Tallinn Baltic Event Sets 16 Works in Progress for Nov. 19 Pitches
Sixteen unfinished films will meet buyers in Tallinn on Nov. 19.
All 16 projects, each in production or post-production, will pitch in a single session on Thursday morning and into the early afternoon as part of the Baltic Event industry programme, according to details reported by Variety. The session is the sales push at the heart of the works-in-progress lineup. Buyers watch early footage and then talk deals.
The field was selected from more than 100 submissions. It is split across three strands: Baltic Event Works in Progress, International Works in Progress, and Just Film Works in Progress for kids and youth. A works-in-progress pitch is straightforward. Filmmakers show an unfinished cut to sales agents, distributors and festival programmers to line up finishing money, release deals and festival slots.
Lithuanian director Saulius Baradinskas will use the slot to launch his feature debut, "Concrete Music." It is described as a crime drama and a musical set in post-Soviet Lithuania in the 1990s. Debuts often use this kind of showcase to find first international partners.
Welsh filmmaker Josh Trigg will present "Leopard Spots," a Japanese-language film. It is his second feature after the Bafta-nominated "Satu - Year of the Rabbit." It is produced by On Par Productions, Kingyo Films and Geronimo Boy Film.
Spanish filmmaker Marina Palacio returns with "And Thus It Will Go On," produced by Gariza Films. The title previously won most promising project at the Tallinn-Baltic Event Script Pool in 2022. Four years on, it arrives in Tallinn as footage rather than as a script.
Serbia's Darko Lungulov and Lithuania's Ernestas Jankauskas are also among the directors set to pitch. Their titles round out a list that mixes new voices with established names. The industry week then wraps with the Baltic Event closing ceremony on Nov. 20.
What makes this stand out for film fans is timing. These are not premieres. They are the step before. A strong showing in November can decide which festivals pick a film up and when it reaches cinemas a year or two later, which is why agents and programmers crowd into these morning sessions.
