04–21˚ November’24
N

2023

2023
Over this gap, we can talk but drift apart so easily.
Over this gap, we can look into each other's eyes but with a screen between us.
Over this gap, we can cry but we can't heal our most painful wounds.
This gap, it forces us to feel what we've lost, not lived through, not yet fully reflected upon.
Over this gap, the time changes its course, time zones, languages, Latin and Cyrillic alphabets entangled.
Over this gap, we stop converting Belarusian rubles to euro and back.
Over this gap between us, there are criminal cases, paranoia and excessive caution.
We are divided into
those who left
and those
who stayed. Yet we're still, like before, one fearless nation.
Over this gap, the very word Minsk triggers nostalgia for some,
others get nostalgic about visas in a blue passport.

Anyways, over this gap, we try to stay alert
When crossing the border or posting on social media.
Over this gap, we can sympathize but we can't heal our most painful wounds.

Attention. Doors open. Mind the gap.
We consider every word we say, we try to be fair and less radical,
Mindful of the past and the future, of those who are close and those we've last seen long ago.
Albeit on a screen.
Over this gap, we're engulfed by doubts, drawn in by a whirlwind
of differences and comparisons, of clashing opinions.
We can't bridge this gap to hug, touch, feel togetherness.
This gap makes smells unavailable.
What it makes available is irritation, anger, envy.
In both directions,
here and there,
also at border checkpoints
such as Kotlovka, Kamenny Log and others.

Over this gap, we're looking for answers but questions are easier to come by.
Over this gap, we can't come to terms with this dull everyday life.
THE MANIFESTO
THE MANIFESTO
THE MANIFESTO
MIND THE GAP
MIND THE GAP
MIND THE GAP
Founder and director of the Northern Lights Film Festival
Volia Chajkouskaya
MIND THE GAP
belarusian competition winners
This year, the Belarusian competition of Northern Lights brought together vastly different but truly heartfelt films. These films tell about the experienced and the meaningful, about various facets of life, in which the dramas of the century and artistic fiction testify to our unfortunate, absurd, and paradoxical time, which demands courage and dignity from everyone. Belarusian cinema has always lacked such an honest perspective, but today it is emerging as the main distinguishing feature of national cinematography, which exists in defiance of the ideological dictates and commercial laws of the film business.
Prize support
provided by
Grand Prix
Motherland
DIR. HANNA BADZIAKA, ALEXANDER MIHALKOVICH | SWEDEN, UKRAINE, NORWAY | 2023 | 92 MIN. | DOCUMENTARY
Belarusians in Motherland's chokehold: an acclaimed documentary about the detrimental effects of the Soviet barracks laws on civil life in Belarus.

The directors of the film receive a cash prize of $1,200
The film, crafted by a talented duo, delves profoundly into the distressing reality of violence as a method of control within the Belarusian military. The narrative unfolds with a delicate touch, employing tender cinematography to expose the dark "tradition" of bullying, torture, and murder that has haunted conscripts for decades. Beyond peering into the concealed life of the army, Motherland offers a poignant exploration of an entire society governed by the unspoken law of state-sanctioned violence.

Mihalkovich and Badziaka skillfully paint an unyielding portrait of a militaristic, heavily patriarchal society entrenched in violence and propaganda. While the narrative may not appear to offer hope for the future, the mere existence of this talentedly crafted film, viewed by audiences worldwide, instills hope that the vicious cycle of trauma and state-sanctioned violence will eventually be shattered by the emergence of a new generation of liberated Belarusians.
jury's comment
Special award
FOSTERING
DIR. ANDREY KASHPERSKY, BELSAT | POLAND | 2022 | 20 MIN. | FICTION
The absurd thickens: a human-reeking anecdote about police forces and repression, but in reverse.

