New Estonian animation is an area that has certainly

managed to prove itself worldwide and earn its

keep as a shared cultural value. Local anima-
with the best intentions in the world not all studios want
or can take the young under their wing. This of course
does not mean that the young who cannot get into a studio

generation tion veterans have prepared the ground for

the young by creating a situation where inter-
(or do not want to) have any less potential. But their day
will come, no doubt about that.

in
national specialists are quite keen on our ani- Now that working in a studio is no longer the only
mated films. Estonian animated films have, in opportunity to produce an animated film, an independent
fact, become a sign of quality – why else would ‘indie-anima’ is emerging, which can be cultivated irre-

Estonian
Chris J. Robinson, the artistic director of the spective of background or education. If the film is good,
prestigious Ottawa festival, have produced a it can also make it outside the elite circle. Indie films’
special book on the history of Estonian ani- budgets are considerably smaller than those of studios

animation
Mari-Liis Rebane
mation?
On the last pages of his book, however, he
wonders where the young authors are? Has any-
and the director is often also the film’s artist, animator
and editor. Such a situation is still mostly possible in
animation. Chintis Lundgren, for example, has attracted
one heard anything about them? The Estonian a great deal of enthusiastic attention in recent years with
Academy of Arts has been training animation her films The Great Grey Shrike and Volli Pall. A few more only a few animators (e.g Elisabeth Salmin and
students for five years. Most of them are already people have managed to slip through the puppet film Katri Haarde) have directed their own films
seeing the world more extensively, within the doors, and some who have worked in animation before in the past ten years, without creating much
European Union, but those who decide to stay have also succeeded in directing their own authorial of a splash, and Martinus Daane Klemet, in
at home must face the situation of professional films. Except for the triumphant directing duo of Mari- 2007, worked with Olga and Priit Pärn on their
film-makers being separated by a wasteland Liis Bassovskaya and Jelena Girlin, who have frequently animation Life Without Gabriella Ferri. In 2009,
from young directors and animators on the been called the Estonian Quay Sisters, nobody has quite Klemet debuted at the Eesti Joonisfilm Studio as
threshold of their careers. Without studio sup- managed to stay at the top. Animation studios have been the director of his own film, which is perhaps
port, no one gives them any money, but even somewhat reticent: besides Kaspar Jancis and Ülo Pikkov, the most meteoric rise in a long time.

Chintis Lundgren. Chintis Lundgren.

Stills from The Great Grey Shrike. 2009. Animation. 6’22” Stills from Volli Pall. 2010. Animation. 11’41”

20 New gene rat i o n i n Esto n ia n a n i m ati o n New gen erati o n i n Esto n i an a n i mati o n 21
New Estonian animation is an area that has certainly
managed to prove itself worldwide and earn its
keep as a shared cultural value. Local anima-
with the best intentions in the world not all studios want
or can take the young under their wing. This of course
does not mean that the young who cannot get into a studio

generation tion veterans have prepared the ground for

the young by creating a situation where inter-
(or do not want to) have any less potential. But their day
will come, no doubt about that.

in
national specialists are quite keen on our ani- Now that working in a studio is no longer the only
mated films. Estonian animated films have, in opportunity to produce an animated film, an independent
fact, become a sign of quality – why else would ‘indie-anima’ is emerging, which can be cultivated irre-

Estonian
Chris J. Robinson, the artistic director of the spective of background or education. If the film is good,
prestigious Ottawa festival, have produced a it can also make it outside the elite circle. Indie films’
special book on the history of Estonian ani- budgets are considerably smaller than those of studios

