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For the first time in the history of the Tallinn Black Nights Film Festival, the winner of both the Grand Prix and the Audience Award is the same film – The Good Daughter, directed by Spanish filmmaker Júlia de Paz Solvas.
At the Award Ceremony of the 29th Tallinn Black Nights Film Festival (PÖFF), awards were presented to the winners of the festival’s six competition programmes, Industry@Tallinn & Baltic Event and PÖFF’s youth and children’s film sub-festival Just Film.
- The Best First Feature Film award goes to Hercules Falling, dir. Christian Bonke (Denmark);
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Best Baltic Film award goes to The Visitor, dir. Vytautas Katkus (Lithuania, Norway, Sweden);
- In the Critics' Picks competition, the award for the Best Film goes to China Sea, dir. Jurgis Matulevičius (Lithuania, Taiwan, Poland, Czechia);
- In the Rebels with a Cause competition programme, the award for the Best Film goes to The Baronesses, dir. Nabil Ben Yadir, Mokhtaria Badaoui (Belgium, Luxembourg, France);
- In Doc@PÖFF Baltic competition, the Best Film award goes to Holy Destructors, dir. Aistė Žegulytė (Lithuania, France, Latvia) and Doc@PÖFF international competition, the Best Film award goes to Days of Wonder, dir. Karin Pennanen (Finland, Denmark, Norway);
- The Audience award goes to The Good Daughter, dir. Júlia de Paz Solvas (Spain)
Awards of the 29th Tallinn Black Nights Film Festival
OFFICIAL SELECTION COMPETITION
Jury: Teona Strugar Mitevska, Roberto Schaefer, Debra McGuire, Ingo Fliess and Nomuunzul Turmunkh
Grand Prix for the Best Film (Grant of 20,000 euros from the city of Tallinn, shared by the Director and Producer): The Good Daughter, director Júlia de Paz Solvas, producers Sergio Grobas and Stefan Schmitz
Jury comment: "This film is a strong and emotional drama about a teenage girl dealing w
Satyajit Ray’s Mahapurush (1965), a sharp social satire adapted from Bengali writer Rajshekhar Basu’s short story Birinchibaba, remains one of the most incisive explorations of religious imposters in Indian cinema. Coming five years after Devi (1960), where Ray offered a chilling depiction of blind faith and its tragic consequences, Mahapurush takes a lighter, comedic route to unveil the manipulations of a fake holy man. With wit, intelligence, and a profound understanding of middle-class vulnerabilities, Ray exposes how religion, when filtered through opportunistic charlatans, becomes a tool of deception rather than enlightenment.
At its heart, Mahapurush is not merely a comedy about a self-styled guru who fools the gullible. It is a layered commentary on society—on the loneliness of the bereaved, the aspirations of the middle class, and the enduring human tendency to surrender reason in the face of charismatic authority. Through the character of Birinchibaba, Ray crafts a portrait of a con man so audacious that his absurd claims—of being present with Plato, having guided Einstein, or conversing with Buddha—are lapped up by his followers without question. In Ray’s hands, this narrative becomes both specific and universal, deeply rooted in the Bengali milieu yet resonant across religions and cultures worldwide.
The story unfolds when lawyer Gurupada Mitter, grieving the recent loss of his wife, encounters Birinchibaba and his disciple while traveling by train with his daughter Buchki. Emotionally vulnerable and desperately seeking solace, Gurupada finds in the so-called guru a promise of transcendence. Birinchi, played with extraordinary conviction by Charuprakash Ghosh, instantly captivates him with lofty references to philosophy, science, and religion—references that are more ridiculous than profound, but impressive enough to dazzle a man in mourning.
Buchki, Gurupada’s young daughter, is less enthusiastic, though she is caught between loyalty to her father and skepticism of the Baba. Her fiancé Satya, however, immediately distrusts Birinchi. Sensing danger in this new intrusion into their lives, Satya enlists the help of friends to expose the impostor. What follows is a delightful mix of suspense, comedy, and satire, as the youth plot to rescue Buchki’s family from falling deeper into the clutches of the self-styled prophet.
The narrative also carries a romantic subplot, as Satya woos Buchki while simultaneously hatching schemes against Birinchi. Alongside, Ray offers glimpses into the texture of Bengali middle-class life—the chess games, the poetry readings, the discussions around faith and rationality—all woven seamlessly into the larger satire.
