Friday, May 22, 2026

Aalto ELO Film School Spring Show 2026 III


Poster photo from: Viljami Penttilä: Major Bag Alert (FI 2026).

ORIGINAL TITLE OF THE FILM * Villasukka
ENGLISH TITLE * Woollen Sock
TUOTANTONUMERO * W076
TYPE OF PRODUCTION *: MA-lopputyö
TYPE OF FILM * Animation
GENRE * Drama/Action/Comedy
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 3min 42sec
SHOOTING FORMAT Digital
SCREENING FORMAT * DCP
ANIMATION TECHNIQUE  Stop Motion, animated objects
COLOR Color
SOUND * 5.1 
RATIO VIDEO * 16:9
FRAMES PER SECOND 24
ORIGINAL LANGUAGE * No dialogue 
SUBTITLED IN * No dialogue 
PREMIERE STATUS * Not premiered yet
DIRECTOR Katariina Haukka FEMALE
SCRIPT Katariina Haukka
PRODUCER Saana Valasma & Elisa Syväoja
CINEMATOGRAPHY Iina Mesiniemi
SOUND Leo Lindgren
EDITING Jesse Lähilehto
PRODUCTION DESIGN Sonia Gran
COMPOSER Elias Nieminen
ANIMATION Katariina Haukka
VFX ARTIST Mathilda Elias ja Katariina Haukka
ONE LINER IN ENGLISH
Woollen sock joins in a loud concert with pots and pans, but can woollen sock ever be heard by others?
ONE LINER IN FINNISH
Villasukka liittyy kattiloiden kovaan konserttiin, mutta kuka voikaan kuulla pientä Villasukkaa?
SYNOPSIS IN ENGLISH (3-10 RIVIÄ) 
Woollen sock wakes to a loud noise. Curiosity takes over the sock, and it finds a loud band of pots and pans. The little woollen sock is so captivated by the music and decides to join the chaotic band, not knowing yet what it will play. 
SYNOPSIS IN FINNISH
Maassa lojuva villasukka havahtuu kovaan meluun. Uteliaisuus vie voiton ja villasukka löytää keittiön pöydältä kattiloiden kovan konsertin. Pieni villasukka jää musiikin pauloihin ja liittyy kaaoksen omaiseen bändiin, tietämättä, mitä soittaa.
ABOUT THE DIRECTOR 
Katariina Haukka studies animation at the Aalto University, School of Arts, Design and Architecture, Department of Film (ELO). 
Villasukka is Haukka’s Master Thesis film.
  AA: A stylish, accomplished, imaginative animation with a charming score. I like the warm glow of the colour world and the effective contrast between the hard metal and the soft wool.

ORIGINAL TITLE OF THE FILM *  Aikamme
ENGLISH TITLE * On our time
TUOTANTONUMERO * A80115-925143-W088
TYPE OF PRODUCTION *:BA-Lopputyö
TYPE OF FILM * Documentary
GENRE * Experimental
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM *  12:57
SHOOTING FORMAT: 16 mm and super 8 mm film
SCREENING FORMAT * DCP
COLOR Color
SOUND * Dolby 5.1
RATIO VIDEO * 2K Flat
Camera Facts: Camera, camera model Aaton XTR Prod
Lenses Zeiss Superspeed 16 mm + Zeiss/Arri zoom
FRAMES PER SECOND 24
ORIGINAL LANGUAGE * Finnish Finnish / No dialogue / OTHER:
SUBTITLED IN * English
PREMIERE STATUS * Ei ole ollut ensi iltaa
DIRECTOR* Male
SCRIPT *
PRODUCER * Solomon Luoma
CINEMATOGRAPHY * Veeti Hautanen
SOUND: Sandra Tervonen
EDITING : Noora Ranne
COMPOSER: Vilho Louhivuori
MAIN CAST
1. Eetu Alppi
2. Inti Mery
ONE LINER IN ENGLISH *
Our time is up
ONE LINER IN FINNISH *
Aikamme on lopussa
SYNOPSIS IN ENGLISH *
By presenting one ordinary day of an impersonal everyman character who is both everyone and no one in particular, the film explores our age as a mechanical and dehumanising reality of consperforming of banal tasks, work and numbing but unfulfilling leisure, without direction or waterproof rationale behind it. Flow of observing this everyman is interrupted by esseistic montages on themes of work, leisure and meaning. There is an voice-over narration that moves in the zones between childlike questioning, sardonic, deadpan humour and truist-poetic observations
SYNOPSIS IN FINNISH *
Esittämällä yhden tavallisen päivän persoonattoman jokamieshahmon elämästä – hahmon, joka on yhtä aikaa kaikki ja ei kukaan erityinen – elokuva tarkastelee aikamme todellisuutta mekaanisena ja epäinhimillistävänä tilana, joka koostuu banaalien tehtävien suorittamisesta, työstä sekä turruttavasta mutta tyydyttämättömästä vapaa-ajasta, vailla suuntaa tai kestävää perustelua olemassaololleen.
Tämän jokamiehen havainnointiin keskittyvä virta keskeytyy esseistisiin montaasijaksoihin, jotka käsittelevät työn, vapaa-ajan ja merkityksen teemoja. Elokuvassa kertojaääni liikkuu lapsenomaisen kyseenalaistamisen, sardonisen, lakonisen huumorin ja truistis-poeettisen havainnoinnin alueella.
    AA: I like the ambition. The concept - "our time is up" - could not be greater. Solomon Luoma pursues the biggest perspective but has the wisdom to keep his vision grounded to the everyman protagonist. His visual range covers the experimental, abstract, realist, kitchen sink, surveillance camera and stone age painting. He offers a full montage of associations about our road to nowhere.

ORIGINAL TITLE OF THE FILM * Vuosipäivä
ENGLISH TITLE * Our Day
TUOTANTONUMERO * W090
TYPE OF PRODUCTION *: BA-lopputyö
TYPE OF FILM * Fiction 
GENRE * Drama
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 16m 50s
SHOOTING FORMAT DCP
SCREENING FORMAT * DCP
ANIMATION TECHNIQUE (animations only)
COLOR Color
SOUND * 5.1
RATIO VIDEO * 1:1.85
FRAMES PER SECOND 25
ORIGINAL LANGUAGE * Finnish
SUBTITLED IN * English
PREMIERE STATUS * N/A
DIRECTOR* Jori Pirkkalainen
SCRIPT * Erika Rehmonen
PRODUCER * Kasper Lampela, Henrik Björklund
CINEMATOGRAPHY * Vitaly Petuhov
SOUND Ilmari Järvenpää
EDITING Myrsky Vederhorn
SET DESIGN Lotta Pirhonen, Josu Koivisto
COSTUME DESIGN Elina Ström
COMPOSER Ilmari Järvenpää
MAIN CAST:
1. Elina Hietala (Rebekka)
2. Akseli Lehtinen (Osku)
3. Milka Ahlroth (Armi)
4. Sara Melleri (Heli)
5. Timo Tuominen (Ilkka)
6. Rosa Honkonen (Lilli)
Taiteellisen työryhmän vastuuopettajat - Teachers: 
Ohjaus: Marika Harjusaari & Hanna Maylett
Käsikirjoitus: Timo Lehti
Tuotanto: Anu Hukka & Anna Heiskanen
Kuvaus: Jonathan Harvey
Lavastus: Kaisa Mäkinen
Leikkaus: Oskar Franzen
Äänisuunnittelu: Pietari Koskinen
ONE LINER IN ENGLISH *
Pretending doesn’t change a thing.
ONE LINER IN FINNISH *
Ei se leikkimällä muuksi muutu.
SYNOPSIS IN ENGLISH *
After a litany of bad relationships Rebekka has finally found the one, Osku. Though a little younger and cornier than her, he makes Rebekka happy. At the graduation party of Rebekka’s goddaughter, Rebekka runs to an old colleague of hers, and possibly, her future mother-in-law. Things are revealed about Osku that Rebekka hasn’t wanted to see.
SYNOPSIS IN FINNISH *
Huonojen ihmissuhteiden litanian jälkeen Rebekka on viimein löytänyt sen oikean, Oskun. Vaikka Osku on hieman sokerisempi ja nuorempi, hän tekee Rebekan onnelliseksi. Rebekan kummityttären valmistujaisjuhlissa Rebekka törmää vanhaan kollegaansa – ja mahdollisesti tulevaan anoppiinsa. Oskusta selviää asioita, joita Rebekka ei ole tahtonut nähdä.
    AA: An interesting drama of relationships. Three years after their first night together, Rebekka and Osku reconnect. Rebekka is shocked to learn by accident that Osku is much younger than she, and she cannot get over it. The world has changed. Traditionally, women were attracted to men who were older, even much older. That is no longer necessarily the case. Jori Pirkkalainen refuses to give a solution to the complex situation.

embargo  MUNKKI (Killing Me Softly)
2026, documentary, dir. Viena Kytöjoki, BA film, 22'
    AA: An affectionate documentary about the sotilaskoti (sotku) / soldathem / "soldier home", the traditional military café at garrisons, here at Santahamina (belonging to the Finnish Navy), especially valuable for the alokas (the military conscript), famous for its munkki (doughnut). The cafés are kept by women with a motherly touch bringing a feeling of home into tough military life. Viena Kytöjoki's approach is full of humoristic observations. Kaartin Soittokunta (the Guards Band) plays "Killing Me Softly With His Song".

embargo  MAJOR BAG ALERT
2026, Fiction, dir. Viljami Penttilä, BA film, 15'
    AA: A poignant tale of the friendship of four schoolgirls. A growing-up tale in a class society where status symbols such as expensive handbags mean very much. A crime story about a theft which both succeeds and fails. It feels very authentic. I am dismayed at the language permeated with bad English which reminds me of the parody dialogue of colonial era movies.