animation
Mari-Liis Rebane
mation?
On the last pages of his book, however, he
wonders where the young authors are? Has any-
and the director is often also the film’s artist, animator
and editor. Such a situation is still mostly possible in
animation. Chintis Lundgren, for example, has attracted
one heard anything about them? The Estonian a great deal of enthusiastic attention in recent years with
Academy of Arts has been training animation her films The Great Grey Shrike and Volli Pall. A few more only a few animators (e.g Elisabeth Salmin and
students for five years. Most of them are already people have managed to slip through the puppet film Katri Haarde) have directed their own films
seeing the world more extensively, within the doors, and some who have worked in animation before in the past ten years, without creating much
European Union, but those who decide to stay have also succeeded in directing their own authorial of a splash, and Martinus Daane Klemet, in
at home must face the situation of professional films. Except for the triumphant directing duo of Mari- 2007, worked with Olga and Priit Pärn on their
film-makers being separated by a wasteland Liis Bassovskaya and Jelena Girlin, who have frequently animation Life Without Gabriella Ferri. In 2009,
from young directors and animators on the been called the Estonian Quay Sisters, nobody has quite Klemet debuted at the Eesti Joonisfilm Studio as
threshold of their careers. Without studio sup- managed to stay at the top. Animation studios have been the director of his own film, which is perhaps
port, no one gives them any money, but even somewhat reticent: besides Kaspar Jancis and Ülo Pikkov, the most meteoric rise in a long time.

Chintis Lundgren. Chintis Lundgren.

Stills from The Great Grey Shrike. 2009. Animation. 6’22” Stills from Volli Pall. 2010. Animation. 11’41”

20 New gene rat i o n i n Esto n ia n a n i m ati o n New gen erati o n i n Esto n i an a n i mati o n 21
 Martinus Daane
Klemet. Light My Fire attracted enough attention to tor in order to prove itself to viewers. Every tiny detail, rhythm and
Stills from Furry make it possible to produce the next, and so sound counts. Producing an animated film is a laborious undertak-
Flurry. 2006.
Short film. 3’49’’ far the most successful film, In The Air, at the ing, requiring dedication, thinking everything through carefully and
Eesti Joonisfilm Studio at the invitation of the the persistence to work perhaps a whole year to produce ten minutes
studio itself. This is Klemet’s first film in the of animation. These are rare abilities, but in addition to talent they
classic hand-drawn animation technique; are the key to success. Motivation, an enthusiastic approach to the
the artist is Gerda Märtens. In a sense, In The work process and bold experimentation seem to accurately charac-
Air is a total innovation for the Eesti Joonisfilm terise the work of Martinus Klemet.
Studio, because its visual language remarkably Animation in Estonia almost totally depends on the generosity of
differs from the earlier manner. Aesthetically, the state budget. There is never enough money in the cultural field
it is quite contoured, resembling black-and- but, as Mait Laas has said, Estonian animation is like a European
white vector art, and the film has a contempo- common frog in a marsh: we must try to preserve the species, as
rary feel, although there seem to be too many it adds to diversity. This also requires investment. It’s better not to
shots that do not move. Maybe it is precisely speculate on what would happen to Estonian animation if the state
the realistic details of the new handwriting pulled the plug – something that has already happened in some parts
that make the film’s animation method annoy- of the world. There would be room for young animation directors,
ingly static. Contextually, Martinus Klemet but would there be enough money to finance their films? Maybe it
has again taken a huge step forward, as this is time to start looking for other options to support young directors.
