2 Finnish Short Films 2011

Finnish Short Films 2011

Contents 

Finnish Short Films and Festival Success 

Finnish short films and festival success 2 

Interview with film commissionner Joona Louhivuori 3 

Finnish short film makers form a united front 

to face challenges 3 

Interview with director Kari Juusonen 4 

Interview with director Saara Cantell 5 

Making of the Death of an Insect 7 

Short fiction 

The Annunciation 8 

L’Artiste 8 

Burungo 9 

Elma & Liisa 10 

Georg and Lydia 11 

Largo 12 

Liv 12 

Meal with a Deal 13 

The Painting Sellers 14 

A Perfect Day 14 

The Variation 17 

Short Animations 

Booris the Råt Mends His Ways 8 

Edith 10 

Faruza 10 

Mangel 12 

Papa’s Boy 14 

Summer in Helsinki 16 

The Tongueling 17 

Ö 17 

Short documentaries 

Could You Love 9 

The Death of an Insect 9 

How to Pick Berries 11 

Inhale 11 

Minispectacles 1–3 13 

Old Man and the Lady 13 

Ruins of the Gaze 15 

Soul Catcher 15 

Tabula Rasa 16 

A Tall Man 16 

Contact information 18 

Coming up in 2011: 

Finnish feature films 19 

This magazine is in two parts. This part is devoted 

to new Finnish short films. When you turn the 

magazine upside down, you will find the part devoted 

to new documentaries. There you will also 

find information on documentary films that are 

longer than 30 minutes. 

More facts and figures about Finnish documentary 

films are available at our website: 

www.ses.fi – Statistics 

V 

Current Situation 

Despite limited resources, Finnish short 

films are doing well at international festivals. 

The short films that the Finnish 

Film Foundation has been promoting internationally 

have received a notable amount of visibility 

during 2010 at several internationally significant 

film festivals and at other film events. Compared 

to 2009, the volume of exported films has 

increased, specifically in the genres of short and 

documentary films. The successful cooperation of 

AVEK (The Promotion Centre for Audiovisual 

Culture) and the Finnish Film Foundation to advance 

the cultural export of short and documentary 

films has guaranteed an international audience 

for a genre that in Finland remains marginal. The 

audiences at international film festivals are a significant 

addition to the annual number of viewers 

of Finnish films. 

In 2010, the Finnish films that were screened 

the most at international festivals were Iris Olsson’s 

praiseworthy short documentary, Between 

Dreams, Hamy Ramezan’s award-winning short 

film, Over the Fence, Kaisa Penttilä’s actionpacked 

animated short film, The Egg Race, Jouni 

Hokkanen’s Kinbaku – Art of Bondage, an introduction 

to the Japanese art form, and Hannes 

Vartiainen and Pekka Veikkolainen’s Hanasaari 

A and The Death of an Insect. Another sign of 

a successful year is that in early 2010 the world’s 

most important short film festival in Clermont- 

Ferrand, France, screened a record number of 

Finnish short films. Also other world-class festivals, 

especially Sundance and Berlin, have in recent 

years screened several Finnish short films. 

Case of Hanasaari A 

For the past two years, the Finnish short film that 

has gained the most attention abroad has been 

Hanasaari A, directed by Hannes Vartiainen and 

Pekka Veikkolainen. The story of the destruction 

of Helsinki’s old coal plant and the irreversible 

change in the cityscape received the Risto Jarva 

Award at the Tampere Film Festival in March 

2009. Qualifying for the international competition 

was a major accomplishment for the young film 

makers and the 10 000 euros in prize money gave 

them several extra months to develop their next 

works. 

Despite the success in Tampere, Hanasaari A’s 

international breakthrough didn’t happen overnight. 

The doors of important film festivals began 

to gradually open in the summer and autumn of 

2009. During autumn 2009, the film was seen, 

among other places, at the Short Film Festival in 

Drama, Greece, the Nordisk Panorama in Reykjavik, 

Festival du Nouveau Cinema in Montreal, the 

Lübeck Nordic Film Days, and the Plus Camerimage 

in Lodz, a festival that emphasises artistic 

merits when making its film selections. 

Festivals have provided useful networking opportunities 

for Vartiainen and Veikkolainen and 

they have met many key people on the film festival 

circuit as well as other film makers. According 

to the pair, it has been a rewarding experience to 

see their film with different kinds of audiences. 

“It’s great that the Finnish Film Foundation and 

AVEK sponsor the festival trips. Then it’s pretty 

much up to the film makers themselves how they 

take advantage of the opportunities that are given 

to them. It’s been a delightful surprise that our 

film has found an audience and been in demand 

all around the world. We didn’t dare expect anything 

beforehand. Our festival tour has been a 

year and a half long series of happy surprises,” 

Vartiainen and Veikkolainen summarise. 

From Clermont-Ferrand to Hong Kong 

In the past two years, Hanasaari A has been 

screened at over 50 international film festivals. 

This is partly due to the fact that the film’s form 

has enabled it to be selected for both documentary 

and animated film festivals as well as for festivals 

devoted to experimental films. In 2010, the 

most significant festivals Hanasaari A was seen at 

were the Clermont-Ferrand short film festival in 

France, the Full Frame Documentary Film Festival 

in the United States, and the internationally 

regarded Hong Kong Film Festival, where the 

film won the Grand Prix for Best Short Film. It 

has also received honourable mentions in Germany 

and Spain. For Vartiainen and Veikkolainen, the 

Clermont-Ferrand festival was one of the most 

memorable. 

“Clermont-Ferrand is in a class of its own as far 

as festivals for short films go. I doubt there’s another 

festival where the early afternoon screenings 

of experimental films are sold out,” Vartiainen and 

Veikkolainen marvel. 

The directors of Hanasaari A have broadened 

their knowledge of films by open-mindedly 

watching a lot of new films by other film makers. 

When festival schedules have permitted it, 

the pair have introduced their film before each 

showing. “It’s been fun talking to people after the 

showings. Jury members who have voted for Hanasaari 

A have come over at festival clubs and airports 

to explain why we didn’t win,” the pair say 

with a laugh. 

The director duo’s newest short film, The Death 

of an Insect, had its international premiere at the 

Venice Film Festival in September. During this 

past autumn, it was seen at almost twenty leading 

short film and documentary festivals. Both men 

have once again been enthusiastic guests at many 

of the festivals. 

“The film has aroused interest all over the 

world. We did decide right away that we wouldn’t 

make another film like Hanasaari A, but rather 

something different.” 

Clermont-Ferrand 2011 

This year, the Clermont-Ferrand short film festival’s 

International Competition will feature 

Markku Heikkinen’s short documentary Old 

Man and the Lady. The Lab Competition, which 

is devoted to experimental film, will feature Elli 

Vuorinen’s animated film Tongueling and Hannes 

Vartiainen and Pekka Veikkolainen’s The Death 

of an Insect. 

Otto Suuronen 

2 Finnish Short Films 2011

Joona Louhivuori – 

new film comissioner for short films 

Milla von Konow 

Joona Louhivuori 

Joona Louhivuori started his work 

as the film comissioner responsible 

for short films at the Finnish Film 

Foundation in autumn 2010. Louhivuori 

has studied film at the Aalto University 

School of Art and Design (formerly the 

University of Art and Design Helsinki) 

and worked as a freelance film editor for 

ten years. He has extensive experience in 

editing TV drama, trailers, commercials 

and music videos, a background that 

benefits him in his new position in a 

very concrete way. 

“I think my background as an editor 

is useful in my job as a film comissioner 

because, in both roles, you look at 

a film that’s being made from a certain 

distance, more so than the director. In 

both roles, you have to keep in mind 

that short films are a large whole where 

details rarely affect the work’s quality 

as much as the chosen viewpoint 

or the atmosphere being emphasised”, 

says Louhivuori, comparing his two job 

descriptions. He adds that, both as editor 

and on the funding side, he has to 

consider a film’s meaning in relation to 

the world around it, namely whether the 

story is treated in a way that has been 

done before or whether the subject is a 

current one. 

Perhaps the biggest difference between 

the two job descriptions in 

Louhivuori’s view is that, as an editor, 

he can become immersed in one work 

for months. As a film comissioner, 

on the other hand, he deals with numerous 

projects simultaneously and 

non-stop, which has been extremely 

refreshing. 

Has the altered point of view 

changed him as a film viewer “I 

probably watch movies the same way 

as before. I don’t think anything has 

changed. As an editor, I’ve always 

tried to see things from the moviegoer’s 

point of view. In other words, I’m 

always trying to maintain the viewing 

experience of someone who has seen 

the film for the first time.” 

Joona Louhivuori’s own goal is to 

help make funding decisions that enable 

the best projects to be realised 

and the most interesting filmmakers 

to keep working. “In the best case, it 

could raise the level of Finnish film 

narrative and in such a way that it 

would reach domestic audiences, in 

particular, even better than before”, 

Louhivuori sums up. 

Tytti Rantanen 

Finnish short film makers form 

a united front to face challenges 

Finnish short films entered the 

new decade in a challenging 

situation, but despite this, 

their high quality has brought international 

attention and success. Several 

films have been actively touring different 

festivals, including the Berlin, 

Cannes and Venice film festivals, the 

most prestigious events of their kind, 

the Clermont-Ferrand International 

Short Film Festival and the Nordisk 

Panorama short and documentary film 

festival, which was held in Norway. 

The busiest festival entrants have been 

the animation The Egg Race, which took 

part in 26 festivals, and the novella 

film Over the Fence, which participated 

in 29 festivals. Finnish short films also 

managed to grab some awards, as Juho 

Kuosmanen’s The Painting Sellers won 

the main prize in the Cinéfondation 

Series at Cannes. 