Aalto ELO Film School Spring Show 2026 II


Poster photo from: Viljami Penttilä: Major Bag Alert (FI 2026).

ORIGINAL TITLE OF THE FILM * LIMERENSSI
ENGLISH TITLE * LIMERENCE
TUOTANTONUMERO * W078
TYPE OF PRODUCTION *: MA-lopputyö
TYPE OF FILM * Fiction
GENRE * Poetic drama, horror, anxiety
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 22min 54s 
SHOOTING FORMAT Proress4444, ARRI RAW
SCREENING FORMAT * DCP
COLOR Color
SOUND * 5.1
RATIO VIDEO * Cinemascope 1:2.39
FRAMES PER SECOND 25
ORIGINAL LANGUAGE * Finnish / No dialogue / OTHER:
SUBTITLED IN * English / French / Finnish
PREMIERE STATUS * DCP waiting for mastering. No premiere confirmed.
DIRECTOR Jasmin Gummerus FEMALE 
SCRIPT Jasmin Gummerus FEMALE
PRODUCER Tia Talli FEMALE
CINEMATOGRAPHY Moritz Scherzer MALE
SOUND Simo Saukkola MALE
EDITING Joonas Veijanen MALE
PRODUCTION DESIGN Sofia Pamilo FEMALE
COSTUME DESIGN Janina Vuorivaara FEMALE, they/them
COMPOSER Simo Saukkola MALE
MAIN CAST (nimi +roolinimi suluissa):
1. Soila Shah (Lotta)
2. Arto Muukka (Lennart)
3. Sulo Siikaranta (Uimavalvoja)
4. Freddie Sukura (Ex)
Taiteellisen työryhmän vastuuopettajat - Teachers: Hanna Maylett, Jussi Rantamäki, Rauno Ronkainen, Pietari Koskinen, Harri Ylönen, Kaisa Mäkinen, Liisa Pesonen, Sofia Pantouvaki
ONE LINER IN ENGLISH
Fresh out of a relationship, Lotta develops a one-sided crush on body modification artist Lennart.
ONE LINER IN FINNISH
Vastikään eronnut Lotta ihastuu yksipuolisesti lävistäjä-Lennartiin.
SYNOPSIS IN ENGLISH (3-10 RIVIÄ)
The story follows LOTTA, who, after a breakup, is left with a broken heart and an empty home. Lotta sweeps through her days as a swimming hall cleaner, dwelling on her romantic problems. Until she encounters LENNART, a body modification artist, and her world begins to change. Lotta falls in love suddenly and strongly and becomes obsessed with him. Lennart, oblivious to Lotta’s feelings, is the piercer of her heart, and she’ll do anything to be part of his world.
SYNOPSIS IN FINNISH
Vastikään eronnut, sydänsuruissaan rypevä LOTTA työskentelee uimahallissa siivoojana. Kun suihkutilassa tulee vastaan lävistetty napa, Lotta näkee mahdollisuuden tuntea taas jotakin. Hän päättää hankkia lävistyksen ja päätyy lävistysstudioon, eksoottiseen ja eroottiseen paikkaan, jonka omistaa LENNART. Oli kyse sitten kivun tuomasta mielihyvästä tai Lennartin lämpimästä kosketuksesta, Lotta rakastuu päätä pahkaa. Lennart, joka on autuaan tietämätön Lotan tunteista, on hänen tuleva rakkautensa, mitä ikinä se vaatisikaan.

AA: A powerful tale of unrequited love. Love is a play with fire, even if one-sided. Vivid milieux of the bathhouse, Lotta's apartment and Lennart's body art studio. Sensual. The art of the ellipsis.

embargo: VEREN MAKU SUUSSA
D: Ella Laine.

AA: A modern horror story, a modern vampire story, a dystopian future story with vampirism. The ordeal of a young man who has to access fresh blood for his master. In desperation, he wants to drown himself but is rescued by a sunbathing lady (Heidi Herala). He invites her to the club where furious partying is going on. His master in the backroom threatens him, but there is a surprise twist. In the finale he has a new boss with even more horrible appetites. Gruesome, scary, desolate.

ORIGINAL TITLE OF THE FILM * Sekasauna
ENGLISH TITLE * Mixed Sauna
TUOTANTONUMERO * W084
TYPE OF PRODUCTION *: MA-lopputyö
TYPE OF FILM * Fiction 
GENRE * Comedy/Drama
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 15min 47sec 
SHOOTING FORMAT HD
SCREENING FORMAT * DCP or screener
ANIMATION TECHNIQUE (animations only)
COLOR Color 
SOUND * 48 kHz, 24 bit, BWF 5.1
RATIO VIDEO * 1:85:1
FRAMES PER SECOND 25 fps
ORIGINAL LANGUAGE * Finnish 
SUBTITLED IN * English 
PREMIERE STATUS * ELO Spring Fest 2026
DIRECTOR* Juuso Timonen, male
SCRIPT * Eveliina Pasanan, female
PRODUCER * Anita Hyppönen, female
CINEMATOGRAPHY * Anssi Tiusanen, male
SOUND Ville Visti, male
EDITING Daniela Heimsch, female
SET DESIGN Aino Kaurismäki, female
COSTUME DESIGN Eva-Liis Lidenburg, female
COMPOSER Timo Kämäräinen, male
MAIN CAST (nimi + (roolinimi)/name + (role)): *
1. Mauno Terävä (Mikko)
2. Janna Räsänen (Hanna)
3. Salla Loper (Laura) 
4. Tom Rejström (Sauli)
5. Herman Nyby (Joel)
ONE LINER IN ENGLISH *
What if we just go all together?
ONE LINER IN FINNISH *
Onhan sulle ok, että mennään kaikki yhdessä?
SYNOPSIS IN ENGLISH *
Introvert Mikko is anxious that he won’t be able to come out of his shell during the weekend at his relatively new spouse’s cottage. His spouse Hanna is certain that Mikko will make a great first impression on her chosen family, the three friends that they are hosting. 
When it’s time for the sauna Mikko has not, despite all his attempts, figured out the sauna dress code of this new social bubble. As he steps into the sauna, Mikko realizes he’s the only one wearing swimwear—everybody else is naked. This traumatising event causes mixed emotions which Mikko is unable to shake away. Mikko tries to come out of his shell with his own way but everything ends up going even worse.
SYNOPSIS IN FINNISH *
Introvertti Mikko viettää viikonloppua uuden puolisonsa mökillä jännittäen, pääseekö hän ulos kuorestaan uusien ihmisten kanssa. Puoliso Hanna on varma, että Mikko tekee hyvän ensivaikutelman Hannan lähimpiin ystäviin, joita he mökillä isännöivät. 
Kun tulee saunan aika, ei Mikko ole saanut selville uuden porukan saunaetikettiä. Mikon astuessa sekasaunaan, hän huomaa olevansa ainoa uimahousuissa - kaikki muut ovat alasti. Tämä kokemus jää kaivelemaan Mikkoa, eikä hän saa häädettyä hankalia ajatuksia mielestään. Loppuillasta Mikko koettaa vapautua omalla tyylillään, mutta tämä eskaloi asiat entistä huonompaan suuntaan.

AA: A tragicomedy of an awkward evening where the official host of the evening at the summer dacha is out of his element when having to participate in mixed sauna. This movie is in the tradition of the old Finnish comedy favourite Aatamin puvussa ja vähän Eevankin ["In Adam's Dress and a Little in Eva's, Too"] but modernized and more raucuous. A fun concept, but I fail to connect with the characters.