The director of the film receives a cash prize of $800
The way director Andrey Kashpersky tells a story generated by the serious pressure of the Belarusian authorities to quell the rebellion surprised the jury members. It's unique, original, bold, and funny, and his humor not only reflects the bizarreness of governmental repression but also serves as a way of resistance, which the Jury admires and supports. He defines his very own style with this film.
jury's comment
special mention
ANASTASIA'S DIARY
DIR. MAXIM BUJNICKI | POLAND | 2022 | 20 MIN. | DOCUMENTARY
Healing through art: a documentary confession of a Belarusian artist in exile.
A creative and warm portrait that touches us with its craftsmanship. Despite a previously presented theme, we are fascinated by the approach of the main protagonist, who authentically shows her way of dealing with her trauma through the art. Through precise and emphatic observation of his protagonist, the director gives an artist's voice a loud color in difficult times.
jury's comment
belarusian competition Jury
This year's Belarusian competition consists of 12 films: full-length and short films; feature films, documentaries, and animations; social, romantic, and comedy movies. The films of the Belarusian competition will traditionally be evaluated by an international jury, which includes Ukrainian producer Darya Bassel, Belarusian director Aliaksei Paluyan, and director of the Berlinale European Film Market Dennis Ruh.

The film winning the Grand Prix will receive a monetary prize of $1,200, while the film selected by the jury for the Special Award will receive $800.

Also, the jury may additionally mark the pictures of the competition with a special mention. Prize support is provided by the TV channel «Настоящее время» (Current Time).

The film "Everything is fine. I'm sleeping" will not be competing for prize money.
Film producer, head of the industry platform for Docudays UA International Human Rights Documentary Film Festival
Ukraine
Darya Bassel used to work in TV and commercial production. In 2011, she joined Docudays UA IHRDFF, where she worked as a programmer and later as head of the industry platform. She started her career as a producer in 2013. She has participated in the Eurodoc, Producers Network (Marché du Film), Ex Oriente, and EAVE, and has also worked as a jury member at festivals such as Visions du reel, IDFA, Cinedoc Tbilisi, Astra, OIFF, One World Prague, and Krakow IFF. Among her producer's titles are Outside (2022), which had its world premiere at CPH:DOX and was screened at more than 20 film festivals around the globe, and Butterfly's Vision (2022), which premiered at Cannes in Un Certain Regard. She is also a co-producer on the Oscar-nominated, award-winning documentary A House Made Of Splinters (2022).
Darya
Bassel
Director
Belarus
Aliaksei Paluyan was born in Belarus in 1989. He is known as a director of short fiction films and creative documentaries that have been presented at festivals worldwide. Aliaksei is a member of the European Film Academy, co-founder of the Belarusian Independent Film Academy, and a Berlinale Talents alumnus. In 2019, his short fiction drama Lake Of Happiness premiered in Clermont-Ferrand and won numerous awards at international film festivals before being nominated in the short film category at the 2020 European Film Awards and longlisted for Best Live Action Short at the 2021 Oscars. In 2021, his documentary debut Courage premiered at the 71st Berlin International Film Festival and was subsequently screened at major film festivals including IDFA, Visions du Réel, CPH:DOX, HotDocs, Sheffield Doc/Fest, and Krakow IFF. It has also been longlisted for the 2022 Academy Awards.
Aliaksei Paluyan
Director of the European Film Market
Germany
Dennis Ruh has been the director of the European Film Market since 2020. He studied cultural sciences, audiovisual communication, social science, and history in Bremen, Germany, and Valencia, Spain. During his studies, Dennis began working for the Oldenburg International Film Festival in 2008 and became a co-director in 2011. Starting in 2010, he also worked for Independent Partners Film. From 2012 to 2020, Ruh was department head for International Festival Relations & Producers Liaison at German Films. He regularly appears as a guest lecturer at film schools and a panelist at industry conferences and film festivals. Dennis has also served on various juries.
Dennis
Ruh
debut competition winners
This year, the Northern Lights FF — for the first time being — opens the international competition of debut works. It includes 13 full-length documentaries and feature films created by directors from Scandinavia and the Baltic countries. In all these movies, authors experiment with the form of cinema and find new approaches to stories about people, places, nature, creativity, modern society, and personal experiences.