The Finnish Film Foundation and 

AVEK (The Promotion Centre for 

Audiovisual Culture) annually fund 

an average of 15 short films. A third 

important source of funding is the 

Finnish Broadcasting Company YLE, 

which not only invests funds in Finnish 

short films, but also offers a convenient 

channel for showing them to 

the public. In fact, Finnish short films 

have consolidated their position among 

YLE’s cultural programmes, being 

currently broadcast on two different 

channels. In 2009, YLE broadcast a 

total of 88 short films, 16 of which 

were shown for the first time. 

The challenges of the coming 

years will come as a result of a radical 

change on the production side of 

things. As a cost-saving measure, YLE 

plans to cut the number of external 

programme commissions and its participation 

in co-productions. Instead, 

the broadcasting company aims to shift 

its focus to in-house drama production. 

This will naturally raise nervous questions 

at small production companies. 

However, Sari Volanen, the 

producer in charge of short films in 

YLE’s co-production team, assures 

us that short films will continue to be 

produced in the future, even though 

there is no general policy concerning 

the media through which they will be 

broadcast. According to Volanen, YLE 

still intends to create good working 

relationships with new film-makers 

as part of a healthy film culture. Even 

amidst uncertainty, forming a united 

front is extremely important. YLE, the 

Finnish Film Foundation and AVEK, 

together with directors, producers 

and Finnish film festivals, are seeking 

a sustainable solution to the current 

challenges. 

In addition to the united front, 

more emphasis has to be put on quality. 

“The Nordisk Panorama film festival 

was just given Oscar status, which 

means that the festival’s winner can 

Sari Volanen 

become an Oscar nominee. Will it take 

winning an Oscar for the political circles 

in Finland to become interested in 

short films In any case, what we need 

and want now are even better quality 

films and stories”, says Volanen. 

Tytti Rantanen 


Finnish Short Films 2011 3

Kari Juusonen 


A rope extending to the heavens controls the Creatures 

Kari Juusonen’s animation “Ö” is an evolution story whose characters are protozoans from our planet’s ancient past. 

Considered one of Finland’s 

leading animators, Kari 

Juusonen (born 1967) has 

switched techniques from clay animation 

to computer animation. 

Juusonen’s new 12-minute solo 

work is called Ö. Before this Juusonen 

had created the short clay animations 

Pizza Passionata (2001) and The Birthday 

(2004), with the former winning him 

the Prix du Jury award at the Cannes 

film festival. 

He has had a long break since his 

last work but he has a good reason for 

this. Juusonen has built a house and 

worked as a co-director in the feature-length 

computer animation Niko 

– The Way to the Stars (2008), by the 

Anima Vitae animation studio. The 

film’s other director was the Danish 

Michael Hegner. Distributed to over 

one hundred countries, the speedy and 

Christmas-themed Niko is one of the 

most internationally successful Finnish 

films of all time. 

“Ö is a kind of reflective work”, says 

Juusonen. 

“It’s probably the fact that I’m middle-aged 

that creates a slightly introverted 

atmosphere sometimes. You can 

understand the passage of time in another 

way – I’ve tried to make time visible 

in the film using ropes that extend 

upwards out to the characters.” 

As described, the film’s protozoan 

creepy-crawly characters are attached 

to wire-like ropes that lead up, as if 

umbilical cords to the heavens. 

One of the creatures rises from the 

water onto an island, begins to explore 

the world with its limited senses and 

tries to fortify the island, but eventually 

realises it wants to make contact 

and spend time with others. This very 

original film seems like a metaphor 

for humans trying to find their way. 

When you watch Ö, you are reminded 

of the way the story is carried and the 

infinite savouring of existence that 

Pixar boldly displayed in the computer 

animation Wall-E. 

The imagery of Ö, however, is 

the work of one man, created in the 

boiler room of the new house built by 

Kari Juusonen. At the time of his first 

award-winning animation, Juusonen 

saw himself very much as a “manual 

labourer”, but tools change. 

“Initially I made a one-minute clay 

animation demo of Ö, but putting the 

ropes in proved too difficult. With 

computer animation you can make 

movement look the way you want it. 

The feel here had to be immaterial.” 

“The film as a whole, though, is 

carefully constructed. I don’t get ideas 

for films in my dreams. What is interesting 

is the rope, a force that draws 

the characters in a certain direction. I 

was intrigued by the thought of following 

this with the logic of a nature film 

that is as pure as possible.” 

During the working stage, Juusonen 

called the main character ‘Hemppa’ 

and the other members of his species 

‘Creatures’. The film’s creatures, of 

course, cannot speak any clearly formed 

language. In the preliminary production 

information, the central character 

was called ‘Adam’. 

“After Niko, this short film feels like 

it’s a form of self expression. Although 

in the best cases, when working on a 

feature film, the filmmaker can share 

his ideas and even make confessions.” 

“I have a long-term plan for my own 

film that would be half live, half computer 

animation. I think I might make 

some kind of a live short film before 

that, though”, Juusonen promises. 

Niko the Reindeer’s stepfamily 

“There are lots of really interesting 

Finnish short animation makers”, Juusonen 

says. Animation training and 

the opportunities offered by the industry 

are quite a new thing in Finland. 

When Juusonen was working on his 

debut film, Pizza Passionata, which is a 

love mystery taking place in a concrete 

suburb, he considered making the animations 

in Estonia. But within a dec- 

ade, an entire animation industry has 

been born in Finland, whose influencers 

include Petteri Pasanen, the untiring 

ambassador for the Niko project 

and the producer of Pizza Passionata. 

Now that Ö is finished, Juusonen 

has taken on a new job with Anima 

Vitae, which is creating a sequel for 

the story of Niko the little reindeer. 

The sequel is to be released for Christmas 

2012 and currently has the working 

title ‘N2’. “I’m responsible for 

image design and animation again. 

My co-director, the Danish charmer 

Jørgen Lerdam, will be responsible 

for character design.” 

“Niko’s story of growing up will 

continue quite naturally. He has to rediscover 

himself in relation to others – 

within a stepfamily. Niko’s mother has 

found a new husband and Niko gets a 

new stepbrother. Even though the film 

is a fantasy, it talks about issues that 

touch children here and now.” 

Jussi Karjalainen 

Ö, page 17 

Niko – The Way to the Stars 


How to Make a Very Good Film 

A short film is a director’s audiovisual calling card. It is an excellent, small scale way to practise the 

dramaturgy of feature length film, and an important leg on the road to fully mastering the art of the 

The difference between short and feature film becomes 

clear the moment the director applies for 

funding. How to describe a short film What is the 

duration of a short film What does one express with 

a short film Where will it be shown In her thesis, 

Cantell states that the main differences are dramaturgical. 

In my experience, short films are approached in much 

the same way as feature films when it comes to film teaching 

or to making decisions about funding and producing. 

Personally, I have often found it frustrating trying to apply 

dramaturgical models that fit feature films to analysing 

and planning short films. I have felt like someone who 

needs a screwdriver, but can only find a hammer, a saw, or 

a jackhammer. 

(Condensed to a Diamond, p. 5) 

feature film. It is a prelude to a great symphony. 

The notions associated with short film are 

strong, and they are based on the experiences 

of both the film makers and the viewers. Is 

it possible that short film has other dimensions, ones 

that have been ignored 

The inspiration for director Saara Cantell’s doctoral 

thesis was her personal affinity with short films, 

as well as the concrete need to increase the appreciation 

of a genre that is misunderstood and often also 

misused. 

“I was annoyed by how underrated short films are, 

especially since, in my own experience, they are terribly 

difficult to make. The common conception seems 

to be that short films are only a way to learn how to 

make real films. I have seen some wonderful short 

films that are regrettably seldom shown anywhere,” 

Cantell explains. 

The thesis, Timantiksi tiivistetty - Dramaturgia ja 

kerronnalliset keinot lyhyessä fiktiivisessä lyhytelokuvassa 

(Condensed to a Diamond – Dramaturgy and Narrative 

Means in Short Fiction Films, working title, 

forthcoming), presented to the Department of Motion 

Picture, TV and Production Design at Aalto University’s 

School of Art and Design, is a welcome addition 

to film study by film makers themselves. 

In her thesis, Cantell wanted to define the dramaturgical 

differences between short and feature films 

from the director’s point of view. She narrowed her 

research material down to short fiction films that are 

shorter than 15 minutes. The thesis includes both a 

theoretical and an artistic element: five short films 

and a theoretical comparison of the process of making 

them. 

In Cantell’s experience, there has been very little 

scientific study of short films. But the attitudes taken 

towards short films can have a significant impact on, 

for example, the development of national film culture. 

Cantell recalls an interesting example from her 

own student days, when students from the School of 

Art and Design visited film students in Denmark. 

At the Danish film school, student exercises were not 

printed on film, nor were they sent to festivals. 

“Some really big directors have emerged from that 

generation, which doesn’t surprise me at all. They 

had the chance to experiment and take risks while 

doing the student exercises.” 

It wasn’t until the last year of school, when the 

students made a short film, that their works received 

a public screening. 

How to Get to the Crux of a Short Film 

The saw and the jackhammer, funding and distribution, 

are some of the main reasons for the rocky position 

of short film. If the director, financier, distributor, 

and even the viewer have difficulty defining short 

film and its place among film genres, how can it be 

given long-span support and developed further 

Cantell’s thesis defines the art form from the film 

maker’s point of view, in other words, from a practical 

point of view, which makes the study particularly 

valuable. 

Cantell admits that she occasionally went astray as 

she attempted to create an artificial connection between 

feature and short film. 

The genre grouping that is familiar from feature 

films was partly the result of a commercial need to 

define and categorise a film in order to market it more 

efficiently. 

Cantell started out trying to apply the grouping also 

to short films, but she quickly noticed that it was too 

fragmented. Also, the grouping gave no insight as to 

why certain kinds of short films are made. 

The genre grouping of feature films was no help 

in planning a short film, just the opposite: It merely 

steered Cantell towards a superficial dramatic structure. 

This sort of “learning the hard way” is what makes 

studies by film makers so important. 