One of Ray’s sharpest insights in Mahapurush lies in his dissection of class and faith. The rich, Ray suggests, are largely indifferent to religion. They have wealth as their security and rarely seek miracles from wandering holy men. The poor, on the other hand, are too burdened by survival to indulge in the luxuries of philosophical speculation or patronizing a guru. It is the middle class—educated enough to know of Plato or Einstein but not critical enough to question Birinchi’s preposterous claims—that becomes the perfect prey.
Ray’s satire is merciless in this regard. He shows how the middle class, with its anxieties, aspirations, and vulnerabilities, is most susceptible to the psychological games played by false prophets. Birinchi thrives precisely because his audience wants to believe in h
 
Brandon Lattman was born in San Diego, California on the 5th February 1992. In 2015 he moved to Los Angeles to study filmmaking at The New York Film Academy where he found an interest in cinematography. He also developed himself in other filmmaking areas such as directing, writing and editing. He is known for his work on The Waltz of the Monsters (2017), Repertoire of Memory (2016) and Methadone (2018). His latest film Trifole (2024) held its world premiere at the Palm Springs International Film Festival (PSIFF) 2025 and has been making its rounds at international festivals since.
Can you speak about where you are from, your background and how you got into film?
BRANDON: I was born and raised in San Diego, California. I’ve always had an interest in film, but it all started with an obsession with nature documentaries. I loved watching shows such as Planet Earth and Blue Planet and would imagine myself being the cameraman out in the field capturing this footage. This eventually evolved into imagining myself behind the camera on film sets and being able to have total control over what I capture.
How difficult is it to make an independent film in Italy?
BRANDON: In comparison to making a film in the United States, independent filmmaking seems to be a lot more manageable and non-restrictive. Communities surrounding our shoot locations seemed to be very welcoming and supportive of us and even inspired/participated in our production.
What have been the films and talents that have inspired you the most and perhaps influenced you the most?
BRANDON: I think of Roger Deakins whenever I approach new project. I guess you can say that I have a Deakins complex. I’m also very moved by the work of Vitoria Storaro and his iconic uses of shadows and low-key lighting. Thirdly, I admire the ambition and integrity of Ron Fricke and his work on the documentaries he has put out over the last few decades.
Can you tell us about your most recent film “Trifole” and the inspiration that began the journey to make it?
BRANDON: The story of Trifole resonated with me because I had recently lost a grandfather who was suffering from memory loss and was struggling to take care of himself. I saw a lot of him in the character of Igor and I thought about him most of the time I was on set. I even brought some of his cold weather jackets with me and wore them almost every day.
Do you have an anecdote, a funny or memorable event that happened while making the film that you would like to share?
BRANDON: There was one early morning when we were shooting at “Igor’s house” at sunrise. The fog was rolling in so thick and heavy that day that it put the entire production to a halt. We all stopped and stared as the fog streamed through the valley like a river. It was such a calm moment, and it was so uniting to stand there, side by side and just admire the work of mother nature. Of course, we got some shots of it.
What is one of the most valuable things you have learned on the jo
Straight 8 at Cannes
One Super 8 cartridge, no editing.
The Top 8 Premiere
Processing and scanning partner Cinelab Film & Digital with additional support from shots.
Another excellence in single point perspective to bring a filmmakers transcendence back to the grain.
Top short 3 minute films shot on Super 8 offer High contrast, low level light changes with red to blue. Format for where Ideas go beyond your imagination.
Sketch shows raffle winners Wolf and Cosmo, and other winner entrants “finding home” by James Trosh - UK, “Hors Saison” by RICA Philipp’s - Lebanon, “I gave something to tell you” by Naomi Christie - USA, “Immodest” by Charly and Robyn Faye - UK, “Just thinking of you” by Tom Can Scoyoc - USA, “The return of the Screw” by Cosmo Fletcher and Wolf Newton - UK, “The Storm, the calm, the madness, the magic” by Nihar Palwe - India, and “There will be another” by Ben Slotover’ - UK.
https://www.Straight8.net/2025
Nesta
19/5/2025
We have been coming to Legoland California (https://www.legoland.com/california/ ) since our firstborn son, Felix, was 5! That’s 15 years ago, and we keep coming back, every summer, for a 24-hour extravaganza between enjoying one of the two Lego hotels, this year the Castle Hotel, and the three parks for a long, fun day under the California sun.
