From the Director
Black Sun takes place in an elitist art world. It is a polemic and a poetic film, a triangle drama containing powerful emotions, a struggle for survival.
It is a film about dependence, identity, and selfhood. It describes how an individual becomes conscious of who and what he really is – and how far the others are prepared to go to become something that they are not.
I have a personal relationship to the subject through my mother-in law. Her family was sent to Siberia during Stalin’s purges in Lithuania in the 1940s. The family was cultured and academic, the father a school headmaster who spoke seven languages. He was killed in
the prison camp. The traumas persist to this day.
I have read a lot of literature about that period: fiction, biographies and history. The shocking fates of artists and dissidents have been at the core of all this, correspondingly forming the basis for the film Black Sun.
Stylistically, the film is slightly heightened, containing references to film noir, psycholocical thriller. The film has a claustrophobic, nightmarish world of its own. I want to create powerful and deep psychological tensions between the characters. The events unfold in a strange, archaic and surprising world where strong images carry the story forward.
Scriptwriter, Director Maria Ruotsala
Sara (21) and his artist brother Aaron (28) live isolated from the rest of the world in an abandoned war industry district. Aaron, a popular artist during the Soviet era, is now a disreputable outcast of the art community. He is, however, obsessed with becoming immortalised by a surrealistic and grandiloquent work of art in the middle of the forestland, in an open swamp.
Their lives change, when a young man called Stefan (30), looking like a Greek god, intelligent and influential within the art market, succeeds in encroaching on their enclosed world. He is like a great redeemer whom the desperate brother and sister cling to, both in their own fashion, focusing their own secret desires on him.
Encouraged by Stefan, Sara starts to look into the siblings’ past. She finds out that Mother,
whom she thought dead, is alive.
Stefan is revealed to be a traitor, an ex-Soviet spy. A power game for reputation and glory between Aaron and Stefan commences, turning psychological thriller, surreal in its cruelty.
Sara wants to free herself from the captivity her brother, to prevent the recurrence of the
tragedy of their past.