ORIGINAL TITLE OF THE FILM: tj28
ENGLISH TITLE: 28 days left
TUOTANTONUMERO: W083
TYPE OF PRODUCTION: MA-lopputyö
TYPE OF FILM: Fiction 
GENRE: Drama, Coming of age
YEAR OF PRODUCTION: 2026
COUNTRY OF PRODUCTION: Finland
DURATION OF THE FILM: 23min 5sec
SHOOTING FORMAT: Digital / ProRes4444
SCREENING FORMAT: DCP / 3K5698
COLOR: Color 
SOUND: 5.1
RATIO VIDEO: 2.39:1
FRAMES PER SECOND: 25 
ORIGINAL LANGUAGE: Finnish / Arabic
SUBTITLED IN: English 
PREMIERE STATUS: Cannes 2026
DIRECTOR Yasmin Najjar FEMALE 
SCRIPT                        Kasperi Riihimäki
PRODUCER Meri-Tuuli Varis
CINEMATOGRAPHY Nadia Farghaly
SOUND Laura Torkkola
EDITING Julia Matinniemi
PRODUCTION DESIGN Sonia Gran
COSTUME DESIGN Satu Muurinen and Iiris Jämsén
COMPOSER Laura Torkkola
Make-Up & Hair Design  Lotta Juntunen
MAIN CAST (nimi + (roolinimi)/name + (role)): *
1. Yasmin Najjar (Lillak)
2. Okko Alanne (Orasmaa)
3. Sherwan Haji (Baba’s voice)
4. Mohamed El-Waber (Yusuf)
5. Leevi Pellas (Kuusisto)
6. Rosa Honkonen (Seppänen)
Taiteellisen työryhmän vastuuopettajat - Teachers: 
Hanna Maylett
Rauno Ronkainen
Pietari Koskinen
Harri Ylönen
Jussi Rantamäki
Raija Talvio
Kaisa Mäkinen
ONE LINER IN ENGLISH *
Then we’ll never have to think about this again. 
ONE LINER IN FINNISH *
Tää on yhtä leikkiä koko paska.
SYNOPSIS IN ENGLISH *
A Finnish-Palestinian woman, Amani Lillak, is completing her voluntary military service in the Finnish Army’s medical corps. During a final combat exercise, Lillak learns that the crisis in her father’s homeland has further escalated. At the same time, the intensity of the combat exercise pushes internal tensions within the medical corps to their breaking point. Lillak tries to turn her back on both conflicts and be free for just a moment.
SYNOPSIS IN FINNISH *
Palestiinansuomalainen Amani Lillak suorittaa vapaaehtoista asepalvelustaan Suomen armeijan lääkintäjoukoissa. Kesken loppusotaharjoituksen Lillak saa kuulla isänsä kotimaassa entisestään eskaloituneesta kriisistä. Samaan aikaan intensiivinen sotaharjoitus ajaa lääkintäjoukon sisäiset ristiriidat äärimmilleen. Lillak yrittää kääntää selkänsä molemmille konflikteille ja olla vain hetken vapaa.

AA: A thrilling and complex drama about military service in multi-cultural Finland. A nighttime combat exercise is interrupted when a deer is involved. Modern telecommunications enable things and cause disruption and confusion. Amani hears that his grandfather has just been killed in a missile attack on a hospital. [We are thinking about Gaza]. Bouleversant.

Aalto ELO Film School Spring Show 2026 I


Photo from: Viljami Penttilä: Major Bag Alert (FI 2026).

ORIGINAL TITLE OF THE FILM                                          Paper
ENGLISH TITLE                                                                Paper
TYPE OF PRODUCTION                                                                          Kurssityö
TYPE OF FILM                                                                                       Fiction
GENRE Period Drama, Triller                                                            YEAR OF PRODUCTION                                                    2026
COUNTRY OF PRODUCTION                                                                   Finland                               
DURATION OF THE FILM                                                  4 min
SHOOTING FORMAT                                          Digital
SCREENING FORMAT                                                      DCP                                    
COLOR                                                                                                           Color
SOUND                                                                                                               5.1         
RATIO VIDEO                                                                                            16:9
FRAMES PER SECOND                                                                            25
ORIGINAL LANGUAGE                                                                            No dialogue
SUBTITLED IN                                                                    No dialogue
PREMIERE STATUS                                                                                 Not premiered
CREDITS                                                                                 
DIRECTOR                                                                                             Davis Gauja
SCRIPT          Estella Niemi, Lotta Lemetti, Miranda Hiidenkari, Salla Oinas, Karoliina Kasurinen, Valo Rinne
PRODUCER   Estella Niemi, Lotta Lemetti, Miranda Hiidenkari, Salla Oinas, Karoliina Kasurinen, Zoe Amela Serrano, Valo Rinne
CINEMATOGRAPHY                                                          Estella Niemi
SOUND                                                      Pauliina Huotari
EDITING                              Davis Gauja
SET DESIGN                                                                     Lotta Lemetti, Karoliina Kasurinen,
Zoe Amela Serrano
COSTUME DESIGN                                                            Miranda Hiidenkari, Salla Oinas        
GAFFER Valo Rinne
OPERATOR Nadia Farghaly
1st AC Moritz Scherzer
GRIP                                                    Philip Leierer
MAIN CAST (nimi + (roolinimi)/name + (role)): 
1. Kaija Pakarinen: Rauha
2. Pekka Strang: Taisto
Taiteellisen työryhmän vastuuopettajat - Teachers: 
RAUNO RONKAINEN
KAISA MÄKINEN
LIISA PESONEN
Antti Pirinen (valaisuopettaja)
Tuomo Hutri (kuvauksen sijainen)
ONE LINER IN ENGLISH: A Nightmare about the politically charged atmosphere of 1930s.
ONE LINER IN FINNISH: Painajainen 1930-luvun poliittisesti latautuneesta ilmapiiristä.
SYNOPSIS IN ENGLISH: An old woman has fallen asleep while drawing social democratic posters at the workers’ house cafe. Suddenly a Lapua Movement fascist appears in her dream. He has come to destroy the quiet act of resistance.
SYNOPSIS IN FINNISH: Vanha nainen on nukahtanut kesken demokraattisten julisteiden piirtämistä Työväentalon kahvilassa. Yhtäkkiä Lapuanliikkeen jäsen ilmestyy hänen uneensa. Hän on tullut tuhoamaan hiljaisen vastarinnan elkeet.
 
AA: A powerful, expressive and boldly expressionist movie both in vision and audio concept.

LOST AT SEA
2026 fiction, dir. David Bošnjak. Course Exercises (Night Life), 3'

ORIGINAL TITLE OF THE FILM * Paljonko kello on?
ENGLISH TITLE * What time is it?
TUOTANTONUMERO * W111
TYPE OF PRODUCTION *: Animation minor 
TYPE OF FILM * Animation
GENRE * Drama
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 5min 48s
SHOOTING FORMAT Digital
SCREENING FORMAT * DCP 1:85:1 Flat
ANIMATION TECHNIQUE (animations only) 2D - digital
COLOR Color
SOUND * 5.1
RATIO VIDEO * 16:9
FRAMES PER SECOND 24
ORIGINAL LANGUAGE * No dialogue
SUBTITLED IN * English
PREMIERE STATUS * Not premiered/ Premiere at Spring Screening
DIRECTOR* Eetu Jokela (He/him)
PRODUCER* Eetu Jokela
COMPOSER Eetu Jokela
BACKROUND ARTISTS Sonja Suonsivu, Tiia Horppu
OTHER: Foley artist: Tiia Horppu
Taiteellisen työryhmän vastuuopettajat - Teachers: Heta Jäälinoja
ONE LINER IN ENGLISH * When is the time to reminisce? When is the time to look into the future and use the time that has been given?
ONE LINER IN FINNISH * Milloin on aika muistella? Entä milloin on aika katsoa tulevaisuuteen ja 
käyttää aika hyväksi?
SYNOPSIS IN ENGLISH * This film is about the home of the soul and the passing of time. The protagonist thinks about their childhood memories and returns to their childhood cottage, only to find that things have changed. They ignore this until it becomes impossible. But it’s never too late and eventually they find strength in their memories, in order to fix things.
SYNOPSIS IN FINNISH * Elokuva kertoo henkisestä kodista ja ajan kulumisesta. Hahmo muistelee lapsuuttaan ja palaa aikuisena lapsuuden mökille huomatakseen, että paikat lahoavat käsiin. Hän ei kuitenkaan tee asialle mitään kunnes on pakko. Koskaan ei kuitenkaan ole liian myöhäistä ja lopulta hän löytää voimaa muistoistaan korjatakseen asiat.

AA: Animation, stylized, with affinities in line drawing with the Estonian school of Priit Pärn. The persistence of memory. Interesting aspect: soft definition photographs, real faces replaced with animation faces without features. Enigmatic, haunting.

ORIGINAL TITLE OF THE FILM * I'd rather be a Concorde 
ENGLISH TITLE I'd rather be a Concorde 
TUOTANTONUMERO * W130
TYPE OF PRODUCTION *:  MA Graduation film
TYPE OF FILM * Animation
GENRE  * Comedy, Fantasy
YEAR OF PRODUCTION * 2025
COUNTRY OF PRODUCTION * Finland, Belgium, Portugal
DURATION OF THE FILM * 7:33
SHOOTING FORMAT Digital 16:9
SCREENING FORMAT * DCP
ANIMATION TECHNIQUE (animations only) Digital 2D an 3D
COLOR  Color Color / Black & White / Includes both SOUND * 5.1
RATIO VIDEO * 16:9
FRAMES PER SECOND 24 24 / 25 / OTHER:
ORIGINAL LANGUAGE * English Finnish / No dialogue / OTHER:
SUBTITLED IN * English
PREMIERE STATUS * Finnish Premiere
DIRECTOR* Javier Fabregas, male
SCRIPT * Javier Fabregas
PRODUCER * Re: Anima, Javier Fabregas 
CINEMATOGRAPHY Mreethmandir Kumar Roy SOUND Petri Kärkkäinen
EDITING Javier Fabregas 
COMPOSER Bartosz Zaskórski, Joni Rajamäki
ANIMATION Javier Fabregas, Anastasia Kraynyuk, Nestor Feijoo OTHER:
ONE LINER IN ENGLISH *
An immigrant and his companion guide Wizard saying ·“Hello” to new unknown lands.
ONE LINER IN FINNISH *
Maahanmuuttaja ja hänen oppaansa, velho, sanovat "Hei" uusille, tuntemattomille maille. 
SYNOPSIS IN ENGLISH *
In this experimental film that recreates old fantasy video games through irony, the characters face strange situations and places that allude to the absurd nature of the immigrant's journey: its ideas of achievement, monotony, and expectation.
SYNOPSIS IN FINNISH *
Tässä kokeellisessa elokuvassa, joka luo uudelleen vanhoja fantasiapelejä ironian keinoin, hahmot kohtaavat outoja tilanteita ja paikkoja, jotka viittaavat maahanmuuttajan matkan absurdiin luonteeseen: sen saavutuksiin, monotoniaan ja odotuksiin liittyviin ajatuksiin.
 
