timeless feel, as if the past lives quietly with the present.” Pavlyutoshkov says, “Although the work contains elements of magic realism, they remain subtle and contribute to the story in a delicate and poetic way.”
The poem was also incorporated into Jano Jurgens’ No Me Without You, offering an unusual perspective on the conflict between sisters.
“The story’s exploration of love, anger, grief and reconciliation resonates widely, while its setting in rural Estonia grounds it in a unique and concrete world. Janno’s decision to place the characters in extreme and morally complex situations amplifies the emotional stakes and allows the audience to fully participate in the characters’ inner lives,” say producers Marju Rep and Manfred Vajnokivi.
The film is set in the countryside, where “you can come into contact more directly with the surrounding nature and with the fundamental nature of humanity,” Jurgens said, praising the “unique Estonian homeland” with its “unspoiled nature”. “This is the Nordic jungle, where nature and people are deeply connected, sharing stories and history.”
“China Sea” was the first co-production between Lithuania and Taiwan, and “Our Erika,” directed by German director Golb, was also a bet on international cooperation. A biographical film about Olympic track cycling champion Erika Salmae.
“Despite Baltic Film’s relatively low budget, our collaboration pushes production values to the limit. We aim to portray Erika’s world in a minimalist, atmospheric and authentic way,” he told Variety. It was produced by Estonia’s Filmivablik, with participation from Latvia’s Amber Land Film and Lithuania’s Urjana Kim Studio, with the addition of Estonian co-producers Hansafilm and Elisa Estonia.
“This is not just the story of Estonia. It is the story of a girl who, like many athletes in occupied Soviet countries, endured and tried to succeed in a very difficult system. Erika’s example illustrates the common history of post-Soviet countries and, hopefully, inspires today’s generation to persevere towards their goals, even when those dreams seem almost impossible.”
Profile of recent and upcoming Baltic titles in the spotlight:
“Business as usual”
TV series
(Estonia)
Director: Ove Masting
This six-part thriller is inspired by the Danske Bank scandal and follows Artur as he becomes the favorite banker of the Russian oligarchy. Masting says, “The tone of this series is at the intersection of dark comedy, crime thriller, and character-driven drama. It has the energy and chaos of The Wolf of Wall Street, the criminal absurdity of Snatch, and the grounded psychological realism of Scandinavian drama.” “Our aim is to reveal to the audience the mechanisms behind dirty money in an entertaining and engaging way. We are currently looking for partners in Scandinavia and abroad to co-develop, package and finance this project into a truly international series,” added Evelyn Penttila, producer at Stellar Films.
“China Sea”
(Lithuania, Taiwan, Poland, Czech Republic)
Director: Director Jurgis Matulevicius
The first Lithuanian-Taiwanese co-production, in which a martial artist takes refuge in a Taiwanese restaurant, had its world premiere in Black Nights, featuring casts from both countries, acting in a hybrid dialect that blends Mandarin and Lithuanian. Producer Ieva Čern said: “In this political climate, it is a great pleasure for a country like Lithuania to have as co-producers not only our close European partners Poland and the Czech Republic, but also Taiwan, with whom we have deep ties and who brought an extremely talented cast to this film.”
“Flesh, blood, and heart”
(Latvia)
Director: Aries Zarina
The film, scheduled for release in January 2026, depicts two of the most universal struggles we face as we grow into adulthood, says producer Alise Rogle (Mima Films): “The longing to heal old wounds with one’s parents, and the quiet work of keeping love alive with one’s partner.” The film oscillates between humor and heartbreak “with reassuring honesty” as Liv faces the sudden death of her estranged father and the estrangement of her marriage. “The film explores Eastern Europe’s continued efforts to process the trauma of the post-Soviet era, an experience that still haunts the region and the generations struggling to overcome it, placing it within a new wave of Baltic cinema that examines the modern, the current, and the urgent.”
Provided by Mima Film
“Goodnight kiss”
documentary
(Lithuania, Estonia)
Director: Giedre Zikkite
The co-production between Lithuania, Estonia and Bulgaria (Moonmakers, Allfilm and Ajitprop) depicts the later years of Professor Irena Vejsaite, a Holocaust survivor who “experienced war, atrocities and loss, but never succumbed to hatred,” explained Zikkite, acknowledging that her protagonist was an inspiration to “many people in Lithuania and abroad.” “This film shows how to remain human in inhuman times. This film speaks to our current moment, and to a world that once again feels fragile and polarized.” It features music by renowned composer Arvo Pärt and was edited by Atanas Georgiev, who also worked on “Honeyland.”
