Shadows in Paradise

A poker-playing restaurateur and former traveling salesman befriends a group of refugees newly arrived to Finland.

When an African boy arrives by cargo ship in the port city of Le Havre, an aging shoe shiner takes pity on the child and welcomes him into his home.

Everyone smokes too much in Kaurismäki’s sweet-natured comedy about Koistinen (Janne Hyytiäinen), a lonely night watchman at a shopping mall who declares that he has no friends — not out of self-pity, but because it’s the sad truth. Only the woman who sells him hot dogs from her wurst stand (Maria Heiskanen) shows him any kindness, but he rebuffs even that. When a blonde femme fatale (Maria Järvenhelmi) appears to take interest in him, a stilted would-be romance ensues, which is soon revealed to be part of a plot to rob the mall. The most canine-oriented of all filmmakers, Kaurismäki complicates the story of Koistinen’s subsequent downward spiral into prison and homelessness with the tale of a dog that somehow brings this comedy of humiliation, silence, and incarceration to a happy conclusion. Filled with strange, arresting décor and musical interludes, Lights in the Dusk offers “a deceptively satisfying, almost magical achievement, like being stranded in a desert yet never going thirsty” (Wesley Morris, The Boston Globe).

The film follows a man who arrives in Helsinki and gets beaten up so severely he develops amnesia. Unable to remember his name or anything from his past life, he cannot get a job or an apartment, so he starts living on the outskirts of the city and slowly starts putting his life back on track.

A silent film in black and white, based on a novel from 1911, written by Juhani Aho (1861 - 1921), the Finnish writer. The story tells of an older man, Juha (Sakari Kuosmanen), who lives with his young wife Marja (Kati Outinen) in the Finnish hinterland. One day a clever Russian representative, Shemeikka (André Wilms), persuades Marja to accompany him on his travels. The consequences are tragic. Shemeikka, actually a pimp, picks Marja up on a cabbage field and kidnaps her in his fancy sports car to Helsinki, where he runs a nightclub.

Ilona Koponen (Kati Outinen), a head waitress at Dubrovnik restaurant, is married to Lauri (Kari Väänänen), a tram driver. The couple live in a small, modestly furnished apartment in Helsinki. As they both come home from work late one night, Lauri surprises Ilona with a new television which he purchased on store credit. There is a short discussion between the two regarding their ability to meet their financial obligations but they agree that the TV payments are manageable. Next day, as Lauri gets to work, he learns that the company will be laying off several workers due to non-profitability of certain tram routes and he is randomly chosen as one of the workers to be laid off. The day after Lauri has finished working his last scheduled shift Ilona is informed by the owner of Dubrovnik that the restaurant is being sold to a chain restaurant company and all the employees will be let go since the new company will be bringing in its own employees. Both of them set out looking for work immediately but with discouraging results. Lauri gets offered a job as a bus driver but is unable to pass the medical exam and subsequently loses his professional driver's licence. Ilona gets a job at a rundown bar/restaurant which doesn't even have a name and is owned by a tax evading crook. After 6 weeks of working there, the restaurant gets shut down by the state and Ilona does not get paid by the dishonest owner. During their search for meaningful employment, both Lauri and Ilona enter bouts of heavy-drinking, all the while running into their former co-workers who are dealing with similar difficulties. At one point, the two even sell their car and take the money to a casino in hopes of doubling the money but they, however, end up losing it all. Most of their furniture as well as the new TV that Lauri bought is repossessed by the creditors. One day, Ilona accidentally runs into Mrs Sjöholm (Elina Salo), her former boss. Sjöholm suggests that Ilona should open up a restaurant. Since Ilona does not have the financial means needed for such a venture, Sjöholm agrees to provide the capital for the restaurant to start operating with the understanding that Ilona will pay back the loan to Mrs Sjöholm. Ilona, humbled by her recent experiences, is initially reluctant to accept the offer for fear of the restaurant failing and her not being able to repay Mrs Sjöholm. She eventually does agree. Ilona names the restaurant Work and hires some of the staff from Dubrovnik, including the troubled chef Lajunen (Markku Peltola), plus Lauri. Filled with anxiety during a slow lunch hour on opening day, Ilona's worries quickly disappear as she watches the restaurant fill to capacity later the same afternoon. After receiving a call from a Helsinki union asking for a reservation for 30 people, Lauri and Ilona exit the restaurant and stand on the front steps appearing emotionless and looking at the skies as more people enter the restaurant.

Picking up where Leningrad Cowboys Go America left off, the band has settled in Mexico after charting a top ten hit there. However, many band members become alcoholics spending most of their day drinking tequila. Before long, more than half of the band members have died from excessive drinking. The surviving members have, in the mean time, become naturalized Mexicans, complete with mustaches, Mexican wardrobe but with their pompadours still intact.

