Janina Lapinskaitė

Lithuania in the near future. The land is full of rich immigrants. Rich Lithuanians that were scattered throughout the world return to Lithuania to spend their golden years in luxurious nursing homes; and the laws that govern life and death provide a feeling of security... The residents of the Garden of Eden look upon this "global theatre of life" with tearful smiles and great wisdom.

Photographer Snieguolė Michelkevičiūtė, began creating a series Women on Men in 1977, which sharply stood out from the creative context of the time. Her photographs record nudes of older men. For a long time, the artist’s works were considered unusual and ignored. The documentary attempts to unravel the creative processes behind the scenes and to grasp the conflict between the artist and the creative object.

A documentary by Janina Lapinskaitė about the social clown Joana. Dressed in colorful clothes and a red nose, the depressed woman visits hospitals with a team of actors to brighten up the daily lives of children with serious illnesses.

The protagonists of the film – the fishermen’s widows of a town on the Curonian Spit. Even though women’s lives were marked by a painful loss, one by one and all together they firmly walk on the lagoon’s coast. Or they go fishing. Sensitive, slow and poetic reflection about the fragility of fate and human strength.

A woman lives with her seven-year-old daughter and newborn son in an isolated house in the middle of a mournful landscape; it seems as if winter has encased everything in a bluish, glass-like shell. The nervous woman is filled with a sense of dread and fear, which she tries to sate by taking walks in the woods. Her husband doesn't get home till late, the baby is sick, and she worries about his welfare until she is absolutely frantic. Not understanding his wife's problems, her husband suspects her of exaggerating her mental breakdown. He is unwilling to admit that even his daughter's behavior has altered.

Nadia, Teresė and Ramutė are the three heroines of this documentary. Although they are very different, they are united by their unusual work - for decades they have been making a living by posing for artists. For Janina Lapinskaite, it is not the exotic profession that is important, but the stories that have marked these women's bodies over time. The heroines of the film talk openly about their choice of work, their colourful, albeit difficult past, and their equally difficult present - they bare not only their bodies, but also their souls to the camera.

Photographer Snieguolė Michelkevičiūtė, began creating a series Women on Men in 1977, which sharply stood out from the creative context of the time. Her photographs record nudes of older men. For a long time, the artist’s works were considered unusual and ignored. The documentary attempts to unravel the creative processes behind the scenes and to grasp the conflict between the artist and the creative object.

Photographer Snieguolė Michelkevičiūtė, began creating a series Women on Men in 1977, which sharply stood out from the creative context of the time. Her photographs record nudes of older men. For a long time, the artist’s works were considered unusual and ignored. The documentary attempts to unravel the creative processes behind the scenes and to grasp the conflict between the artist and the creative object.

A documentary by Janina Lapinskaitė about the social clown Joana. Dressed in colorful clothes and a red nose, the depressed woman visits hospitals with a team of actors to brighten up the daily lives of children with serious illnesses.

A documentary by Janina Lapinskaitė about the social clown Joana. Dressed in colorful clothes and a red nose, the depressed woman visits hospitals with a team of actors to brighten up the daily lives of children with serious illnesses.

The protagonists of the film – the fishermen’s widows of a town on the Curonian Spit. Even though women’s lives were marked by a painful loss, one by one and all together they firmly walk on the lagoon’s coast. Or they go fishing. Sensitive, slow and poetic reflection about the fragility of fate and human strength.

A woman lives with her seven-year-old daughter and newborn son in an isolated house in the middle of a mournful landscape; it seems as if winter has encased everything in a bluish, glass-like shell. The nervous woman is filled with a sense of dread and fear, which she tries to sate by taking walks in the woods. Her husband doesn't get home till late, the baby is sick, and she worries about his welfare until she is absolutely frantic. Not understanding his wife's problems, her husband suspects her of exaggerating her mental breakdown. He is unwilling to admit that even his daughter's behavior has altered.

Nadia, Teresė and Ramutė are the three heroines of this documentary. Although they are very different, they are united by their unusual work - for decades they have been making a living by posing for artists. For Janina Lapinskaite, it is not the exotic profession that is important, but the stories that have marked these women's bodies over time. The heroines of the film talk openly about their choice of work, their colourful, albeit difficult past, and their equally difficult present - they bare not only their bodies, but also their souls to the camera.

Nadia, Teresė and Ramutė are the three heroines of this documentary. Although they are very different, they are united by their unusual work - for decades they have been making a living by posing for artists. For Janina Lapinskaite, it is not the exotic profession that is important, but the stories that have marked these women's bodies over time. The heroines of the film talk openly about their choice of work, their colourful, albeit difficult past, and their equally difficult present - they bare not only their bodies, but also their souls to the camera.

It is the story of a woman once known from the media. She finds it easier to get undressed in front of others than to tell about the painful memories filled with solitude. However, in this documentary she is particularly open and fearless of showing her vulnerability. “In my film I tried to reveal this woman’s balancing act on the edge of a high roof, in confrontation with her own body and comprehending the surrounding world quite differently,” – revealed director J. Lapinskaitė.

Leonora Čepulienė is 78 years old. She lives with her husband’s dwarf children, whom she continues to care for evern after his death. Thanks to her help, these children have now become adults.