The answer to defining short film was discovered 

by examining existing short films and their dramaturgical 

choices. 

One of the main theories that Cantell used in her 

thesis was Richard Raskin’s seven parameters for the 

examination and making of short films, each of which 

has a role in the creation of a good short film. 


Saara Cantell 


Heartbeats 

Cantell emphasises parameters six 

and seven: simplicity, but depth, and 

the economy of the narrative in relation 

to the whole, in other words, compactness. 

Cantell groups short films loosely 

into three genres that may overlap: joke 

film, poetic film, and metaphorical 

film. 

The largest genre is the so called 

joke film, consisting of films that 

culminate in a punch line, like the ingenious 

minute-long Natural Glasses 

(Naturlige briller, 2001) by Norwegian 

Jens Lien. 

The poetic film is structurally more 

open than the joke film. The story 

gains depth from simple references, 

and the ending may be left open, as a 

gateway for the viewer’s imagination. 

The temporal structure is continuous, 

moves in depth, and is not tied to real 

time. Marcel Ivány’s Cannes-awarded 

Wind (Szél, 1996) represents the poetic 

film genre at its finest. 

According to Cantell, the rarest and 

also the most difficult form of short 

film is the metaphorical film. Just like 

a poem, a short film can depict familiar 

things from a new perspective. A 

familiar object may become a metaphor 

of something greater. The metaphorical 

film is a metaphor in itself, a highly 

perfected observation of life. To create 

such a film, the film maker needs experience 

of both the instrument (film) 

and of the world. Films in this genre 

are often considered short film classics. 

The example Cantell gives is Roman 

Polanski’s Two Men and a Wardrobe 

(Dwaj ludzie z szaf¹), where 

the wardrobe is the metaphor: The 

inability to adjust to a community. 

From Short to Long 

After examining the anatomy of short 

film, Cantell believes that it is now 

easier for her to use the genres she discovered 

in her own work. But the thesis 

also reveals that even thorough research 

won’t result in a perfect short film. 

Cantell details the director’s work process 

and does not gloss over the pitfalls. 

Interestingly enough, Cantell’s long 

research did not result in just five short 

films and a stack of papers. To the director’s 

surprise, the discoveries made 

in the thesis found their way into a feature 

film, Heartbeats, that premiered in 

Finland on March 5, 2010. 

“In its narrative, Heartbeats uses 

many methods that I would define as 

characteristic of short films. The most essential 

ones are concentrating on the moment 

and allusiveness. Each independent 

episode of the film concentrates on one moment 

that has a partially open ending.” 

(Condensed to a Diamond, p. 207) 

As its main method, Heartbeats uses 

one of the characteristics of short film 

that Cantell discovered in her thesis: 

The principle of being in the moment 

and attentive presence. This is emphasised 

by the fact that each scene was 

shot in one long shot using a hand-held 

camera. Being in the moment is also 

a characteristic of documentary films, 

and it distinguishes Heartbeats from 

typical feature films that are moved 

along by a chain of cause-and-effect. 

Cantell’s stylistic choices make the 

film airy and fresh. 

How to Fund a Short Film 

Cantell’s thesis reveals how time-consuming, 

laborious, and even impossible 

it was to find funding for the five films 

needed for the thesis. 

“I thought I could concentrate on 

making a lot of short films, but it 

didn’t work out quite that way.” 

Ironically, after years of negotiations 

to get funding for the short films, it 

was surprisingly easy to get financial 

support for the feature film Heartbeats. 

This further emphasises the importance 

of established distribution and 

funding channels, and the significance 

of feature film research. 

To ensure funding for short films, 

it is critically important to think about 

how to support and distribute them, 

and how to enable the making of short 

films. 

According to Cantell, making short 

films is now more or less charity work 

for producers. It takes long-term planning 

to develop the genre: 

“Except for those who are just beginning 

their careers, there are few 

directors who want to waste their energy 

on short films, because they know 

that it’s a hopeless endeavour and that 

they’ll have to make compromises. It 

would be great to have masters’ series 

and collections that didn’t concentrate 

only on new talent,” Cantell ponders. 

An established system to support 

the distribution of short films would 

be one option. 

“For example, tax relief for producers 

and distributors who screen a five 

minute short before a feature film. 

That would be an easy and effective 

way to support short films.” 

Short film compilations that follow 

feature film norms might be another 

way to advance the marketing and distribution 

of short films. They would 

make it easier to use the established 

marketing channels of feature films. 

Cantell feels that the distribution of 

short films requires the examination 

and networking of various distribution 

channels, including digital and webbased, 

and television and festivals. 

When Only 

the Essential Remains 

Saara Cantell 

A comprehensive look at the structure 

of short film, Saara Cantell’s thesis reverses 

the established order of importance 

of short and feature film. In her 

study, short films are the master-pieces 

whose creation requires hard work and 

experience. 

According to Cantell’s tender manifesto, 

short film is the genre of the 

most gifted directors, where the gift 

for economical expression is valued. 

Short film is the true measure of a director’s 

talent. 

This is one of the reasons short 

films are so irresistible. How is it possible 

that one cinematic brush stroke 

can give a more profound picture of 

the world than any two-hour feature 

film 

Cantell admits that her journey is 

still unfinished. 

She mischievously says that she is 

practising with feature films, so that 

she could one day produce a real diamond: 

a short film that is only a couple 

of minutes long. 

Mirkka Maikola 

Saara Cantell’s short films 

for her thesis: 

Diagnoosi, 2002. 5 min. (Black and white) 

Potretti (Portrait), 2003. 5 min. (Colour) 

Mahdollisuus (What If), 2004. 7 min. 

(Colour) 

Tiistai, päivävuoro, 2004. 5 min. (Colour) 

Vaihtoehto, 2009. 1’30 (Colour) 

(A demo for a five-minute film) 



Making of 

The Death of an Insect 

Hannes Vartiainen and Pekka Veikkolainen’s previous film, Hanasaari A, 

was an experimental documentary about the demolition of a power plant 

and it has enchanted audiences throughout the world. Now Hannes and 

Pekka explore new territory in The Death of an Insect, their latest film, 

which combines a number of animation techniques in a unique way. 

We started developing a film with dead insects already in 2006. The 

production started in January 2010 and during the spring we had to come 

up with quite special technical solutions for shooting these tiny characters. 

Building the 360° dance choreographies of real world insects started in 2006 with a 

white paper and an upside trash can. Later we glued markers around an ancient vinyl 

player to get shots at precise intervals, but for the production phase we set up a cosmic 

telescope motor and a timelapse camera to automate the process and get flawless loops 

of rotating insects. 

Pohjankonna Oy 

Most of the insects featured in the film 

were gathered from the forgotten corners 

of the city of Helsinki: Between window 

panels, dusty attics and cobwebs. Some of 

them come from old butterfly collections 

(the earliest samples are from the 1960s). 

The Giant Prickly Stick Insect with his 

tragic solo performance died in the 1990s 

of natural causes. After he passed away, 

the carcas was preserved and now 20 years 

later found to star in the film. 


A simple reflective floor surface was built in a 3D program, and in order to populate it 

with dancing white formations of bugs, a couple of different techniques had to be used. 

To get clean silhouettes of wasps, butterflies and other bugs, they were shot against a 

light table which produced beautiful results maintaining wing transparencies. Some bugs 

were really too tiny for any of our lenses, so they were sacrificed by crushing them flat 

inside a slide frame and scanned with high precision. Those scans and silhouette photos 

were then cleaned up and used as textures for the 3D dance. 

The spider in the end shot is a result of such scan. A tiny spider crushed flat, then rebuilt 

from pieces to be animated for the film. 

From the early drafts of the script we 

were sure that in order to have complete 

control over depicting tiny dead bugs we 

would have to be able to look inside them, 

or even be inside them if we so felt like. It 

turned out that around the world there are 

a few X-ray scanners for hire, that can scan 

fossils down to the size of a grain of sand. 

In February 2010 we paid a visit to the university of Ghent in Belgium. Their research 

team at the Centre for X-ray Tomography has built an X-ray scanner, which can create 3D 

models by combining hundreds of X-ray images taken of an object. 

From about one hundred flies we chose three with the most interesting death poses, 

and mailed them over to Belgium along with some beetles and a hawkmoth. The data 

came back a while later and Janne Pulkkinen helped us visualize the see-through insect 

carcasses through his self-built 3D engine. 

The black and white shots are the result of this work, and in one of the aerial shots you 

can see the 3D fly hanging over the city, glowing bright yellow. 


Janne Pulkkinen, Pekka Veikkolainen, Hannes Vartiainen Pohjankonna Oy Pohjankonna Oy 

In order to take the insects out to the streets, to have them race on the Baltic sea and dance on the ice, we had a 2 hour flight with a tiny Cessna plane, sunset time, over Helsinki. 

These shots were then tracked for the 3D implementation of dancing bugs. 

Death of An Insect, page 9 


The Annunciation 

Booris the Råt 

Mends His Ways 

Råtta Booris parantaa tapansa 

Booris the Råt had lived a wicked life 

and was in the jam of a lifetime. Fortunately, 

he was saved by Anneli the Baltic 

herring, and in his gratitude Booris 

now wants to mend his nasty ways. 

Animation | 2011 | Digibeta | 16:9 | 

Stereo | 6 x 4’30’’ 

Director, editing, animation: Leena Jääskeläinen, 

Kaisa Penttilä Script: Leena Jääskeläinen, 

Kaisa Penttilä, Janne Reinikainen 

Sound design, music: Sakari Salli Cast: Janne 

Reinikainen (Voice over) Producer: Liisa Penttilä 

Production company: Edith Film Production 

support: The Finnish Film Foundation 

Financing TV companies: YLE TV2 

Leena Jääskeläinen 

Selected filmography 

2009 The Changeling | 

2003 Many Complained of my Form 

The Annunciation 

Marian ilmestys 

The Annunciation is a fictional documentary 

in which one of the central 

motifs of Christian iconography is 

constructed and re-enacted through 

moving images. It is based on the narrative 

from the Gospel of Luke (1:26-38) 

and paintings of The Annunciation in 

which artists have, in various periods, 

depicted their visions of The Gospel’s 

events. 