«Tatjana, Take Care of Your Scarf» is a road-movie about the unbelievable adventures of two Finnish men, driving a black Volga station wagon through Southern Finland some time in the mid-sixties. Valto, the owner of the car, drinks enormous amounts of coffee, Reino, a mechanic, drinks booze and blabbers endlessly. Already at the early stages of the journey, two ladies come along, one Estonian, the other Russian, and, in spite of understandable difficulties in communication and the obvious incapability of our men to approach the opposite sex, this absurd comedy gains, towards the end, some sentimental tones. A film about the amazing state of mind of the Finnish man, and an almost surgically cutting investigation into the Finnish-Estonian- Russian relationships.

On June 12, 1993, more than 50 000 people witnessed a historical event on the Senate Square in Helsinki. For the first time and on the biggest screen stage ever seen in Finland, the rock group Leningrad Cowboys performed together with the 100 singers, 40 musicians and 20 dancers of the Alexandrov Red Army Chorus and Dance Ensemble. The programme included rock classics from "Happy Together" and "Delilah" to "Gimme All Your Lovin’" and "Knocking On Heaven’s Door", as well as traditional hits from the Ensemble’s own repertoire. From the beginning to the end, the concert was a roaring success. «Total Balalaika Show» is a documentary on the concert, an extraordinary, unforgettable encounter of the old and the new, of East and West.

Marcel (André Wilms) is an impoverished Parisian poet and playwright who is evicted from his extremely modest room after he is unable to pay rent for it. While roaming the streets of Paris, he meets Rodolfo (Matti Pellonpää), a painter from Albania who is almost equally poor and is in the country illegally. They quickly discover they are kindred spirits since they both share the same love for art without much regard for their worldly well-being. The two eventually make another friend in Schaunard (Kari Väänänen), an Irish composer who is now renting Marcel's former room. The three friends help each other in the daily struggle to survive by sharing whatever little money they have among each other in order to maintain a basic and simple standard of living. Rodolfo's life is interrupted when he meets Mimi (Évelyne Didi), a poor French girl with whom he falls madly in love. But Rodolfo is soon deported back to Albania due to not having a visa. He is unable to return to Paris for six months and, by then, Mimi has moved on and found another boyfriend. Rodolfo, Marcel and Schaunard scrape together what food they have and have a meal together to celebrate the feast of All Saints. Mimi shows up and informs Rodolfo that she has left her boyfriend to be with him again, but she is ill and dies the next spring.

After fifteen years of service, Henri Boulanger is dismissed from his job. Shocked, he tries to commit suicide, but can't go through with it, so he hires a hit man in a shabby bar to murder him in the future at an uncertain time. Shortly afterwards, when he falls in love with Margaret, a flower seller, Henri realizes that his life does still have a meaning. But when he goes back to the bar to cancel the contract, he realizes that it has been destroyed - and there is no way he can contact the murderer...

The Leningrad Cowboys, a band with foot-long quiff hairstyles and long Winklepicker shoes to match, are seeking success in Siberia, but nobody seems to like their music, except for the mute village idiot, Igor (Kari Väänänen). Thwarted by a lack of local commercial potential, they are encouraged to move to America, for people will "buy anything" there. They depart for New York, bringing with them a band member who had frozen the previous night while practicing outside. They arrive at the CBGB bar in Manhattan. An agent offers them a gig at a wedding in Mexico and recommends that they change their musical style to rock and roll. They buy a used 1975 Cadillac Fleetwood 75 Limousine, strap the coffin carrying their frozen band member onto the roof and set off to earn their way through the Deep South, adapting their musical style to suit local tastes at each new location. All the while they are being driven on and exploited by their money and food hoarding manager Vladimir (Matti Pellonpää), who has a seemingly unlimited supply of beer in the ice-filled coffin. Meanwhile, Igor, who stowed away on the plane, follows the band by his own means of transportation. When he finally catches up with them, they appoint him as their road manager. During the trip, the band spends time in jail, has their car engine stolen, causes a nightclub to close after playing an unsuccessful show, and reunites with a long-lost cousin (Nicky Tesco) whose singing gives positive reception from the audience. They eventually make it to Mexico and perform their wedding gig, where the thawing bass guitarist is revived with a shot of tequila and joins the group on stage, as does Igor. Vladimir watches them play then wanders off, but the band finally finds success in Mexico, making the top ten.

Iris (Kati Outinen) has a soul-deadening job as a quality-control worker watching boxes of matches go by on an assembly line all day. At night, she eats silently with her dour mother (Elina Salo) and stepfather (Esko Nikkari). One weekend, wearing her new red dress at a local dance, she ends up going home with Aarne (Vesa Vierikko), whom she mistakenly believes is her new boyfriend. When she discovers that she's pregnant, years of pent-up rage explode in a shocking outburst.

