A black (non)comedy about loneliness, desperation, hope and the eternal desire for happiness. Six lost souls live in a repulsive housing development from the Soviet era. In a gently stylised film full of absurd humour, Laura the single mother, writer Mati whose wife has left him, Kaski the hairdresser suspected of paedophilia, Maurer the architect and Theo the promiscuous cloakroom attendant, try to come to terms with their lives. The visually captivating and atmospheric film reveals the intimately familiar feelings of inhabitants of post-Communist countries and the conditions of upheaval, unhappiness and loneliness. These existential themes, however, are more of a starting point for an ironic – though empathetic – portrayal of the lives of the charismatic protagonists. Instead of employing a classic dramatic structure, the film allows its events to play out freely, combining the meticulous North European sense of absurd humour with the depressive Eastern European view of the world. Autumn Ball came away with the Grand Prix for Best Film in the Horizons section of the 2007 Venice Film Festival. It was also awarded prizes in Bratislava, Marrakesh and Thessaloniki. –KVIFF
Veiko Õunpuu (born March 16, 1972 in Saaremaa) is an Estonian film director and screenwriter who is best known for his artistic movies Autumn Ball (Sügisball, 2007) and The Temptation of St. Tony (Püha Tõnu kiusamine, 2009). Õunpuu’s films are usually slow paced artistic movies with eccentric characters. In 2006 he wrote and directed independent short film Empty (Tühirand). In 2007 he adapted Mati Unt’s novel Autumn Ball (Sügisball) that won Horizon Award in Venice Film Festival and is still the highest international recognition Estonian film ever had. In 2010 Õunpuu’s second feature drama The Temptation of St. Tony (Püha Tõnu kiusamine) screened in Sundance Film Festival. The film was selected as Estonia’s submission for the Academy Award for Best Foreign Language Film at the 83rd Academy Awards, but it didn’t make the final shortlist. —wikipedia
the director tried to hard to prove that estonian cinema has 'western / european' (even more so - scandinavian) identity: counting tributes, quotations and influences became a tiresome endeavour by the middle of this definitely too long for what it tried to convey film. yes, saying what it was meant to say - that there are
people in the soviet-built neighbourhoods - probably is a noble cause in the postsocialist/postsoviet societies, but this was done from the perspective of the architect character, as a whim rather than because of the deep sympathy and understanding, by the means of estetization and estrangement / defamiliarization, without being really a social commentary on the developmetns that need to be commented on.
When you have grown up in the exact same environment, it cuts very deep. Brilliant.