Mo Papa, showing in the Critics’ Picks Competition of the 29th Tallinn Black Nights Film Festival, is Eeva Mägi’s second film, after the successful Mo Mamma [+lire aussi :
critique
interview : Eeva Mägi
fiche film], which previously also screened at PÖFF, winning the Special Jury Prize. The Estonian director is actually working on a trilogy of films, the third part of which bears the title Mo Amor.

(L'article continue plus bas - Inf. publicitaire)

Twenty-eight-year-old Eugen (Jarmo Reha) has just been released from prison after serving ten years for the tragic death of his younger brother and is trying to recover from the trauma. The young man feels even deeper in shock after seeing how much the world that he knew has changed during his stretch in jail, and his only ties now are to his estranged father (Rednar Annus) and two childhood friends, Stina (Ester Kuntu) and Riko (Paul Abiline).

Despite Eugen's sincere aim to look for a second chance and rebuild his life, his old habits together with the negative feelings that have inevitably affected him risk leading him back towards a familiar spiral of self-destruction. Over time, it becomes obvious how human connections form the basis of change – but in order for change to truly take hold, these ties must be reinforced through hard work on an individual level.

Mo Papa is a film of extraordinary strength, which relies on its mix of strong performances and delicate yet powerful cinematography (courtesy of Sten-Johan Lill) to guarantee a memorable cinematic experience. Its short length guarantees a concise delivery, which captures audiences in a very limited time, without then running the risk of losing their attention by diluting the story. This is a strategy that, unfortunately, too many films have overlooked in recent years. Sometimes, saying less can be the right approach to ensure that the few words, or images, used take on more meaning and allow audiences to reflect more deeply, rather than passively absorbing a constant flood of information.

The snowy and bluish settings lend the movie the right degree of desolation and gloom while at the same time, paradoxically, comforting us almost with a sort of caress. The fine line between coldness and warmth is perfectly trodden by the different types of shots, masterfully edited together by Jette-Krõõt Keedus. The visuals are likely to stay with viewers for a long time, and the same goes for Reha’s acting, which is definitely worth mentioning as the standout element of the film.

Last but not least, Mägi’s movie was shot on a miraculously tiny budget (in the tens of thousands of euros) and was unscripted. This suggests that, in some cases, when filmmakers express concerns about limited budgets, the issue may not lie solely in financing. This is not to say that film funding is not an important element in the mix, but works like this highlight that it is not impossible to succeed. Meanwhile, some works made on a high budget draw on scarce ideas, proving that the opposite is also possible.

Mo Papa is an Estonian production staged by Kinosaurus Film and Kultuurikuur. Its world sales rights are still up for grabs.