The events of The Annunciation are 

set in the present. In addition to a reconstruction 

of the the Annunciation 

there is “The Making of…” footage 

showing how this film was prepared . 

Most of the principal photography was 

shot during the snowy winter of 2010 

in southern Finland’s Aulanko Nature 

Reserve. The entire cast, apart from 

two, are non-professionals and clients 

of the Helsinki Deaconess Institute’s 

women’s support services. Although 

based on an existing script, the events, 

roles and dialogue were adapted during 

the filming process in accordance with 

the actors’ own presence. 

Fiction, Documentary, Experimental | 

2011 | 35mm | 1:1.78 | DD 5.1 

Director: Eija-Liisa Ahtila Script: Eija-Liisa 

Sattva-Hanna Toiviainen Costumes: Mari 

Savio Producer: Ilppo Pohjola Production 

company: Kristallisilmä Oy Production 

support: AVEK, Church Media Foundation, 

The Finnish Film Foundation Financing TV 

companies: YLE TV1 Co-Productions 

Eija-Liisa Ahtila 


2009 Where is where | 2009 The Hour 

of Prayer | 2002 Love is a Treasure | 1999 

Consolation Service | 1996 Today 

L’Artiste 

Marc, a young performance artist, 

arrives in the north, full of expectation. 

He soon learns that October 

weather and northern people are relatively 

cold. Marc tries his best to find 

joy in his new situation but soon starts 

to loose faith. He turns to alcohol and 

his art becomes a macabre travesty. He 

hits rock bottom when he ends up acting 

in a cheap porn film and finally 

he freezes into a stony statue. A young 

woman finds the petrified Marc and 

takes him to her sculptor’s atelier. In 

the morning we can see Marc’s wary 

smile. The young woman eyes Marc 

appraisingly and then picks up her 

hammer and chisel. 

Esa Illi 


2008 Jungle of Dreams | 2003 Brothers 

| 2000 Monkey Business | 1997 Midsummer’s 

Stories | 1993 Kili-Kali 

Esa Illi 

Booris the Råt Mends His Ways 

Kaisa Penttilä 


2009 Egg Race | 2005 Superhero’s Son | 

2002 Air Mail 

Kaisa Penttilä 

Ahtila Cinematography: Arto Kaivanto 

Editing: Heikki Kotsalo Sound design: 

Peter Nordström Set design: 

Fiction | 2010 | HD | 1:1,85 | Stereo 5.1 | 

13’36’’ 

Director, script, editing, music: Esa Illi 

Cinematography: Timo Heinänen Sound 

design: Janne Laine Set design, costumes: 

Kristiina Saha Cast: Marc Gassot Producer: 

Petri Rossi Production company: Cine 

Works Production support: The Finnish 

Film Foundation Financing TV companies: 

YLE Co-Productions International sales: 

Eija-Liisa Ahtila 

Cine Works 

L’Artiste 


Burungo 

Could You Love 

Burungo 

Burungo has two meanings in the Sheng slang used in the slums of Kenya: girl and 

merchandise. This is a fictional story of a family with a mother, father, and six 

children. The family’s two teenaged daughters try to raise money so they can buy 

a new dress for their mother. But raising money in a Nairobi slum is not only difficult 

but also dangerous. 

Fiction | 2010 | 1920x1080p, Canon 5D Mark II | 16:9 | 

Dolby Stereo 2.0 24bit 48 kHz | 13’30’’ 

Director: Dome Karukoski and Pamela Tola Script: Pamela Tola and Dome Karukoski 

Cinematography: Pini Hellstedt Editing: Tuuli Hirvonen, Kati Pukarinen and Harri Ylönen 

Sound design: Micke Nyström Music: Panu Aaltio Set design: Jussi Halonen Costumes: 

Paula Konttinen Cast: Mwende Musau, Ruguru Munio, Jazz Moll, Magdalene Muchoki, Joel 

Kennedy, Geoffrey Jefferson Producer: Aleksi Bardy and Annika Sucksdorff Production 

company: Helsinki-filmi Oy Production support: The Finnish Film Foundation, Ministry for 

Foreign Affairs of Finland Financing TV companies: Yle Co-Productions 

Dome Karukoski 

Could You Love 

Voitko rakastaa 

Dome Karukoski Selected filmography 

2010 Lapland Odyssey | 2009 Forbidden Fruit | 2008 The Home 

of Dark Butterflies | 2008 Brothers (TV mini-serie) | 2005 Beauty 

and the Bastard 

Pamela Tola Selected filmography 

2010 Lapland Odyssey (actor) | 2006 Soap (actor) | 2005 Beauty 

and the Bastard (actor) | 2005 Frozen Land (actor) | 2003 Pearls 

and Pigs (actor) 

Could You Love is a documentary film about memories and oblivion. Mother and 

daughter are looking for moments they could share over a telephone conversation 

after twenty-four years of absence in each other’s lives. In this subjective documentary 

the moment of remembering is created by combining a phone call with 8 mm 

films and footage from the present day. 

The film creates remembering by demonstrating the subjectivity of memories: images 

are deleted, paused and fast-forwarded according to the person’s needs. A private 

story expands to a more general level and emphasizes the importance of remembering. 

Director Johanna Vanhala 

I am interested in memories and remembering because the topics 

are so closely related to identity. What we remember and 

what we have forgotten affect our decisions every day and thus 

also determine the direction of our lives. The topic is relevant to 

everyone and is entwined closely to humanity and to the ways 

we experience the world. For this reason I feel it is important to 

reflect on this phenomenon. 


Erään hyönteisen tuho 

In a lifeless urban landscape where time itself has stopped its crawl, a mad ballet is 

commencing and a newly hatched butterfly is about to die. 

This tragic story was constructed using dead insects gathered from forgotten 

attics and tool sheds, between window panels and cobwebs. It combines a number 

of animation techniques from classic stop-motion animation to animated 3D 

models of x-ray CT-scanned insects. 

Documentary | 2010 | 35 mm | 1:1,85 | Dolby Digital | 7’ 

Directors, script, cinematography, editing, animation: Hannes Vartiainen and Pekka Veikkolainen 

Mixing consultant: Olli Huhtanen Music: Joonatan Portaankorva Producers: 

Hannes Vartiainen and Pekka Veikkolainen Production company: Pohjankonna Oy 

Production support: The Finnish Film Foundation, AVEK Financing TV company: YLE 

International sales: Pohjankonna Oy 

Hannes Vartiainen and Pekka Veikkolainen 

Hannes Vartiainen (born 1980) has a background 

in film. Pekka Veikkolainen (born 1982) has been 

working with animation and illustration since 2000. 

In 2008 the two started their own production 

company. Their first film together was Hanasaari A 

(2009, 15 min, 35 mm, experimental documentary) 

Hannes Vartiainen and 

Pekka Veikkolainen 

Johanna Vanhala 


Documentary | 2010 | HDCAM, DigiBeta | 16:9 | Stereo | 15’ 

Director, script, cinematography: Johanna Vanhala Editing: Tommi Lind Sound design, 

music: Iiro Hokkanen Producer: Ulla Simonen Production company: Elokuvayhtiö Aamu Ltd. 

Production support: AVEK, The Finnish Film Foundation Financing TV company: YLE International 

sales: Elokuvayhtiö Aamu Ltd. 

Johanna Vanhala 

Johanna Vanhala has studied in the Media and Arts school of Tampere in Finland. Her documentary 

film Nimeni on Alma was awarded at several festivals. Could You Love is her first 

documentary film after graduating and it was awarded as the best documentary film at 

the Kettupäivät short film festival in November 2010. Vanhala also does new media art and 

interactive installations. 

Selected filmography: 

2010 Could You Love | 2007 Katiska | 2006 My Name is Alma | 2004 Viima 



Edith 

Elma & Liisa – Pamela Tola & Pihla Viitala 

Edith 

Edith lives in a dream world that consists of memories and fragments of reality. 

She is sinking deeper and deeper into dementia, but is she suffering Edith is a 

film that attempts to portray the mental landscape of an old woman. 

Animation | 2010 | DigiBeta PAL | 16:9 | Stereo | 5’30’’ 

Director, script, editing: Taru Varpumaa Sound design: Salla Hämäläinen Music: Anna 

Huuskonen Musicians: Jenni Harra (cello) Essi Hänninen (percussions) Johanna Kröger 

(flute) Minna Lehtinen (clarinet) Esko Mäkinen (contrabass) Animation: Taru Varpumaa, 

Sara Wahl, Pinja Partanen, Samppa Kukkonen, Ami Lindholm Compositing: Samppa Kukkonen, 

Lauri Järvenpää Voice actors: Kerttu Jankeri, Tiina Kaartinen Producer: Jyrki Kaipainen 

Production company: Camera Cagliostro Financing TV company: YLE co-productions 

Production support: The Finnish Film Foundation, AVEK, West Finland Film Commission, 

The Central Union for the Welfare of the Aged 

Taru Varpumaa 


2008 The Royal Family | 2005 The Great Hunter | 

2004 Minä olen murhaaja 

Elma & Liisa 

Taru Varpumaa 

Elma and Liisa are reunited after many years of separation. They decide to take 

a road trip to get away from their torturous lives of ennui.. Though left behind, 

their past continues to haunt them. What starts out as mere fun becomes a trip of 

self-discovery with the girls contemplating what they really want out of life. Elma 

and Liisa is a tragicomedy about friendship, choices and separation. How well can 

one know ones best friend How well can we even know ourselves 

Fiction | 2010 | Digital Cinema Package, DVD | 1:2,39 | 5.1 | 38’ 

Directors, script, set design, costumes: Pamela Tola and Pihla Viitala Cinematography: 

Jean-Noël Mustonen Editing: Antti Reikko Sound design: Pietu Korhonen Music: Mikael 

Kivelä Cast: Pamela Tola, Pihla Viitala, Kasimir Balzar, Anita Salonen Producers: Pauli Waroma 

and Artturi Mutanen Production company: Mutanen Enterprises Production support: 

Johanna Tarvainen, Kaisla Viitala, Iina Keskinen Financing TV companies: YLE 

Two young, talented Finnish actresses, Pamela Tola and Pihla Viitala, 

make their debute as directors. 

