Tuula Söderberg

Jörn Donner’s entire production can be considered as a self-portrait, a life-spanning performance. Whilst others have painted one image or another of Donner, John Webster’s interpretation differs in that it pulls most of its material from Donner’s last-intended interview in December 2019, and an immense never-before-seen collection of photographs from albums simply labelled “Donner – Privat”. As a result, the film morphs into an epilogue of sorts, of Donner’s life story.

The film is both a folkloric film and a social documentary about the Selkupi people who live in Siberia and make their living from hunting and fishing. The film follows the life of Yuri Mikhailovich Kalin's family, which consists of fishing, trapping fur animals, and bartering their catch for food and other goods. The film also describes the gradual disappearance of the Selkup way of life, as young people are no longer very interested in the traditions of their people and many of them move to villages to live and seek work in the oil industry.

An anthology of stories about the indigenous Nenet peoples of the Northern Russian tundra, and how their way of life was disrupted by the advent of Soviet power.

The film is both a folkloric film and a social documentary about the Selkupi people who live in Siberia and make their living from hunting and fishing. The film follows the life of Yuri Mikhailovich Kalin's family, which consists of fishing, trapping fur animals, and bartering their catch for food and other goods. The film also describes the gradual disappearance of the Selkup way of life, as young people are no longer very interested in the traditions of their people and many of them move to villages to live and seek work in the oil industry.

An anthology of stories about the indigenous Nenet peoples of the Northern Russian tundra, and how their way of life was disrupted by the advent of Soviet power.