Kristine Briede

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.

In 1994, the Soviet army left Karosta, a military district in Liepāja that had been closed for 50 years. Within a few days, the population of Karosta fell from 25,000 to 6,000. The photographs found in the empty houses raise the question: where did they all go? The answer is not necessary...

Emotionally charged story about three women standing against male dominated church preventing them from following their calling to serve God and their communities. Protestan female ministers who wish to serve God, the Church and people as pastors in today’s Latvia can only do that under the wing of foreign churches. Latvia is the only country in the world whose official Lutheran church has banned ordination of women after successfully practicing it for two decades. While some of the women ministers, refusing to accept this, leave the country to build lives as fully-fledged pastors elsewhere in the world, others carry on serving as second-rate assistants or other church workers. However, today there are female theologians who are ready to fight for a future in more equal society thus ending the discrimination based on ‘other sex’ or ‘wrong’ gender. The road towards changes leads through frustrations, confidence and doubts, obedience and rebellion.