time the story is hidden in symbols, which Estonian animation is currently in its prime. Kaspar Jancis recently
requires creating an ambiguous system in won the most prestigious animation award in Europe, the Cartoon
the film. The plot was inspired by George d’Or, which has opened the door to the international animation
Orwell’s book 1984. A message about a soci- world. Another film that is picking up awards at the moment is
ety where people are manipulated by infor- Olga and Priit Pärn’s Divers In The Rain; before that they achieved
Martinus Daane Klemet (b 1982 in Tallinn), mation, and in fact directly strapped to it, is success with their full-length animated film Life Without Gabriella
successfully competing with the generation of not essentially new, but it is the manner of Ferri. Martinus Daane Klemet’s In The Air won the main award at the
Pikkov-Tender-Jancis, is probably the most narration that makes the film extraordinary. Melbourne animated film festival. Young Estonian animators may
promising young director at the moment, and In a hypnotized world, it is enough to press still be gearing up behind the old guard, but they are certainly ready
his work deserves to be examined. a button to make a bus-load of people dance to strike any minute now.
His debut, Furry Flurry, was made in 3D in to the right tune. People are lighter than air,
2006. It is a semi-sci-fi short story about an floating like helium-filled balloons to the
unusually hairy Soviet space shuttle and a sat- accompaniment of Vaiko Eplik’s music. Ülo Mari-Liis
ellite which find each other in their wander- Pikkov has called the protagonists of Klemet’s Rebane
(1988), studies animation
ings through the expanse of space, but whose latest film animal idiotas, who live as prisoners
at the Estonian Academy
brief love story culminates in a massive attack in a post-modernist world. When ordered by of Arts; previously studied
by the seemingly docile partner. The content the control systems, people jump headlong Japanese and general
cultural theory at Tallinn
of the abstractly playful fantasy world, with its into unknown waters. The manner of the film University. Has been
soft cosmos shuttles as hairy toys, may be a bit is illustrative and connected with the chain writing film and music
criticism since 2005.
unclear in this film. However, Klemet’s second of cause and effect, but it does not captivate
film, Light My Fire, which was supervised by viewers quite as much as, for example, the
Priit Pärn in the animation department of the ceaseless Olympic Fire marathon in Light My
Estonian Academy of Arts, is a much more Fire. In The Air is a film that resembles a passive
skilful achievement, both technically and code system, and does not attempt to entertain
contextually. and wrap the viewer around its little finger,
The three-minute animation keeps which has so far been the stock in trade of
viewers on their toes with its Tom & Jerry animated films.
scheme, which emphasizes action rather than Considering Martinus Klemet’s relatively
any hidden semiotic systems: a matchstick short filmography, his sources of inspiration
Trojan horse, Mickey Mouse, a Brontosaurus and favourite topics are quite obvious – sci-
and others all find their way on to a pyre. fi, technology and media – reflections on a
Three-dimensional visual graphics achieve new era served up as fictitious visualisation.
Hollywood-like action, seen in detailed time His films’ visual language, too, is minimalist,
exposures of matchstick sculptures that burn focusing on contrasts, contours and empty
to ashes. The brisk story of a matchstick that surfaces, and the stories often wind up in the
successfully wriggles out of unexpected situ- same places where the films start.
Martinus Daane Klemet.
ations is quite a step forward compared with Animated film is a format that requires a Stills from In The Air.
the first film. Martinus Daane Klemet. Stills from Light my Fire. 2007. Short film. 3’15’’ quick, apt and shrewd script from the direc- 2009. Short film. 8’38’’