Provided by Moon Makers
“Holy Destroyers”
documentary
(Lithuania, France, Latvia)
Director: Eiste Gegrite
This creative documentary, which has also been screened at IDFA and Black Night, explores the amazing world of fungi, other microorganisms, and the endless circle of life. “After six years of living with the fungi and the people who are the heroes of the film, I am very happy that the film has finally premiered. Fungi are what bring all these magical adventures to life,” said Gegrite, who is also known for his work “Animus Animalis”. Produced by Studio Uljana Kim and co-produced by To Be Continued and Studio Locomotive.
Provided by Studio Urjana Kim
“Laguna”
documentary
(Lithuania, France)
Director: Sarunas Baltas
One of Lithuania’s most famous filmmakers returns with a documentary. Produced by Studiya Cinema and distributed by Shellac, it premiered in Venice in September. “I was able to divide my life into two parts: the first part was before my daughter died, and the second part was after she was no longer among us. Naturally, there were serious thoughts of wanting to end everything. Only a thin, barely visible thread, like a bundle of silk, connected me to this world,” he said. “With the help of my youngest daughter, Una María, I managed to find a new beginning and continue what I had always done, which was to show people my feelings openly and unconditionally. I managed to come back.”
provided by shellac
“Molten”
(Estonia, Lithuania)
Director: Ivan Pavlyutushkov
Based on the award-winning novel and aimed at young audiences, this film follows introverted teenager Morten as he hides a chaotic home life. Then Emily and Mia, a mysterious girl they met in the swamp, appear. He finds himself torn between friendship and love. “This is a special story for me. It depicts the realistic everyday life of young people and the tender romance of a first relationship, but it is also imbued with quiet mysticism,” says Ivan Pavlyutushkov, making his feature debut. “And of course, the fresh and talented young actors are a sight to behold.” Anneli Ahven will produce, with Fralita Films on board.
Courtesy of Anneli Arven
“I’m no good without you”
(Estonia)
Director: Jano Jurgens
The film is described as a psychological thriller depicting all-consuming love and revenge, and is currently in post-production. “The setting is a Scandinavian jungle, and three women collide.” “The love-hate relationship between the sisters is full of mystery. Our way of approaching this problem is to put our characters in extreme situations, where their deepest emotions are revealed as they are at the center of a series of events that are incredible, painful, even into the realm of fantasy,” says Jurgens. “His vision transformed a deeply emotional story into a visually compelling and immersive experience that blends elements of drama, thriller and horror,” added producers Marju Lepp and Manfred Vainokivi.
Provided by Filmivabrik
“Our Erica”
(Estonia, Lithuania, Latvia)
Director: German Golb
This biographical sports film is inspired by the life of Estonian Olympic cycling champion Erika Salmae. “Erica is known as a powerful athlete, politician, and figure whose fate still polarizes opinion,” Golub points out. Karoline Julese prepared for this role for over two years. “Like Erika’s journey to Olympic heights, making this Estonian film, co-produced with Lithuania and Latvia, was as difficult and unique as track cycling, where tactics, determination and speed are the keys to success.” He describes the film as “dense and eventful.” “Through Erica’s story, we explore how childhood trauma reshapes desire, what true support looks like, and what winning actually does to the winners.”
Provided by Filmivabrik
“Uriya”
(Latvia, Estonia, Poland, Lithuania)
Director: Viestrus Kailis
The drama, written by Livia Ullmann, Andris Feldmanis, and Karlis Arnolds Avotz, follows a teenage girl living in Soviet-era Latvia. “The idea for this film came from Karlis Arnolds Avotz, who also wrote the first draft of the script and played Uriah in the film,” said producer Gantis Trektelis (Ego Media). In 1964, the protagonist is caught between the safety of her village and the attention of a legendary women’s basketball team, and must confront whether her extraordinary body is a curse or the only way to belong. Churpan Khamatova, Alise Zenne and Arturs Kurtkops also star, and Polish cinematographer Wojciech Stalon is lensing the film.
Provided by Ego Media
“War on Women”
documentary
(Estonia, Romania, Germany, UK)
Director: Maris Salumetz
In her document, Salumetz addresses the growing gender inequality in European networks. “When I saw the wave of anti-women and anti-LGBTQ attacks sweeping through Eastern Europe, I realized that these were not isolated events, but a systemic movement,” she says. “Together with co-writer Tereza Nuvotova (director of The Father), we wanted to go beyond heavy journalistic exposé and create an investigative film that taps into emotion as well as evidence, so the audience not only understands what is going on, but also feels why it matters.” Produced by Three Brothers, Gambit Film, Doc Society, Insel Film, Manifest Film and Allfilm.
Courtesy of the three brothers