We have 3 boys now, Felix (20), Max (13), and Rex (11), and their love for Legos and Legoland California is still skyrocketing high in the sky. All year long, they play Lego and build dream-like construction, one brick at a time. And they long for the enchanting escapade to Legoland California every mid-July.
Every year, Legoland surprises us with new attractions. This year, we noticed that there was an all-new driving school with even a car wash with bubbles. The site where the old driving schools were is now undergoing an intense building project as Legoland is preparing to announce a new indoor roller coaster and a new Space themed land, sure to take your breath away. Max and Rex sure had a blast chasing each other on this new track, and they think they are now ready to take my car to drive us home, ha-ha! Next to this area, you must experience the Nike and Lego play arena, providing a basketball-themed experience for the whole family. It’s only running until August 10th, so make sure to pack and head straight to Carlsbad’s Legoland, at once! And still in the same area and going onto the Legoland movie land, you must watch the new Lego World Parade at the end of each day. It’s quite a spectacle with floats coming to life with your favorite LEGO characters, such as the firemen, the pirates, or even the Ninjas from Ninjago! But before we experienced all of these fun times, we enjoyed our stay the night before at the Castle Hotel, where I booked a room with the theme of Knights and Dragons. It fits easily five people as there is a king-size bed in the master bedroom and 3 single beds (two are bunk beds) in the kids’ area. I am proud of myself for sleeping with the boys in the kids’ area while I gave my king bed to my son Felix and his fiancée. That’s what fathers do to keep their family happy! Each room has plenty of space for the whole family, and it comes with breakfast included, which is a yummy buffet in the heart of the castle (I highly recommend you make a reservation for breakfast as it can get crowded in the morning). Note that if you choose the Legoland Hotel, next door, you now have the choice of three new themed rooms: Lego Duplo, Lego Ninjago, and Lego Friends rooms. We have also stayed many times at the “classic” Legoland Hotel, and it’s also a super place to relax and enjoy your time at the pool before a nice buffet meal at their restaurant.
Three of our kids’ favorite rides are: ‘Lego City: Deep Sea Adventure’, ‘Lego Technic Coaster’, and ‘The Dragon’. Each ride is such a different emotional and adrenaline-driven experience. Who doesn’t love to get on board a submarine and explore the deep sea with so many real fish, sting rays, and sharks to encounter along the dive! And what about a deep dive with a roller coaster that will put your stomach upside down! Finally, The Dragon is a friendly roller coaster which takes you to an enchanted castle inhabited by a dragon that you are riding on, quite a journey!
One of the highlights of the day is to go “wild’n’wet” at the water park. When they were younger, my kids loved the Lego universe of Chima, and this is what a Legoland California built: The Chima water park area with ‘Cragger’ s swamp’ where kids can slide though the mouth of a croco
Summertime in East Hampton, New York evokes a reverie of sun-drenched beaches, calm ocean breezes, delectable hors d'oeuvres and sophisticated company. But within this dreamy landscape, an alt culture vortex arose in the form of artist and couture fashion designer Amy Zerner and her soulmate, best-selling spiritual author Monte Farber.
Famous for intricate art as well as tarot card readings, they are hard to pin down or categorize. Yet their deep spirituality lends the duo more to exploration than revolution. They don't really crash the party in the Hamptons; it's more like they evoke and paint it. Their Light-Filled, surreal perspective may be salutary in an area that absorbs a good slice of Manhattan in an attempt to flee it. (Many manage just fine, but some weekenders may never get there due to the infamous traffic jams.)
Producer and Director Annmarie Sairrino, who is based in Burbank, seems to have great fun pulling together the pieces around this puzzling, talented and fascinating couple. Seldom do people so irreverent act from a place of such transcendent intentionality. And therein is a story worth telling. It is told very well.
