From ambitious dramas to a TV series inspired by the Danske Bank scandal, Baltic projects look for inspiration in the most unusual places. According to director Ove Musting, behind “Business as Usual,” the goal was not to judge the characters, “but to understand how the system seduces them.”
“This is a world where bankers behave like aristocracy, where Danish executives function like kings and where oligarchs appear almost mythological: charming, terrifying, and willing to offer unimaginable wealth for a few drops of blood.”
Corruption doesn’t start with grand criminal masterminds, he states, but with “small compromises made by normal people who believe they can outsmart the devil. ‘Business as Usual’ is thrilling, absurd, visually bold and painfully relevant. It shows how billions can flow silently across Europe, beneath the radar of politicians and regulators – until one day, the truth becomes too big to hide.”
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Just like in “War on Women” about networks spreading anti-women and anti-LGBTQ message, called by producer Elina Litvinova a “story with increasing urgency for the global audiences and the protection of human rights and democracy.” She adds: “It’s a deeply moving personal journey while shedding light on global issues.”
As for documentaries, Šarūnas Bartas opens up about personal tragedy in “Laguna,” Aistė Žegulytė comes close to microorganisms in “Holy Destructors” and in “A Goodnight Kiss,” the life of Holocaust survivor Irena Veisaitė might inspire those struggling today.
“So far, both national and international audiences have shared the same response: the film has a deeply calming effect. Even though the film shows the brutal experiences of the 20th century and carries an unsettling sense that history’s darkness is returning, our heroine, through her humanity and inner strength, seems to offer a way to endure in these turbulent times,” she said.
In “Morten” by debuting director Ivan Pavljutškov, where a teen is suddenly faced with two girls in his life, “threads of folklore weave through the narrative, giving the film a sense of timelessness, as if the past breathes softly alongside the present.” Pavljutškov notes: “It contains elements of magical realism, but they remain subtle, serving the story in a delicate, poetic way.”
Poetry also made its way into “No Me Without You” by Janno Jürgens, offering an unusual take on sisterly conflicts.
“The story’s exploration of love, anger, grief and reconciliation resonates broadly, while the rural Estonian setting grounds it in a unique, tangible world. Janno’s decision to place the characters in extreme, morally complex situations amplifies the emotional stakes and allows audiences to engage fully with the characters’ inner lives,” say producers Marju Lepp and Manfred Vainokivi.
The film is set in the countryside, where “one is in more direct contact with the surrounding nature and the primal essence of being human,” observes Jürgens, praising his “unique Estonian homeland” with its “unspoiled nature.” “It’s a Nordic jungle where nature and people are deeply connected, with shared stories and histories.”
While “China Sea” marked the first co-production between Lithuania and Taiwan, while “Our Erika” by German Golub also bet on international collaboration. It’s a biopic of Erika Salumäe, Olympic champion in track cycling.
“Despite the relatively modest budgets of Baltic cinema, our co-production pushes production values to the edge: we aim for a minimalist, atmospheric and authentic depiction of Erika’s world,” he told Variety. It’s produced by Estonia’s Filmivabrik, joined by Amber Land Film from Latvia and Uljana Kim Studio from Lithuania, with additional Estonian co-producers Hansafilm and Elisa Estonia.
“It’s more than just an Estonian tale; it is the story of a girl who, like many athletes in occupied Soviet countries, tried to endure and succeed in a very challenging system. Erika’s example illustrates the shared history of post-Soviet countries and, hopefully, inspires today’s generation to persevere in their goals, even when their dreams seem almost impossible.”
Profiles of some recent and upcoming Baltic titles to keep on the radar:
“Business as Usual”
TV Series
(Estonia)
Dir: Ove Musting
This six-part thriller, inspired by the Danske Bank scandal, follows Artur, who becomes the favorite banker of Russian oligarchs. Musting says: “The tone of the series sits at the intersection of dark comedy, crime thriller and character-driven drama. It has the energy and chaos of ‘The Wolf of Wall Street,’ the criminal absurdity of ‘Snatch’ and the grounded psychological realism of Nordic drama.” “Our aim is to reveal the mechanisms behind dirty money to audiences in an entertaining and captivating way. We are currently seeking partners from the Nordics and beyond to co-develop, package, and finance the project into a truly international series,” adds Evelin Penttilä, producer at Stellar Film.
“China Sea”
(Lithuania, Taiwan, Poland, Czechia)
Dir: Director Jurgis Matulevičius
The first-ever co-production between Lithuania and Taiwan about a martial artist finding refuge in a Taiwanese restaurant – which world-premiered at Black Nights – features a cast from both countries, performing in a hybrid dialect that blends Mandarin and Lithuanian. Producer Ieva Cern says: “In this political climate, it’s a great pleasure for a country like Lithuania to have as co-producers not only our close European partners from Poland and the Czech Republic, but also Taiwan – a country we deeply relate to and that has brought an absolutely outstanding cast to the film.”
“Flesh, Blood, Even a Heart”
(Latvia)
Dir: Alise Zarina
The film, set to premiere in January 2026, explores two of the most universal struggles we carry into adulthood, says producer Alise Rogule (Mima Films): “The longing to heal old wounds with a parent and the quiet work of keeping love alive with a partner.” As Liv faces her estranged father’s sudden collapse and the growing distance in her marriage, the film moves between humor and heartbreak “with disarming honesty”. “It explores Eastern Europe’s ongoing efforts to process post-Soviet trauma, an experience that still haunts the region and the generation striving to move beyond it, placing the work within the new wave of Baltic cinema that examines the contemporary, the present and the urgent.”
