The characters include the artist Kristians Brekte, the astronomer Anna Gunter, the natural connoisseur Ilmārs Tīrmanis and the malacologist, taxidermist Edgars Dreyers. Their work, reality, life, creative activity and fantasy remind them of the presence of death in our lives more often than most people who are busy with everyday life and forget the existence of “memento mori”. “The internal structure of the film is formed by the interplay between nature and man, as well as death and life, which is divided into pragmatically rational and emotionally irrational mood and action. Both guidelines of this film complement each other, bringing together our characters’ peculiar philosophy of life, the cosmos and the world of dead animals , in which much more life is going on than we can imagine. Everyone has their own fears, demons, and… everyone will have a last minute before death,” says Māris Maskalāns.
How did the idea to make a documentary come about? The end?
The producer Uldis Cekulis said that the naturalist Ilmārs Tīrmanis, who is one of the characters and whom we have known for decades, had the idea of making a documentary about the processes that happen with and around dead animals, or corpses, and asked if I would like to become for its director. What follows is a long story. Filming near dead animals is used by nature filmmakers all over the world as a sure-fire way to achieve the result: if you put a dead deer in a certain place, sooner or later various insects and caterpillars will appear there and eagles, foxes, raccoons or other animals will come to eat. I thought it was too simple, so we started brainstorming ways to take it. It became a process of several years, in which the gears in our heads turned and threw out different variants of what this documentary should be, so that it would not be a popular science work, which of course would have educational value, but we wanted more social and artistic layer in the film. So little by little this project grew with different ideas and characters.
None National Geographic?
If we look realistically and critically, we are not as talented in nature filming National Geographic, nor as rich as National Geographic. We would create a byproduct that no one would want to buy and display.
How did you choose the characters for your documentary?
I will never tire of repeating that I am extremely grateful to all the characters who agreed to be part of this documentary, because the subject of death is intimate and it takes courage to be part of a documentary at all. Initially, there was an idea that Ilmars Tirmanis could be the only hero, but for various reasons it did not materialize. We brought in writer Paula Bankovski to co-write the script. With everyone sitting together and thinking, we came to the next characters. Before that, I had thought about Christian Brecht, but it seemed too banal to me. I hope he won’t be offended, he’s a wonderful person and a super talented artist, but it’s become a cliché – where there are bones and something dead, there’s Christian Brekte – so I was doubtful, but Paul Bankowski had the same idea, so we decided to give it a try, and Christian Brekte joined our team. Even after that, Pauls Bankovskis remembered that he had read a zoologist’s posts on the Internet, that he stuffed animals and could not find arsenic to treat their skin, and all kinds of other strange experiences with snails. I realized that I know this person, because I myself hang around in the circles of biologists – I had seen him from time to time and heard stories about him as a colorful personality. I called Edgar Dreyer, stood in front of him and told him the idea: “Would you be willing to participate?” – “Yes!” Just that simple! We introduced the core of these characters to the producer, who said that we needed a woman and space to expand on this theme. It was immediately clear to me that I had to contact Anna Gunter, whom I had met during another shoot (she is Suntažu StarSpace owner of the observatory). She and her husband Arni consider themselves astronomy enthusiasts, but, in my opinion, they could be the leading Latvian astronomers who have done a great deal in popularizing it. Like the other characters, they also didn’t really know what they were signing up for, but answered: “If you need to, go and film!”
Christian Brecht has become the unifying element of all stories.
When making a documentary, you write a script and think about how all the plots and characters could come together in a single story. Kristian Brakte is undeniably a bright personality, has experience in public speaking and doesn’t mess around in front of the camera. He is a communicative and charismatic person who can immediately find a common language with strangers. Christian Brecht is genuinely interested in what the other characters in the film are doing. He himself is a man of nature.
When you’re filming at Edgar Dreyer and you can see other high-rise buildings through the window, the proximity of everyday life and death is so pronounced.
