Documentary films with a sense of humour: A retrospective of Laila Pakalnina
Great retrospective of a director with an original sense of humour - Laila Pakalnina is one of Latvia‘s most prolific directors today. She often uses the form of absurd mystification comedy.
Her documentary film Udens was awarded the Golden Bear at Berlinale in the short film category. In the film Dream Land (Leiputrija), the film crew look for new, mutated animal forms living at garbage dumps. This documentary film received the European Film Award. Her feature length films usually have the form of comic, absurd mystification.
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Snow Crazy (Sniegs) 2012
33 Animals of Santa Claus (33 zvēri Ziemassvētki vecītim 2011)
On Rubiks’ Road (Pa Rubika ceļu) 2010
Three Men and Fish Pond (Par dzimtenīti) 2008
Theodore (Teodors) 2006
Dream Land (Leiputrija) 2004
The Bus (Autobuss) 2004
Martins (Mārtiņš) 2002
Papa Gena (Papa Gena) 2001
Wake up (Mostieties) 2000
The Oak (Ozols) 1997
The Mail (Pasts) 1995
The Ferry (Prāmis) 1994
The Linen (Veļa)1991
Films for the event
Leiputrija (Orig.) / 2004 / Latvia / 35 min
There are places that we don’t want to know anything about, places that we would rather pretend don’t exist at all. One such place is a dumpsite. From the humans’ point of view, it is a ghastly place, a stinking desert of trash. But it’s a desert that is teaming with life. The astounding profusion of insects, reptiles, birds and mammals, all intertwined in an existential life-death relationship imparts to it with some strangely alluring dream-like quality.
Vela (Orig.) / 1991 / Latvia / 10 min
"The Linen" is a silent dissertation on the daily life of a truck driver who delivers clean linens to a children's hospital. He unloads the sheets and divides them up among the wards, where small, gripping dramas of life and death are unfolding. And every day it's the same story.
Mostieties (Orig.) / 2000 / Latvia / 22 min
The world seen through the eyes of children. The action takes place in Karosta, the former military port of Liepaja city – however, it is not that important, as the film could take place anywhere. We observe children playing on the beach, revealing the core of Pakalnina’s work: perceiving and transmitting emotions.