“A Goodnight Kiss”
Documentary
(Lithuania, Estonia)
Dir: Giedrė Žickytė
This co-production between Lithuania, Estonia and Bulgaria (Moonmakers, Allfilm and Agitprop) follows the final years of professor Irena Veisaitė, a Holocaust survivor who “lived through war, atrocities and loss yet never succumbed to hatred,” explained Žickytė, admitting her protagonist became an inspiration to “many in Lithuania and beyond.” “The film [shows] how to remain human in inhuman times. It speaks to our present moment, to a world that once again feels fragile and polarized.” It features the music of renowned composer Arvo Pärt and was edited by Atanas Georgiev who also worked on “Honeyland.”
“Holy Destructors”
Documentary
(Lithuania, France, Latvia)
Dir: Aistė Žegulytė
Shown at IDFA as well as Black Nights, this creative documentary takes on the incredible world of… fungi and other microorganisms, as well as the never-ending circle of life. “I’m incredibly happy that after six years of living with fungi and with the people who became the film’s protagonists, our premiere finally happened. Only with them could all these magical adventures come to life,” notes Žegulytė, also known for “Animus Animalis (A Story About People, Animals and Things).” Produced by Studio Uljana Kim, it was co-produced by To Be Continued and Studio Locomotive.
“Laguna”
Documentary
(Lithuania, France)
Dir: Šarūnas Bartas
One of Lithuania’s best-known filmmakers returns with a documentary. Produced by Studija Kinema and sold by Shellac, it premiered in Venice in September. “I could divide my life into two parts. The first – before the death of my daughter, and the second – after she was no longer among us. Naturally, there were sincere thoughts of ending everything. Only a barely visible thread, thin as a strand of silk, kept me tied to this world,” he said. “With the help of my youngest daughter, Una Marija, I managed to find a new beginning and continue doing what I have done all my life – to show people my feelings with unconditional openness. I managed to come back.”
“Morten”
(Estonia, Lithuania)
Dir: Ivan Pavljutškov
In the film, aimed at young audiences and based on award-winning novel, Morten – an introverted teenager – hides his chaotic home life. Then Emilie, a mysterious girl he meets in a swamp, and Miia enter the picture. He finds himself trapped between friendship and love. “It’s a special story for me. Though it holds the realistic everyday life of a young person and the gentle romance of first relationships, it is also imbued with a quiet mysticism,” observes Ivan Pavljutškov, making his feature debut. “And of course, the fresh, talented young actors are a wonder to behold.” Anneli Ahven produces, joined by Fralita Films.
“No Me Without You”
(Estonia)
Dir: Janno Jürgens
Described as a psychological thriller about all-consuming love and revenge, now in post-production, it’s “set in a Nordic jungle where three women collide.” “The love-hate dynamic between sisters is a mystery. Our way of grappling with this is by placing the characters in an extreme situation – a chain of events that seems unbelievable, painful, even veering into the realm of fantasy – at the center of which their deepest emotions are revealed,” says Jürgens. “His vision has transformed a deeply emotional narrative into a visually compelling, immersive experience, blending drama, thriller, and horror elements,” add producers Marju Lepp and Manfred Vainokivi.
“Our Erika”
(Estonia, Lithuania, Latvia)
Dir: German Golub
This biographical sports film is inspired by the life of Estonian Olympic cycling champion Erika Salumäe. “Erika is known as a powerful athlete, politician and person whose fate still divides opinion,” notes Golub. Karolin Jürise prepared for the role for over two years. “Like Erika’s journey to the Olympic heights, the creation of this Estonian film, co-produced with Lithuania and Latvia, has been as hard and unique as track cycling, where tactics, determination and speed are key to success.” He calls the film “dense and eventful.” “Through Erika’s story we explore how childhood trauma reshapes desire, what genuine support looks like, and what the victory actually costs the person who wins.”
“Ulya”
(Latvia, Estonia, Poland, Lithuania)
Dir: Viesturs Kairišs
This drama, written by Livia Ulman, Andris Feldmanis and Kārlis Arnolds Avots, follows a teenage girl in Soviet Latvia. “The idea of the film came from Kārlis Arnolds Avots, who also wrote the first draft of the script and played Ulya in the film,” said producer Guntis Trekteris (Ego Media). In 1964, the protagonist is caught between the safety of her village and the spotlight of a legendary women’s basketball team, and must confront whether her extraordinary body is a curse or her only path to belonging. Chulpan Khamatova, Alise Dzene and Artūrs Krūzkops also star, while Polish cinematographer Wojciech Staroń is lensing the film.
“War on Women”
Documentary
(Estonia, Romania, Germany, UK)
Dir: Maris Salumets
In her doc, Salumets takes on European networks’ deepening gender inequality. “When I saw a wave of anti-women and anti-LGBTQ attacks sweeping Eastern Europe, I realized these weren’t isolated events but a coordinated movement,” she says. “Together with my co-writer Tereza Nvotová [director of ‘Father’], we wanted to go beyond a heavy journalistic exposé and create an investigative film that works through emotion as well as evidence – so audiences don’t just understand what is happening, but they also feel why it matters.” Three Brothers, Gambit Film, Doc Society, Insel Film, Manifest Film and Allfilm produce.