Faruza 

Faruza is a medieval story of an isolated island kingdom in the Red Sea, where the 

rulers abide by a strict law: the women must wear a copper mask from the day they 

turn twelve until the day they die. The law makes the lives of the island’s fishing 

families difficult in many ways: The families can afford the mask only after several 

years of saving, and because they are weighed down by the heavy copper, the 

women can’t take part in fishing on the stormy sea. 

As her birthday approaches, Faruza, the daughter of a poor fisherman decides 

to rebel. In secret, she befriends the island’s hated and lonely blacksmith, who has 

longed for a change in his life. Together the rebels escape to the joyous court of 

the pearl fishers on the neighbouring island. 

But Faruza’s fate is to return to her home island where the women await her. 

But as it happens, the island’s queen has also had her fill of the mask... 

Animation | 2010 | Digi Beta | 16:9 | Stereo | ~13’ 

Director, script, editing: Katariina Lillqvist 

Cinematography: Miloslav Spala 

Music: Rezgar Fatahi Set design: Veronika 

Doutlikova Animation: Alfons Mensdorf 

Pouilly Producer: Jyrki Kaipainen Production 

company: Camera Cagliostro Production 

support: The Finnish Film Foundation, 

AVEK Financing TV company: YLE TV1 Co- 

Productions International sales: Camera 

Cagliostro 

Katariina Lillqvist 

Selected Filmography 

2008 Far away from Ural | 2008 This Land 

was not My Land | 2001–2003 Mire Bala 

Kale Hin | 1996 The Country Doctor | 1995 

The Maiden and the Soldier 

Faruza 

Katariina Lillqvist 


Georg and Lydia 

How to Pick Berries 

Georg and Lydia 

Georg och Lydia 

Georg and Lydia is a road movie with a most unlikely pair. Lydia (age 30) is a young 

and talented organist who crosses paths with Georg (age 70) who is in declining 

health, trying to come to terms with the end of his life. 

Lydia desperately tries to prepare her debut concert, but is suffering from a creative 

block. Georg is on his way from Stockholm to Finland to meet his son before 

the heart surgery that may cost him his life 

When they meet, Georg has just been pulled over by the police for driving 

without a license. Lydia needs a lift, and offers to drive his car. Before long, Georg 

suffers a seizure. Lydia realizes how important it is that Georg meets his son, 

Pavel, before the operation and she decides to take Georg to him rather than the 

hospital. Upon meeting, Georg can’t bring himself to tell Pavel that he believes his 

death is imminent. 

Elina Talvensaari Selected filmography 

2008 Palm tree | 2008 Invisible Hand 

Director Elina Talvensaari: 

The twisted logic of global economy never fails to amaze me. For 

me it is the most sci-fi thing there is, but real. At the same time 

I’m very curious about the relationship between identity and landscape. 

Those two favourite themes of mine met in the subject of 

this film, which is also a tribute to my childhood memories. 

Inhale 

Syvä hengitys sisään 

Elina Talvensaari 

Fiction | 2010 | 1920 x 1080p, RED ONE | 16:9 | Dolby Stereo 2.0 24bit 48kHz | 59’ 

Director, script: Anna Maria Jòakimsdottir Hutri Cinematography: Mark Stubbs Editing: 

Helena Öst Sound Design: Micke Nyström Music: John Grönvall Set design: Kaisa Mäki nen 

Costumes: Sari Suominen Cast: Maria Salomaa, Sven Wollter 

Producers: Aleksi Bardy & Annika Sucksdorff Production company: 

Helsinki-filmi Oy Production support: The Finnish Film Foundation, 

Swedish Cultural Foundation in Finland, Föreningen konstsamfundet, 

Helsinki-filmi Financing TV companies: YLE FST5, SVT 

Anna Maria Jòakimsdottir Hutri 


2009 Apple Thieves | 2009 Blue Dolphin | 2005 Sam | 

2001 All of this Feels like a Dream | 2001 Lilja 

How to Pick Berries 

Miten marjoja poimitaan 

Visitors from a distant place appear in the misty swamps of Northern Finland. As 

harmless as they are, their foreign presence unwittingly disrupts the pace of local 

habits. They have come to look for berries, an activity that all of a sudden seems to 

embody all the values of local culture. Who is to blame and where do the profits 

end up How to Pick Berries is an exploration of the Finnish mind and the absurdities 

of global economy. 

Documentary | 2010 | 35mm, Digibeta, 

Beta SP, Blu-Ray | 1:2,35 Anamorphic | 

Dolby Stereo 5.1 (35 mm + Bluray) | 19’ 

Anna Maria 

Jòakimsdottir Hutri 

“I cannot trust my body anymore. 

All that I have ever been is through my body” 

The dancer is at home in a large room full of light. In spite of continuous pain 

and uncertainty, she wants to have a ballet lesson by herself. The dancer dreams 

about dancing, about the way she moved before her illness. Images of childhood 

ballet lessons reaffirm that movement and dance are at the core of her identity. 

The dancer dances the movements in her mind, but the body is not yet ready. 

We all have to face our existential loneliness and the limitations of our bodies. 

Life brings surprises to all of us. The little dancer still jumps and dances; hope 

and freedom are not lost. 

Documentary | 2010 | DigiBeta, Blue ray, DVD | 16:9 | 5.1 / Stereo | 13’ 

Director, sound design, music: Päivi Takala Script: Hanna Brotherus, Janice Redman, Päivi 

Takala Choreography: Hanna Brotherus Cinematography: Päivi Kettunen Editing: Kimmo 

Kohtamäki Set design, costumes: Alisha Davidow Cast: 

Janice Redman, Elsa Brotherus Producer: Päivi Takala 

Production company: Soundsgood Productions Oy 

Production support: AVEK, Finnish Cultural Fund 

Financing TV companies:YLE Co-productions 

Päivä Takala 


2007 Learned by Heart | 2002 Thousands of Jackets | 

1993 Boys, Boys | 1991 Zulei | 1989 Mwe Bana Bandi 

Päivi Takala 

Director: Elina Talvensaari Script: Elina 

Talvensaari, Mauro Fariñas Cinematography: 

Joonas Pulkkanen Editing: Markus 

Leppälä Sound design, music: Pinja 

Mäki Producer: Elina Talvensaari Production 

company: Aalto University, School of 

Art and Design, Department of Motion 

Picture, Television and Production Design 

International sales: Aalto University, 

School of Art and Design, Department of 

Motion Picture, Television and Production 

Design 

Inhale 


Largo 

Liv 

Largo 

The girl doesn’t know why there seems to be an invisible wall between them. 

Why is her mother just going through the motions and refusing help Why 

does her father watch television with the sound off And why have the children 

been shut out of everything Touching is difficult. Conversation is only a memory. 

The girl practises leaving and gathers strength from it. 

Finally, she decides to pack up her dearest belongings and say goodbye to her 

family and childhood home. Maybe that will open the eyes of her father and 

mother and encourage them to accept the truth. At the same time she hopes that 

they won’t forget her. 

Largo is the fragile story of a rural family that has lost the ability to communicate. 

Seen through the eyes of their 17-year-old daughter, this short film with 

dance depicts the moment when the parents’ ungrieved grief becomes alive. 

Fiction, Experimental | 2010 | DVCPRO50 | 16:9 | Stereo | ~19’ 

Director: Kimmo Leed Script: Kimmo Leed, Tuomo Leino, Jenni Kivelä Cinematography: 

JP Passi Editing: Tuomo Leino Sound design: Pekka Karjalainen Music: Tuomo Leino, Petri 

Nieminen Set design: Otso Linnalaakso Costumes: Karoliina Koiso-Kanttila Producer: Tuomo 

Leino Production company: Leino Production Oy Production support: The Finnish Film 

Foundation, AVEK Financing TV company: YLE TV1 International sales: Interprod 

Kimmo Leed 


2003 Replay | 

2002 Greetings from Sochi! | 

2000 Das Monolith 

Riikka Sundqvist 

Liv 

9 year old Liv feels left out when her dad organizes a house warming party for his 

new boyfriend. She decides to teach the grown-ups a lesson they will not soon forget. 

A strong girl sends a strong message and gets her way. 