Most of the films presented in the competition have been awarded prizes and nominations at the largest international festivals: Cannes Film Festival, Berlinale, Sundance, Locarno, IDFA, and CPH:DOX.
best film
APOLONIA, APOLONIA
DIR. LEA GLOB | DENMARK, POLAND, FRANCE | 2022 | 116' | DOCUMENTARY
A documentary sensation from the past year—a sincere and captivating chronicle of a young woman artist's struggle for her place in the world of art. The film was shot over a period of 13 years.
A beautiful and honest exploration of two intertwining journeys—that of the artist Apolonia and the filmmaker capturing her story. Despite facing seemingly different struggles, the two women find common ground in the shared challenge of processing life into images. This film goes beyond the typical artist portrait; it's a testament to the profound impact that capturing someone else's story on film can have on one's own life. In its simplicity, 'Apolonia, Apolonia' exemplifies the powerful connection between storytelling and personal transformation.
jury's comment
special mentions
SISTER, WHAT GROWS WHERE LAND IS SICK?
DIR. FRANCISKA ELIASSEN | NORWAY | 2022 | 79' | FICTION
An existential eco-feminist fantasy awarded two prizes at the Locarno International Film Festival.
'Sister, What Grows Where Land Is Sick' is a film made by the heart and intuition—the two most precious tools that the filmmaker can obtain and the ones that evoke creativity and imagery in their truest sense. How can we humans best fit into the landscape of this mortal planet? This is a question to be perceived not only through rational thinking but also through connecting to our deeper selves, and the film of Franciska Eliassen takes us exactly there. A bold and daring statement of the generation and the time.
jury's comment
THE MOUNTAINS
DIR. CHRISTIAN EINSHØJ | DENMARK | 2022 | 88' | DOCUMENTARY
This family needs a new hero: a touching self-portrait of the director, his brothers, and the devastating tragedy that led to their alienation from each other.
'The Mountains' by Christian EInshöj researches the inner state of mind of some young men and a regular but unique family. Traditional, but still one of a kind, and with a precise narration script, the film is an honest, funny, nerdy navel gazing ride, sometimes with a bit of cringe. The director's father buys a camera to document a life that will get lost; the quest eventually passes on to the next generation, and the director is constantly documenting, one time describing himself as the "creepy uncle". He and his family are the only objects. The presence of the camera sometimes feels uncomfortable, but it is always interesting. Eventually, the camera brings the protagonists closer to each other and the viewers closer to themselves.
jury's comment
Debut competition jury
For the first time at the Northern Lights FF — Debut Competition! During the festival, the international jury will review 13 full-length films from Northern Europe and the Baltics that became the first or second independent films of young directors.

The winning film will claim the title of Best Film, and at the same time, the jury can mark other movies in the competition program with Special Mentions. Join the screening of the Debut Competition to learn about the new big names in world cinema!
Vytautas Puidokas is a freelance documentary filmmaker based in Vilnius, Lithuania. Has a degree in Media and Film studies at the University of Surrey (UK). His career started on Lithuanian National Television, where he has worked as a scriptwriter and director. His debut feature-length documentary 'El Padre Medico' premiered in Camden IFF (USA) and was nominated for best documentary in Lithuania. His mid-length film 'Before They Meet' is part of the six-country co-production 'Borderline' and has been nominated for the best Flemish docuseries. He also initiated the production of a collective documentary film, 'A Letter to Ukraine', which was joined by more than 100 Lithuanian filmmakers. In 2022, Vytautas received the Vilnius Film Festival / Kino Pavasaris award for emerging local filmmakers. His films have been screened at festivals around Europe and the USA. Apart from documentaries, Vytautas is also creating music videos and video installations. His work covers topics related to migration, history, and identity.
Vytautas Puidokas
Director, producer
Lithuania
Originally from Belarus, Anna lives and works in Belgium. She holds a degree in documentary film directing from the DocNomads master program. Mainly interested in creative documentary, hybrid, and experimental cinema, Anna directed and edited several shorts and feature documentaries that were screened at different festivals around the world. She worked on the "Borderline" documentary series (2021) with Off World Production in Belgium, directing "Where The World Ends" and editing "Before They Meet" episodes. With Off World Production, she also worked as an editor for the "We Will Remember Them" documentary, which was the closing film of the Visions Du Reel Festival in 2019. Savchenko also edited the documentary "Touche" and the episode of "Draw for Change" documentary series, both released in 2023. Anna is an alumni of EsoDoc, CIRCLE Women Doc Accelerator, Baltic Sea Docs, EurasiaDoc, and B2B Doc film training programs.
Anna Savchenko
Film director and editor
BELARUS
Viktor Nordenskiöld is an award winning Swedish director, producer and international news journalist. He has made many films for Swedish TV and his short Out of This World (2014) premiered at Berlinale. His first released feature The Feminister (2019) premiered at CPH Dox in 2019, and the second Behind The Swedish Model premiered at GIFF Gothenburg Film Festival and a version at CPH:DOX. He has a Master of Arts (MA) from Stockholm University of the Dramatic Arts and a Bachelor (BJ) in Journalism from The Netherlands and Denmark. He also works with international news, for Swedish Arts Grants Committee and B2B Doc.
Viktor Nordenskiöld
Director, producer
Sweden