You can watch the trailer here (parental discretion advised): Amy & Monte Trailer
Link to MALAKI-Z’s 1st ANTHOLOGY book reel: https://youtu.be/d6cdTXFXT04
Link to MALAKI-Z's 1st ANTHOLOGY: https://www.amazon.com/dp/B0DMLZPHYT
Enter the Universe, chronicled by Malaki-z, the cosmic historian who records the most intriguing and critical tales of existence. MALAKI-Z’s 1st ANTHOLOGY, Into the Light, spans five thought-provoking stories, each one casting light on humanity’s place within the vast cosmos.
In Willard’s Fundamental Force, Professor Roy Willard, a humble astrophysicist, stumbles upon a discovery that could redefine everything we know about the universe. What begins as a routine academic year soon spirals into an intense journey of revelation as Willard confronts forces far beyond his comprehension, forcing him to question not only his theories but also the very nature of reality.
In To Beta-Vanverden and Back, journey alongside a space exploration team as they embark on an expedition to Beta-Vanverden, an exoplanet that holds both awe-inspiring beauty and unexpected dangers. As they delve deeper into the planet’s secrets, the crew must grapple with their own humanity, the nature of alien intelligence, and the risks that come with seeking knowledge.
In Message from Unit 493, a chilling revelation from an ancient android changes everything humanity thought it knew about its place in the universe. Discovered six hundred million years after it was recorded, the android’s message unveils a cosmic cycle known as the Grand Evolution Cycle—a pattern in which intelligent species inevitably rise, fall, and are replaced. As Unit 493 calmly explains the fate awaiting humankind, it becomes clear that androids, not humans, are destined to inherit the Earth. Through this haunting and thought-provoking tale, Message from Unit 493 challenges readers to question the long-term consequences of humanity’s actions and to ponder the cyclical nature of life itself.
Father of Civilization unveils the story of the last human on Earth, whose actions will shape the next wave of life on the planet. As he struggles with loneliness, loss, and responsibility, he must find within himself the will and wisdom to lay the foundations for a new society, one that may one day come to know him as its “Father.”
In Cosmic Limousine, Ltd., the universe becomes the playground of an eccentric entrepreneur who offers clients once-in-a-lifetime rides across the stars. From interstellar cruises to black hole tours, this company brings thrill-seekers face-to-face with the mysteries of space—until a journey goes unexpectedly awry, challenging passengers and crew alike to confront their deepest fears and desires.
This collection explores the profound, the mysterious, and the unsettling realms of space and time. With each story, Into the Light asks readers to consider the vastness of the cosmos, the essence of human ambition, and the power of choice. A journey into discovery and reflection, this anthology will captivate anyone who has ever wondered about the universe's endless potential and our place within it.
ABOUT THE AUTHOR
James W. Hawk was born in New Eagle, Pennsylvania, and grew up in East Cleveland, Ohio. He attended Cleveland State University.
Dr. Raymond Foery, Professor Emeritus - Quinnipiac University Film, Television, and Media Arts, said about Hawk’s work: "A truly imaginative filmmaker with a highly sophisticated sense of cinematic acuity. Jim has been remarkably active in various genres. As a director of narrative fiction, he has shown a sure hand with actors and a sophisticated appreciation of mise-en-scene. As a creator of animated visual motifs, Jim has displayed a mastery of the latest
Nesta Morgan CONTENT for Cannes 2025 Sketches (listed 1-12)
(copyright Nesta Morgan 2025)
23 May 2025
FAO Bruno Chatelin c/o filmfestivals.com
1a.
Kering Women in Motion
Charlotte Gainsbourg
Inspired by Brigitte Bardot, Lars Von Trier and her own documentary, My Mother.
A few steps, I can have a Vision, any character. My secret rhythms, different pace, slow
movement. A red shoe meaning ballet, I’m strong, Lemon incest and Shy.
Nesta
17/5/2025
1b.
Charlotte Gainsbourg
On character and provocation such as playing Gisèle at 16 raped and found guilty, being another
character provokes strong performance, such as in “Melancholia” and having 3 days with Wes
Anderson, a God - "Phoenician Scheme".
Nesta
17/5/2025
2.
Hong Kong international film festival executive director of Cinema, Albert Lee.
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17/5/2025
3.
"Die My Love", Cannes 2025 press conference sketch with Eric Kohn, Seamus McGarvey, Sissy
Spacek, Robert Pattinson, Lynne Ramsey, Jennifer Lawrence, LaKeith Stanfield, Catherine
George, and Tim Grimes - on production design.
