Sandra Jõgeva

Un cadre moyen qui développe une aversion à être une bonne personne remet en question sa moralité alors qu'il fait face aux défis de l'âge moyen et perd le contrôle de sa vie.

A documentary about contemporary Estonian artist and feminist Mare Tralla, who started in the stormy 1990s as part of the so-called generation of winners. In addition to being a radical feminist, Mare Tralla is a hidden mother, lecturer, craftsman and designer, and on top of all that, she is also a person who has had to keep a very intimate and dark secret to herself from a very young age.

A documentary about contemporary Estonian artist and feminist Mare Tralla, who started in the stormy 1990s as part of the so-called generation of winners. In addition to being a radical feminist, Mare Tralla is a hidden mother, lecturer, craftsman and designer, and on top of all that, she is also a person who has had to keep a very intimate and dark secret to herself from a very young age.

Sandra Jõgeva's debut film is about a 27 year old art student who comes from a good family and has decided to give up on life.

A story about the relationship between independent Soviet art and the West. It recalls a time when art was larger and more important than life itself. On one side, there are independent Soviet artists who lack not only the output but also the finances to complete their works. On the other side, there is the tempting West whose ambassadors (in the literal sense) take active interest in the Soviet underground art market. Selling one’s works to the West is a tricky business since the almighty KGB stands between the two mutually interested parties. Nevertheless, an incredible quantity of mainly Estonian and Moscovian visual art is sold and taken across the border. This is facilitated mainly by Western diplomats, behind whose coordinated actions stands none other than the CIA.

A story about the relationship between independent Soviet art and the West. It recalls a time when art was larger and more important than life itself. On one side, there are independent Soviet artists who lack not only the output but also the finances to complete their works. On the other side, there is the tempting West whose ambassadors (in the literal sense) take active interest in the Soviet underground art market. Selling one’s works to the West is a tricky business since the almighty KGB stands between the two mutually interested parties. Nevertheless, an incredible quantity of mainly Estonian and Moscovian visual art is sold and taken across the border. This is facilitated mainly by Western diplomats, behind whose coordinated actions stands none other than the CIA.