Fiction | 2010 | HDCAM | 1920x1080 | Stereo | 14’30’’ 

Director, script: Johan Karrento Cinematography: Marita Hällfors Editing: Pauliina Punkki 

Sound Design: Pietu Korhonen Music: Ville Riippa, Petter Lindholm Set Design, costumes: 

Sarah Bowen-Walsh Cast: Sophia Knight, Niklas Groundstroem, Jan-Christian Söderholm, 

Marc Svanhström, Sonja Ahlfors Producer: Janina Kokkonen, Johan Karrento, Hans Mikael 

Holmström Procuction Company: Refuture Ventures Co-Producers: Inbreed Film Production 

Support: The Finnish Film Foundation, AVEK, Swedish Cultural Foundation in Finland, 

Föreningen Konstsamfundet Financing TV Company: YLE FST 5 

Johan Karrento 


2010 Guns | 2010 This is Hollywood | 

2009 Loi Loi | 2006–2008 Videoschlager | 

2007 Telematic Heroes 

Mangel 

Mankeli 


Mangel is a male angel who descends from the heaven and falls in love 

with a tree… 

Animation | 2011 | BetaSP, DigiBeta, SD, HD | 16:9 | Stereo 5.1 | 10’ 

Kimmo Leed 

Directors, script, set design: Jan Andersson and Katja Kettu Cinematography: Antti 

Takkunen Editing: Jan Andersson Sound design: Pirkko Tiitinen Music: Eero Turkka & 

Mamo ensemble Animation: Jan Andersson, 

Katja Kettu, Risto Jankkila Cast: 

Hannu Nurmio Producer: Tomi Riionheimo 

Production company: Indie Films Oy Production 

support: The Finnish Film Foundation 

International sales: Indie Films Oy 

Jan Andersson 


2010 Combat | 2010 The Illustrated City | 

2003 Hankercifs For Sale 

Katja Kettu 


2007 Ei rakkautta saa… | 2006 When I’m 

Gone | 2004 The Easy Writer 

Mangel 

Katja Kettu and Jan Andersson 


Meal with a Deal 

Documentary | 2010 | Digibeta | 16:9 | Digibeta 2.0 Stereo, DVD 5.1. Dolby | 3 x 1’ trilogy 

Director, script: Maarit Suomi-Väänänen Cinematography: Maarit Suomi-Väänänen, Sari 

Aaltonen Editing: Maarit Suomi-Väänänen, Heikki Kotsalo Sound design: Kyösti Väntänen, 

Pirkko Tiitinen Music: Pirkko Tiitinen Special effects: Konsta Mannerheimo Colours: Parastus, 

Toast Post Translator: David Mitchell Producer: Maarit Suomi-Väänänen Production 

support: Arts Council of Finland, AVEK The Promotion Centre for Audiovisual Culture International 

sales: AV-arkki (The Distribution Centre for Finnish Media Art) 

Maarit Suomi-Väänänen 

M.A. Maarit Suomi-Väänänen works as a filmmaker and media artist. Her work also encompasses 

photography and installations. Praised as fascinating and open to a multitude 

of interpretations, Suomi-Väänänen’s awarded works are touring from San Francisco to 

Hanti-Mansisjk, appearing in exhibitions, at festivals and on TV. 

Meal with a Deal 

Tsägäateria 

A film about customers and customer service. 

Risto, working on the tills at a burger restaurant, is fed up with his job. Hungry 

and in a hurry, the famous actress Outi Mäenpää arrives at the restaurant and orders 

the special price “Meal with a Deal”. A quarrel ensues between them about 

the correct price of the meal. Risto blows his top and realises his dream. The 

horrified restaurant manager tries to pacify the famous actress and offers her the 

chance to exact revenge. 

Fiction | 2011 | DCP, DigiBeta, 35mm | 1:1, 85 | Stereo | 7’ 

Director: Antti Heikki Pesonen Script: Paula Mononen Cinematography: 

Harri Räty Editing: Kimmo Taavila Sound design: Svante 

Colerus Music: Antti Pouta Set design: Sarah Bowen-Walsh 

Costumes: Jenni Rousu Cast: Outi Mäenpää, Max Ovaska, Jarkko Lahti 

Producer: Kai Nordberg & Kaarle Aho Production company: Making 

Movies Oy Production support: The Finnish Film Foundation, AVEK 

International sales: Making Movies Oy 

Antti Heikki Pesonen 


2010 Radio Millennium (II season) | 2008 Mentally Fat | 

2007 Sugar Butt | 2007 Konela | 2006 Harve 

Minispectacles 1–3: touché, douche and souche 

Minispektaakkelit 1–3: koskee, korpee ja sorsii 

Antti Heikki Pesonen 

Minispectacles is a series of one-minute works, cinematic haikus. Mini spectacles 

depict big emotions briefly. They have tongue in cheek and heart in throat. The 

feelings are familiar – there is something pitiful about them, something amusing, 

horrifying and strange, too. The parts of the Mini spectacles trilogy are touché, 

douche and souche. To be continued. 

In the Minispectacles the landscape is at one with the emotion both conceptually 

and contextually. The name of the multi-layered work stitches together the 

inner feeling and the nature, the landscape, the animal, the human being. The action 

seems simple, but the work can be interpreted in many ways. 

Selected filmography: 

2009 Up And About Again | 2007 Salty Snow | 

2005 A Bit Scary Really... | 2004 Swan Song | 

1996 Changing: Masuzyo And Tasintha 

Old Man and the Lady 

Ukko ja akka 

ln a small red hut in northern Finland 73 year old Seppo finds time each day to 

tell 102 year old Linda to shut up. Yet, they are able to find joy in their lives from 

the little things. Centering on life in the remote villages of Kainuu, Old man and 

the lady is a short film about a way of life that is about to vanish. 

Documentary | 2010 | HDCAM, Digibeta, Blu-Ray, DVD | 16:9 | 15’ 

Director, script: Markku Heikkinen Cinematographer: Hannu-Pekka Vitikainen, Markku 

Heikkinen Editor: Joona Louhivuori Sound designer: Anne Tolkkinen Composer: Pekka Lehti 

Production sound: Anne Tolkkinen, Pirkko Tiitinen Foley-artist: Vesa Meriläinen Grip: 

Eero Lämsä Musicians: Markku Lepistö, Jouko Kyhälä, Samuli Kosminen, Marko Timonen, 

Pekka Lehti Producer: Hannu-Pekka Vitikainen Production company: Zone2 Pictures Oy 

Production support: The Finnish Film Foundation International sales: Zone2 Pictures Oy 

Markku Heikkinen 


2009 Due Date | 2008 All Boys | 

2004 Summit | 1998 The Secret We Share | 

1996 The Gentle Anarchist 

Markku Heikkinen 

Maarit Suomi-Väänänen 

touché: Bottle bobbing 

douche: Bomb bombing 

souche: Blueberry picking 

Old Man and the Lady 

Minispectacles 1–3: touché, douche and souche 


The Painting Sellers 

A Perfect Day 

The Painting Sellers 

Taulukauppiaat 

It’s almost Christmas, but these three people are still on the road. 

Their products don’t sell, the car is a wreck and the weather is freezing. 

As if that’s not enough, now they have to cope with an emerging friendship 

Fiction | 2010 | 35mm | 16:9 | Dolby Digital | 59’ 

Director, script, cinematography: Leevi Lemmetty Editing: Miikka Leskinen Sound Design: 

Cristopher Wilson Music: Frédéric Chopin performed by Lang Lang Set Design: Leevi Lemmetty 

and Jukka Lemmetty Lead character animator: Andreas Rohde Animation: Justyna 

Kryzaniak Modelling & Texture: Irene Macias, Agnes Billard, Marwane Belkas, Leevi Lemmetty 

Cast: Sean Connolly Producer: Tamsin Lyons, Hannele Lemmetty, Hugh Welchman 

Production company: Muste ja Valo Oy Co-production: BreakThru Films Production support: 

The Finnish Film Foundation, AVEK, BreakThru Films Financing TV company: YLE Children’s 

Programs International sales: BreakThru Films 

Director: Juho Kuosmanen Script, cinematography: JP Passi 

Editing: Jussi Rautaniemi Sound design: Pietu Korhonen 

Cast: Teppo Manner, Auli Mantila, Tuomas Airola Producer: 

Jussi Rantamäki Production company: Aamu Film company 

Production support: The Finnish Film Foundation 

Financing TV companies: YLE 

Juho Kuosmanen 

Filmography 

2008 Citizens | 2007 Roadmarkers | 2006 Knight of the Galaxy 

Juho Kuosmanen 

Leevi Lemmetty 

Selected Filmography 

2011 The Last Job | 

2007 Mad World | 

2004 Gentlemen’s Antics | 

2004 The Sun | 

2004 The Tree 

Leevi Lemmetty 

Papa’s Boy 

Isän poika 

A Perfect Day 

Hyvä päivä 

In the middle of a quiet toy store sits an old grand piano. Hidden in one of the piano’s 

legs lives Tiny, a little mouse and his family. 

Tiny dreams of being a dancer, but his disappointed father would like him to 

follow in his footsteps as a boxer. One day when Papa Mouse leaves home a huge, 

fat Cat pounces on him. Tiny and his mother are terrified but there’s no time to 

lose! In the face of this terrible danger, will the power of boxing or the art of the 

dance prove more effective 

Animation | 2010 | 3D CG Animation | 16:9 | Dolby Digital 5.1 | 3’ 

It’s Arto’s first day at work in a wheelchair. Nothing is like it used to be and they 

say he should give his gun away. 

Fiction | 2010 | Digibeta | 16:9, 2:35 crop | Stereo | 10’30’’ 

Director, script, editing: Teemu Nikki Cinematography: Jyrki Arnikari Sound design: Sami 

Kiiski Music: Miska Seppä Costumes: Anna Vilppunen Cast: Matti Onnismaa, Rami Rusinen, 

Jouko Puolanto Producer: Teemu Nikki Production company: It’s Alive Productions Oy 

Production support: The Finnish Film Foundation 

Teemu Nikki 


2010 Play God | 

2009 Mother Doesn’t Bowl Anymore | 

2008 Legacy | 

2007 A Mate | 

2005 The Opportunist 

Papa’s Boy 

Teemu Nikki 


Ruins of the Gaze 

by little during the shooting while rehearsing or improvising in front of the camera, in 

order to create scenes in which participants would challenge their ways to inhabit those 

spaces. Thus, collaborative fiction is a way of questioning reality: it provides a possibility 

to overtake the abstract materialization of capitalist rules. Discussions, video workshops 

and writing are for me powerful ways to create other images, which have something of a 

shared nature. 

Soul Catcher 

Sielunsieppaaja 

Ruins of the Gaze 

La ruine du regard 

Katseen raunio 

Ruins of the Gaze is a documentary film 

about Les Halles – Europe’s largest 

shopping centre and metro station 

complex in Paris. The complex constitutes 

a crossroads where different 

neighbourhoods and suburbs come 

together and it has been for centuries a 

people’s market located in the heart of 

Paris. The multiple layers of the film 

observe the people who spend their 

time in the area. In addition to this 

documentary film, the film materials 

have been used to create a separate 

architectural installation consisting of 

five screens. 