2022

2022
– Close the window, or you'll let mosquitoes in! - says grandmother in a worried manner. I comply and rush to the kitchen to eat some buns and drink some kisel. After that, I'm following my grandmother as a shadow and helping her feed the hens, pigs and our dog Barsik.

This is my home. It's a house in the Charopki village. There are eight families living in this village.

I don't know if I'll ever see this house again. And it's not just because after my grandmother's death my mother sold the house, and the new owners were so careless that they accidentally burned down the house… It's also because now it's not safe for me (along with many others) to return to Belarus.

One Belarusian writer posted on Instagram that "The ability to return is more important than the ability to leave". I couldn't agree more.

I've also been thinking that the Ukrainian filmmakers can return home and shoot movies there notwithstanding the grave danger of the war, while the Belarusian filmmakers can't return to a seemingly peaceful country. How so? What a Schroedinger's cat situation!..

It's unnerving to think about the gap between those who left Belarus and those who decided to stay. There is a strong desire to preserve the bond between all Belarusian people, regardless of where they happen to be now. I really want this distance to unite us during these trying times. At the moment, the only possibility for the "Northern Lights" not to lose "touch with reality", meaning those who stayed in Belarus, is to continue organizing the film festival, even though it's in an online format, thus communicating to Belarusians in and outside of Belarus that we are all one, and we all have a common goal.

Sometimes I call my mother and ask her:

– Mom, can you show me my books? I miss my books.

My mother laughs and tells me that I'm funny, but still shows me the bookshelf. And so I look at books of poetry by Baradulin and Buraukin, and at the "Voices from Chernobyl" by Sviatlana Aleksievich, all of them signed by the authors. I look at Valzhyna Mort's first book, and at Pavel Stsiazhko's "The Culture of the Language", a book that at some point opened my eyes at why the logic of the Belarusian language is how it is and not otherwise. I flip through the pages of the books of Tsiotka's poetry and Ursula Radzivil's plays in my mind.
The impossibility to touch the books, hug my mother and father, show the "Northern Lights" in Belarusian cinemas is a torture. I'd never imagined that for me, a woman with a wanderer's soul, the ability to return home would mean that much. I understood that only when I lost that ability.

It is precisely because we want to preserve the feeling of safety and homeliness, and because we believe that there should be something constant and anchored in life, we are continuing holding The Northern Lights Film Festival. This is our mobile home, a minibus that we've made ourselves at home in, putting some vintage furniture and moomin cups in, a home we've transported to a safer place. We hope this is not for a prolonged period of time, though. We really feel at home here. What is the meaning of this? Is that the internal immigration or a healthy attempt at surviving in inhumane circumstances?

"Every person carries their sky with them", Uladzimir Karatkevich once wrote. We've spread around the world, carrying our homes with us.

The minibus called "Northern Lights" has wheels that could at any moment start moving towards our home.

