Continuing to celebrate the director Ilona Brüvere’s 70th anniversary, a retrospective of seven full-length films will be on the screen throughout the day at the cinema “K. Suns”, starting from the film story about the Latvian tango king Oskars Strokas, up to the works made during her period in Germany.
Ilona Brewer says: “The fact that films are the way they are, they are obviously the influence of different schools and the influence of different genres and styles. Each national cinema has its own face, and I have seen many different faces in my time, and what interested me the most auteur cinema in Germany, maybe because it’s a cinema where the director writes the script himself, and there I can find something that I can’t find in these production films, which are almost everywhere they steal children, beat someone up or investigate something, but nothing changes.”
“I’m very interested in how people think and how they feel. How they feel about their time and how they think. The author has the right to see something other than what he has to show in the news or in a documentary, in such an author’s work called author cinema, he may think about it in characters, shape them, and use material to make the viewer feel and think as he wishes.
I have always been interested in people whose lives have had a lot of things happen and whose lives have not been so simple,” says the director.
Ilona Brewer’s creative handwriting is vividly expressed in every work. Immediately after high school, Ilona Brüvere did not enter university, but encouraged by her father, she started working at the Riga Film Studio as a director’s and editor’s assistant.
“This is my job. From the beginning it was not a temptation for me, I went to the cinema for the first time in my life when I was sixteen years old and I started working at the Cinema Studio only because my father made me work there and because I was 18 years old and was not accepted university, and I had to work somewhere. And then I was always wondering what those people were doing there? I went into it all and it sucked me in, because Kinostudija is still one big family, those who haven’t died, of course… and with time you start to move on,” says the director.
In 1979, Ilona Brewer moved to the Federal Republic of Germany with her first husband, Alexander Rybovski, and a year later, with the support of the Hamburg Film Fund, she began to shoot films, in addition to being passionate about the restoration of silent cinema classics, later she also made television programs about German auteur cinema on German public television. .
Film director and rector of the Latvian Academy of Culture Dāvis Sīmanis says about Brūveri: “She also represents a certain area of Western European influence in Latvia, she brings the kind of cinema that we can describe as German new cinema, which started to become a stable tradition of German cinema in the early seventies, a protest against previously narrative cinema, new directors, among whom are many world geniuses: Werner Herzog, Volker Schlöndorff, Wim Wenders, Klaus Fassbinder In a way, these trends came back to Latvia, because we can say that she is a non-Latvian director, she does not obey the themes that Latvian cinema directors will use in their films there are such – her modernism is Western European precisely in that there is a greater focus on some kind of self-reflection of the author, use of the moment of play, a kind of existential loneliness, which at the same time plays out in such a very gorgeous, ornamental way, one might even say, in the lace of cinema.”
Film director Brigita Eglīte notes: “It’s very easy to talk about Ilona, because I’ve known Ilona for thirty years, we have a common youth in the film studio, a common maturity in film art, and now the end of life, or the second part of that life, is common, because
Ilona is the most beautiful flower in Latvian cinema.
I allow myself to say so, because her works, her original cinema, what she brought here when she came from Germany, in my opinion, was such a new breath in Latvian cinematography. Before that, we had poetic cinema, everyone knew the documentaries of the Riga Film Studio, Ilona came with some kind of new breath that maybe we didn’t have before. What Ilona has done is written in capital letters in the history of our cinema, not only her documentaries, auteur cinema, but also her feature films “Tapieris”, “Versiya Vera”, in those films her handwriting is recognizable, it cannot be confused with any my colleagues.”
“It seems to me that Ilona is a fighter by nature, she is able to put both her artistic imagination and such a persistent struggle in her films, if she has any obstacle, I always know – Ilona will overcome it. If she can’t go through the door, she will go through the window … The director is essentially a strict and brutal person, the director’s profession should be done by a man, and Ilona says: “When I am on the field, I am man”, I forget my femininity, I forget my emotions. As a director myself, I can say: “Yes, it is not the most grateful profession for a woman, but Ilona has taken it with such ease”, she makes each of her films scrupulously, accurately, nuanced, how she works with sound, how she works with editing in directing…
I have also copied something from her, learned as a director, because Ilona with her self, with her gorgeous aesthetic appearance is noticeable, visible right away in our cinema world,” says Brigita Eglīte.
Although there have been rumors that the director Ilona Brewer has decided to end her film career, she has already written the scripts of two feature films – one about the artist Māri Ārgali, the other about the mystic and philosopher Konstantinas Raudiva and the writer Zenta Mauriņa.
The director herself comments on it: “You can never know, because it’s basically the case that after every film I say: “This is my last film. I’m fed up, I’m disgusted not only with the whole filmmaking process, but with the whole atmosphere around it, because you’re out and about, looking for financing and pleasing all kinds of conjunctures, while you’ve managed to get some kind of financing. Then, when you’re done with all that, you can finally start working. I thought: this will really be the time, that’s why I’m showing all the full-length films in a marathon today, because I hope that I can now completely leave it all, forget and start a new life. A life where a person is no longer a tool, a life where there is no continuous intrigue and all kinds of head-hunting and pushing around, the way I want it to be – beautiful, with beautiful people and those who do good.”