22 New gene rat i o n i n Esto n ia n a n i m ati o n New gen erati o n i n Esto n ian a n i mati o n 23
 Martinus Daane
Klemet. Light My Fire attracted enough attention to tor in order to prove itself to viewers. Every tiny detail, rhythm and
Stills from Furry make it possible to produce the next, and so sound counts. Producing an animated film is a laborious undertak-
Flurry. 2006.
Short film. 3’49’’ far the most successful film, In The Air, at the ing, requiring dedication, thinking everything through carefully and
Eesti Joonisfilm Studio at the invitation of the the persistence to work perhaps a whole year to produce ten minutes
studio itself. This is Klemet’s first film in the of animation. These are rare abilities, but in addition to talent they
classic hand-drawn animation technique; are the key to success. Motivation, an enthusiastic approach to the
the artist is Gerda Märtens. In a sense, In The work process and bold experimentation seem to accurately charac-
Air is a total innovation for the Eesti Joonisfilm terise the work of Martinus Klemet.
Studio, because its visual language remarkably Animation in Estonia almost totally depends on the generosity of
differs from the earlier manner. Aesthetically, the state budget. There is never enough money in the cultural field
it is quite contoured, resembling black-and- but, as Mait Laas has said, Estonian animation is like a European
white vector art, and the film has a contempo- common frog in a marsh: we must try to preserve the species, as
rary feel, although there seem to be too many it adds to diversity. This also requires investment. It’s better not to
shots that do not move. Maybe it is precisely speculate on what would happen to Estonian animation if the state
the realistic details of the new handwriting pulled the plug – something that has already happened in some parts
that make the film’s animation method annoy- of the world. There would be room for young animation directors,
ingly static. Contextually, Martinus Klemet but would there be enough money to finance their films? Maybe it
has again taken a huge step forward, as this is time to start looking for other options to support young directors.
time the story is hidden in symbols, which Estonian animation is currently in its prime. Kaspar Jancis recently
requires creating an ambiguous system in won the most prestigious animation award in Europe, the Cartoon
the film. The plot was inspired by George d’Or, which has opened the door to the international animation
Orwell’s book 1984. A message about a soci- world. Another film that is picking up awards at the moment is
ety where people are manipulated by infor- Olga and Priit Pärn’s Divers In The Rain; before that they achieved
Martinus Daane Klemet (b 1982 in Tallinn), mation, and in fact directly strapped to it, is success with their full-length animated film Life Without Gabriella
successfully competing with the generation of not essentially new, but it is the manner of Ferri. Martinus Daane Klemet’s In The Air won the main award at the
Pikkov-Tender-Jancis, is probably the most narration that makes the film extraordinary. Melbourne animated film festival. Young Estonian animators may
promising young director at the moment, and In a hypnotized world, it is enough to press still be gearing up behind the old guard, but they are certainly ready
his work deserves to be examined. a button to make a bus-load of people dance to strike any minute now.
His debut, Furry Flurry, was made in 3D in to the right tune. People are lighter than air,
2006. It is a semi-sci-fi short story about an floating like helium-filled balloons to the
unusually hairy Soviet space shuttle and a sat- accompaniment of Vaiko Eplik’s music. Ülo Mari-Liis
ellite which find each other in their wander- Pikkov has called the protagonists of Klemet’s Rebane
(1988), studies animation
ings through the expanse of space, but whose latest film animal idiotas, who live as prisoners
at the Estonian Academy
brief love story culminates in a massive attack in a post-modernist world. When ordered by of Arts; previously studied
by the seemingly docile partner. The content the control systems, people jump headlong Japanese and general
cultural theory at Tallinn
of the abstractly playful fantasy world, with its into unknown waters. The manner of the film University. Has been
soft cosmos shuttles as hairy toys, may be a bit is illustrative and connected with the chain writing film and music
criticism since 2005.
unclear in this film. However, Klemet’s second of cause and effect, but it does not captivate
film, Light My Fire, which was supervised by viewers quite as much as, for example, the
Priit Pärn in the animation department of the ceaseless Olympic Fire marathon in Light My
Estonian Academy of Arts, is a much more Fire. In The Air is a film that resembles a passive
skilful achievement, both technically and code system, and does not attempt to entertain
contextually. and wrap the viewer around its little finger,
The three-minute animation keeps which has so far been the stock in trade of
viewers on their toes with its Tom & Jerry animated films.
scheme, which emphasizes action rather than Considering Martinus Klemet’s relatively
any hidden semiotic systems: a matchstick short filmography, his sources of inspiration
Trojan horse, Mickey Mouse, a Brontosaurus and favourite topics are quite obvious – sci-
and others all find their way on to a pyre. fi, technology and media – reflections on a
Three-dimensional visual graphics achieve new era served up as fictitious visualisation.
Hollywood-like action, seen in detailed time His films’ visual language, too, is minimalist,
exposures of matchstick sculptures that burn focusing on contrasts, contours and empty
to ashes. The brisk story of a matchstick that surfaces, and the stories often wind up in the
successfully wriggles out of unexpected situ- same places where the films start.
Martinus Daane Klemet.
ations is quite a step forward compared with Animated film is a format that requires a Stills from In The Air.
the first film. Martinus Daane Klemet. Stills from Light my Fire. 2007. Short film. 3’15’’ quick, apt and shrewd script from the direc- 2009. Short film. 8’38’’

22 New gene rat i o n i n Esto n ia n a n i m ati o n New gen erati o n i n Esto n ian a n i mati o n 23
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