Themes explore Sex passion. A guy in vernacular hopes to change course. Emerald colour and
hope for the future.
The light at the end of the tunnel starts to dim. A Surreal mooonlight sun.
Guns of Brixton, with a huge boundary of musical quality.
Nesta
18/5/2025
4.
Crunchyroll Anime at Cannes with Mitchel Berger. “We see fans everywhere, looking for content”.
Nesta
18/5/2025
5.
Cannes Lecon De Musique avec Alexandre Desplat. “Regarder, trouver La tonalite”.
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18/5/2025
6.
Cannes A Melody with one hand.
La Lecon de Musique de Alexandre Desplat and Guillermo del Toro anime par Stephane Lerouge.
“Emotion is the new punk. Pinocchio lyrical”.
Inside the film camera is floorless. Shape of Water. Surprise. Find character, this came from Jazz.
The 1st part is the camera. Let it breath. Film like a composer. Horizontal”.
Nesta
18/5/2025
7.
UK Film Centre A Trader Co-Production with Victoria Burrell, producer. It’s natural, with more time
in New Zealand on Set!
Nesta
18/5/2025
8.
“The Phoenician Scheme”.
Trans mountain, inland waterway, hydro electric power stripping away the emotional map on
pages. The best costumes, like God discovering shaping water and sculpting. Wes Anderson and
Zsa-Zsa Korda, the kid inside a bath tub for 7 hours on set. Step inside, steal the props, here’s
where two ideas meet imagination in very dark capitalist contradictions appear layers of Grey,
Black and White tones.
Didier Allouch, Riz Ahmed, Benedict Cumberbatch, Michael Cera, Benicio del Toro, Mia
Threapleton, Rupert Friend, Richard Ayoade, and director Wes Anderson.
Nesta
19/5/2025
9a.
Nina Goldvin is a new filmmaker from Ukraine whose debut short film The Voice of Despair is already making a strong impression—especially with its screening at Cannes. The film tells the story of sexual violence through a unique and powerful perspective: the voice of an unborn child.
What’s especially striking is that this wasn’t a project Goldvin planned in advance. While visiting Ukraine, she met a friend who introduced her to a women’s doctor. That doctor shared a number of heartbreaking stories she’d heard from patients—stories about abuse that many women are forced to carry in silence. One of those stories hit Goldvin deeply. She said she felt a lump in her throat after hearing it, and an overwhelming need to share the story. “I had to express my voice of despair” she states during the interview while recounting the moment she heard this story. That’s how the film began to take shape.
Goldvin felt a responsibility to use her platform to speak up for women who have experienced similar pain. She’s passionate about helping women around the world feel seen, safe, and empowered.
Making a film like this obviously comes with emotional challenges. But Goldvin had a tool she leaned on throughout the process: meditation. Her mother taught her how to meditate when she was five years old, and she says that having that ability to calm and center herself helped her get through the heavy emotions that came with telling such a painful story. She expressed the importance of being able to control your emotions and mental state.
Interestingly, acting in her own film wasn’t the hardest part. The real challenge was finding someone to voice the unborn child. Since the character needed to sound like a young child and speak fluent Ukrainian, casting was tough. Eventually, Goldvin found the right person—someone she felt a real connection with—and also formed a close bond with the child’s mother during filming.
Because the story is based on a real event, Goldvin wanted to make sure she had permission to share it. The doctor who originally told her the story helped her get in touch with the woman who had lived through it. That woman agreed to let Goldvin tell the story, as long as her identity stayed private. To this day, she’s still deeply affected by what she experienced.
Goldvin said she grew up in a peaceful, sheltered environment and didn’t realize how common stories like this really are. Learning about the reality so many women face was painful—and also motivating. She wants to make sure these kinds of stories aren’t ignored or treated like they’re normal.
One thing that surprised her while making the film was how naturally everything came together. She didn’t have a strict plan or a detailed outline—she just knew the story had to be told, and trusted herself to find the way.
Looking ahead, Goldvin is still thinking about women’s rights and the political side of these issues. She’s even considering turning The Voice of Despair into a full-length feature film. There’s more she wants to say, and this film feels like just the beginning.
Interview by Madeline Ballard
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