We are constantly headed home. It's a long way home. Імбрычак, галавешка, шуфлядка, сланечнік, шыпшына, вейкі, ложак, зэдлік, завіруха, лістапад*. Life is a constant way home, way to our own selves, way to our identities, a journey of our souls. This is a road for the brave. The road is us. The road feels like home.
THE MANIFESTO CELEBRATING THE VIII NORTHERN LIGHTS FILM FESTIVAL – feels like home
*Belarusian words for kettle, charred stick, drawer, sunflower, brier, eyelids, bed, stool, snowstorm, November/leaf fall.
Founder
of the Northern Lights Film Festival
Volia Chajkouskaya
Belarusian competition winners
Grand Prix
Mara
Dir. Sasha Kulak | France, United Kingdom | 2021 | 61 min. | Hybrid
Jury's comment

It is a unique and beautiful film that blends documentary storytelling with fantasy to explore a very relevant and important topic. In addition to giving injustice a voice, it also makes room for imagination.
Special Mentions
WHEN FLOWERS ARE NOT SILENT
Dir. Andrei Kutsila | Poland | 2021 | 71 min. | Documentary
Jury's comment

The unvarnished and upfront storytelling gives the events, people, and faces that it depicts a significant presence through the use of sound and black-and-white imagery, creating a film that is both cinematic and human.
Shirey Mara
Dir. Nata Korneyeva | Belarus | 2021 | 10 min. | Animation
Jury's comment

In recognition of making such a special and heart-touching animation, we encourage the director to continue exploring this art medium, while cultivating and nurturing her unusual style.
Belarusian Competition jury
Sakaris Stora
Screenwriter, Director | Faroe Islands
Born in 1986, as an indigenous Faroe Islander, Sakaris Stora directs films in his native language. He spent several years studying film- and video production at the Agder Folkehøgskole and Nordland Kunst- og Filmfagskole in Norway. Stora's short film Summarnátt (2012) was the first to bring him the Faroese film award, Geytin, followed by Vetrarmorgun (Winter Morning), which was awarded at the 2014 Berlinale Generation 14+. His first feature film "Dreams by the Sea" was released in 2017, with its premiere at the Reykjavík International Film Festival, where in 2010 he won the "Best short film by a new director" award for his movie Passasjeren (The passenger). Currently, Sakaris Stora is the member of the Jury at the Faroese Film Award.
Natalia Libet
Film Producer | Ukraine
Natalia Libet has been working as a film producer since 2017 and, most recently, as a co-owner of women-led "2Brave Productions" in Kyiv, Ukraine. Natalia's filmography includes award-winning titles "Stop-Zemlia" by Kateryna Gornostai (Crystal Bear Generation 14+ at Berlinale 2021), co-production of "Anna" by Dekel Berenson (Best Short Award at BIFA 2019) and "Parthenon" by Mantas Kvedaravicius (world premiere at the Critics' Week at 2019 Venice IFF). She is a winner of the 2000 Edmund Muskie/Freedom Support Act Graduate Fellowship Award, responsible for the educational programs at the Film Industry Association of Ukraine (FIAU), a member of the European and Ukrainian Film Academies, and an alumna of EURODOC 2021.
Pamela Tola
Actress, Writer, Director | Finland
Pamela Tola started acting when she was 9 years old, as a hobby in video films and amateur theatre. Tola studied acting at the Theatre Academy of Helsinki and graduated as a Master of Theatre Arts in 2008. Her breakthrough in acting was in Dome Karukoski's film Beauty and the Bastard (2005), from which she got her first Jussi-nomination. She has also acted in Karukoski's films Lapland Odyssey (2010) and Heart of a Lion (2013). Tola made her directorial debut in 2018 with the movie Swingers;Teräsleidit (Ladies of Steel) followed in 2020. Tola continues to act, write and direct, with new projects being released in 2023.

2021

2021

2020

2020

The Manifesto

On the occasion of the 6th Northern Lights Film Festival — LISTEN AND HEAR.

