Rea Lest

Jörgen Liik

Arvo Kukumägi

Heino Kalm

Meelis Rämmeld

Katariina Unt

Taavi Eelmaa

Dieter Laser

Jette Loona Hermanis

Jaan Tooming

Klara Eighorn

Ene Pappel

Enn Lillemets

Sepa Tom

Tiina Keeman

Heino Paljak

Ilmar Meos

Aare Lutsar

Mari Abel

Aire Koop

Jonathan Peterson

Linda Porkanen

Maria Aua

Mart Laoväli

Jaak Juhkam

Aksella Liimets

Ado Tikerpäe

Joshua Albano

Sally Mometti

Karin Moog

Linnar Priimägi

Margus Prangel

Ester Kuntu

Anna Kieszczyńska

Olger Bernadt

Luuk Meijer

Marco Vermaas

Kristjan Kurm

Jack Kuiper

Peter Ivanyi

Taivo Tenso

Lili Pilt

Jaanus Orgusaar

Kristjan Pütsep

Salme-Riine Uibo

Andres Arro

Mart Saar

Liina Prii

Maario Masing

Kadri Kask

Helen Valkna

Rainer Sarnet

Katrin Kissa

Mait Mäekivi

Kersti Kilp

Saara Nüganen

Karl Laumets

Markus Habakukk

Meelis Rondo

Janek Sarapson

Kalju-Karl Kivi

Juhan Malmstein

Ivar Taim

Aivo Rannik

Sten-Johan Lill

Mattias Veermets

Indrek Pajuste

Janno Jürgens

Einari Talviste

Taavi Aavik

Sulev Süld

Matis Rei

Juho Kokamägi

Kristian Miilen

Miron Kundzicz

Peep Rooks

Enar Tarmo

Meinar Mäesalu

Hannes Närep

Tom Nestelaar

Tõnis Tallermaa

Laura Solleveld

Paweł Budzisz

Armin Altorf

Allar Sild

Kári Hrafn Arason

Roman Neso Laupmaa

Jan Viljus

Toivo Sakk

Raina Tamm

Harmo Kallaste

Lennart Feldbach

Kaur Kivilo

Pearu Helenurm

Imre Paabo

Evelien van der Molen

Daniele Monticelli

Martin Randalu

Rauno Linnamäe

Ranno Kallas

Marcel Huibers

Rein Pruul

Rui Dias

Aadu Lambot

Tõnis Jürgens

Pärtel Tall

Ave Kuik

Olari Lass

Roman Kuznetsov

Karin Tetsmann

Mait Eerik

Ronnie van der Veer

Jan Andresson

Stefan Wesołowski

Margit Vremmert

Margus Tamm

Jędrzej Sabliński

Rafał Golis

Vallo Hansen

Janar Hakk

Sanna Maria Rink

Markus Langi

Asko Linno

Alis Mäesalu

Drama

Fantasy

Romance

Horror

November

Homeless Bob Production

PRPL

Opus Film

Oscilloscope

Estonia

Poland

Netherlands

Deutsch

Eesti

Italiano

In the real world, magical thinking is a type of fallacy and a source of many superstitions, but in a film like November, it can be the difference between life and death, salvation and damnation. The characters in this Bergmanesque Estonian-German fairy tale, written and directed by Rainer Sarnet, live in a village surrounded by an honest-to-goodness Haunted Forest, although for them it would be weird if it weren’t haunted — to put it in perspective, pacts with the devil are so common that cunning villagers manage to fool the devil by using the sap of blackcurrants instead of blood to sign the contract. 

I find it curious that both All Movie and Wikipedia state that the movie is set in the 19th century, because it feels more like the Late Middle Ages, complete with the Plague. On the other hand, this is a world where almost anything is possible — cheating death as well as the devil; one of these clever villagers has a brilliant idea: “Take off your pants and put them on your head. The plague will think we have two butts and won't dare to touch us." We are tempted to poke fun at these ignorant peasants, but then the Plague, in the form of a white goat, does indeed pass them by harmlessly — at least for the time being.

The characters employ various other, for lack of a better term, 'lifehacks,' to survive the harsh winter; the most popular of these is the kratt, which in turn explains the frequency of pacts with the devil — the kratt, a magical creature in ancient Estonian mythology, is formed from hay or old household utensils, but needs to be imbued with a soul to carry out the orders of its master; the villagers summon the devil at a crossroads to make a deal: to buy a soul for their kratt in exchange for their own souls down the line. 

The problem is that kratts are excessively 'gung ho', and capable of making an attempt on the lives of their owners if they do not provide them with something to do all the time; consequently, the kratt's master would ask the creature to do impossible things, such as build a ladder out of bread. The main task of the kratt in November is to hook the viewer, and in my case it more than succeeded thanks to the film’s practical special effects.

Hans (Jörgen Liik), who is either a genius or too dumb to live, fashions a snow kratt; there is no danger that it will attack him, but there is also no hope that it will do much for him. Hans wishes the kratt would bring him a young baroness, the daughter of the local German baron, with whom he is infatuated; sadly, the Baroness isn't a cow (kratts can't steal humans, only cattle and inanimate things), and even if she was, this kratt is particularly fragile. 

The only benefit Hans can gain from the situation is that of his kratt's vast experience ("Where did you learn to talk like that, kratt?"; "Everywhere. I ran through ancient cities like a river, bubbling in splendid Gardens like a fountain, I fell like rain and carried countless ships. Now I am snow, and for the first time I have the ability to speak through the mouth you gave me, Master").

Given this general state of affairs, it’s not surprising that a villager is caught scraping gold from a Christian altar; “Why did you scrape it?”; “You know that the altar is sacred. If I pay with it at the bar, the gold will go back to my pocket.” However, in an ironic twist, the peasant woman is ridiculed: “how will it come back? Walking?" 

The notion that "Jesus will bring it" back because "it's holy gold" is an example of magical thinking just as blatant as putting your pants on your head to outwit the Plague; why, then, is one taken seriously and the other a cause for ridicule? 

One reason is that the idea is from a Latvian and “Latvians have an ass for a mouth and only shit comes out”, but there is something more complex at play; Sarnet not only juxtaposes the Apollonian and Dionysian natures of Christianity and paganism, but also reverses the physical and metaphysical roles of each religion.

November - Official U.S. Trailer - Oscilloscope Laboratories

November

производственные компании

Актёрский состав 33:

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