Studio Uljana Kim

Alice von Trota returns to her father’s manor in Latvia in 1919 to sell it and start a new life. She meets the hostile resistance of the local workers and discovers she has been lured into a carefully tailored trap set by a demonic lawyer, a decadent underground organisation and its necrophile leader. While escaping the clutches of her “helpers”, she meets some silent-cinema enthusiasts and learns to use the cinematograph as a tool for healing and self-discovery, as a weapon against her enemies and as a way to create a masterpiece.

Erik is convinced he has a stone for a heart. That’s why he doesn’t mind that his parents have no time for him, or that he is bullied at school, or that he has no real friends. When his family moves to a villa they inherited, he is confronted by Maria whom Erik's parents want to kick out along with her father. Maria refuses to move and promises to make Erik's life a living hell. As a last attempt to defeat Erik, Maria goes to look for her mother who disappeared two years ago. Together they end up on a fantastical journey to the In-Between-World and Erik learns how hard it really is to wear a heart of stone.

At the end of the 19th century, somewhere in the outskirts of the Russian Empire, a doctor administers a lethal overdose of ether to a young woman – the object of his desire. After getting away with his crime, he finds employment in a fortress, where he continues his experiments with ether to manage pain and manipulate human behaviour. Despite his evilness, it is not too late for his soul to be saved from eternal damnation…

A woman lives in a small village in Russia. One day she receives the parcel she sent to her husband, serving a sentence in prison. Confused and angered, she sets out to find why her package was returned to sender.

It is highly probable that before their own death, everyone has to organise someone else’s funeral. This is by far not an easy task. In addition to the searing grief, dying also brings a number of tasks that are at once utterly alien and intensely time-critical. The main character of this film, Dovile, who unexpectedly has to bury her father, has to face the bedlam of exactly such a challenge. Overnight, the young girl has to become a skilful organiser of a family event, while also being a specialist on coffins, urns, wreaths and funeral feasts. Dovile’s journey towards organising a perfect funeral is inevitably full of hardship and mishaps, accompanied mainly by black humour and comical situations.

The enigma of the personality cult is revealed in the grand spectacle of Stalin’s funeral. The film is based on unique archive footage, shot in the USSR on March 5 - 9, 1953, when the country mourned and buried Joseph Stalin.

A woman in her forties tries to find her own place in life, having experienced many personal trials.

After a heavy decision, Anna and Juhan are unable to move on with their lives. They take time off at their friends' fancy summer house and once there, are forced to offer shelter to another couple caught in the storm. The couple assumes that the house belongs to Anna and Juhan and they do nothing to correct the mistake. Instead, they seize their new roles and start taking their mutual bitterness out on the strangers.

A series of vignettes situated in an apartment in Vilnius conceive of the complexities of desire and love as seen through the fleeting experiences of five Airbnb guests, each in differing states of romantic entanglement and crisis.

In a cheap brothel at the foothills of an Athenian fortress, a man recounts the magnificent events of his life. His search for love and glory is retold and relived by many: a prostitute with an unredeemable past, a gangster haunted by bad luck, an icon painter who has no faith - In one of the stories, the man finds his riches, in another he becomes a vagabond prophet, in yet another he returns home to his wife. Memories betray him, but he knows for sure that in one of these lives, he will be killed.

The first feature of Lithuanian Valdas Navasaitis is a drama which unravels the hopeless 1970s, when people were deprived of their roots and forced to sit and watch their lives slip from their fingers. In a decrepit house that once belonged to a bourgeois family, several families seek shelter. Senis, a 65-year-old alcoholic, lives on the ground floor with his wife and their 16-year-old daughter. Senis is a survivor of the Nazis as well as the communist camps. He drowns the pain of his memories in a nearby pub and in talking to a depressed young laborer, Lorenca. Later on, a young couple and a lonely eccentric who enjoys only his cat's company join the inhabitants. Children wile away the time with useless games or spying on adults. When Lorenca hangs himself at the ruins of a nearby factory, the lives are shaken up. During the dinner held for the deceased, they find a moment of common hope.

A man trying to get away from it all finds both love and conflict in the woods in this offbeat drama from Lithuania.

A nearly-suicidal, young woman visits a psychotherapist. She is in love with a priest, and the diagnosis of her husband's mental illness leaves no hope. The psychotherapist, in her attempts to resolve the amassed difficulties, seemingly begins to duplicate the life stages and behavioral patterns of her patient. A script for this film is based on motifs from the best-seller, scandalous novel, Witch and Rain, by female author, Jurga Ivanauskaite. By choosing a priest as the main role for a love story, the author broke an existing societal taboo. Faith, Love and Hope form the trilogy by the authors of this screenplay. Love stands as the grandest of the three.

Monika, a middle-aged wealthy woman, goes through a marriage crisis with her younger husband Linas. A car accident leads Monika to meeting three young girls, Kristina, Egle and Gitana, who happen to be ex-prostitutes extradited from Germany. The lady and the girls settle down in a country mansion, to form a relationship that will change their lives forever

1961. Father and daughter, separated during World War II, are trying to meet in Berlin. He comes to Berlin from Soviet Lithuania, she comes from the USA. Even if the Berlin Wall has not been built yet, the Cold War is coming close to its apogee. Political and geographical situation, that seemed to be favorable in the beginning, turns out to be deceptive. After his arrival, the father is looked after by KGB intelligence agents. They, using him as bait, are trying to lure the daughter to the east side. Affected by the citie's atmospehere that's pervated with distrust, she is afraid to cross the West Berlin boundary. Trying to save each other from the possible trap, father and daughter are ready to give up the idea of the so much desired meeting...

Seneca’s Day is set in the year 1989, the final period of the Soviet era in Lithuania. Eighteen-year old buddies establish the Seneca’s Fellowship with the motto “Live each day as if it was your last”. A love triangle breaks up the fellowship right at the time the nation experiences an exceptional sense of community via Baltic Chain.Twenty-five years later, the main character who at first glance appears to be accompanied by good luck, is disillusioned with himself. He has betrayed the ideals of his youth and become a cold observer of life.

Paramedic Vincentas is a passionate gambler, who is forced to make radical decisions to return the debts. An idea strikes Vincentas to create an illegal game related to his profession. Love, life and death will be at stake.

The city of Mariupolis is by the Azov sea. It is also on the river Kalmius. Most of the city’s residents, half a million according to the last census, are working for the steel factory and do fishing, for leisure or food, in between shifts. The orthodox church towers above the city and its newly build bronze domes are sitting next to it, waiting to be donned. A tent near by is sheltering a crying icon, which receives a steady flow of visitors.

In 2022, Mantas Kvedaravičius went back to Ukraine, Mariupol, at the heart of the war, to be with the people he had met and filmed in 2015. Following his death, his producers and collaborators have put all their strength into continuing transmitting his work, his vision and his films. Also a PhD in anthropology, Mantas Kvedaravičius wished to testify as a filmmaker as far as possible from the agitation of the media and the politicians. With huge force and sensitivity, Mariupolis 2 depicts life as it continues amidst the bombing and reveals images that convey both tragedy and hope.

Is it morally acceptable to use the civilian population as yet another tool for waging war? Is it possible to justify death and destruction for the sake of supposedly lofty ideals? The question remains as pertinent today as it was at the beginning of World War II, and it is becoming increasingly urgent to answer, as countless tragedies have been caused by unethical political decisions.