Kristele Pudane is a producer with over 15 years of experience, working across a wide range of projects including fiction features, documentaries, animation and TV series. Based in Riga, she runs the company Sunday Rebel Films, with a primary focus on arthouse cinema characterised by strong visual storytelling and unique narratives. Particularly open to working with debut directors, she embraces creative risk and international collaboration. Cineuropa spoke with the Latvian participant in EFP’s Producers on the Move to talk about the rise of Baltic filmmakers, her new projects and the intricacies of co-producing across borders.

Cineuropa: You’re representing Latvia as this year’s Producer on the Move. What does this mean to you personally and professionally?
Kristele Pudane: It’s an incredible opportunity – both personally and for Sunday Rebel Films. Filmmaking is, by its very nature, a collaborative art form – unless you’re Gints Zilbalodis! So, the chance to connect with other producers, exchange ideas, and explore new storytelling and visual approaches across cultures is invaluable.

I’m deeply honoured to be representing Latvia and grateful for the recognition. Although Sunday Rebel Films was only founded a year and a half ago, we’ve already secured financing and begun production on three projects: the fiction feature Burlaks, the feature documentary Dancing Void and the animated TV series Urga, Jo & Po. Another animated project, Ucipuci, has also been selected for the CEE Animation Workshop [see the news].

We’re also proud to be part of the AV Growth initiative – an exciting cross-sectoral platform uniting film producers, game developers, and animators from Scandinavia and the Baltics. It’s focused on fostering sustainable business practices and innovative collaboration at a time of rapidly evolving technologies. Being named a Producer on the Move feels like a timely and energising next step on our journey.

Can you tell us more about the projects you’re currently promoting at Cannes and what makes them particularly relevant for international co-production?
One of the projects we’re highlighting is Burlaks, directed by debut helmer Gatis Ungurs – a magical-realist farce that plunges audiences into an exaggerated, surreal world where the main character undergoes a profound transformation. The project has presented us with many creative challenges. After scouting in Kosovo, Albania, Bulgaria and Romania, we decided to shoot in the remote mountains of Georgia, in abandoned villages that evoke a timeless, almost mythical setting. To heighten the film’s unreal aesthetic, we plan to use tilt-shift camera technology, which adds to its visually distinctive style.

Another visually and thematically bold project is Dog of God, directed by talented brothers Raitis and Lauris Ābele [see the news]. This Latvian-US co-production was featured in last year’s Cannes Fantastic 7 programme and has now been selected for the Tribeca Film Festival’s Escape from Tribeca section, where it will have its world premiere this June. It’s a rotoscopic animation inspired by true events – a well-documented werewolf trial in 17th-century Livonia. The film blends folklore, historical fact and experimental visual storytelling, making it an exciting candidate for international distribution, represented by sales outfit Media Move.

Lastly, we are also promoting the feature documentary Dancing Void, directed by Madara Dislere. This poetic and intimate film follows a medical clown on a transformative personal journey, showing how healing can emerge even in the darkest of places – through empathy, reflection and the universal language of non-verbal performance. It’s a deeply emotional and human story that resonates across cultures, making it especially relevant for global audiences.

Latvia has been gaining more visibility on the international scene. What are the main strengths and challenges for Latvian producers working across borders today?
Latvia is a country with extraordinarily talented people. And not just in film, but also in music, science, architecture, sports and beyond. Our greatest strength lies in our creativity and our capacity to produce truly world-class work, often with limited resources. However, one of the main challenges we face is the small size of our domestic market and the limited access to financing. This makes international collaboration essential. Another major challenge – one shared by producers everywhere – is securing international distribution and visibility for our projects. Traditional models for selling films are becoming less effective, so we need to shift our focus to innovative strategies: finding new ways to reach audiences, building those audiences, and choosing the right channels and marketing tools.

How do you typically approach co-productions, and what kinds of partners are you currently looking for?
For me, a successful co-production begins with shared values. It’s important that we care deeply about the themes we’re exploring, approach challenges with a problem-solving mindset and, ideally, share a similar sense of humour – it makes collaboration much more enjoyable. Personal connection is key. I believe every partnership should be built on mutual respect and a true “win-win” spirit. So far, I’ve had the opportunity to co-produce with partners in Scandinavia, the Baltics, India and the USA. At the moment, we’re especially interested in developing strategic partnerships in Asia – particularly in South Korea, Japan and beyond – for our animated projects.

What’s your take on the generational shift happening in Baltic cinema, and how do you see your role in shaping its future?
I love it! I’m genuinely excited about the new wave of voices emerging in Baltic cinema. Supporting and empowering new talents is one of the core values of our company. We are not afraid to take on challenging projects or work with emerging talents – and that also extends to composers, cinematographers and other key creatives. What I find most inspiring is their fearless approach to storytelling. They’re not bound by convention – they experiment, take risks and explore new methods of filmmaking. That kind of authenticity and innovation brings incredible energy to the industry.

Smaller countries like the Baltics can actually be a fertile ground for new voices – it’s often easier here for emerging talents to find their own space and to bring their unique vision to life. I see my role as helping to create those opportunities and ensuring that these voices are heard, both locally and internationally.