A Finnish man goes to the city to find a job after the mine where he worked is closed and his father commits suicide.

86 minutes Finnish “Perhaps Kaurismäki’s most original film and probably his best” (William Fisher), this brilliant refashioning of Shakespeare’s tragedy, set in the cutthroat world of high finance, makes surprising analogies between the rotten state of Denmark then and the corrupt state of Finland in the money-hungry ’80s. This Hamlet’s ineffectual prince (Pirkka-Pekka Petelius) is a chubby, google-eyed electronics buff with a “heart as warm as a refrigerator,” who schemes and conspires to sell his father’s shipbuilding business so that he can corner the market on rubber ducks; Polonius is a property manager, Laertes a marketing man, and Ophelia (Kati Outinen, natch) an infatuated, suicidal wannabe. “Confidently post-Fassbinder in its noir-ish angles and deadpan cool” (J. Hoberman, The Village Voice), Hamlet Goes Business is gorgeously shot in stylish black and white, but as Kaurismäki himself warns, “Don’t be fooled by the plastic beauty of this movie: the question is about money — a matter of life and death.”

This so-called “film” is a rather manic story of seventeen young braves who, spitting in the face of all kind of dangers, don their dark glasses and set off on a desperate trek from the working-class quarter of town to the Eldorado of the fashionable waterfront, replete with green, wavelapped and wind-caressed beaches. But the way is long, and the city’s labyrinthine streets are infested with a bizarre array of loitering, huddled human wrecks, stray dogs, and permanently defunct streetlamps. Only the strongest survive the course, and what happens to them isn’t a lot to write home about. Life is tough, and the world keeps changing its shape.

»Crime and Punishment« is a modern adaptation of the classical crime story by F.M. Dostoevsky – but faithful in its spirit to the original. The principal character – a young slaughterhouse worker – commits a senseless crime. Through his act he finally drifts out of society and into loneliness. Only a young girl who accidentally arrives at the scene of the crime wants to follow him. Guilt and the tightening net of the police throw a shadow over their desperate love affair. The nocturnal concrete jungle serves as a backdrop for the struggle for intellectual supremacy between the police and the murderer. Rahikainen’s only weapon in this struggle is his total indifference to everything. »Crime and Punishment« is, however, first and foremost a film about the last desperate rebellion of a young man against society. The society that – as we know – is a merciless machine. Perhaps we are all guilty – guilty of what? This unbearable question faces us everywhere, hands on hips, sneering at us. As you wish. We’ll die anyway.

Originally planned as a joint train trip with her lover, the shy Finn Laura embarks on the journey to the north of Russia to visit ancient rock paintings alone by herself. When she is assigned her sleeping compartment, she finds her new companion is a rather obnoxious and crude vodka-drinking, shaven-headed miner named Ljoha. Over the next few days, the disparate passengers are forced to get along with each other in the close quarters of the compartment. Only when Laura gradually gives up her dismissive attitude it becomes apparent that the two have much more in common than she ever imagined. Director Juho Kuosmanen (THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI) sends two outsiders on an amusing and deeply touching journey during which they are confronted - without kitsch - with the truth of their feelings.

Following the death of his wife, professional chef Cheng travels with his young son to a remote village in Finland to connect with an old Finnish friend he once met in Shanghai. Upon arrival, nobody in the village seems to know his friend but local café owner Sirkka offers him accommodation and in return Cheng helps her in the kitchen surprising the locals with the delights of Chinese cuisine. Gradually his cooking encourages these vastly different cultures to connect and Cheng is soon a celebrated member of the community. Unfortunately his tourist visa is soon to run out and it's up to the villagers to come up with a plan to help him stay.

This captivating exploration of Alvar Aalto, the defining figure in Scandic design and one of Europe's greatest modern architects, focuses on his remarkable and loving partnership with wife, Aino. Theirs was a profoundly humanist vision that put people at the centre of design, and ranged from work in furniture design through to huge architectural projects. They mixed with, and influenced, major figures of modernist art and design including Le Corbusier, Gropius, Moholy-Nagy, and Frank Lloyd Wright. Come on a cinematic tour of their iconic buildings all over the world, from a library in Russia, a student dormitory at MIT, an art collector's private house near Paris, to a pavilion in Venice. Narrated by experts in the field and featuring never before seen archive footage, Aalto tells the love story of an extraordinary couple with a great passion for human scale architecture.

Helsinki, 1945. The end of the war brings a new sense of artistic and social freedom for painter Tove Jansson. While focusing her artistic dreams on painting, the enchanting tales of the ‘Moomin’ creatures she told to scared children in bomb shelters, rapidly take on a life of their own, bringing international fame.bio