It’s that time of year again. We pack our winter coat, put on two pairs of socks, and set off to one of our favourite festivals of the year: Tallinn Black Nights, aptly named because it gets dark at about 4pm, which, naturally, is when all the magic happens.
In what is our fourth trip to the Estonian capital, though a fleeting experience, it remained a memorable one nonetheless. The festival, known locally as PÖFF, is celebrating it’s 29th edition, and prides itself in presenting audiences and critics alike the chance to indulge in films from all around the world, as well as documentaries and shorts, to make up their impressive programme.
Of course much of the focus is on the Official Competition, but there’s always the strand for Baltic films, while there’s even strands for the night owls (or wolves, in this instance) called Midnight Shivers, as well as sections promoting Environmental productions, & even sports films. There’s always a region under the spotlight too, this year it was Catalan films being celebrated, with a host of productions bringing some sunshine to the wintery streets of Tallinn.
This year it also happened to be a Spanish film that took home the biggest prize, as The Good Daughter, by director Julia de Paz Solvas won the Grand Prix. For the very first time in the history of the festival, the jury and audience were aligned, with the film also taking home the Audience Award. Other noteworthy winners were Danish film Hercules Falling, winning The Best First Feature, while The Visitor won Best Baltic Film.
During our stay we saw a small collection of films ourselves of course, so let’s run through them. First up, in typical British form, we went & saw a film from our very own isles, which was Think of England, directed by Richard Hawkins, and produced by father and daughter duo Nick & Poppy O’Hagan. Set during the Second World War, this film blurs the line between fiction and reality to tell a fascinating tale of a group of sort-of-filmmakers, who are tasked with shooting an erotic film to send to soldiers to help boost morale. Featuring stand out performances from Natalie Quarry and Jack Bandiera, as well as German actor Ben Bela Bohm, the film lulls the viewer into a false sense of security. Beginning as a somewhat light, and frivolous comedy, the rug is pulled from underneath our feet as the film takes a staggeringly dark turn. It’s tonally well-balanced with a deft touch by Hawkins, to make for a memorable cinematic experience. The film looks the part too, impressive given its modest budget, which was reflected in it winning an award for its production design at the festival. The soundtrack, true to the time, gives it a warm, if somewhat chilling feel, supporting the complex narrative well. This is a film we hope is picked up for distribution, as it’s certainly one that will get people talking.
We may have been in Estonia but stayed in Britain for our next screening, as we went to see James McAvoy’s directorial debut California Schemin’, which tells the remarkable true story of two Scottish rappers who conned the music industry by pretending to be American, picking up a record deal in the process. It’s a fun film, but a safe one for the Scottish filmmaker, as you don’t really feel you get a sense for his voice as an artist from behind-the-lens. The film survives mostly off it’s story, not to mention another impressive turn for Samuel Bottomley. But if it’s the story that intrigues you most, you may be better off seeking out Jeanie Finlay’s documentary The Great Hip Hop Hoax, on the very same subject.
We then saw one of the award winners; settling in to watch the Lithuanian and Taiwanese co-production China Sea, which won Best Film in the Critics’ Picks competition. Directed by Jurgis Matulevicius, the film follows a disgraced martial arts champion, played excellently by Marius Repsys, who is cancelled after accidentally injuring a girl on the street. Known primarily in Asia, he is forced to contemplate on his downturn in life back at home in Europe, spending his days in a local Taiwanese restaurant. First and foremost, the film looks wonderful, with a really distinctive aesthetic, but amidst the indelible landscape, which captures that sense of loneliness and desolation, is a candid character study of a man having to reevaluate his entire being. Taking some creative risks, the production marks a film industry in Lithuania currently going through a strong period. Who knows, perhaps they’ll be the next nation under the spotlight at the Black Nights festival in coming years.
We then returned to Britain, to enjoy the sophomore feature for rising star filmmaker Colum Eastwood, The Morrigan. The horror, which was placed in the fitting strand entitled ‘Midnight Shivers’ is a chilling feature that shows off the Northern Irish director’s ability. Following on from Black Medicine, which we covered on the site with an interview with leading star Antonia Campbell-Hughes back during lockdown, this latest endeavour has quite the ensemble. Starring Toby Stephens, Saffron Burrows, Art Parkinson and Emily Flaine, as well as the legend that is James Cosmo. They bring the material to life, but the film excels best in its indelible, chilling mood. Blending the mysticism that comes with folklore, with a modern twist, and some real hide-behind-your-sofa moments, it’s a tense narrative that builds slowly, and more than rewards the patient viewer. This is a director with a clear vision, and a bright future ahead – which is more than can be said of his poor characters.
Our fifth & final feature we watched, still in Britain (sorry, rest of the world) – was prolific indie filmmaker Jamie Adams latest, Turn Up the Sun, which featured in the Rebels with a Cause strand. The Welshman, single handedly keeping the mumblecore movement alive, remains true to his naturalistic spirit, in a story of a pop star (Aisling Franciosi), who books a quiet stay in the countryside with her partner (Lucas Bravo), with the aim of taking a picture for her new album cover, only to find a revered, troubled photographer, played by the excellent James McAvoy, already having made himself at home, as this small collective of strangers turn this supposedly calming retreat into a psychological dance, examining the complexities of the creative mind – and the ego that comes with it. It’s a fun drama, with a chaotic spirit, as the filmmaker, as ever, allows his actors to play, with a spontaneous, improvisation-encouraged environment that brings the best out of this talented group of actors – taking the viewer on one helluva ride in the process. The film marks an ever-maturing director, growing more confident and assured with every passing feature, with moments of creative flair here exemplifying a storyteller very much in his stride.
Adams is evidently a director actors adore collaborating with – no less because Simon Pegg was present at this year’s festival to support his friend, for Pegg is set to star alongside none other than Quentin Tarantino in Adams next project ‘Only What We Carry’. While in torn. he utilised his time well, completing a career-focused Q&A, allowing audience members into his life and mind, in what proved to be a real treat for those lucky enough to be in attendance (sadly this took place before our arrival).
Pegg wasn’t the only big name at the festival this year, as outside of the screenings, the programme offers plenty of opportunities for film lovers to enjoy. Other impressive names from world cinema were also present to speak about both their latest releases, and their careers in general, including the likes of Danish actress Trine Dyrholm and Iranian superstar Golshifteh Farahani, who was premiering her latest film Oh What Happy Days at the festival, her first Iranian feature since going into exile in 2008.
Outside of the festival, there’s plenty of parties, which we more than enjoyed, plenty of drinks and canapés, which we more than consumed, and plenty of dancing, which we more than humiliated ourselves taking part in. While the compulsory trip to the shrine that is the ‘Depeche Mode Bar’ found its way into our schedule. The ‘DM Bar’ as it is affectionately known, is literally a love letter to the 80s band, even selling cocktails named after their songs. It’s a very long menu – these guys had a lot of songs.
PÖFF is simply a joyous occasion, as it is every year, and one we simply love attending, and look forward to every winter. The festival also puts on an event, most mornings, for the accredited press, to go for an early morning swim in the Baltic Sea. Every single year we say ‘this year we’re gonna do it’ and every single year we bottle it. This year however… no we bottled it again. Maybe next year, eh?
