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The Best Kristina Norman Directed Movies

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74

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Souvenir / sculptural intervention in the public space 8m high metal scaffolding in the form of a Christmas tree.

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In an atmosphere ripe with nationalism, two young engineers are commissioned by the Estonian Ministry of Defense to erect the country’s most important monument – a statue commemorating the War of Independence. With strong political and social pressure, the main characters of the film find themselves in many tragicomic situations and a constant row of ordeals. All of this paints a colourful and unique picture of the creation of a symbol during a time of financial crisis in Estonia.

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A bronze Monolith arrives from space in Estonia. The small country’s inhabitants are forced to take sides about the alien object. The result is a conflicted situation from which the people cannot emerge sanely. All events are amplified in different media channels.

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The audio-visual piece titled “Festive Spaces” is a contemplation on the production of ideological spaces and their use in different temporal and ideological contexts. It is a lecture-performance staged in the assembly hall of a Soviet-time school building in Tallinn. With the participation of pupils of Russian-language schools, the piece deconstructs a media scandal concerning a class photograph taken in a hall of the History Museum of Estonia as part of the ritual of the inauguration of the first graders of one of the Russian schools in Tallinn. According to the National Broadcasting, taking pictures on the background of the mural “Friendship of Nations” (1987) by an acknowledged Estonian painter Evald Okas has an anti-Estonian undertone, as the iconography of the mural depicts Soviet symbols and subjects.

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The film’s narrative unfolds as Kristina Norman browses through the class photo album with her former teacher and recalls what her classmates were like who they have become. The main narrative is in the form of a video diary of an artist visiting Moscow for the time, with all the possible colorful adventures that could be considered “the distinctiveness of Russian life” and, of course, the typical Russian-style late night conversations, in which the world is energetically set to rights.

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Absurdist experimental documentary, about the tensions around the Bronze Soldier that were escalating in both Estoniam and Russian media.

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The Pridnestrovian Moldavian Republic declared itself an independent state in 1990, but has not been recognized by any country in the world since then. More than 20 years have passed, the economic situation in the quasi-state is difficult, social discontent is growing due to the arbitrariness of the authorities, political activity is increasing, especially on the eve of the elections, in which the incumbent president, Igor Smirnov, who has ruled the country for 20 years, again puts forward his candidacy. His opponents defend various interests, but absolutely all of them are turned towards Russia and vying with each other express their boundless devotion to their potential homeland, which is in no hurry to reciprocate tenderness.

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Kristina Norman works with the physical and emotional dimension of the concept of imprisonment. She draws a parallel between the contemporary experiences of political imprisonment and the conditions in the concentration camp set up on Suomenlinna island in Helsinki in the aftermath of the Finnish Civil War (1918–1919).

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Common Ground creates a dialogical situation by bringing together people who, despite having a lot in common, would have been very unlikely to meet in real life due to the fact that some of them left Estonia as war refugees seventy years ago while others arrived in Estonia only recently, as contemporary asylum seekers.

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