AA: A flight of fancy taking us into a higher perspective on a crash course with a hot air balloon Saddam Hussein figuew in the spirit of the classic Peruvian composition El cóndor pasa (trad. origin, comp. Daniel Alomía Robles 1913). Retro scifi fun with retro video graphics and minimalist old analog computer animation. Dancing giant hot air balloon figures occupy Helsinki. The title is a wordplay on the English lyrics to El cóndor pasa by Paul Simon ("I'd rather be a sparrow than a snail").

ORIGINAL TITLE OF THE FILM * TERRA INCOGNITA
ENGLISH TITLE * TERRA INCOGNITA
TUOTANTONUMERO *                                     ELO-E1212
YEAR OF PRODUCTION * 2025
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 03:29 (Min. & Sec.)
SCREENING FORMAT * .mov / ProRes 422 / 3840 × 2160
SOUND * YES - STEREO
PREMIERE STATUS * Spring screening is the “World Premiere”
CREDITS: * Philip Leierer, Sofia Pamilo, Milla Lähtevänoja, Matti Maalismaa, Noa Korhonen
MAIN CAST (nimi + (roolinimi)/name + (role)): *
1. Moritz Scherzer
SYNOPSIS IN ENGLISH * This is the final work from our MA. Lab (Virtual Production course) from last autumn. 

AA: Minimalist, elliptic, mysterious. The wind in the desert. Blurry imagery. Low tech. A stunning awesome ambient soundscape. Aimless rambling. Red light. Pyramid.

ORIGINAL TITLE OF THE FILM * Hovin Vuoksi
ENGLISH TITLE * Fool's Bargain
TUOTANTONUMERO * W118
TYPE OF PRODUCTION *: Välityö/BA-lopputyö/MA-lopputyö/mikä? Sivuaineen lopputyö
TYPE OF FILM * Fiction / Documentary / Animation  / OTHER:
GENRE * Action/Comedy/Drama/Fantasy/Horror etc.
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * (4min 13sec)
SHOOTING FORMAT
SCREENING FORMAT * ?
ANIMATION TECHNIQUE (animations only) 2D
COLOR Color / Black & White / Includes both
SOUND * ?
RATIO VIDEO * 4:3 / 16:9 / OTHER?
FRAMES PER SECOND 24 / 25 / OTHER:
ORIGINAL LANGUAGE * Finnish / No dialogue / OTHER:
SUBTITLED IN * English / French / Finnish / Swedish / No dialogue / No subtitles / OTHER:
PREMIERE STATUS * ?
CREDITS: * Arttu Porkka, Leo Lindgren
DIRECTOR* male/female/other/prefer not to answer
SCRIPT * Arttu Porkka
PRODUCER * Arttu Porkka
CINEMATOGRAPHY * Arttu Porkka
SOUND Leo Lindgren
COMPOSER
(Vain jos elokuvaa varten sävellettyä musiikkia) Arttu Porkka
ANIMATION Arttu Porkka
MAIN CAST (nimi + (roolinimi)/name + (role)): *
1. Hovinarri
2. Trubaduuri
3. Ritarit
4. Vampyyrit
5. Kuningas
Taiteellisen työryhmän vastuuopettajat - Teachers: Heta Jäälinoja
ONE LINER IN ENGLISH *
Long live the king!
ONE LINER IN FINNISH *
Kauan eläköön kuningas!
SYNOPSIS IN ENGLISH *
In a castle, the court jester is entertaining the king, only to find out that the king is dead.
SYNOPSIS IN FINNISH *
Linnan hovinarri viihdyttää kuningasta, vain huomatakseen kuninkaan olevan kuollut.

AA: Gothic animation, bordering on the grotesque. Bold stylization. Twisted spaces with Caligariesque affinities. Smoke in the air. The King is dead, and the court seems to exist mostly as a framework for vampires. 

ORIGINAL TITLE OF THE FILM * Laura
ENGLISH TITLE * Laura
TUOTANTONUMERO * W104
TYPE OF PRODUCTION *: Etydi 2 -kurssityö
TYPE OF FILM * Fiction
GENRE * Drama
YEAR OF PRODUCTION * 2025
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 10:36
SHOOTING FORMAT Digital 3.2K
SCREENING FORMAT * DCP 2K
COLOR Color
SOUND * 24bit 5.1
RATIO VIDEO * 1.85:1
FRAMES PER SECOND 25
ORIGINAL LANGUAGE * Finnish 
SUBTITLED IN * English
PREMIERE STATUS * Non-premiered
DIRECTOR* Santra Juoperi female
SCRIPT * Samatar Warfa Abdi
PRODUCER * Adja Wade, Valtti Hyvärinen
CINEMATOGRAPHY * Yasmin Kaakkurivaara
SOUND Jaakko Huhta
EDITING Ava Wollrab
SET DESIGN Alma Kovanen
Joona Pitkänen
COSTUME DESIGN Riikka Mäntymaa
MAIN CAST
1. Daniel Virtanen / Aleksi
2. Sofia Smeds / Laura
Taiteellisen työryhmän vastuuopettajat - Teachers: 
Nina Laurio, Patrick Boullenger, Aki Tarkka, Heini Mäntylä, Nina Laurio, Oskar Franzen, Oskari Sipola, Tomi Lauri
ONE LINER IN ENGLISH *
Deeply in love, Aleksi and Laura are preparing to spend the weekend of their lives at a countryside villa, but Aleksi quickly realizes that, Laura hasn’t arrived alone.
ONE LINER IN FINNISH *
Umpirakastuneet Aleksi ja Laura valmistautuvat viettämään elämänsä viikonlopun maalaishuvilalla, mutta Aleksille selviää nopeasti, ettei Laura ole saapunut paikalle yksin.
SYNOPSIS IN ENGLISH *
A head-over-heels couple, Aleksi and Laura, escapes their everyday lives to a countryside villa, ready to spend the weekend of their lives wrapped in romance. But it quickly becomes clear to Aleksi that Laura hasn’t arrived alone – the bedroom is filled with stuffed animals, each with its own name and personality. Aleksi’s love is put to the test when Laura insists on bringing one of them along to their dinner date.
SYNOPSIS IN FINNISH *
Umpirakastunut pariskunta pakenee arkea maalaishuvilalle ja valmistautuu viettämään elämänsä viikonlopun kuhertelun keskellä. Pariskunnan toiselle osapuolelle, Aleksille, käy kuitenkin nopeasti selväksi, että hänen kumppaninsa Laura ei ole saapunut huvilalle yksin – makuuhuone on täynnä pehmoleluja, joista jokaisella on nimi ja persoonallisuus. Aleksi yrittää parhaansa mukaan sivuuttaa tämän romanttista tunnelmaa latistavan tosiasian, mutta rakkaus joutuu testiin viimeistään siinä vaiheessa, kun Laura haluaa ottaa yhden pehmoleluista mukaan ravintolaillalliselle.

AA: An unusual drama of a relationship. Aleksi and Laura are about to start their first weekend together at a countryside dacha when Aleksi discovers an unknown major presence in Laura's life - an entire company of furry toys including bears and lions. They form an army of dolls, each with a special history and significance. They and Laura are inseparable, and Aleksi has to deal with them even on a visit to a restaurant. No, they are not a hobby. They occupy the bed. The terms of the relationship have to negotiated on their terms.

ORIGINAL TITLE OF THE FILM * Takeaway
ENGLISH TITLE * Takeaway
TUOTANTONUMERO * W105
TYPE OF PRODUCTION *: Etydi 2 -kurssityö
TYPE OF FILM * Fiction
GENRE * Drama
YEAR OF PRODUCTION * 2025
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 8:18
SHOOTING FORMAT Digital 3.2K
SCREENING FORMAT * DCP 2K
COLOR Color
SOUND * 24bit 5.1
RATIO VIDEO * 2.39:1
FRAMES PER SECOND 25
ORIGINAL LANGUAGE * Finnish
SUBTITLED IN * English
DIRECTOR* Matleena Hyttinen female
SCRIPT * Katariina Kohi
PRODUCER * Pauli Hentilä, Valtti Hyvärinen
CINEMATOGRAPHY * Saana Lyly
SOUND Lena Patta
EDITING Jenni Syväkuru
SET DESIGN Sirpa Hyväri, Karuna Vahteri
COSTUME DESIGN Riikka Mäntymaa

MAIN CAST (nimi + (roolinimi)/name + (role)): *
1. Pablo Ounaskari / Fredi
2. Adeliina Arajuuri / Samira

Taiteellisen työryhmän vastuuopettajat - Teachers: 
Nina Laurio, Patrick Boullenger, Aki Tarkka, Heini Mäntylä, Nina Laurio, Oskar Franzen, Oskari Sipola, Tomi Lauri

ONE LINER IN ENGLISH * 
Stuck in a rut, Fredi runs into his old love at work, but the moment is about to be cut short.

