Riho Västrik

Riho Västrik

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Ghost Mountaineer 2015 (5.2)

An Estonian student hiking group get caught up in a series of scary events unfolding in wintry Siberia. The unpopular group leader Olle, becomes disappointed in his companions during the trip and disappears on the last day in the mountains. His rival, liberal-minded and adventurous Eero guides the descending hikers into a Buryate village on the mountain to seek help. A weird and insane chain of events is unleashed which seems to be orchestrated by the missing Olle. In a foreign land and among people they do not know, the hikers are faced with a task which they at first do not want to undertake and later are unable to tackle.
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Immortal 2019 (6.2)

Apatity, a far-north industrial town in Russia, first came into being as a USSR concentration camp. Although its environment is at the brink of ecological disaster, the people here still believe in the state’s promise of immortality that can be gained through sacrificial service to the fatherland. This is how the elite in a totalitarian state buy a person’s will, strength, talent and, indeed, life, turning the human being into another resource that is as faceless as a grey lump of ore. ‘I cannot fight big corporations or state structures with a film. But I hope that there is someone in the darkness of the cinema whose heart will get a bit warmer after seeing it,’ says the director. The larger part of the film was shot during the polar night.
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Bridges of Time 2018 (5.8)

At the beginning of the 1960s, when the French pioneers of cinéma vérité set out to achieve a new realism, and when direct cinema in Québec began to vie for notice, the Baltics wit-nessed the birth of a generation of documentarists who favored a more romantic view of the world around them. This meditative documentary essay – from a Latvian writer and Lithuanian director whose composed touch has long dovetailed with the stylistically diverse works of the Baltic New Wave – pushes adroitly past the limits of the common his-toriographic investigation to create a portrait of less-clearly remembered filmmakers. The result is a consummate poetic treatment of the ontology of documentary creation. Also a cinematic poem about cinema poets.