Ruins of Gaze is the third and final 

part of a trilogy. The two earlier parts 

are Monumentti näkymättömälle filmed 

in 2003 in Helsinki, and Soprus-Druzhba 

realized in 2006 in Tallinn. 

Documentary | 2011 | HD-master, DigiBeta 

| 16:9 | 5.1 Surround | 25’ 

Director, script: Anu Pennanen Cinematography: 

Irina Lubchansky, Sophie Cadet, 

Anu Pennanen Editing: Anne Lakanen 

Sound design: Titus Maderlechner Producer: 

Sonja Lindén Production company: 

Avanton Productions oy Co-production: 

Avenue B, France Production support: The 

Finnish Film Foundation, AVEK, Arts Council 

of Finland, Art Association of Finland, 

Greta and William Lehtinen Fund, Frame, 

Pixelache Festival, Cent Quatre Financing 

TV company: YLE Co-productions International 

sales: Avanton Productions Oy 

A Monument for the Invisible (2003) and 

Detached (2002) have been screened at international 

film festivals and film screenings 

at museums, such as MoMA and 

Anthology Film Archive in New York, the 

Pompidou Centre in Paris and the Ludwig 

Museum in Budapest. 

Director Anu Pennanen: 

In order to question the mechanisms and 

imageries of the spaces of capitalism, my 

films are based on a collaborative process. 

Parisians and suburbians from different 

ages and experiences, all connected by the 

knot of Les Halles, have participated in the 

making of Les Halles film project. 

The script, which served as a preliminary 

structure for my film, worked as a 

contract between me and the participants 

of the project. The dialogues, acts and 

scenes of the film were constructed little 

”They say with every photo that is taken, a piece of your soul goes with it”. 

Soul Catcher is a film about a man who has lost his soul. Many aboriginal tribes 

have believed that if someone takes a photograph of them they lose their soul. 

Without a soul, the person was doomed and could no longer be reborn. 

The film evolves on a beach and it’s central character is an African man whose 

ancestors were maasai warriors. The maasai people believe that the soul is situated 

in the head. 

Ants have also an important role in this film, as they are highly respected by 

maasai people. Many biologists consider ants as the masters of the world because 

of their quantity and distribution. They reign with the variety of their species, 

communication and behaviour. 

Soul Catcher is a visually impressive journey into the core of humanity. Without 

any words, it tells a story in several layers and leaves the viewer reflecting on 

our invisible essence, the beliefs around it and humanity in general. 

Documentary | 2011 | 35 mm | DigiBeta | 1:2,35 (cinemascope) | Dolby Digital | 14’ 

Director, script, editing: PV Lehtinen Cinematography: Matti Helariutta, Hannu-Pekka 

Vitikainen Sound design: Micke Nyström Music: Biosphere, Tapani Rinne & Tuomas Norvio 

Producer: PV Lehtinen Production company: Cineparadiso Oy Production support: 

The Finnish Film Foundation, AVEK, Ministry for Foreign 

Affairs of Finland, Helsinki Municipality, Arts Council of 

Helsinki Metropolitan Region Financing TV company: 

YLE Co-productions International sales: Cineparadiso Oy 

PV Lehtinen Selected filmography 

2011 Krump | 2010 My Superhero | 

2007 Keidas | 2004 The Crawl | 2003 Airo | 

2001 Sirkka | 2000 The Diver 

PV Lehtinen 

Anu Pennanen 

Artist and filmmaker Anu Pennanen has 

been working on participatory films and 

other projects, 

mostly in urban 

public spaces, 

since 1999. In addition 

to many 

international art 

biennales, her 

previous films 

Friendship (2006) 

Anu Pennanen 

Soul Catcher 


Summer in Helsinki 

Director, script: Tuija Halttunen Cinematography: Marita Hällfors Editing: Riitta Poikselkä 

Sound design: Jukka Nurmela Music: Antti Hirsiaho Producer: Laura Oinas Production 

company: Elokas Cooperative Production support: The Finnish Film Foundation Financing 

TV company: YLE Co-productions International sales: Elokas Cooperative 

Tuija Halttunen 

Tuija Halttunen has directed more than ten documentaries during the past fifteen years 

and has also written and directed television drama. 

Displaying a humane and warm approach to the characters and subjects in her films, 

the focus of her documentary work has been on different aspects of human life with 

projects ranging from a bear hunt to a study of evil: a film about forensic psychiatric examination. 

Summer in Helsinki 

Helsingin kesä 

Summer in Helsinki is an experimental portrait of the city in summer – of its people, 

animals, events, weather, and moods. The director has documented life in Helsinki’s 

parks, market places, and beaches for one entire summer, and assembled the 

footage into this film. 

Documentary, Animation, Experimental | 2011 | Beta, DVD | 16:9 | Stereo | 8’21’’ 

Director Tuija Halttunen: 

Tabula Rasa is a film trying to make visible the invisible – 

the pursuit of happiness and self-confidence – through 

observing human faces. As a director it taught me that 

short film is by no means any easier or less of an effort 

as an art form than a full length documentary. Some may 

consider it only as a rehearsal method for young filmmakers, 

a device to practise their craft. That way of thinking is to 

belittle a great art form – the short film. 

Tuija Halttunen 

Director, script, animation: Maria Björklund Editing: Maria Palavamäki Sound design: 

Salla Hämäläinen Music: Black Motor Producer: Maria Björklund Production company: 

Osuuskunta Animaatiokopla Production support: AVEK, Arts Council of Helsinki Metropolitan 

Region Financing TV company: YLE TV1 International sales: Osuuskunta Animaatiokopla 

/ Maria Björklund 

Maria Björklund 

Filmography 

2010 Avara jääkaappi – Itkuepidemia 

(with Leena Jääskeläinen and Aiju Salminen) | 

2007 Talven jälkeen tulee kevät | 2000 Zoo & Zorkka | 

1998 Kalavale | 1997 Tribal 

Tabula rasa 

Tabula Rasa is a poetic study of dreams. 

As a group of women – and a few men – gather together for a make-up demonstration, 

the experienced saleswoman infuses enthusiasm into her listeners by offering 

them the possibility of a new, more beautiful face. 

A wrinkle free complexion with the help of Magic Gel. Longer lashes courtesy 

of the Blaster. And flawless skin for the regular user of Queen Cream. 

Whilst the saleswoman works, a spectrum of emotions is reflected in the participants’ 

faces as they see themselves and other members of the group more or less 

transformed. 

Tabula Rasa is a study of faces. A celebration of individuality told with gentle 

humour and even absurdity as it reveals our abiding belief that happiness can be 

found through beauty. 

Documentary | 2011 | HD/DigiBeta | 16:9 | Stereo | 15’33” 

Maria Björklund 

A Tall Man 

Pitkä mies 

Väinö Myllyrinne was one of the first internationally known Finnish celebrities, 

thanks to his height of nearly 2,5 meters. After his death, Väinö, or rather his 

figure, became immortal. His journey continues in our collective memory, best 

reprised by a life-size puppet, which tours the World much like Väinö did when 

he was still alive. 

A Tall Man pictures Väinö’s endless journey from the glittering European metropolises 

of the 1930’s to the local supermarkets and museums of today, which 

hold and preserve his belongings. It is a lyric, yet melancholy story about civilization’s 

obsession to organize and categorize the World. 

”I was still in high school when I saw the real-size puppet of Väinö Myllyrinne 

in a local supermarket. I remember that I was thinking why this puppet existed 

and what it tells about us”, director Jani Peltonen says. 

Documentary | 2010 | Digital Beta | 16:9 | Stereo | 19’ 

Director, script: Jani Peltonen Cinematography: Heikki Färm F.S.C Editing: Okku Nuutilainen 

Sound design:Tazu Ovaska Music: Pietu Korhonen Producer: Sami Jahnukainen 

Production company: Mouka Filmi Production support: The Finnish Film Foundation, 

AVEK Financing TV company: YLE Co-productions International sales: Mouka Filmi 

Jani Peltonen 

Jani Peltonen (born 1981) graduated from Lahti University 

of Applied Sciences, Institute of Design, Film and Television 

Department in 2008. His thesis film was documentary 

The Great Mill. Since then he had been working in the Finnish 

film industry in several duties. A Tall Man is his professional 

debut as a director. 

Jani Peltonen 

Tabula Rasa 

A Tall Man 


The Tongueling 

The Variation 

The Tongueling 

Kielitiettyni 

Wooden knocks are echoing in a frozen landscape when a lonesome man is 

searching for a tongueling of his own. 

Animation | 2010 | Digibeta, BetaSp, digitalfiles | 16:9 | Stereo | 4’15’’ 

Director, script, cinematography, editing, set design, costumes, animation: Elli Vuorinen 

Sound Design: Elli Vuorinen, Jani Leh to Music: Jani Lehto Cast: Elli Vuorinen, JP Saari (voice 

acting) Producer: Elli Vuorinen Production company and international sales: Turku Arts 

Academy / Eija Saarinen 

Elli Vuorinen 

Filmography 

2009 Benigni 

(with Pinja Partanen and Jasmiini Ottelin) 

The Variation 

Variationen 

A young man, down on his luck, decides to break into a jewelry museum. He 

tricks his eccentric inventor brother into helping but ends up getting him killed 

during the heist. Fueled by the loss, he continues with his late brother’s research 

and devotes his life to the invention of a time machine in order to change the past. 