ONE LINER IN FINNISH * Elämässään paikalleen jämähtänyt Fredi kohtaa työpaikallaan pikaruokaravintolassa vanhan rakkautensa Samiran, mutta kohtaaminen uhkaa jäädä lyhyeksi.

SYNOPSIS IN ENGLISH * 
Fredi, stuck in a rut in his life and grinding through shift work, is surprised when his former love Samira shows up as a customer at his restaurant. Hope for a better life is reignited – but threatens to fade when Samira wants her order to go. Desperate, Fredi is willing to do anything, and the kitchen’s hot stove offers a painful solution to his need.

SYNOPSIS IN FINNISH *
Elämässään paikalleen jämähtänyt, vuorotyössä ahertava Fredi saa ravintolassa asiakkaakseen vanhan rakkautensa, Samiran. Toivo paremmasta elämästä syttyy jälleen, mutta uhkaa jäädä lyhyeksi, kun Samira tahtookin annoksensa takeawayna. Fredi on valmis tekemään mitä tahansa saadakseen hetken
hyväksyntää ja sympatiaa, ja keittiön kuuma liesi tarjoaa kivuliaan ratkaisun tarpeeseen.

AA: A shock therapy mini drama about unrequited love.

ORIGINAL TITLE OF THE FILM * Tuu tuu tupakkarulla
ENGLISH TITLE * Mother of the Year
TUOTANTONUMERO * A80115- 925143-1-W079
TYPE OF PRODUCTION *: Välityö
TYPE OF FILM * Fiction
GENRE * Psychological thriller
YEAR OF PRODUCTION * 2025
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 10 min
SHOOTING FORMAT
Sony A7S3 -  DCI 4K (4096×2160 All-Intra, 10-bit 4:2:2, Atlas 1.5x Anamorphic, 2.84:1)
SCREENING FORMAT * 4K DCP
COLOR Color
SOUND * 5.1
RATIO VIDEO * 16:9 
FRAMES PER SECOND 25
ORIGINAL LANGUAGE * Finnish
SUBTITLED IN * Finnish, English 
DIRECTOR female
SCRIPT Paula Dufva
PRODUCER * Maija Hartikainen, Oula Hyle
CINEMATOGRAPHY * Moritz Geraldo (Moritz Scherzer)
SOUND Petri Kärkkäinen
EDITING Anniina Kauttonen
SET DESIGN Aino Kaurismäki
COSTUME DESIGN Lili Hillerich
COMPOSER Josef He
ANIMATION Alex Stöd
MAIN CAST (nimi + (roolinimi)/name + (role)): *
1. Anna Kopo / roolinimi: Anna
2. Suvi Laukkanen / roolinimi: Janni
3. Janne Juote / roolinimi: Ennin isä
4. Enni Ronkainen / roolinimi: Enni

ONE LINER IN ENGLISH * As a strange smell spreads through the apartment building, newly divorced Anna is forced to confront maternal imperfection — and its consequences.

ONE LINER IN FINNISH * Oudon hajun levitessä taloyhtiössä, vastikään eronnut Anna joutuu kohtaamaan äitiyden rajallisuuden ja sen kohtalokkaat seuraukset.

SYNOPSIS IN ENGLISH * Mother of the Year is a short psychological thriller about ANNA (30) who has just moved to a new apartment that smells like dead rats. She is starting a new life, which includes joint custody with her ex and a mother who doubts Anna’s abilities to raise her 2-year-old. Anna is fed up with people intervening with her parenting but still finds herself judging another mother - her neighbor JANNI (35) who she sees smoking while pregnant. When Anna learns that Janni is actually not expecting a child, although she looks like it, she has to face her own hypocrisy. Meanwhile the rotten scent intensifies and leads Anna to its origins - Janni’s apartment. Anna has another lesson to learn as she finds a dead infant in the apartment and is forced to admit that sometimes intervening in other people’s business has its place.

SYNOPSIS IN FINNISH * Tuu tuu tupakkarulla on lyhyt psykologinen trilleri Annasta (30), joka on juuri muuttanut uuteen, toisinaan kuolleilta rotilta haisevaan asuntoon. Anna on aloittelemassa uutta elämää, johon kuuluu yhteishuoltajuus exän kanssa ja äiti, joka epäilee Annan kykyä selvitä äitiyden haasteista. Anna on kyllästynyt siihen, että muut puuttuvat hänen vanhemmuuteensa, mutta huomaa silti itse arvostelevansa toista äitiä – naapuriaan Jannia (35), jonka näkee polttavan tupakkaa raskaana ollessaan. Kun Anna saa tietää, ettei Janni odotakaan lasta, hänen on kohdattava oma tekopyhyytensä. Samaan aikaan mädän haju voimistuu ja johdattaa Annan Jannin asuntoon. Siellä Anna saa vielä yhden opetuksen: joskus toisten asioihin puuttuminen on perusteltua.

AA: A psychotic thriller about the horrors of motherhood. Elliptic, the viewer can figure out the puzzle during the end credits.

ORIGINAL TITLE OF THE FILM * HIENOSÄÄTÖÄ
ENGLISH TITLE * EMPATH
TUOTANTONUMERO * W101
TYPE OF PRODUCTION *: Välityö
TYPE OF FILM * Fiction 
GENRE * Comedy
YEAR OF PRODUCTION * 2026
COUNTRY OF PRODUCTION * Finland
DURATION OF THE FILM * 07.42
SHOOTING FORMAT Digital
SCREENING FORMAT * DCP
COLOR Color 
SOUND * 5.1
RATIO VIDEO * 1.85:1
FRAMES PER SECOND 25
ORIGINAL LANGUAGE * Finnish 
SUBTITLED IN * English 
DIRECTOR* male Niilopekka Anturaniemi
SCRIPT * Niilopekka Anturaniemi
PRODUCER * Elmo Nikula & Iris Sid
CINEMATOGRAPHY * Valo Rinne
SOUND Kaspian Gröndahl
EDITING Erik Vartiainen
SET DESIGN Vili Elviira Loikkanen
COSTUME DESIGN Siiri Lillqvist & Taru Patjas
OTHER:  VFX: Olli Niskanen
MAIN CAST (nimi + (roolinimi)/name + (role)): *
1. Sebastian Lindström (Ossi)
2. Elli Melasniemi (Anne)
3. Juho Lehto (Tarjoilija)
SYNOPSIS IN ENGLISH *
Ossi is on a date he has been looking forward to. He wants to be the best version of himself, and  sso he relies on technology to make that happen. 
SYNOPSIS IN FINNISH *
Ossi on jo pitkään odottamillaan treffeillä ja haluaa olla paras versio itsestään. Hän turvautuu siksi teknologiaan huonoin lopputuloksin. 

AA: A comedy of embarrassment about a long awaited date, evoking a bit Jerry Lewis, bold in its handling of awkwardness. The use of a mobile phone app during the date only makes the situation even more impossible. Like in Jerry Lewis classics, from comedy to horror is just one step. From these premises, a really far out performance could be imagined.

Aalto ELO Film School Spring Show 2026

 
Poster photo from: Viljami Penttilä: Major Bag Alert (FI 2026).

Friday, May 15, 2026

Anton Chekhov: Onni [Happiness: Selected Short Stories 1880-1903] (a book)


Isaac Levitan: Вечерний звон / Evening Bells (RU 1892). Oil on canvas. 87 cm × 107.6. Tretyakov Gallery, Moscow. From: Arthive.net. Public Domain. Wikimedia Commons. Please click on the image to expand it.

Anton Chekhov / Anton Tšehov: Onni: valitut novellit 1880-1903 [Happiness: Selected Short Stories 1880-1903]. 1104 pages. 52 short stories edited and translated by Martti Anhava, 21 for the first time in Finnish in a book edition. Hard cover. Helsinki: Siltala & Sanavalinta, 2025.

Repeating myself from the 2025 Helsinki Book Fair: a literary highlight of the year was the publication of Onni [Happiness], the largest ever Finnish edition of Anton Chekhov's short stories, edited and translated by Martti Anhava, the Finnish Chekhov maestro himself. According to my estimate, Chekhov wrote 605 short stories (according to Anhava, 580). I thought then that a third might have been translated into Finnish. 

But for the Finnish Chekhov reader there is a double whammy: the Finnish National Library has made available and searchable the digital archive of all old Finnish newspapers and magazines, and there are hundreds of Anton Chekhov translations now available from the decades of the Autonomy, starting from 1889. 

Chekhov was popular in Finland already in his lifetime. Not only humoresques but also weightier pieces, such as My Life, were in demand (My Life was serialized in several newspapers across the country). It is not easy to count the number of the Chekhov pieces which have been translated since they appear under different titles, and sometimes names of characters have been changed. But now I think that a half of Chekhov's work has been translated. I also believe that essential pieces remain untranslated.

