Deimantas Narkevičius

The astronaut Chris Kelvin receives a visit from a woman who is a double of his dead wife. This story, told in Stanislaw Lem’s eponymous novel, was once adapted into the film Solaris by the legendary Russian film director Andrei Tarkovsky. According to Deimantas Narkevičius, Tarkovsky was not as critical of the increasing impact of electronic media on relationships and on the complex nature of human memory as Lem, the original author of the story. In this video, the actor Donatas Banionis reappears in his role as Kelvin, forty years after Tarkovsky’s film was shot. Revisiting Solaris is based on the last chapter of Lem's book, which had been left out of Tarkovsky’s adaptation. In order to visualize the landscape of Solaris and expose complex specters of the past, Narkevičius combines the new footage and a series of photos from 1905 taken by the Lithuanian painter and composer Mykolojus Konstantinas Čiurlionis.

A musician on his way to meet a fellow fiddler, encounters two girls and is taken aback by their talks about afterlife. The musicians walk towards a village observing events, unable to discern phantasy from reality. Later, both men attend a funeral, where archaic rituals intertwine with the practice of marrying a dead girl to an ‘afterlife groom’.

The disintegration of the Soviet Union and the failure of Communism has been symbolically documented by many tv reportages of removals of monumental public sculptures, but the citizens of Vilnius in Lithuania did the unexpected!

The Role of a Lifetime raises questions about the ethical and social responsibilities of the artist and about the relationship between cinematic representation and historical record. Narkevicius's film emphasises the value of doubt and the impossibility of objectivity, while providing an intimate portrait of one of Britain's most distinguished and original filmmakers, Peter Watkins.

”One Friday morning I got the urge to go and see the center of Europe.”

Into the Unknown is based on found footage of former DDR-documentary films, which spotlight contexts of the daily life of East Berliners. The footage generates a clash between what is seen and heard, mimicking the chasm between propaganda and reality—and the deceiving power of images.

Laimonas is sacked from his work at a theater, where he was working as a stage manager. He is suspected to be gay. For this reason Laimonas is arrested and taken to police station.

"The film Energy in Lithuania is a documentary study of an industrial installation (an electric power plant), which includes conversations with people who have worked there. Although the power plant is functioning, it has now become like a museum of industrial thought. Still, the livelihood of thousands of people depend on it. It will not be easy to reform industrial society. The biggest challenge is to find a credible intellectual replacement for positivist industrial romanticism." - Deimantas Narkevičius

The theme of the film is “naiveté”. I do understand “naiveté” as an initial state to be creative for any beginner in any field of arts. Without naiveté any young person, probably, would not choose to be an artist, so to be condemned for potential failure.

In the documentary style, the lives of four Lithuanian prostitutes are portrayed. The human and social tragedy has a touching effect on the viewer, allowing the evident discrepancy between image and narrative to be bridged over.

With the help of film documents, Deimantas Narkevičius reconstructs the creation and inauguration of the Karl Marx Monument, which was designed by the sculptor Lev Kerbel and erected in 1971 in Karl-Marx-Stadt (today Chemnitz). All photographs used were originally produced in the GDR for information and propaganda purposes.

The film is inspired by the architecture of the building of the CAC, Contemporary Art Center in Vilnius.

A cinematic assembly of private photographs, which portrays the life story of a family. The pictures depict a common life in the Socialist era and that experience, which seem to have been totally lost.

In July 2015, a monument of the socialist period was removed from the centre of Vilnius. For several days, the artist was following the actual taking down process. The action of calibrating the cameras becomes a ritual for the object that was about to leave.

A “reenactment” of something that has never happened but was planned and prepared to the smallest detail: the launch of a nuclear rocket from the Soviet Union.

Film reel and its material qualities are inseparable from an image it carries. Polarity between the physical marks on celluloid and the photographic image that it supports was an inspiration to create a stereoscopic sculptural illusion, titled Stains and Scratches.

The narrative of the film Kaimietis is based on the monologues of two individuals, who do not know each other.

A man reflects on the loss his father.