Most of Ilona Brūvere’s films have been posted on the portal films.lv and on the website of the Latvian National Archive’s Kinofotofonodocumentu archive reddzidzirdilatviju.lv, so that they can be viewed throughout the territory of Latvia.
Ilona Brūvere: A Cinematic Force to be Reckoned With
It’s a big day for the Latvian film scene, folks! We’re rolling out the red carpet and dusting off the popcorn because director Ilona Brūvere is hitting the big 7-0! Yes, she’s reached that magical age where you can officially eat cake for breakfast and no one can judge you. To celebrate, the cinema K. Suns has decided to showcase a delightful retrospective of her works. From her charming exploration of the Latvian tango king Oskars Strokas to her artistic escapades in Germany, it promises to be a cinematic feast that’s more indulgent than a second helping of Christmas pudding.
Brūvere, or as I like to call her, the Queen of Latvian Cinema, believes that her films don’t just tell stories; they create a dialogue. She asserts, “Each national cinema has its own face.” And let me tell you, her cinema has features that could grace the cover of any glossy magazine! She draws from various influences and genres, giving her films the kind of eclectic brilliance that could rival a mixed bag of sweets — it’s a little bit of everything, and you just can’t help but go back for seconds.
“I am very interested in how people think and feel about their time.”
Ah, there we go! Now we’re getting to the juicy stuff. Brūvere’s passion for human emotions is apparent. She dives deep into the psyche of her characters with all the finesse of an artist wielding a paintbrush — or perhaps a more cinematic analogy, like a director with a bullhorn! Forget ‘news’ or ‘documentary’; she’s all about the nitty-gritty, the stuff that keeps you awake at night, pondering what it means to be human in a crazy world.
Film critic and director Dāvis Sīmanis praises her for representing “a certain area of Western European influence in Latvia,” branding her a non-Latvian director who marches to the beat of her own drum, often accompanied by a stunning orchestral score. If you thought Latvian cinema was all about somber documentaries and poetic narratives, think again! Brūvere is flipping the script—literally and figuratively. She embodies a modernism that brings a sexy, existential twist to storytelling. It’s like a midlife crisis on film, but you can sense it’s all a part of a greater artistic journey.
“Ilona is the most beautiful flower in Latvian cinema.”
Now, that’s some high praise from director Brigita Eglīte! Who knew flowers could be so resilient? With her stunning aesthetic and relentless creativity, it’s undeniable: Brūvere has put her stamp on the Latvian film industry like a well-placed lipstick on a cheek — impossible to miss and undeniably glamorous. She transitioned from the Riga Film Studio, where she was initially launched into her career seemingly by parental pressure (thanks, Dad!), to being a pivotal figure in both Latvian and German cinema. Talk about a glow-up!
Rumors have fluttered around that Brūvere might hang up her director’s hat, but fear not! She has already penned scripts for two new feature films, so it seems she’s not quite ready to retire to a life of crochet and gardening just yet. Judging by her remarkable career, I’d say she’s like a fine wine—getting better with age and increasingly unpredictable!
“I thought: this will really be the time, that’s why I’m showing all the full-length films in a marathon today…”
With Brūvere’s films available to stream on films.lv and the Latvian National Archive’s website, it’s clear she aims to make her works accessible to all. It could be that she’s just trying to get as many viewers as possible before she sails into the sunset, martini in hand — but who could blame her? After all, we all need a break from the chaos of raising money for a film, don’t we?
In conclusion, let’s raise our glasses to Ilona Brūvere! Here’s to her 70 remarkable years—not that she’s counting—of pushing boundaries, sparking conversations, and reminding us what it means to be alive in today’s world. Cheers, Ilona, and may your next films be as impactful as your legacy! Now if only I could get my hands on a script or two…
As part of the ongoing celebration of acclaimed director Ilona Brüvere’s remarkable 70th anniversary, an extensive retrospective featuring seven of her significant full-length films will be showcased at the cinema “K. Suns”. The event will kick off with the compelling story of the Latvian tango maestro Oskars Strokas and will encompass a diverse array of her works crafted during her influential period in Germany.
Ilona Brüvere reflects on her cinematic approach: “The distinct nature of my films is undeniably shaped by various creative schools and influences across genres and styles. Each national cinema boasts its unique identity. Throughout my career, I’ve encountered myriad cinematic faces, but it’s the German auteur cinema that captivates me the most. This is primarily due to its tradition of directors crafting their own scripts, allowing me to explore themes not typically found in mainstream productions—where narratives often focus on violence or crime without substantial change.”
“I am deeply fascinated by the intricacies of human thought and emotion—how individuals perceive their era and contemplate their existence. In auteur cinema, the filmmaker has the freedom to present a perspective that transcends conventional news or documentary formats; they can mold characters and utilize various elements to evoke specific feelings and ideas in the audience,” she elaborates.