In 2012-2013 was the last time I had a big project to read as much Chekhov as possible. I wrote then several Chekhov entries in this blog. I have written in anthologies about "Dostoevsky and the cinema" and "Tolstoy and the cinema" and hope one day to cover "Chekhov and the cinema". Common to all three writers is that I don't find actual adaptations of their work indispensable. Yet their indirect impact is huge.

I used to think that The Lady with the Dog by Iosif Heifitz was the only really great Chekhov adaptation, and the movie is distinguished, indeed (thanks to superb performances by Aleksei Batalov and Iya Savvina), but I no longer find it quite as great as before. Now Ryusuke Hamaguchi's Drive My Car (JP 2021), based on the novel by Haruko Murakami, has become my favourite Chekhov adaptation. It is a marriage tragedy in which Uncle Vanya, both as text and performance, is a profound reference. It is a story of spiritual resurrection in which Uncle Vanya reads us.

The indirect impact of Chekhov might be even bigger than that of Dostoevsky and Tolstoy. To give only one example: A Simple Event / Yek etefagh sadeh (IR 1973) by Sohrab Shahid Saless.

IMPRESSIONISM

Two years ago the 150th anniversary of Impressionism was celebrated, and for the first time I  understood what the epochal change truly meant. It was l'art pour l'art in a certain way, but it was a turn to a heightened sense of realism in a more important way. 

It was a new way of seeing eternity in the instant, the extraordinary in the ordinary and the infinite in the finite.

It was also a philosophical turn to a knowledge about knowledge, understanding about understanding and perception about perception.

There are different meanings to the term "impressionist" and one of them is being sketchy, but the Impressionist turn of Pissarro, Monet, Renoir and their soulmates was the opposite of sketchy. Monet sometimes devoted decades to complete a painting. 

It was not only about seeing but seeing the way of seeing. Including the blur, the shadow, the reflection, the particles, the perpetually changing light. That had already been seen during the Renaissance, but Impressionism was a new stage.

Impressionism in its "l'art pour l'art" sense was turning one's back to prestige subjects, classic themes, famous men, but also society, history, tendency and topical issues.

The impressionist did not seek greatness in great subjects. He found greatness in ordinary and little subjects, and perhaps it was a greatness of the most enduring kind.

For the first time I understood why Chekhov and Proust are seen as the greatest Impressionists of literature.

REDISCOVERING CHEKHOV

A distinguished Russian friend of mine has emphasized that whereas Westerners prefer what they call "mature Chekhov" (starting from The Steppe), Russians have always loved at least as much the young Chekhov, and not only the humoristic pieces. Reading Martti Anhava's (who seems to share my Russian friend's opinion) edition I understand what he meant. Chekhov is brilliant since the beginning, and there are several pieces of substance long before The Steppe, such as Oysters, The Hunter, On the Road and Verochka. 

My Russian friend had also remarked on Chekhov's antisemitism, which I had not registered before, but now it was undeniable, starting from mean Sarah Bernhardt parodies and expanding to vile terminology. It is hard to find a positive Jewish character in Chekhov's work and easy to find negative examples. It is disturbing, because Chekhov found a soulmate in Isaak Levitan, and he was also a Dreyfusard.

Chekhov's misogyny I had registered long ago. This I have always found puzzling. It is out of character, and it diminishes his achievement. In a patriarchal society, women are not allowed to grow, and a parallel situation is everywhere where there is oppression. The oppressed cannot rise to the full height of his potential. There is a temptation to despise the oppressed instead of the oppression.

With these reservations I enjoy Chekhov more than ever. His amazingly wide perspective, his empathy for characters from all walks of life, his talent of observation and ability to express himself in a subtle language, rich and concise at once. Chekhov is a writer's writer. What a pleasure it must be to read it in Russian. But one of the great insights of Drive My Car, the short story by Haruko Murakami and the film by Ryusuke Hamagachi, is that Chekhov transcends barriers of language and culture. Martti Anhava's translations are a superb example of this.

This volume took me a long time to read, because the unwieldy size of the edition made it impossible to carry it around.

Friday, April 24, 2026

Calder. Rêver en équilibre / Dreaming in Equilibrium (2026 exposition Fondation Louis Vuitton)


MOBILE: Alexander Calder, « Black Widow », 1948. Feuille de métal, fil de fer et peinture, 325,1 x 251, 5 cm. Instituto de Arquitetos do Brasil – Departamento de São Paulo. On deposit from the Artist, 1948. © 2026 Calder Foundation, New York / ADAGP, Paris. Photo courtesy of Calder Foundation, New York / Art Resource, New York. Photograph by Tim Nighswander / IMAGING4ART

STABILE: Alexander Calder, « La Grande vitesse », 1969. La Grande vitesse (maquette intermédiaire 1:5 / 1:5 intermediate maquette), 1969, Feuille de métal, boulons et peinture, 259,1 x 342,9 x 236,2 cm. © 2026 Calder Foundation, New York / ADAGP, Paris. Photo courtesy of Calder Foundation, New York / Art Resource, New York.

Calder. Rêver en équilibre / Dreaming in Equilibrium
Fondation Louis Vuitton. 8 avenue du Mahatma Gandhi ; 75116 Paris ; Jardin d'acclimatisation de Paris ; Bois de Boulogne.
    Exposition du 15.4.2026 au 16.8.2026
    More than 300 works: sculptures (bronze, marble, alabaster, brass, plaster, wood, plywood, sheet metal, wire, mercury, limestone, aluminium), monumental sculptures, sketches, pencil and ink drawings, linoleum cuts, cardboard reliefs, posters, paintings (with oil on canvas), watercolours, miniature circus puppets, maquettes, photographs, stop motion photographs of mobiles, assemblages, installations, constellations, performance documents, kinetic objects, mobiles and stabiles, jewelry.
    Cette exposition a été rendue possible grâce à un partenariat avec la Calder Foundation et le Whitney Museum of American Art.
    Commissariat:
Suzanne Pagé, directrice artistique de la Fondation Louis Vuitton, commissaire générale
Dieter Buchhart et Anna Karina Hofbauer, commissaires invités
Assistés de Valentin Neuroth et Claire Deuticke
Olivier Michelon, commissaire associé, assisté de Léna Lévy
    Visited on 24 April 2026

AA: This is the first Alexander Calder exhibition of my life, but I have been aware of the pioneering artist since the Ars 69 exhibition at Ateneum in Helsinki. I am grateful for the epic grandeur of the Fondation Louis Vuitton experience, the devout inspiration of the research and the human perspective of the endeavour which grows into a tale of friendship and mutual inspiration during the heroic decades of Modernism. 

Roughly chronological, the exhibition moves back and forth between the small and the grand. Calder was always aware of scalability. He was born into a family of sculptors and already at an early age observed preparations of monuments and gained an insight into the ancient art and craft of the pantograph.

As a child Calder crafted toy animals from metal. Later he made ink sketches of animals, reduced to bare essentials, yet conveying life, energy and movement. From toys and animals the step was natural to the miniature Cirque Calder with which Alexander achieved a breakthrough in the artist circles of Montparnasse of the 1920s. It was a pioneering innovation in performance art.

We are told that the Cirque Calder objects are by now so fragile that they are on public display for the last time. There is a showroom where a filmed 1960s reconstruction of the performance can be seen, but Alexander S. C. Rower, the artist's grandson, argues that it is only a shadow of the original. According to him, the art of Cirque Calder was not in the objects but in the original live performance, always unique, never rehearsed, never recorded. We are grateful for the objects on display and need to use our imagination for the rest.

In the 1920s Calder was in the inspiring force field of Fernand Léger, Le Corbusier, Marcel Duchamp, Joan Miró and Piet Mondrian. He started to create "three-dimensional line drawings" with wire sculptures. He became the anti-Rodin, distancing himself from mass. As "the Daumier of the wire" he twisted the metal to the shape of a dancing Josephine Baker. He crafted "drawings in space".

With his novel sculptures, Calder redefined space. He did not need to fill the space with a massive presence. Negative space, the emptiness inside and outside, grew in significance.

In October 1930 Calder visited Piet Mondrian's studio and experienced a shock epiphany of abstraction. He became an abstract artist. His works were from now on mainly non-figurative, non-objective. Even when he gave a work a "figurative" title such as "Peacock", the work was not inspired by a peacock. The name was given as an afterthought by association or affinity.

Soon after the epiphany of abstraction, Calder moved ahead to kinetic sculptures, in the first stage driven by motors. Marcel Duchamp coined the word "mobiles" to describe them. In French, "mobile" has a double meaning. Besides "movable" it also means "motive" as in "le mobile du crime". Calder's early mobiles are no longer in motion since their motors do not run anymore. Calder himself soon ceased to use motors and started to create mobiles that move by air, wind, gravity and human presence. The experience is that of a constant motion of space and negative space, of light and shadow. At the same time, Calder started creating static abstract sculptures called "stabiles" by Jean Arp in 1932.

Calder added dimensions of time and movement into visual art, dimensions familiar in music, dance, theatre and the cinema. Calder opened new worlds for visual art. His was an art that changed the experience of space itself. His was a conquest of space and a transformation of space. Calder was seen as a visionary in the "geometry of aura" and a discoverer of a "cosmic portal" between worlds.

