From those lands which have been in the stronghold of the former UdSSR and where any form of creativity has been strangulated systematically, there is normally not much to await regarding advanced culture. The few Estonian films that are at present (end of 2009) available of international DVDs, are thus practically worthless. But not so Sügisball (2007). It tells, partly serially and partly parallel, the actual stories of five or six couples living in the same typically Communist tower-block where the windows must have been recently substituted but the money was lacking in order to get the isolation material into the wall. Because, in Communist times, most apartments were not rented, but owned by their tenants, we also see how different they look: starting with the poor, booth-like interior of the hairdresser, passing the roomy private-library of the writer/drinker and arriving at the fancy penthouse-stylish flat of the architect.
The people in this movie are basically potential suicides, drinkers, hopeless, betrayers and betrayed, desperate housewives, children without any clear future. We see pictures from one habitation-silo, but they are representing the basic atmosphere of a whole land at the geographical transit from East and West and at the temporal transit between Sowiet dictatorship and a boundless but insecure freedom. The style of the movie is practically a full-copy of that of Kaurismäkis films. I wonder, if the director made this decision deliberately or if there is something coming up like a "Fenno-Estonian movie-style Koine". Fact is: The Kaurismäki-style is so laconic and so light-less that by its means alone it is sufficient to describe despair and hopelessness. However, the director's decision was good. Film-style and story are "isomorphic". Finland has in the person of Aki Kaurismäki the "Finnish Fassbinder". Perhaps Estonia has gotten now in the person of Veiko Öunpuu the "Estonian Fassbinder". I would be happy for Estonia. Like all Fenno-Ugric lands, it has a grand potential of culture, history and metaphysics.
The people in this movie are basically potential suicides, drinkers, hopeless, betrayers and betrayed, desperate housewives, children without any clear future. We see pictures from one habitation-silo, but they are representing the basic atmosphere of a whole land at the geographical transit from East and West and at the temporal transit between Sowiet dictatorship and a boundless but insecure freedom. The style of the movie is practically a full-copy of that of Kaurismäkis films. I wonder, if the director made this decision deliberately or if there is something coming up like a "Fenno-Estonian movie-style Koine". Fact is: The Kaurismäki-style is so laconic and so light-less that by its means alone it is sufficient to describe despair and hopelessness. However, the director's decision was good. Film-style and story are "isomorphic". Finland has in the person of Aki Kaurismäki the "Finnish Fassbinder". Perhaps Estonia has gotten now in the person of Veiko Öunpuu the "Estonian Fassbinder". I would be happy for Estonia. Like all Fenno-Ugric lands, it has a grand potential of culture, history and metaphysics.