Mark Soosaar

At the beginning of the 1960s, when the French pioneers of cinéma vérité set out to achieve a new realism, and when direct cinema in Québec began to vie for notice, the Baltics wit-nessed the birth of a generation of documentarists who favored a more romantic view of the world around them. This meditative documentary essay – from a Latvian writer and Lithuanian director whose composed touch has long dovetailed with the stylistically diverse works of the Baltic New Wave – pushes adroitly past the limits of the common his-toriographic investigation to create a portrait of less-clearly remembered filmmakers. The result is a consummate poetic treatment of the ontology of documentary creation. Also a cinematic poem about cinema poets.

The story of two artists - Aino Bach and Kaarel Liimand, creative and life partners. The film began with material captured for "Maised ihad". Moments from the life of one of our most famous graphic artists Aino Bach were filmed by Mark Soosaar between 1975 and 1978.

The story of two artists - Aino Bach and Kaarel Liimand, creative and life partners. The film began with material captured for "Maised ihad". Moments from the life of one of our most famous graphic artists Aino Bach were filmed by Mark Soosaar between 1975 and 1978.

Boris Lehtlaan performs popular tunes of the time at an open-air concert.

The shortage or excess of water is one of the farmer’s main concerns, and solving this problem is the task undertaken by Vello Ott.

Jaan Rahumaa, an old boat master living in Soomaa, makes a dugout canoe from an aspen tree, an irreplaceable vehicle during the spring high water.

Jaan Rahumaa, an old boat master living in Soomaa, makes a dugout canoe from an aspen tree, an irreplaceable vehicle during the spring high water.

Estonia's suicide rate is one of the highest in the world. The author tries to trace the social causes of the tragic cases in the footsteps of one schoolboy's suicide.

Estonia's suicide rate is one of the highest in the world. The author tries to trace the social causes of the tragic cases in the footsteps of one schoolboy's suicide.

The Christmas of 1905 in Vigala is not a peaceful holiday. The manor house has just been pillaged during the peasant's revolt; the air is full of smoke of fire and there is the premonition of inevitable punishment. Bernhard Laipmann is a tenant farmer whose wife is asking him to leave home since her husband keeps drawing the attention of the authorities. Having doubts about leaving, Laipmann is inspired by endeavouring towards freedom and equality and alarmed by the violence of the revolution.

The Christmas of 1905 in Vigala is not a peaceful holiday. The manor house has just been pillaged during the peasant's revolt; the air is full of smoke of fire and there is the premonition of inevitable punishment. Bernhard Laipmann is a tenant farmer whose wife is asking him to leave home since her husband keeps drawing the attention of the authorities. Having doubts about leaving, Laipmann is inspired by endeavouring towards freedom and equality and alarmed by the violence of the revolution.

In 1986, twelve years after his film Kihnu Naine (The women of Kishnou), Mark Soosaar made this complementary documentary at the centre of which are the male inhabitants of the island. With a bitter undertone to it, Soosaar shows how, to this view, a lack of possibilities for self-government and the conceited attitude of the mainland towards the islanders have caused great problems to this society. The island has been negligently placed under far too large a kolkhoz. Enormous alcoholism is prevalent among the male population and, increasingly, among the women. Sheer possession of money has become a standard of regard. If a family cannot spare 4,000 roubles for the marriage of their children, they are ignored by the other islanders. In this dramatic as well as poetic documentary we see how the social awareness of a society has gone by the board. Merely concrete and strict reformations can improve the situation the island is in.

In 1986, twelve years after his film Kihnu Naine (The women of Kishnou), Mark Soosaar made this complementary documentary at the centre of which are the male inhabitants of the island. With a bitter undertone to it, Soosaar shows how, to this view, a lack of possibilities for self-government and the conceited attitude of the mainland towards the islanders have caused great problems to this society. The island has been negligently placed under far too large a kolkhoz. Enormous alcoholism is prevalent among the male population and, increasingly, among the women. Sheer possession of money has become a standard of regard. If a family cannot spare 4,000 roubles for the marriage of their children, they are ignored by the other islanders. In this dramatic as well as poetic documentary we see how the social awareness of a society has gone by the board. Merely concrete and strict reformations can improve the situation the island is in.

The director asks straightforward questions in a phone call to the lead architect of the district of Lasnamäe, Malle Meelak. The topics include the bureaucracy, planning and living quality in the brutalist district of panel houses. He gets surprisingly straightforward answers because Meelak doesn't know that the call is being recorded. Later, in a public interview conducted in front of the camera, Meelak's answers are quite different.

The director asks straightforward questions in a phone call to the lead architect of the district of Lasnamäe, Malle Meelak. The topics include the bureaucracy, planning and living quality in the brutalist district of panel houses. He gets surprisingly straightforward answers because Meelak doesn't know that the call is being recorded. Later, in a public interview conducted in front of the camera, Meelak's answers are quite different.

The elderly couple Johann-Voldemar and Ida have found a safe haven in their home in the village of Saulepi in Pärnu County, despite the winds blowing from the sea and the creeping fog. The home yard and the entire farm entrance are bordered by a sturdy spruce hedge planted decades ago, which 93-year-old Voldemar still maintains. The hedge becomes a symbol of their long and hard-working life.

The elderly couple Johann-Voldemar and Ida have found a safe haven in their home in the village of Saulepi in Pärnu County, despite the winds blowing from the sea and the creeping fog. The home yard and the entire farm entrance are bordered by a sturdy spruce hedge planted decades ago, which 93-year-old Voldemar still maintains. The hedge becomes a symbol of their long and hard-working life.

Filmic study of time by Estonian director Mark Soosaar.

Filmic study of time by Estonian director Mark Soosaar.

A parody of several popular movies such as A Man and Woman (1966) and The Last Relic (1969).

A parody of several popular movies such as A Man and Woman (1966) and The Last Relic (1969).

A film about the wildlife preserve Vilsandi that used to be the oldest in the former Soviet Union.

Kääriku Farm in Viljandi County is home to one of the cornerstones of Estonian textile art. Together with her elderly mother Valda Rau, the esteemed textile artist and lecturer Anu Raud reflects on life and death.

Kääriku Farm in Viljandi County is home to one of the cornerstones of Estonian textile art. Together with her elderly mother Valda Rau, the esteemed textile artist and lecturer Anu Raud reflects on life and death.

Kääriku Farm in Viljandi County is home to one of the cornerstones of Estonian textile art. Together with her elderly mother Valda Rau, the esteemed textile artist and lecturer Anu Raud reflects on life and death.