FEATURE
more funding as state support has gradually dwin- dled over the past few years— as an important step for the future. “When Klass and Autumn Ball were making
waves in 2007, we weren’t able to capitalise on the momentum to the extent that such places as Roma- nia did. Similarly, when it comes to co-productions, we are — more often than not — minor partners. This is why I think the forthcoming Estonian Film Commission [EFC] is going to be crucial.” Anneli Ahven, producer of the forthcoming film
Demons, also points to the need for more funding. “You can make film with a budget of around
$650,000 (¤500,000), but it limits the choice of themes, genres and new ways of film making. When Estonian films are strong in authenticity, the potential for international co-production will grow. More films will also mean different kinds of films.
Estonian Film Commission launch All welcome the creation of the EFC, launching here in Cannes, as an initiative of 12 Estonian pro- duction companies (including the national film agency Estonian Film Foundation, the Tallinn Black Nights Film Festival and the Baltic Event co- production platform). Funding comes from Enter- prise Estonia, the country’s enterprise and export support agency. “Estonia has never had an industry body or pub-
lic structure that devotes its entire energy to devel- oping, packaging and — eventually — marketing audio-visual services for export. And we haven’t had financial incentives,” says Martin Aadamsoo, head of the EFC. “So there are plans to set up vari- ous regional and countrywide financial incentives for incoming productions. In the short term, we aim at starting with around five foreign produc- tions annually and increasing services export vol- umes by 50% in three years. We aim to turn Estonia into the Baltic Sea region’s leading audio- visual content production service provider by 2020, no small target given Estonia’s current scar- city of production infrastructure.” A recently commissioned report has highlighted
significant cost and location advantages to filming in Estonia and the EFC will be keen to ensure these advantages do not go unnoticed. Aadamsoo also believes the EFC’s focus on attracting inward investment will have positive effects on the domes- tic industry. “The link between service provision and the
quality and distribution of Estonian films is fairly straightforward,” he says. “Bringing volumes to the production will increase our crew skills and creates incentives for investment in the production base. Both will eventually lead to higher professional lev- els of domestic film-making, which, in turn, will lead to increased international visibility.” “It will help film-makers keep their hands in
film-making in periods when Estonian films are not are being produced,” adds Ahven. “The pro- duction services will help keep high levels of pro- fessionalism among domestic film crews and train the new film generation.” Latvia, Estonia’s Baltic cousin, has shown the
region is proving attractive to outside productions as it draws projects such as Werner Herzog’s Invin- cible and the Daniel Craig-starring TV two-parter Archangel to the area. With the current healthy statistics of the domes-
tic industry in Estonia and an increasing move to consolidate its resources, the EFC may be the final piece in the puzzle needed for the country to fulfil its potential and establish itself as a significant player on the international scene. n
s n 34 Screen International at Filmart May 20, 2012 Lotte And The Moonstone Secret
A LADY IN PARIS (UNEESTONIENNE A PARIS) Dir: Ilmar Raag Jeanne Moreau stars in the eagerly awaited new film from the director of Klass. Anne leaves Estonia for Paris to care for Frida, an elderly Estonian woman who emigrated to France long ago. Anne soon realises she is not wanted: all Frida wants from life is the attention of Stéphane, her younger lover from years ago. The film has a budget of $3.5m (€2.7m). Contact Pyramide International
lgarzon@pyramidefilms.com
LOTTEAND THE MOONSTONESECRET Dirs: Janno Poldma, Heiki Ernits This $3.9m (€3m) animated film sees the beloved dog Lotte searching for three mysterious moonstones that traveller Klaus found on his last hike in the mountains. This Estonia-Latvia co-production was a huge domestic success (breaking into the Estonian box office top 10 in 2011) and played in competition in the Generation section of the 2012 Berlinale. Contact Sola Media
post@sola-media.com
Demons
DEMONS (DEEMONID) Dir: Ain Maeots This $700,000 sophomore feature from the director of the music drama Taarka (2008) is based on real events. The world of gambling and casinos is told from the viewpoint of gambling addicts. Contact Kopli Kinokompanii
www.kinokompanii.ee Anneli@kinokompani
BADHAIR FRIDAY (VASAKU JALA REEDE) Dirs: Andres Kopper and Arun Tamm This dark comedy thriller tells the story of eight groups of people whose paths cross over the space of 24 hours. This atypical Estonian crime film, inspired by the likes of Guy Ritchie and Quentin Tarantino, was released domestically during the early half of 2012. Contact Andres Poom
andrespoom@yahoo.co.uk
ESTONIAN FILMS AT THE CANNESMARKET 2012
A Lady In Paris
Bad Hair Friday
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