Sonya Lindfors

They live among us, forever young and deadly seductive. And unlike vamps, it's not blood they crave from their male, as 17-year-old Didi Tiensuu discovers when she beds her boyfriend for the first time and promptly kills him. The sultry nymphs Kati and Nadia take Didi under their wings in her new life as a divine being and sexual predator.

Best friends Mimmi and Rönkkö support each other unconditionally. They want to live adventurous lives, loaded with experiences and passion. Emma on the contrary has given her whole life to figure skating. Nothing gets between her and success. But when the girls meet, life opens whole new paths, and they all rocket in new directions. While Mimmi and Emma experience the earth moving effects of first love, Rönkkö is on a quest to find pleasure. Three Fridays is all it takes to turn their worlds upside down.

The director Lauri Nurkse tells that Veijarit is a film about "arjensietokyvyttömyys" (= inability to tolerate everyday life) and about the Peter Pan complex. The main actor Mikko Leppilampi says it's about "kolkyttoistavuotiaat" (= thirtyeenagers = people of thirty behaving like teenagers). An immediate reference point is the commedia all'italiana of the 1950s and the 1960s, the black comedy often exposing the infantile stage of development of the Italian male. Saku and Ässä are anti-heroes, but we never fail to sense the humanity behind their shallow and crazy ways. Veijarit is a satire and a parody of a superficial way of life, but there is a vitality in the protagonists that we feel can lead them to a more meaningful stage of existence after the prolonged youth full of sound and fury. There is a motif of transcendence in the imagery of flying: will the balloons carry me or will they burst.

Teenage girls take their shirts off at their own party but get an audience. Emmi says no but does it really mean no? Sonja is tired of her body being a problem to others. Why has nearly every woman such experiences? One-Off Incident short films are part of a film sensation made by fifteen filmmakers, artists, researchers and social activists collectively. The films reveal the hidden way power is exercised on women in both private life and in society. The films are fiction but the stories come from the writers’ own real-life observations.

Shame related to the body grows and finally falls off on the dance floor.