“I have always been drawn to individuals whose lives tell complex stories, those who have faced significant challenges,” shares the insightful director.
Ilona Brüvere’s distinctive creative signature is unmistakably evident in each of her films. After completing high school, instead of pursuing university studies, she was propelled into the world of cinema by her father, beginning her career as a director’s and editor’s assistant at the Riga Film Studio.
“This is my profession. It was never merely a whim for me. I stepped into a cinema for the first time at the age of sixteen, and my introduction to the Riga Film Studio was somewhat obligatory—initiated by my father’s insistence and my own unsuccessful attempts at university acceptance. Initially, I was curious about the work being done around me, and soon enough, I found myself captivated. Kinostudija became my family, although sadly, many have passed on. Over time, I evolved within that nurturing environment,” Ilona recounts.
In 1979, Ilona brewed a new chapter in her life by relocating to the Federal Republic of Germany with her first husband, Alexander Rybovski. A year later, backed by the Hamburg Film Fund, she began directing films while also delving into the restoration of silent cinema classics. Her passion extended to creating educational television programs about German auteur cinema, airing on German public television.
Renowned film director and rector of the Latvian Academy of Culture, Dāvis Sīmanis, acknowledges Brüvere’s influence: “Her work embodies a distinctive facet of Western European cinematic influence within Latvia. She brings forth a style reminiscent of the German new cinema, which emerged as a significant movement in the early seventies—reacting against conventional narrative forms with a new wave of directors including notable figures like Werner Herzog and Wim Wenders. In many ways, her innovative techniques have reintroduced these global trends to Latvia. Unlike her Latvian counterparts, her focus on self-reflection and existential themes encapsulates a modernism that’s rooted in Western Europe, adorned with a richly decorative cinematic language.”
Film director Brigita Eglīte shares her insights: “My connection with Ilona spans three decades—we share a mutual history from our formative years at the film studio, progressing into our professional maturation. Now, as we navigate the later stages of our lives, I find it appropriate to declare: Ilona is the most beautiful flower in Latvian cinema.”
Brigita elaborates, “Her unique contributions to our cinematic landscape have introduced a refreshing essence that transcends the poetic films and conventional documentaries of the Riga Film Studio. Ilona’s arrival signified a transformative moment in Latvian cinema, leaving an indelible mark not only through her documentary work and auteur cinema but also through her feature films like ‘Tapieris’ and ‘Versija Vera’, widely recognized for her distinct signature.”
“Ilona’s tenacity is inherent to her character; she seamlessly weaves her artistic vision into her films, continuously overcoming obstacles with determination. If faced with a barrier, she finds alternative routes. In her words, ‘When I am on set, I become one of the guys.’ She expertly navigates the challenges of a profession often perceived as grueling for women, infusing her work with precision and nuance—especially evident in her editing and sound design,” Brigita continues, highlighting Ilona’s significant impact on future generations of filmmakers.
Despite circulating rumors about Ilona Brüvere potentially retiring from filmmaking, she is already in the process of crafting scripts for two new feature films—one centering on artist Māris Ārgali and the other exploring the life of mystical philosopher Konstantinas Raudiva alongside writer Zenta Mauriņa.
Ilona offers her perspective: “The truth is, one can never be certain. After every finished film, I often declare, ‘This will be my last.’ I find myself exasperated, not just with the arduous film-making process but also with the prevailing atmosphere rife with constant financing searches and the need to appease various stakeholders. Only after securing financing can one truly dive into the creative work. This event, showcasing my films, is a culmination moment; I hope to close this chapter and embark on a new journey—one enriched with positivity, genuine individuals, and genuine artistry.”
Most of Ilona Brüvere’s films are available for viewing on the portal films.lv and the website of the Latvian National Archive’s Kinofotofonodocumentu archive reddzidzirdilatviju.lv, ensuring that audiences across Latvia can access her extraordinary body of work.
How does Ilona Brūvere’s storytelling style contribute to the broader dialogue in global cinema?
Erent to her creative spirit. She embodies resilience and passion, which is reflected in the evocative narratives she brings to life. Each film reveals her unwavering commitment to exploring the depths of humanity and the complexities of modern existence.”
The retrospective at cinema K. Suns not only serves as a celebration of her illustrious career, but it also invites audiences to engage with the layers of her storytelling. As her films screen, there will be an opportunity for discussions and reflections, allowing attendees to understand the deeper themes that Brūvere has woven into her work over the decades.
As we gather to honor Ilona Brūvere, we are reminded of the transformative power of cinema. With her groundbreaking approach, she has opened doors for new narratives, encouraging a dialogue that resonates not just within Latvia, but across global cinema. Cheers to another 70 years of inspiration and creativity, Ilona! Let us savor every moment of your cinematic journey as if it were a fine wine, enjoyed sip by sip, film by film, and continue to celebrate the magic of storytelling through your eyes.
