Friday, May 22, 2026

Aalto ELO Film School Spring Show 2026

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

AA: The Aalto ELO Film School Shows are always highlights in both the spring and autumn seasons of the movie world.

They are full of joy and wit, love and horror, vitality and fantasy.
They are in search of lost time, and they project imaginations of disaster.
They express empathy, concern, despair and apocalyptica.
They are in registers of nuance and hyperbole, naturalism and expressionism, minimalism and maximalism,
in genres including contemporary fiction, studies of relationships, historical drama, comedies of embarrassment, Gothic horror, psychotic thriller and experimental essay.
in domains of documentary, fiction, animation and experimental cinema.

Energy is the most important superpower in a movie.
These screenings are great showcases of young energy.

My Aalto ELO Film School Show 2026 blog remarks:
Aalto ELO Film School Spring Show 2026 IV embargo - remarks on Veren maku suussa, Munkki and Major Bag Alert will be published when the school lifts the embargo.

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
YEAR OF PRODUCTION / 2026
COUNTRY OF PRODUCTION / Finland
DURATION OF THE FILM / 3 min 42 sec
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 dynamic 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
SUBTITLED IN / English
PREMIERE STATUS / Ei ole ollut ensi iltaa
DIRECTOR / Solomon Luoma / 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. On offer is a 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 / 16 m 50 s
SHOOTING FORMAT / DCP
SCREENING FORMAT / DCP
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 so much younger than she, and she cannot get over it. The world has changed. Traditionally, women were attracted to men who were older, even significantly 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'

embargo  MAJOR BAG ALERT 2026, Fiction, dir. Viljami Penttilä, BA film, 15'

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 / Limerance
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 / 22 min 54 s 
SHOOTING FORMAT / Proress4444, ARRI RAW
SCREENING FORMAT / DCP
COLOR / Color
SOUND / 5.1
RATIO VIDEO / Cinemascope 1:2.39
FRAMES PER SECOND / 25
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
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 ferocious tale of unrequited love. Love is a play with fire, even when 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 (To the Last Drop) 2026 fiction, D: Ella Laine, MA film, 17'

ORIGINAL TITLE OF THE FILM / Sekasauna
ENGLISH TITLE / Mixed Sauna
TUOTANTONUMERO / W084
TYPE OF PRODUCTION / MA-lopputyö
TYPE OF FILMvFiction 
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
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 Pasanen, 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
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 embarrassment. A tale of an awkward evening at the summer dacha where the host is out of his element at the 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. 

Juuso Timonen and Eveliina Pasanen offer an original view on nudity. In Finland, there is a long legacy (probably since forever) of nudity being the most natural thing in the world. For instance, nudity has never been a ground for film rating in Finland. But the nonchalance about nudity has never been shared by everyone, and now there is even a new wave of prudishness, perhaps an import from the Puritanical United States.

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 / 23 min 5 sec
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
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 with a Finnish-Palestinian female protagonist, Amani. 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. Yasmin Najjar handles well the challenge of conveying both alarm and control.

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
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
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. Sharp.

Not shown: 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 / 5 min 48 sec
SHOOTING FORMAT / Digital
SCREENING FORMAT / DCP 1:85:1 flat
ANIMATION TECHNIQUE / 2D digital
COLOR / Color
SOUND / 5.1
RATIO VIDEO / 16:9
FRAMES PER SECOND / 24
ORIGINAL LANGUAGE / No dialogue
SUBTITLED IN / English
PREMIERE STATUS / Premiere at Spring Screening
DIRECTOR / Eetu Jokela (He/him)
PRODUCER / Eetu Jokela
COMPOSER / Eetu Jokela
BACKROUND ARTISTS / Sonja Suonsivu, Tiia Horppu
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. An uncanny aspect: soft definition photographs, in which faces have been replaced with blank circles 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 / Digital 2D an 3D
COLOR / Color
SOUND / 5.1
RATIO VIDEO / 16:9
ORIGINAL LANGUAGE / English
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
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 position of absurdity and beyond: transcending into a higher perspective on the immigrant experience. A clash with a hot air balloon Saddam Hussein figure and the spirit of the classic Peruvian composition El cóndor pasa (trad. origin, comp. Daniel Alomía Robles 1913). Retro scifi fun with archaic video graphics and minimalist old analog computer animation. Dancing giant hot air balloon figures occupy Helsinki. The title is a wordplay on Paul Simon's English lyrics to El cóndor pasa ("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 /  STEREO
PREMIERE STATUS / Spring screening is the “World Premiere”
CREDITS: / Philip Leierer, Sofia Pamilo, Milla Lähtevänoja, Matti Maalismaa, Noa Korhonen
MAIN CAST
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, sivuaineen lopputyö
TYPE OF FILM / Animation
GENRE / Comedy / Fantasy
YEAR OF PRODUCTION / 2026
COUNTRY OF PRODUCTION / Finland
DURATION OF THE FILM / 4 min 13 sec
ANIMATION TECHNIQUE / 2D
COLOR / Color
RATIO VIDEO / 16:9
FRAMES PER SECOND / 24
ORIGINAL LANGUAGE / No dialogue
SUBTITLED IN / No dialogue
DIRECTOR / Arttu Porkka, Leo Lindgren / male
SCRIPT / Arttu Porkka
PRODUCER / Arttu Porkka
CINEMATOGRAPHY / Arttu Porkka
SOUND / Leo Lindgren
COMPOSER / Arttu Porkka, Leo Lindgren
ANIMATION / Arttu Porkka, Leo Lindgren
MAIN CAST
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 solely to serve the 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 - a company of furry toys including bears and lions. They form an army of dolls, each with a unique provenance and significance. They and Laura are inseparable, and Aleksi has to deal with one of 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.

Toys and pets can be important transitional objects* in the éducation sentimentale. Santra Juoperi heightens her story to a fine point of balance betweeen seriousness and absurdity.

* Donald Winnicott on the transitional object and transitional experience: see Wikipedia: Comfort object.

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
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 / Paula Dufva / 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
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 full shock explanation to 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 / Niilopekka Anturaniemi / male
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
VFX / Olli Niskanen
MAIN CAST
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 so 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 Jerry Lewis, bold in its handling of awkwardness. The use of a mobile phone app during a date only makes things worse. Like in Jerry Lewis classics, from comedy to horror is but one step. From these premises, a really far out performance could be imagined.

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.