Fiction | 2011 | Digibeta, 2K | 2.35 | Stereo, 5.1 | 14’ 

Elli Vuorinen 

International Co-production: Arcada Production support: The Finnish Film Foundation, 

AVEK, Swedish Cultural Doundation in Finland, Föreningen Konstsamfundet Financing TV 

company: YLE FST5 International sales: Talvi International 

Sebastian Barner-Rasmussen 


2009 Cleaner 2 | 

2007 D.Ark | 2006 The Last Gunshot 

Ö 

A creature discovers a little island in the middle of the endless sea and inhabits it. 

He fights to keep intruders from entering his empire but one finally makes it past 

his heavily guarded walls. The creature is surprised to learn that the intruder does 

not want his kingdom, and after the intruder has left, the reef begins to feel like 

a prison. 

Animation | 2010 | DigiBeta | 16:9 | Stereo | 12’30’’ 

Sebastian 

Barner-Rasmussen 

Director, set design, animation: Kari Juusonen Script: Kari Juusonen & Leo Viirret 

Cinematography: Kari Juusonen (Cinematography consult: Jussi Eerola) Editing: Kimmo 

Kohtamäki Sound design: Kirka Sainio Music: Maka Lahtinen Producer: Juha Vanhanen 

Production company: Vanilla Production Oy Production support: The Finnish Film 

Foundation, Nordisk Film & TV Fond Financing TV companies: 

YLE Co-Productions, SVT Sveriges Television International sales: 

Vanilla Production Oy 

Director, script: Sebastian Barner-Rasmussen Cinematography: Markus von Knorring 

Editing: Tuuli Alanärä Sound design: Daniel Vainio Music: Joakim Kosk, Sebastian Barner- 

Rasmussen Set design: Sasu Joutsi Costumes: Juulia Jokinen Cast: Gogo Idman, Pelle 

Heikkilä, Dick Idman Producer: Peter Hortling, Rea Pihlasviita Production company: Talvi 

Kari Juusonen 


2008 Niko – The Way to the Stars | 

2004 The Birthday | 2001 Pizza Passionata 

Kari Juusonen 

Ö 


Contact information 

Aalto University 

School of Art and Design 

Department of Motion Picture 

Television and Production Design 

Hämeentie 135 C, Helsinki 

PO Box 31000, FI-00076 Aalto 

Tel. +358 9 47 001 

info@taik.fi 

www.taik.fi/elo 

AV-arkki 

Kaapelitehdas 

Tallberginkatu 1 C 76, FI-00180 Helsinki 

Tel. +358 40 5570320 

distribution@av-arkki.fi 

www.av-arkki.fi 

Avanton Productions 

Harjuviita 16 A 21, FI-02110 Espoo 

Tel. +358 50 5671895 

info@avanton.fi 

www.avanton.fi 

BreakThru Films 

3rd Floor, 25 Newman Street 

London W1T 1PN 

Tel. +44 20 7580 3688 

Fax +44 20 7580 4445 

mail@breakthrufilms.co.uk 

http://breakthrufilms.co.uk 

Camera Cagliostro 

Pyynikintie 25, FI-33230 Tampere 

Tel. + 358 41 4344 399 

jyrki@cameracagliostro.fi 

www.cameracagliostro.fi 

Cine Paradiso Oy 

Hermannin rantatie 20, FI-00580 Helsinki 

Tel. +358 50 582 8634 

pvlehtinen@cineparadiso.fi 

www.kolumbus.fi/cineparadiso 

Cine Works Oy 

Kansankuja 6, FI-00680 Helsinki 

Tel. +358 50 386 1266 

petri.rossi@cineworks.fi 

www.cineworks.fi 

Soul Catcher 

Edith Film 

Pursimiehenkatu 8 , FI-00150 Helsinki 

Tel. +358 9 612 49660 

Fax +358 10 296 1505 

info@edithfilm.fi 

www.edithfilm.fi 

Elokas Cooperative 

Ahdenkallionkatu 37, FI-05820 Hyvinkää 

Tel. +358 44 376 2222 

elokas.osuuskunta@gmail.com 

www.elokas.fi 

Elokuvayhtiö Oy Aamu Ab 

Hiihtomäentie 34, FI-00800 Helsinki 

Tel. +358 9 6874 4980, +358 9 6874 4980 

Fax +358 9 6874 4981 

info@elokuvayhtioaamu.fi 

www.elokuvayhtioaamu.fi 

Helsinki-filmi Oy 

Vanha Talvitie 11 A, 4 th floor 

FI-00580 Helsinki 

Tel. +358 9 7740 300 

Fax +358 9 7740 3060 

toimisto@helsinki.fi 

www.helsinkifilmi.fi 

Indie Films Oy 

Malminkatu 22 c 55, FI-00100 Helsinki 

Tel. +358 40 5634603 

tomi.riionheimo@indiefilms.fi 

www.indiefilms.fi 

Interprod 

Vislauskuja 13, FI-00520 Helsinki 

Tel. +358 10 440 4810 

mats@interprod.fi 

http://interprod.huset.fi 

It’s Alive Productions 

Heinäsintie 79 

FI-08700 Lohja 

Tel. +358 50 526 4304 

Kristallisilmä Oy 

Lämmittäjänkatu 4 A, 3 th floor 

FI-00880 Helsinki 

Tel. +358 9 5621100 

Fax +3589 6947224 

mail@crystaleye.fi 

Leino Production Oy 

Vislauskuja 13, FI-00530 Helsinki 

Tel. +358 400 800 489 

tuomo@leinosuvinen.fi 

Making Movies Oy 

Ratakatu 1 b A 5, FI-00120 Helsinki 

Tel. +358 9 6829543 

Fax +358 9 68427870 

mamo@mamo.fi 

www.mamo.fi 

Mouka Filmi 

Vilhonvuorenkatu 11 B 7 

FI-00500 Helsinki Finland 

Tel. +358 9 428 60640 

Fax +358 19 488 692 

mouka@mouka.fi 

www.mouka.fi 

Muste ja Valo Oy 

Vanhan-Mankkaan tie 27 B, FI-02180 Espoo 

info@mustejavalo.fi 

Tel. + 358 40 525 0516 

Mutanen Enterprises 

Aleksis Kiven katu 17 A, FI-00510 Helsinki 

info@mutanenenterprises.fi 

www.mutanenenterprises.fi 

Osuuskunta Animaatiokopla 

Iso Roobertinkatu 10 B 13, FI-00120 Helsinki 

Tel. +358 45 130 3026 

info@animaatiokopla.fi 

www.animaatiokopla.fi 


Nilsiänkatu 10–14 B, FI-00510 Helsinki 

Tel. +358 50 320 9050 

hannes@pohjankonna.fi 

www.pohjankonna.fi 

Refuture Ventures 


Skepparegatan 37 d 23, FI-00150 Helsinki 

johan.karrento@gmail.com 

Tel. +358 40 746 0369 

www.inbreedfilm.com 

Soundsgood Productions Oy 

Kauhavankuja 23, FI-00560 Helsinki 

Tel. +358 50 5691069 

soundsgood@elisanet.fi 

Talvi International Oy 

Pursimiehenkatu 29–31 B, FI-00150 Helsinki 

Tel. +358 10 820 1400 

info@talvi.com 

http://talvi.com 

Turku Arts Academy 

Eija Saarinen 

Linnakatu 54, FI-20100 Turku 

eija.saarinen@turkuamk.fi 

www.taideakatemia.turkuamk.fi 

Vanilla Production Oy 

Rapakiventie 12 A 24, FI-00710 Helsinki 

Tel. +358 40 5371932 

email.juha@vanilla.fi 

www.vanilla.fi 

Zone2 Pictures Oy 

Hannu-Pekka Vitikainen 

Toinen linja 15 LH 80, FI-00530 Helsinki 

Tel. +358 40 576 9073 

Festival contacts 

for all titles: 

The Finnish Film Foundation 

Kanavakatu 12, FI-00160 Helsinki 

Tel. +358 9 6220 300 

Fax +358 9 6220 3050 

ses@ses.fi 

www.ses.fi 

Marja Pallassalo 

Head of Promotion, 

Short and Documentary Films 

Tel. +358 9 6220 3021 

marja.pallassalo@ses.fi 

Otto Suuronen 

Assistant, Short and 

Documentary Film Promotion 

Tel. +358 9 6220 3019 

otto.suuronen@ses.fi 

Published by the Finnish Film Foundation | Editors: Tytti Rantanen and Marja Pallassalo | 

Translations / editing: Broadcast Text International, Said Dakash, Rich Lyons | Layout: Praxis Oy | Printed by: PreMediaHelsinki, 2011 


Hella W 

Brothers 

Coming up in 2011 

Kiss of Evil 

The Good Son 

Finnish feature-length fictions: 

Anders Engström: Kiss of Evil (Solar Films Inc) 

Juha Wuolijoki: Hella W (Snapper Films) 

Mika Kaurismäki: Brothers (Marianna Films Oy) 

Zaida Bergroth: The Good Son (Bufo) 

Oskari Sipola: August (Bronson Club) 

Raimo O Niemi: Garbage Prince (Periferia Productions) 

The Storage 

Peter Lindholm: Where Once We Walked (Helsinki-filmi Oy) 

Aleksi Mäkelä: Life for Sale (Solar Films Inc) 

Ville Jankeri: Sixpack (Kinotar Oy) 

Aki Kaurismäki: Le Havre (Sputnik Oy) 

Iris 

Ulrika Bengts: Iris (Långfilm Productions Finland Oy) 

Elias Koskimies: Dirty Bomb (Juonifilmi Oy) 

Rax Rinnekangas: A Journey to Eden (Bad Taste Ltd) 

Joona Tena: Body of Water (MatilaRöhrNordisk Oy) 

Where Once We Walked 

Sakari Kirjavainen: Silence (Cine Works Oy) 

Pekka Karjalainen and Matti Grönberg: Mr. Hayhill (Jackpot Films Oy) 

Taru Mäkelä: The Storage (Kinosto) 

Body of Water 

Le Havre 

Life for Sale

2 Finnish Short Films 2011

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