Industry@Tallinn & Baltic Event Unveils 16 Bold Works in Progress

When the doors of Tallinn’s historic conference center opened on the morning of November 19, a nervous buzz filled the air. Sixteen films, each at a different point on the production ladder, were about to be pitched to an eager audience of buyers, festival programmers and fellow creators. The occasion? Industry@Tallinn & Baltic Event’s annual Works‑in‑Progress market, a fast‑growing platform that’s quickly become the go‑to showcase for the whole Baltic region.

At the heart of the lineup sits a pair of veteran filmmakers who need no introduction. Tribeca‑winning director Darko Lungulov, known for Serbia’s Oscar‑run contender “Here and There,” will present a new drama titled “1970.” Across the table, Lithuanian auteur Ernestas Jankauskas—who made waves with “Troll Farm” and the quirky “I Am Fine, Thanks”—will be pitching his latest project, a post‑Soviet crime‑musical called “Concrete Music.” Both bring a seasoned eye to the festival, but the real thrill comes from the younger voices that sit beside them.

Welsh talent Josh Trigg, fresh off a BAFTA‑nominated debut, returns with “Leopard Spots,” a Japanese‑language feature that promises a lyrical look at isolation and connection. Meanwhile, Basque newcomer Marina Palacio debuts “And Thus It Will Go On” (Spanish: “Y así seguirán las cosas”), a hybrid narrative that follows a child named Germán as he roams the lonely fields of his village, rediscovering life through play. The film, produced by the acclaimed Gariza Films, already snagged the “most promising project” award at the 2022 Script Pool.

Adding another layer of intrigue is AFI graduate Saulius Baradinskas, whose short “Techno Mama” earned a Golden Lion nod in Venice. He now steps into feature territory with “Concrete Music,” a story set in 1990s Lithuania that fuses gritty crime drama with musical numbers—a daring mix that underscores the event’s appetite for genre‑bending work.

All together, the sixteen projects span everything from psychological thrillers to dark comedies and fantastical dramas. Co‑curators Kärt Väinola and Helen Räim explain that they deliberately sought variety. “We wanted a blend that feels like a conversation across borders—Southeast Asia, Central Europe, Latin America, Spain—all speaking the same language of family,” they said. Indeed, the recurring motif of parent‑child bonds weaves through titles such as the satirical “A Midnight Pilgrimage,” the bittersweet “Marry Then Die,” and the gently absurd “The Elderly Store.”

Even the heavier topics—mortality, loss, the passage of time—receive a surprising lightness. “The Reef,” for instance, tackles grief with a hint of magical realism, while “Luci Looped in Limbo” uses a looping narrative to explore memory’s fragility. The event’s programmers noted that this tonal balance is exactly what makes the Baltic screen scene feel fresh yet grounded.

One notable change this year is the scheduling. All sixteen pitches happen on the same morning and early afternoon, freeing the afternoon for informal networking and deeper conversations before the closing ceremony on November 20. Organizers hope this compressed format encourages collaborators to linger, share ideas, and maybe even seal a co‑production deal on the spot.

In short, Industry@Tallinn & Baltic Event has once again proved it’s more than a market—it’s a micro‑cosm of the region’s cinematic heartbeat, pulsing with stories about families, histories, and the odd sprinkle of darkness that keeps us watching.