Nerijus Milerius

Is anything changing in life when in a film your characters death, mourning the loss of beloved one - parents, children is played? In Life After Death, this question is posed in different forms to three generations of actors.

Audrius Mickevičius puts the horribly disfigured face of his murdered brother at the start of his film. It is almost a meditation about the question whether a final act like murder can be atoned for in a temporal order – and whether the passing of time allows the victim’s family to forgive. Mickevičius uses the example of two lifers (one of them gets married and wants to have children, the other pours his whole passion into an idea of craftsmanship) and a philosopher with prison experience to make that strange state of suspended life comprehensible.

Kaunas, Lithuania, 1941, Lithuanian activist Andrius Gluosnis kills a Jew Isaac in Lietukio garage massacre. Years after the incident Gluosnis is haunted by the guilt.

A ship explodes. A man dies. A man disappears without a trace. Is it an accident or a cover-up for something darker?

A ship explodes. A man dies. A man disappears without a trace. Is it an accident or a cover-up for something darker?