Have you ever thought how often we listen without hearing? We are so obsessed with our personal fears, pain, strong beliefs and assumptions that we just can no longer comprehend what another human being, an animal, or a tree feels…

Even when someone is screaming, we are reluctant to hear them. Most often, because of our ego. We can’t hear when someone calls for compassion and help; when our planet calls for help; when women who suffer from physical, sexual or psychological violence call for help; we can’t hear a depressed person and get scared of someone on the verge of suicide…

How often do you really hear when you listen? To hear is quite a rare skill, as amid the buzzing fast-paced life we can hardly find time, energy or resources to hear for real. Maybe that’s why it can be hard to find empathy and compassion when people don’t hear themselves, their loved ones, their surroundings, their nature — to show compassion and give a helping hand becomes almost an unattainable task. However, it is the listening and the hearing that can save us. Whomever it is that the bell is tolling for, it is tolling for each of us, since we are one.

It happens, though, that when we do hear, we choose to judge, to run away, to hide.

These are all plain mechanisms of psychological self-defense, the survival mechanisms of the human psyche. At times it is very difficult to get through them. In some cases, it is impossible altogether. Our ego will always fight to defend us, leaving others to cope on their own. This leads to indifference, the lack of empathy, victim blaming. This makes people say — the war in Syria is not our business, Australian bushfires are a distant dark fairy tale, Greta Thunberg is an awkward child who is worthy only of a few laughs. That’s why when activists are calling us out to 'do something' because the planet is dying, we can only feel sort of discomfort and irritation. What can we, individually, do? The answer is, at least something good that is within our reach. This is in itself a big deal.

It is even more difficult for someone who was heard to hear back and open their heart instead of reveling in blaming. Sometimes it is hard to show those very empathy and care, which are so much discussed in the twenty-first century — a pretty narcissistic time — and which are so scarce. We are all interconnected, the bell is tolling for all of us, and no one is ever fully aware of what another person is going through — that’s why every day we need to show kindness, care, understanding and support to our loved ones, friends, colleagues, strangers, nature, animals.

Violence begets violence. The energy of kindness and non-violent behavior begets kindness and love. Sometimes it takes just a smile, sometimes — not taking a plastic bag at a supermarket, sometimes — to respond to trust with more trust, and sometimes — just to open your heart. It’s important not only to listen but to hear — to let it into your heart, to show understanding, not to be afraid of expressing love thinking it’s just a sign of weakness.

The human is a clever, conscious being. We all have a choice, even though many of us living in the post-Soviet territory tend to have a different mentality. We all have a choice, we can choose indeed: to hear and to open our heart, to help others, to give our time, to let someone receive help.

LISTEN AND HEAR — it is also about ourselves, about us needing to hear ourselves and let go of the fear of being ourselves. To express ourselves and to hear ourselves stands for self-love and self-acceptance. This and only this is the starting point of learning to hear others. A human is a complex creature. That’s why sometimes it is not easy to love and respect people. We learn to do it every day through sympathy, giving, care. We learn to listen and hear each other, hear our nature.

What do we hear?

When I was a child, mom once asked me, 'What do you want to be when you grow up?' I said, I want to be a peacemaker. I imagined myself on TV, telling all the people around the world how important it is to love each other and not to wage war. In a way, everything I do now is about that. It is about feeling deep and showing kindness and empathy. Perhaps I have a somewhat childish naive belief that these are key qualities. When people adhere to them, there can be no war, no humiliation, no violence, no abuse of the planet.

The Northern Lights is like a peacemaker this year. It proposes to 'cease fire', to stop even if for the festival week, to find some time, to pay close attention, and to listen. Listen to stories about women’s rights and campaigns against domestic violence, about horrific consequences of psychological, emotional, sexual, physical and financial violence, about the ecological disaster and climate change, about the disappearance of entire ecosystems, about record-breaking CO2 emissions into the atmosphere, about the recycling and remanufacturing mentality, about patriarchy. And, above everything, in spite of everything, about love and beauty.

Listen to this, try to hear, leave your comfort zone, get off this spinning wheel of stress and deadlines and just listen, feel, hear. There is as much kindness and love in the world as we can imagine. And we always have a choice of what to think and how to feel.
Founder and director
of the Northern Lights Film Festival
Volia Chajkouskaya

2019

2019

2018

2018

2017

2017

2016

2016

2015

2015