The definitive art historical characterization about Calder was formulated in an introductory essay by Jean-Paul Sartre in 1946. Sartre called Calder's works "a pure stream of movement in the same way as there are pure streams of light". "They feed on the air, breathe it and take their life from the indistinct life of the atmosphere".

Alexander and Louisa Calder had spent eight transformative years in Paris in 1926-1933. When Hitler rose to power in 1933, they quickly returned to the United States. The exhibition catalogue does not mention this, but Alexander's mother was of Bavarian Jewish lineage. I think this helps understand Calder's urgency in moving to safety and also the unpolitical artist's resolve in contributing a Mercury Fountain to accompany Picasso's Guernica in support of Republican Spain.

Calder kept expanding his field of creativity. During wartime, when aluminium sheet metal was not available, he created "constellations" of wood and wire. He also became a remarkable and original creator of jewelry: a rare collection of bracelets, earrings, rings, belts, necklaces, brooches, tiaras and crowns is on display, mostly created for his own wife Louisa but also for example for Luis Buñuel's wife Jeanne.

Since the mid-1930s, Calder was in great demand as a creator of monumental sculptures and mobiles. He was inspired to electrify a public space with his own humanistic and individual force field. His projects grew increasingly colossal, but even in smaller scale their impact can be felt. We see in the exhibition La Grande vitesse in a maquette stage, but Black Flag (1974) and Five Swords (1976) are on display in grandeur nature: for the first time, a Louis Vuitton exhibition extends to the garden space.

Like in a tribute concert to a great music star, there are a lot of guest stars. Two outstanding exhibitions exist inside the exhibition. There is an all star display of modern art: not only Mondrian but also Brancusi, Kandinsky, Picasso, Klee, Léger, Miró, Hélion, Naum Gabo and Arp are present.

Amazingly, the world's greatest photographers seem to have been fascinated by Calder during his entire career: Herbert Matter, André Kertész, George Hoyningen-Huene, Man Ray, Arnold Newman, Irving Penn, Henri Cartier-Bresson and the film directors Gordon Parks and Agnès Varda.

The experience is oddly gratifying like an excellent multi-course dinner. The works communicate with each other. The whole is bigger than the sum of its parts. This is a feast of friends, a Platonic symposium, an encounter of Goethean Wahlverwandtschaften (Elective Affinities) in a great turning-point of world history and art history.

Catalogue de l'exposition "Calder. Rêver en Equilibre". Contributions de: Anna Karina Hofbauer et Dieter Buchhart (dir.) avec les contributions inédites d'Elizabeth Hutton Turner, de Chus Martinez, d'Olivier Michelon, de Suzanne Pagé, d'Arnauld Pierre ainsi qu'une conversation entre Alexander S. C. Rower et Jordana Mendelson. 24.5 x 28.5. 360 pages. EAN 9782754117289 (Français). EAN 9780300293036 (Anglais). Éditions Hazan, Paris 2026.

OFFICIAL:

"À l’occasion du centenaire de l'arrivée en France d'Alexander Calder et des cinquante ans de sa disparition, la Fondation présente l’exposition « Calder. Rêver en équilibre »."

"Cette exposition couvre un demi-siècle de création, de la fin des années 1920 et les premières représentations du Cirque Calder qui captivent les avant-gardes parisiennes, à ses sculptures monumentales qui redéfinissent l’idée d’art public dans les années 1960 et 1970. À la Fondation, flottant dans l’architecture des espaces dessinés par Frank Gehry, ses mobiles transforment l’exposition en chorégraphie."

"L’exposition, l’une des plus importantes à ce jour consacrées à Alexander Calder, a été conçue en étroite collaboration avec la Calder Foundation, qui en est le principal prêteur. Elle bénéficie également de prêts d’institutions internationales et de collectionneurs privés de premier ordre, regroupant ainsi près de 300 œuvres : des mobiles et stabiles – pour emprunter à la terminologie caldérienne pour désigner les abstractions cinétiques et statiques – mais également des portraits réalisés à partir de fil de fer, des figures sculptées en bois, des peintures, des dessins et même des bijoux, conçus comme de véritables sculptures. Tout au long d’un parcours chronologique, occupant plus de 3000 m2, les préoccupations artistiques fondamentales de Calder sont articulées : tout d’abord le mouvement mais aussi, la lumière, la réflexion, les matériaux humbles, le son, l'éphémère, la gravité, la performance, l'espace positif et négatif."

"Cette exposition étant une célébration anniversaire, elle élargit son propos avec des contributions des contemporains de l’artiste. Des travaux de ses amis, Jean Arp, Barbara Hepworth, Jean Hélion et Piet Mondrian, ainsi que de Paul Klee et Pablo Picasso, permettent de situer l’inventivité radicale de Calder dans le concert des avant-gardes. Trente-cinq clichés réalisés par les plus importants photographes du XXe siècle (Henri Cartier-Bresson, André Kertész, Gordon Parks, Man Ray, Irving Penn et Agnès Varda…) montrent un artiste funambule entre l’art et la vie. « Calder. Rêver en équilibre » présente également des focus consacrés à des ensembles clefs de l’œuvre de Calder, notamment sa série tant appréciée des Constellations ou ses bijoux au dynamisme fascinant."

"Dans la continuité des expositions monographiques consacrées à des figures majeures de l’art des XXᵉ et XXIᵉ siècles — tels que Jean-Michel Basquiat, Joan Mitchell, Charlotte Perriand, Mark Rothko, David Hockney, Gerhard Richter – la Fondation Louis Vuitton consacre la totalité de ses espaces aux travaux de Calder et pour la première fois la pelouse attenante. Ce faisant, c’est également un dialogue entre les volumes, les plans et les mouvements de Calder et ceux de l’architecture de Frank Gehry que l’exposition initie."

"C’est vers l’âge de 25 ans qu’Alexander Calder renoue avec l’héritage familial (fils d’une peintre et d’un sculpteur, petit-fils d’un sculpteur) en se tournant d’abord vers la peinture et le dessin. Après ses études à l’Art Students League de New York, il s’installe à Paris en 1926. Dans le quartier de Montparnasse, très rapidement, l’artiste s’intègre dans ce qui est alors le premier foyer artistique mondial. Il y propose des formes uniques, des sculptures de fil de fer figuratives et épurées, qui attirent la critique, et un Cirque miniature. Grâce au prêt exceptionnel du Whitney Museum of American Art, une première depuis quinze ans, le Cirque Calder revient à Paris, la ville où il a été créé. Au centre de ce spectacle d’un nouveau genre, Calder manipule des acrobates, clowns, cavaliers miniatures devant une audience sans cesse plus grande. Fernand Léger, Jean Hélion, Le Corbusier, Jean Arp, Joan Miró sont quelques-uns de ses spectateurs, tout comme Piet Mondrian."

"La visite de l’atelier de Mondrian par Calder en 1930, où il fut profondément impressionné par l’environnement spatial et coloré du lieu, marque le tournant abstrait de son œuvre, d’abord par la peinture, puis par la sculpture. Marcel Duchamp proposa le nom de « Mobiles » pour les compositions abstraites et cinétiques que présentent l’artiste en 1932 à la Galerie Vignon à Paris. D’abord entraînés mécaniquement, puis mus par quelques bruissements d’air, ces mobiles empruntent alors « leur vie à la vie vague de l’atmosphère » comme l’écrit Jean-Paul Sartre en 1946. Quant aux « stabiles », Arp proposa ce terme en réponse à la terminologie de Duchamp pour désigner les objets statiques de Calder au début des années 1930."

"Si Calder repart aux Etats-Unis en 1933, il réalise un aller-retour avec l’Europe marqué par sa participation au Pavillon de la République Espagnole en 1937 avec Miró et Picasso. Il revient ensuite en France, dès la fin de la guerre et installe un atelier dans le hameau de Saché, dans la vallée de la Loire, en 1953. C’est un pied dans chaque pays qu’il développe son œuvre, renouvelant jusqu’à son décès en 1976 l’idée même de la sculpture. Par le mouvement bien sûr, mais également par l’invention d’un vocabulaire qu’il déploie à toutes les échelles, allant de fins assemblages de métal s’animant au moindre souffle à des constructions monumentales, il crée des sculptures non objectives qui coexistaient en parallèle avec la nature. Comme le notent Dieter Buchhart et Anna Karina Hofbauer, commissaires invités de l’exposition, « La démarche novatrice de Calder a élargi les dimensions de la sculpture pour y inclure le temps comme une quatrième dimension essentielle »."

Thursday, April 16, 2026

Andrew Wilson: I Wanna Be Loved By You. Marilyn Monroe, A Life in 100 Takes (a book, 2026)

 

Andrew Wilson: I Wanna Be Loved By You. Marilyn Monroe, A Life in 100 Takes. 512 pages. Hard cover. ISBN 13: 9781398513440. Simon & Schuster UK, 26 Feb 2026.

I join the Marilyn Monroe centenary celebration by visiting the wonderful exhibition at La Cinémathèque française and reading a new book about her, Andrew Wilson's I Wanna Be Loved By You. 

The book exceeds expectations raised by its own publicity blurb (quoted below). Wilson offers new assessments and much fresh detail. As a biography the book does not strive for completeness. Instead, it is a montage of a hundred fragments. Nor is it a critical study of Monroe's films, talent and art. But it is a rewarding account of the life and the legend based on the best currently available sources. Because Wilson in general pursues discipline in source criticism, I would have welcome some self-scrutiny regarding the controversial decision of publishing confidential notes from psychoanalytic sessions.