It’s nice for me that the audience sees in the documentary something that was created maybe even by accident. Yes, Edgars Dreyer lives the closest to death out of all the heroes, side by side, as he himself says, there are not so many people who would face it so much and often – twenty-four hours a day, seven days a week.
On your balcony or in your fridge.
It’s like a kind of symbol. They don’t always have to be transparent dishes with preparations of slugs or stuffed animals – living in a multi-storey building, you never know at which moment, in which place one of your neighbors will face death directly or indirectly. While we are going through our routine, meanwhile something can happen or is happening.
Did your own attitude towards death change during the process of making this film?
When making a documentary and being on the other side of the camera, the perception is a little different and as a director and cameraman I think more about filming things than trying to understand how my attitude towards death changes. Of course, before filming I delved into the material, but in this case I did not focus on human death and therefore did not involve doctors, clergy or philosophers who could change the vision of death, including me. I was interested in what the chosen characters think and how they perceive the ongoing processes.
They themselves know what will happen to them after death. “I know what will happen to me. I am a biologist,” says Ilmars Tirmanis.
Yes, I ask each character what happens to them after they die. Christian Brekte said that if his body met the conditions, he could dedicate it to the learning process, or at least a piece of himself, such as a skin sample with a tattoo he made himself.
The film shows how Ilmārs Tīrmanis prepares for photography in nature. Maybe you learned something from him?
If we talk more broadly, I have learned tirelessly from all the characters, because each of them is an educated and smart person in their field. Ilmārs Tīrmanis is a veterinarian by education, but he considers himself – and others consider him – a biologist, and his knowledge is deeper than that of many graduate researchers. You can ask him anything and he will know the answer, so will Anna and Arnis for astronomy, Kristians Brekte for art and Edgars Dreyers for zoology.
It is interesting that using the theme of space, you can also talk about other topics that affect people, not only about astronomy.
The same thing happens in space. Nothing lasts forever, as Anna says, the universe will also come to an end. It’s a cycle we have to live with, accept and not worry about. In the case of Anna and Arni, it was also good that they live in the countryside. They have sheep and other domestic animals. They have to kill in order to eat – we do it in the city too – only with the hands of others – so they both face the death of the animal as well as the death of the universe.
Several episodes show that this has been a lengthy filming process, such as the bird’s transformation into a skeleton.
My main occupation is shooting animals and nature. I tried to use all my previous years’ experience in this documentary. A completely new method, which I have never used before, is the so-called timelapse method, where the camera is left behind to photograph what is happening for several days. The exact number of days depends on how warm it is outside and how quickly flies will emerge, eggs will be laid and larvae will emerge. On the other hand, it took a year for the bird to reach the skeletal stage.
Different nuances in each job?
At some point in every job, a routine with its crust sets in. Changing something or finding something new creates additional interest. As trite as it sounds, it is true.
What will be the documentaries The end future life?
It will be shown at the Tallinn International Film Festival Black Nights and in some cinemas in Latvia, who will not be afraid, but the life of the film is just beginning. What it will be like, I don’t know.
At the beginning of the film there are credits: “Warning, the content of the film may cause displeasure.”
The need to be warned is required by the situation, but I will not take it lightly and understand that not everyone is ready and open to such an adventure, experience and visual experiment, but the more important credits are at the end of the film: “No animal was tortured or killed for the purpose of filming the film. “
The End? A Sharp Look at Life, Death, and Documentaries
Ah, the rich tapestry of life and, quite frankly, of death! In this fascinating nugget of cinema, we dive into a documentary aptly titled The End? It’s a project that marries artistry, science, and a dash of existential dread—always a crowd-pleaser. As the characters plummet us headfirst into a world where the morbid meets the marvellous, we can’t help but wonder: are we staring into the abyss, or is it just a really fancy taxidermist’s workshop?
