On June 13, Eglė Vertelytė’s debut film Miracle – first screened at the Toronto International Film Festival – was awarded the Silver Crane for the best feature film of the year at the 11th Lithuanian Film Academy Awards. Vertelytė also received the prizes for the best writing and directing, while the award for the best acting went to Eglė Mikulionytė who appeared as the lead actress in the Miracle.
On June 2–10, seven Capital Star Art Film theatres in the Chinese capital welcomed cinema-goers to 21 screenings of Lithuanian film. They had a chance to meet a delegation of the Lithuanian film industry – representatives of the Lithuanian Film Centre and producers of the films selected to be screened at the event – who came to Beijing for the Lithuanian film week.
The exclusive group of 20 up-and-coming producers selected for the 19th edition of European Film Promotion’s (EFP) networking platform PRODUCERS ON THE MOVE (May 10 – 14, 2018) has come together at the Cannes Film Festival to exchange experiences and find co-production partners for their next trans-national projects.
The 71st Cannes International Film Festival – one of the most important film industry events around the globe – opens today and will take place on May 8–19. Lithuania will traditionally present its potential at the festival’s film market Marché du Film. About 50 representatives of the Lithuanian film industry will take part at the market and across the programme set up for industry professionals. Producer Lukas Trimonis was selected for the networking platform Producers on the Move, the special programme Vilnius Goes to Cannes will feature the film Isaac by the filmmaker Jurgis Matulevičius while the country’s pavilion will promote Lithuanian films and raise awareness about the Lithuanian film tax incentive which has already brought over €8.5m of investments into film production in Lithuania during the past few years.
To coincide with the 100th anniversary of the Baltic republics, the Country Focus of this year’s DOK Leipzig turns its attention to Lithuania and examines the cinema of a country which defied Soviet dogma at an early stage. Frequently by drawing on subtle cinematic devices or playful approaches, Lithuanian film redefined the concept of political cinema, revealing the poetic and emancipatory power of images and questioning the political system in the process.