In the way of source criticism, particularly welcome are Wilson's remarks about Monroe's early memoir My Story (1954), ghostwritten by Ben Hecht, exceptional thanks to her frankness about childhood sexual abuse and harassment in Golden Age Hollywood. Wilson even bothers to examine her "porn movies" (all fakes featuring lookalikes).

Of the biographies I know, I find Icon: The Life, Times, & Films of Marilyn Monroe, Vol 1–2 by Gary Vitacco-Robles (2014, 2015, 712 + 884 pages) definitive. I have also enjoyed the foundational works by Maurice Zolotow (1960, 1990) and Fred Lawrence Guiles (1969, 1984). Anthony Summers (1985, 1986) excelled in research but was uncritical with sources. Donald Spoto's was the best biography when it was published in 1993 but biased in its interpretation of Monroe's final year, demonizing her psychoanalyst Ralph Greenson.

My own Monroe book (1982, 1996) was not a biography but a study in her public image, and I admire Sarah Churchwell's The Many Lives of Marilyn Monroe (2004) as the authoritative achievement in a similar vein. Barbara Leaming's book (1998) is my favourite about Monroe as a professional and a performer.

Although my book was not biographical, I was fascinated by the Rashomon aspect of the investigation. The Monroe story is full of holes and unreliable witnesses, starting with the protagonist herself. Arthur Miller certainly knew Marilyn, but he did not know Hollywood and therefore seems to have misread Monroe. Other biographers spinned fairytales, but to bring credence to their fantasies they at times conducted solid research.

The most lasting feature of Andrew Wilson's book is his systematic debunking of the Marilyn fabrication industry. Central to the Monroe image is the legend, but in order to do justice to the legend it is necessary to know the reality, as well. 

THE BLACK BOXES

Arthur P. Jacobs, Marilyn Monroe's press agent, in charge of her public image, learned about the death of the star at 22:30 on Saturday evening, 4 August 1962. The official discovery of the body, by the housekeeper Eunice Murray and the psychoanalyst Dr. Ralph Greenson, took place five hours later, at 3:30 on Sunday morning, 5 August 1962. At 3:50 a.m. her physician Dr. Hyman Engelberg arrived, and at 4:25 a.m. the Los Angeles Police Department was alerted. 

Arthur P. Jacobs managed the publicity campaign of Monroe's death in cooperation with 20th Century-Fox. In 1963, he switched into a successful career as a producer of films released by that same company.

After the funeral, Inez Melson, Monroe's business manager, spent three days destroying many of her papers. Later, she quietly acquired her two filing cabinets and kept them until her death in 1985.

Because of disputes among beneficiaries of Monroe's will, most of her personal belongings remained inaccessible for biographers until the October 1999 auction of her property at Christie's in New York. There Anna Strasberg, Lee Strasberg's third wife, who never knew Marilyn, sold it with a net profit of 13.4 million dollars, and the collection was scattered into the four winds.

Marilyn Monroe died alone*. After her death, nobody protected the dignity of her reputation, personal data and privacy. She became fair game for exploitation.

The events during the six to eight hours between her death and the arrival of the police were the most closely guarded secret in the history of Hollywood. Monroe's personal papers remained inaccessible for biographers for 40 years. When they were finally made public, the medical documents confirmed the deputy coroner Thomas Noguchi's original classification of her death as a probable suicide. The suicide may have been accidental. Patricia Newcomb and others closest to her during the final days did not believe it was intentional.

Yes, there was a cover-up, and yes, it was because of the Kennedys. The press release about her death was handled by Monroe's own press agent and business manager. Launching one of the year's greatest news stories they did their best to minimize scandal. The world was different in 1962. The mere presence of the Kennedys in Marilyn Monroe's private life was confidential information that needed to be covered up. Even Fred Lawrence Guiles in his 1969 biography still refrained from naming the Kennedys.

THE ANTI-KENNEDY SMEAR CAMPAIGN

Monroe was a friend and admirer of the Kennedy family. When asked in 1962 about figures who inspired her, Marilyn included in her shortlist President Kennedy and his brother Robert, because "they symbolize the youth of America – in its vigor, its brilliance, and its compassion" (Wilson, p. 380). But when all three were dead, exploiters smeared them in murder fabrications.

Wilson tracks the Marilyn Monroe murder industry down to a single origin: the book The Strange Death of Marilyn Monroe (1964) by Frank Capell published by the Herald of Freedom. The former private detective Capell, Sergeant Jack Clemmons (the first police officer on Monroe's death scene) and Maurice Ries (president of the Motion Picture Alliance for the Preservation of American Ideals) were a team of far right political activists dedicated to bring the Kennedys down. They were so successful that the sleaze they originated survives to this day. At the time, even J. Edgar Hoover (the director of the FBI) was intrigued but found no substance in Capell's campaign.

The first major biographer to take the bait was Norman Mailer in Marilyn (1973, 1975). It is a disgrace in the history of literature how luminaries like Mailer and Joyce Carol Oates (Blonde, 2000) contributed to the Monroe lore with blatant exploitation. 

Entire careers were built on Marilyn Monroe fabrications. From a single photograph of him with Monroe taken by the 20th Century Fox publicity department on the set of Niagara in the summer of 1952, the journalist Robert F. Slatzer spun a fairy-tale about their "lifelong friendship" in three books (1974, 1977, 1992). Working together with the journalist Will Fowler, Slatzer made a deal with Capell to recycle his Kennedy conspiracy material.

More dubious figures followed: Tony Sciacca (Anthony Scaduto), Mike Speriglio, Ted Jordan, Lionel Grandison, Jeanne Carmen, John Miner, Deborah Gould (Peter Lawford's third wife) and Hans Jørgen Lembourn. David Conover, Marilyn's first photographer, also invented a lifelong friendship (1981). Colin Clark, the third assistant on the set of The Prince and the Showgirl, wrote two books (1995, 2000) with an imagined love affair with Marilyn.

Even Seymour Hersh, the distinguished investigative journalist, participated in The Dark Side of Camelot (1997), withdrawing at the last minute material on Marilyn Monroe based on forged documents from one Lex Cusack.

THE SACRED MONSTER

Jean Cocteau (one of the many poets devastated by Marilyn's death) coined the expression "a sacred monster" in his play about Sarah Bernhardt.

According to the journalist W. J. Weatherby, Monroe herself confessed that she was a monster during the filming of her last finished movie The Misfits (1961). She was living in hell, and she made life hell for others. Arthur Miller witnessed his wife transported by chemicals into another dimension. He saw her becoming the victim of the fantasy she had created. "The self-destruction was terrifying". A shattering chapter is devoted to an interview made by Wilson for his book with the script supervisor of The Misfits, Angela Allen, a film industry stalwart and John Huston regular. This is truly "the dark side of Marilyn", dismantling suspicions of hagiography.

The contradictions in the Marilyn Monroe image are extreme, and Richard Dyer sees in them the very key to the mystery of her stardom. 

"The love goddess of the nuclear age" (Clare Boothe Luce) survives today as an avatar for the Me Too age. The battle for mental health strikes a chord in an age of anxiety. Monroe was a key figure in the society of the spectacle, now more formidable than ever.

Marilyn Monroe was a master of illusion, and highly self-aware, as proven by a favourite quote of hers, from The Little Prince by Antoine de Saint-Exupéry:

"True love is visible not to the eyes but to the heart, for eyes may be deceived. What is essential is invisible to the eye."

"Adieu, dit le renard. Voici mon secret. Il est très simple: on ne voit bien qu'avec le cœur. L'essentiel est invisible pour les yeux."

SIMON & SCHUSTER PUBLICITY BLURB:

"Dreamer. Bombshell. Icon. 

Featuring a wealth of unpublished material, Andrew Wilson’s biography of Marilyn Monroe presents the actress in a startling new light. 

Born Norma Jeane Mortenson, she had an uncertain and unforgiving upbringing. She grew up in Los Angeles and would dream about Hollywood, believing that acting would be her one-way ticket to happiness. Her dream was so powerful that she transformed herself into the ultimate goddess of the silver screen, and her image has been branded into the collective consciousness. Men lusted after her, and women wanted to be her. All her life, she just wanted to be loved. 

Told through 100 captivating snapshots, we are thrown into the glamorous but dangerous world of old Hollywood. We see a young Marilyn navigating the highs and lows of the studio system as she attempts to free herself from the constraints of Twentieth Century-Fox. We also go behind the scenes of her marriages to teenage sweetheart Jim Dougherty, baseball star Joe DiMaggio and famous playwright Arthur Miller. We hear the voices of friends, lovers – and enemies. 

We hear of the friendships she formed with poets, philosophers, playwrights and political activists, and the years spent training with Lee Strasberg at the Actors Studio.

In the concluding chapters, Andrew Wilson unpicks what happened on the night Marilyn died after a suspected drug overdose. Were the Kennedys involved, or was she just let down by those closest to her? 

I Wanna Be Loved By You is a revealing and nuanced portrait of the life, death and afterlife of an icon who still fascinates us today." 

* Both her mother and father were alive but not present in their daughter's life.