Hargla Company

Twenty-five films from twenty-five European countries by twenty-five European directors.

Santa Claus lives on the fourth floor of an apartment block. Santa owns seven dogs, six cats, two rabbits, one crow, one pigeon, one chinchilla, one guinea pig, ten degus and some fish.

We literally found our film next to a dumpster. It was a bag containing 36 rolls of photographic negatives exposed between the 1960s and 1980s by an unknown photographer. We named him Anton, Aunt Emma's son. Looking through our contact sheets, with their many inaccuracies—blurred edges, random elements in the frame, haze, accidents, and double exposures—we tried to imagine what our lives would be like if these were our photos.

A story about life in two minutes.

The Hijacker lands the plane at the Rīga Airport. 7 year-old Tom, travelling on his own, voluntarily becomes a hostage. Along with the traditional demands, the Hijacker adds the demands of the little hostage – beginning with some local chocolate and a self-instruction tape for learning the native language, and ending with organizing a Song Festival and a special biathletes’ performance – all ideas originating from a CD on Latvia.

This film is about wondering why the world is the place that it is. Wondering, why beauty often lies in simplicity, or why taking something too seriously might result in the ridiculous, as playing can be at once the most important and serious thing to do.

The camera stands in a house, the lens pointing through the window, outdoors, where the occupants of the home are standing. They respond patiently to the camera operator’s directions: a small step to the left, a little bit forward, no, back just a bit, yes, that’s perfect. Dozens of people pose in this way for a full minute. There’s a man who lives alone, a large family, an older woman on a trampoline. Some are entirely at ease, others more self-conscious. Rabbits, dogs, and cats are allowed to join these portraits, too. All of them are captured within the natural frame of the windows, along with the lace or floral curtains.

Maria decides to go for a swim in the pool even though it looks deserted and she’s warned that the water is cold. When she gets into the pool she is faced with not only the frigid water, but with her other feelings as well. Like fear.

A film about everything changing while remaining the same. Or rather – everything remaining the same while changing. We observed this (and wanted to share) while standing (standing regularly and for a long time) on a road rather close to the Eastern border of Latvia, because we followed the suggestion of the locals who asked to shoot “that horrible road”.

Just like ordinary people, whole nations often wonder why their neighbors are living better than they are. For example, where did the Estonians living on Mohni Island suddenly get bicycles and sewing machines? Could the answer have some connection with the Latvian cargo ship "Rasma", which sank near Mohni in 1941?

Various people on the street stand stock still in front of the movie camera as though their photograph were about to be taken. This lasts just a few instants, then they nod as they look into the camera and move on. A family, a group of friends, men. In the background, city noises.

A shop by the side of the road. One after another, people enter and exit the small building. The randomness and illogical nature of the action feels unreal. The sense of timelessness and of being in an unnamed place further heightens the dreamlike nature of the scene. The nearly motionless black-and-white camera records a fragment of life in a place torn from the context of the world.

Rubiks’ Road is a bicycle path built in the 1980s and named after Alfreds Rubiks, leader of the Latvian Communist party at the time. One of the most ferocious opposers to Latvia’s independence in the early 1990s and later elected to the European Parliament.

This documentary follows a bustrip from Tallinn to Kaliningrad. A route that was so common in the Soviet times now passes through 4 different countries and crosses 3 different borders.

It is what it is. One needs a reason to get a passer-by to stop in their tracks and stand in front of the camera for a while. In this case the reason was - Mozart.

A film about a plastic spoon and a society that has reached a high level of development – oil is being retrieved from subterranean depths, transported to processing plants, turned into plastic, transported to another plant, where it acquires the shape of a spoon, transported to convenience stores, where we buy it, and is then soon tossed into the trash. In other words, this is a film about the efforts put into making a spoon that can be thrown away so effortlessly.

Playfully avant-garde and exhibiting an intriguing sense of humor, PIZZAS offers a puzzle of widescreen imagery, brash pop moments, and road movie ambience. Pakalnina, Latvia’s best-known director, spun this cryptic but airy comedy/tragedy from a news item about two 18-year-old fast-food workers who robbed their employer’s safe and split. (Gene Siskel Film Center)

An absurdist farce centering around a school in post-Soviet Latvia. After a rather disgusting prank (someone defecates in the school attic), the tyrannical headmistress deems that no one can leave until the culprit is caught. When the photographer's pet python escapes, havok breaks loose.

His own image in the mirror was so important that one day he didn’t find himself there.