The Latvian film industry is set to make a robust showing at the upcoming edition of the Cannes Film Festival (13-24 May), spearheaded by Sergei Loznitsa’s feature Two Prosecutors, playing in the Official Competition, alongside new projects being presented in key industry sections and a growing presence on the global animation scene.

The competition entry is a searing portrayal of 1937 Stalinist USSR and follows idealistic prosecutor Kornev as he uncovers rampant NKVD corruption after a prisoner’s letter evades destruction. As Kornev ventures deeper, he is ensnared in a system devouring its own architects. The movie is being staged by SBS Films Productions, and the impressive ensemble includes Aleksandr Kuznetsov, Aleksandr Filippenko and Latvian actor Andris Keišs. Latvia’s Alise Ģelze, of White Picture, joins the international co-producing team spanning France, Germany, Romania, the Netherlands and Lithuania. Two Prosecutors is being sold internationally by France’s Pyramide Films.

Meanwhile, at the Marché du Film, Red Code Blue by Oskars Rupenheits (see the news) has been selected for PÖFF Goes to Cannes, a prestigious showcase for works in progress presented by the Tallinn Black Nights Film Festival. Backed by KEF Studio and co-produced by Vino Films, Jura Podnieka Studija and Fon Films, Rupenheits’ noir-inflected feature captures the chaotic early 1990s as Latvia regains its independence. The story centres on a rookie cop called Romāns Skulte (portrayed by Raitis Stūrmanis) navigating a morally murky police precinct. With its sharp social commentary and distinct atmosphere, Red Code Blue has already generated strong interest as one of the Baltic region’s most highly anticipated upcoming titles.

Latvia is also represented among the Producers on the Move by Kristele Pudane, founder of Sunday Rebel Films (see the news). Pudane’s diverse portfolio – spanning experimental animation (Dog of God, premiering at Tribeca), absurdist comedies (The Burlaks) and socially engaged documentaries (Dancing Void) – reflects a vibrant, cross-genre spirit. She is also actively developing two animated pre-school series titled Urga, Jo & Po and Ucipuci, signalling the next generation of Latvian creative exports.

At Cannes Docs, Uldis Cekulis, one of the country’s leading creative documentary producers, presents seven new projects through the Baltic delegation. Highlights include Laila Pakalniņa’s Scarecrows, a Lithuanian co-production exploring the secret rules of airports; Redlight to Limelight by Bipuljit Basu, a story of sex workers turning to filmmaking in India; The Blessed Ones by Andrii Lysetskyi, tackling art in times of war; and The Red Barn by Pēteris Krilovs, reflecting on authoritarianism. Cekulis is also seeking partners for More Than a Life, a co-production with Italy about Roberto Rossellini’s enduring legacy.

The strategic push behind this Latvian momentum will find further resonance on Animation Day, taking place on 18 May. The National Film Centre of Latvia (NKC), a key partner in this event, shines a spotlight on how Latvian animation has captured global attention. Matīss Kaža, co-writer and producer of the Oscar-, Golden Globe- and LUX Audience Award-winning Flow [+lee también:
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Speaking in a recent interview given to CEE Animation, Dita Rietuma, head of the NKC, underlined the country’s distinctive strength: “The number of animated features makes us unique.” She celebrated Flow’s incredible €40 million global box-office gross on a modest €3.5 million budget, positioning it as “the most popular film in Latvia since the restoration of independence”. Rietuma stressed that Latvia’s success is rooted in action, rather than presentation: “There’s too much buzz and talk. In the end, action speaks louder than words.” She also emphasised Latvia’s deep-rooted animation heritage, dating back to Soviet times, when studios like Rija were already collaborating internationally, albeit often uncredited.

Despite a modest annual budget – around €800,000 – the NKC has been able to support multiple feature-length animations by strategically spreading financing over longer periods. For instance, Flow’s funding was distributed across four years, allocating approximately €250,000 annually. “The total €1 million may seem like peanuts to some European countries, but for us it was huge,” she noted, emphasising that such consistent support not only helped Latvian productions secure international partners, but also safeguarded Latvian majority ownership in these projects.

Beyond Flow, Rietuma highlighted the remarkable contribution of filmmaker Signe Baumane. “We supported many of her works, like her feature animations Rocks in My Pockets [+lee también:
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With its dynamic delegation across the festival’s and the Marché du Film’s various strands, Latvia will attempt to prove once again that small nations can make a large impact on the world’s cinematic stage.