xxvi pärnu international documentary and anthropology film festival ...
xxvi pärnu international documentary and anthropology film festival ...
xxvi pärnu international documentary and anthropology film festival ...
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FLIGHT<br />
Directed by Valentin Kuik<br />
1995, Eesti Tele<strong>film</strong>, 28 min.<br />
The <strong>documentary</strong> covers the Khanti people, the kin-nation of Estonians, living in Western<br />
Siberia. At the same time the <strong>film</strong> is a research of cultural identity in the present while the<br />
World is about to become a global village. Every year a helicopter flies over the wetl<strong>and</strong>s <strong>and</strong><br />
marshes of Western Siberia. Children of the indigenous people are taken to an area between<br />
the Khanti tent <strong>and</strong> 20th century civilisation. The children grown up in the middle of forests<br />
get into a new world where there are school uniforms, unknown Russian language, education<br />
<strong>and</strong> knowledge. The things that were not important at home.<br />
Directed by Valentin Kuik, camera by Peeter Ülevain, sound by Mart Otsa, editing by Kai-Ene<br />
Rääk, produced by Reet Sokmann ja Reijo Nikkilä. Eesti Tele<strong>film</strong> <strong>and</strong> YLE 1.<br />
LEND<br />
Režissöör Valentin Kuik<br />
Lend käsitleb Lääne-Siberis elavaid hante, eestlaste sugulasrahvast. Samal ajal on see ka uurimus<br />
kultuurilisest identiteedist kaasajal, mil maailm on muutumas globaalseks külaks. Igal aastal lendab<br />
üle Lääne-Siberi soode ja rabade helikopter. Põlisrahvusest lapsed viiakse kuskile hantide kodade<br />
ja kaasaegse 20. saj<strong>and</strong>i tsivilisatsiooni vahel asuvasse piirkonda. Lapsed, kes on kasvanud üles<br />
metsade keskel, satuvad uude maailma, kus on koolivormid, tundmatu vene keel, haridus ja<br />
teadmine. Asjad, mis kodus ei olnud tähtsad.<br />
Operaator Peeter Ülevain, heli Mart Otsa, montaaž Kai-Ene Rääk, tootmine Reet Sokmann ja<br />
Reijo Nikkilä. Eesti Tele<strong>film</strong> ja YLE 1.<br />
SIRENIKI CHRONICLE<br />
Directed by Arvo Iho<br />
2001, 55 min.<br />
Documentary of the Innuites in Chucotka.<br />
Arvo Iho’s <strong>documentary</strong> about how life changed in 2000 years old Sireniki village in the Soviet<br />
time. Sea hunters Innuites <strong>and</strong> reindeer herders Chukchis are compressed in a socialist type<br />
of settlement. Border-guards are watching them day <strong>and</strong> night. The hunters can go to the sea<br />
only leaving their passports to the border-guards. The free seahunters have been turned into<br />
stooges who produce seahorse meat for farm foxes <strong>and</strong> on free days from hunting a Russian<br />
woman bosses them to odd jobs.<br />
Men in Sireniki can build a seaboat – baidaraa –from wood <strong>and</strong> seahorse skins. Also the elaborate<br />
art of engraving on a seahorse fang has not disappeared yet.<br />
Old women teach children traditional throat singing <strong>and</strong> hunting dances which next to Russian<br />
education keeps alive the frail bond with ancient innuite culture. Nevertheless mixed marriages<br />
<strong>and</strong> loss of identity prevail.<br />
The <strong>film</strong> is framed by a funeral. Uhsima Ivanovna Uhsima is sent to the last yourney. She<br />
is one of those Innuite women who has married quickly a boss who came from the Great<br />
L<strong>and</strong> <strong>and</strong> helped to spread Russian language <strong>and</strong> culture <strong>and</strong> socialism in Chukotka. On the<br />
monument of Ushima’s son there is a blood-red star. Suicide. The funeral procession fades<br />
away in thick fog.<br />
SIRENIKI KROONIKA<br />
Režissöör Arvo Iho<br />
Dokumentaal<strong>film</strong> Tšukotka eskimotest.<br />
Arvo Iho dok<strong>film</strong> sellest, kuidas nõukogude ajal muutus elu 2000-aasta-vanuses Sireniki külas.<br />
Merekütid inuiidid ja põdrakasvatajad tšuktšid on surutud kokku sotsialistlikku tüüpasulasse.<br />
Piirivalvurid jälgivad neid ööl kui päeval, merele pääsevad kütid oma passi piirikate kätte jättes.<br />
Vabadest mereküttidest on tehtud käsualused, kes toodavad morsaliha farmirebastele ja jahist<br />
vabadel päevadel kam<strong>and</strong>ab vene naine neid juhutöödele.<br />
Sireniki mehed oskavad ehitada puust ja morsanahast merekindlat paati baidaraad, ka<br />
morsakihvale pildi graveerimise peen kunst pole veel kadunud.<br />
Vanad naised õpetavad lastele traditsioonilist kõrilaulu ja jahitantse, mis venekeelse koolihariduse<br />
kõrval hoiab elus õrna sideme iidse inuiidi kultuuriga. Valdav on siiski kreoliseerumine ja oma<br />
identiteedi kaotus.<br />
Filmi raamib matus. Viimsele teekonnale saadetakse Uhsima Ivanovna Uhsima – üks paljudest<br />
inuiidi naistest, kes kiirelt abiellus Suurelt Maalt tulnud ülemusega ja aitas kaasa vene keele<br />
ja sotsialismi levikule Tšukotkal. Uhsima poja valgel mälestussambal veritseb punane täht.<br />
Enesetapp. Matuserongkäik kaob paksu udusse.<br />
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