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Official Competition EurAsia

TEETH OF LOVE / AIQING DE YACHHI
ALEXANDRA / ALEKSANDRA
DAISY DIAMOND
EDUART
FROZEN 
MY FATHER MY LORD / HOFSHAT KAITS
ISKA’S JOURNEY / ISZKA UTAZASA
LA FRANCE 
THE NEW MAN / DEN NYA MÄNNISKAN
ORANGELOVE
CROSSING THE DUST / PARINAWA LA GHOBAR
PARTING SHOT / PAS DOUCE
PLOY 
AUTUMN BALL 
TAKVA
TRUE NORTH 
EMPTY / VRATNE LAHVE

Seventeen EurAsian moments
It would be so easy. To take the cream of the crop of all of the festivals at the end of the year, and to make the major festival grand prix winners compete against each other… The film producers association FIAPF recognizes 12 festivals as major. But in doing so, we would lose our identity and dilute ourselves into a mere film courier service.
We will end up seeing the award-winning films one way or another – in other programmes. And FIAPF recognizes the Tallinn BNFF as a independent festival, so we have much to live up to.

This year’s competition programme includes many films that deal with topics in the global spotlight: people’s inner world of religion with all of its contradictions; people who have been thrust into armed conflicts driven by interests of different countries; films that examine young people going though the always painful process of socialization.

We want to bring to Tallinn as many debut efforts and young talents as possible. Our aim is to let precisely the newer films compete, and make a special effort to avoid even titles that were featured in competition programmes at major festivals. In two cases, we made an exception. The Russian film “Alexandra” competed at Cannes and the Czech entry “Empties” was screened at Karlovy Vary.

The competition programme is a reflection of today’s conflicting world and of the individual that is part of this world – who, let it be said at the outset, is mostly in conflict both with him or herself and the world, whether the reason for this is Islam (as in the Turkish film “Takva”) or Judaism (Israel’s “My Father, My Lord”). Or the wars waged in Iraq or Chechnya (the Iraqi-Kurdish “Crossing the Dust”, and Russia’s “Alexandra”). Or immigration (Ireland’s “True North”). Or the difficulties faced by youth in carving out their identity while in contact with old value systems (Denmark’s “Daisy Diamond”, Hungary’s “Iska’s Journey”, India’s “Frozen”, China’s “Teeth of Love”, the Swedish-Finnish “New Man”).
Switzerland’s “Parting Shot” and Greece’s “Eduart” unravel complicated psychological knots. Flashes of heartfelt humour are introduced to the festival by the aforementioned Czech film “Empties”. Thailand’s “Ploy”, Ukraine’s “Orangelove” and France’s “La France” experiment with cinematographic stylistic devices.
There are examples of first-class world cinematography that are simultaneously top-of-the-line films. One does not have to go far to find an example – take Estonia’s own “Autumn Ball”.
The debut features this year are from Ukraine, China, Israel, India, Turkey, Iraq and Estonia. In all, the competitive programme includes 17 works for the screen.

In terms of artistic range, this programme is wall-to-wall, from films where the focus lies on the powerful social environment and where the intent is to find out how it affects the individual, to others that delve into the dim reaches of the human psyche. Most films – and there are many of them – lie somewhere in between these two extremes.

Jaan Ruus
Director of the competition programme













prg. mart kalmo