Meet the Cast of Characters
The film introduces us to a delightful cast including Kristians Brekte, an artist, Anna Gunter, an astronomer, Ilmārs Tīrmanis, a natural connoisseur, and Edgars Dreyers, the malacologist and taxidermist—ready to flay open (pun fully intended) our understanding of life, death, and everything in between. According to director Māris Maskalāns, they geek out on the cosmic dance of life and death, reminding us that while we’re busy scrolling through Instagram, reality is a tad more… well, final.
Why Make a Documentary About Death? Because It’s Juicy!
Now, one might question: Why tread on such morose territory? Uldis Cekulis, our brave producer, dives into this existential rabbit hole due to Ilmārs Tīrmanis’s suggestion—spotting decay in nature and asking, quite flatteringly, “Do you want to film dead things?” Why not? It worked for nature documentaries around the globe, albeit without the massive budget of National Geographic. Perhaps they’ll get a feature in Vulture instead?
Character Selection: A Touch of Courage
I mean, who would willingly discuss death and decay on camera? Hats off to the ensemble cast! Initially, it was all about Ilmārs Tīrmanis, the solo star, but my word, it morphed into something much richer. Soon we see Paula Bankovski join the mix, and let’s not forget the delightful Christian Brekte! He’s practically a gothic icon with the social skills of a golden retriever. The mix of expertise really adds a sprightly spark to discussions about taxidermy—it’s like a macabre game of ‘Guess Who?’ but with dead animals.
The Chilling Proximity of Life and Death
While you’re watching, you may find yourself thinking about how life and death aren’t so far removed, especially with Edgars Dreyer, whose home seems to have a revolving door for mortality. It’s like he’s got more skeletons in his closet than, well, any sitcom character! And that balcony view? It’s where the mundane meets the macabre—the perfect metaphor for life itself! So, when you return to your flat later today, remember: your neighbor might just be at death’s door, or enjoying a lovely cup of tea. Either way, the contrast is palpable.
Unpacking Death: A Personal Journey
As the director wrestled with the subject of death, it’s interesting to ponder whether his own attitude shifted during the process. Wouldn’t we all love to see Ricky Gervais ask existential questions amid rampant death? But instead, we get a candid glance at how even the most casual run-ins with mortality can shape one’s perception of life itself. Fascinating, isn’t it?
Really, Truly Academic? Well, Sorta!
The characters are not just morbid thinkers; they’re educated folk with a wealth of knowledge to share. You’ll learn about nature, art, and… err, animal cadavers? It’s like attending a classy dinner party where the main course is a TED Talk on life cycles, minus the small talk about the weather. All of this gives way to a deeper understanding of the cosmos, with an astronomer chiming in that despite our petty, earthly worries, even the universe has an expiration date. So have a biscuit, cheers to that!
The Filming Process: Timelapse and Transformation
Now, let’s talk timelapse. If you think capturing a bird’s transformation into a skeleton sounds thrilling, oh boy, do I have a documentary for you! Watching that bird slowly morph over a year is like the ultimate Netflix binge, but with a lot less suspense and a tad more decomposing. Who knew decay could be as captivating as reality TV?
Where Does the Documentary Go From Here?
This gem of a film will have its debut at the Tallinn International Film Festival and grace the screens of some brave Latvian cinemas. Sure, there’s a warning about the content, but come on, what’s life without a thrilling exposure to discomfort? Just remember: no animals were harmed in the making of this existential crisis.
Final Thoughts: Lessons on Life and Death
As we tread through the murky waters of The End?, remember the witticism: death may bring a certain finality, but isn’t life simply a series of unexpected encounters with the extraordinary? Embrace it, along with your weird neighbors and their quirky hobbies, for next time you might just be invited to a morbidly fascinating dinner party featuring, um, a slice of nature’s cycle.
To sum it up: in a world bustling with distractions, let’s not forget the funny yet profound lessons we learn from characters who are brave enough to confront the inevitable. And who knows? Maybe the next documentary will tackle the joys of eating more vegetables instead. But until then, let’s celebrate this delightful yet difficult exploration of life, death, and everything in between!
