“The ball is in your court, Estonia,” director Conan O’Brien said during the Oscar ceremony after Latvia won a statuette for their country for “Flo.” Now, a new wave of Estonian coaches is coming to stake their claim.
“Many debut films are scheduled to be released in 2026, so it feels like a generational shift,” says Sigrid Saag of the Estonian Film Institute. “I think their stories focus more on young people that previous generations ignored.”
These include Ivan Pavlyutushkov’s “Molten,” about an introverted 15-year-old boy who lives with his unemployed uncle while his mother works abroad.
“The new generation of Estonian directors is characterized by a more radical and confident cinematic vision. Many directors are keen to take risks, experiment with forms and genres, and try to go beyond traditional storytelling,” points out Pavljutskov.
“We’ll see more stories that engage the realities of contemporary Estonia, approached with a fresh perspective and a distinctly modern sensibility. We’re particularly pleased to see an increasing openness to stories that reflect the Russian-Estonian experience and other perspectives that have been underrepresented in national cinema.”
At the same time, upcoming filmmakers are “strongly committed” to artistic integrity and are exploring “alternative production avenues when traditional funding structures cannot fully support their ideas.”
Ivor Murdo also focuses on a young protagonist in Mummy’s Boy (formerly known as Sissy), about the child of an alcoholic single mother.
“Estonian writers are really starting to find their own voice. Previously, it was common for Estonian mainstream films to imitate Hollywood in look and feel, but our new work is truly unique,” he says.
“Auteur films are really starting to bloom. We have a great blend of storytelling that reflects where we are geographically and historically. We’re coming out of our shell.”
Murd argues that such newfound confidence is evident in Anna Hint’s Sundance hit “Smoke Sauna Sisterhood” (“a great feminist picture that compresses something very Estonian and can be used to introduce us to the wider world”) and Rainer Sarnet’s “The Invisible Fight,” which combines kung fu with Eastern Orthodox monks.
“These stylish films understand that whether something is important to the author or not, there is a real chance that it will be important to domestic and international audiences. You can’t lie about your heart, and we have it.”
As previously reported by Variety, Hint is already working on the body horror musical “Black Hairy Beast,” which is described as “a love story. With claws.”
“Our biggest challenge is to achieve financial stability and ensure social security such as health insurance. Protecting the rights of authors and defending author-driven films remains essential if we are to continue to talk about Estonian cinema in the future. Estonia is small, but we have an extraordinary amount of talent. The key question is how to nurture and protect that talent over time,” she emphasizes.
Oskar Lehemaa, the creator of “The Old Man Movie,” is developing “Birth.” In it, a couple travels deep into the Estonian forest to attend a fertility retreat that turns into an occult nightmare.
“This film is about the horrors of parenthood, bodily independence, and the balance of power in intimate relationships. I’m also looking forward to creating the most dangerous pregnancy horror scene ever,” he teases.
New filmmakers are “reflecting the concerns of the current zeitgeist in a way that previous generations were not able to do,” Rehemer said. Examples include Tonis Pil’s coming-of-age drama “Frank,” set in the early 2000s, and Mir Parial’s “Rolling Papers,” about twenty-somethings in Tallinn. It was Estonia’s Oscar-nominated film.
“We’ll see more of these personal reflections on both the past and present, along with a growing interest in genre fusion that combines elements such as musicals, horror and martial arts films,” he added.
His producer Evelyn Penttila claims, “I see a lot more playfulness with genre in the films we’re currently working on. What excites me is that each of these films is so distinct in tone and ambition. Combined with a strong individual voice, that’s what international audiences can increasingly expect from Estonia: films that are bold, surprising, and confident in finding their own audience.”
“I think we all want to avoid being boring or mediocre.”
Tonis Pill says filmmakers and audiences are tired of psychological realism and are looking for new approaches. And for more hope.
“Our young directors generally avoid stories with dark themes or ending their films with hopeless endings. I’m not saying we should only make films with a good start, but the current global political situation requires writers to de-escalate the tension in some way.”
Short films are also at the forefront. In Berlin, Jonas Taul will present A Serious Thought, an animated short produced by the legendary Nukufilm studio.
“In the era of TikTok and attention spans measured in minutes, viewers are looking for stories that can capture their attention and emotional engagement instantly. Today’s trends are set by young people, and our young people are watching short-form formats,” said Edith Sepp, CEO of the Estonian Film Foundation.
Jano Jurgens’ psychological thriller “No Me Without You” highlights how new filmmakers are “daring to explore new angles and storytelling techniques,” says producer Marju Lepp.
“There is no single unified direction or overarching trend, and that is exactly what makes this moment so exciting. This diversity is a strength and truly enriches the Estonian film industry.”
“I feel like there’s more courage in just being yourself, focusing on your own story, who you are, who you are, or at least I hope that’s the case,” Jurgens said.
“Estonian independent film production is on the rise, with arthouse films produced without the public’s tax dollars, and filmmakers pushing back against restrictions on creative freedom and strict rules to ensure a diverse and unique cinematic universe.”
Laura Lourd, who is producing Elisabeth Krjovnik’s Bicycle Thief for Nafta Films, agrees that the visual language and storytelling has become “more eclectic and less uniform.” The diversity of new directors entering the Estonian film industry is also becoming clearer.
“Films are being developed and produced by people who don’t fit into the traditional or stereotyped image of a ‘director.’ This shift has also been helped by a welcome shift in funding practices, creating more space for new voices.”
“The Bicycle Thief” follows Sigrid, a 10-year-old girl living in a small town. She received a new bicycle for her birthday, but it was stolen the next day.
“For a long time, certain audiences, especially women, children and young people, have been underrepresented as central players in Estonian cinema, despite making up a large part of the filmmaking community and audience. This situation is starting to change in a meaningful way,” said Laud.
With German director Golub’s debut film Our Erika, Lina Triškina-Vanhataro’s First Love and Janika Alm’s Beyond the Visible Flowers also on the horizon, “we can expect a lot from the new generation of Estonian filmmakers in the coming years,” says Maria Ulfsak, Estonian Film Association feature film commissioner.
“And there will be blood. Mick Margi’s debut historical epic ‘Godkiller’ will delight audiences at home and abroad.”
The ball is in your court, Estonia.
Jonas Taul’s “Serious Thoughts”
© Ragnar Nerjandi
