“Gregorian chant has no structure, music just floats,” says one of the interlocutors in Jokūbas Vilius Tūras’ latest film ‘Sacred Time’. The same cannot be said of the documentary film itself, which, like that choral, floats also, but has a very clear structure – unpretentious (which doesn’t necessarily mean bad), articulated, concrete. 

The premiere of the film “Roman’s Childhood” by Linas Mikuta, one of the most interesting Lithuanian documentary filmmakers of the last decade, took place at the European Film Forum “Scanorama”. 

Until recently, Lithuanian cinema was criticized for avoiding to tell the stories of ordinary people and for fleeing into relative space and time. However, it took a new generation of filmmakers for stories to appear on the screens over the last few years that you would not call indifferent to the realities of the present. 

The manifestation of indecision – this is how I would like to describe the impression left after the premiere of the film “Nova Lituania” directed by Karolis Kaupinis, which opened Lithuanian cinemas after the lockdown.