This film is based on the life story of the distinguished Latvian cameraman John Dored and his wife, the painter Elisabeth Dored. The producers of the film have had access to John and Elisabeth's letters and other documents. This is a film about profession and destiny,love, life and death. Dored spent the last years of his life in Norway, which was his wife's native country. They lived on the shore of a lake near the small town of Halden. Local residents named a nearby island - John Dored Island. "I've always felt limited by scripts and staging, I always yearned for freedom. I became a film reporter to shoot footage of those things for which our Father in Heaven writes the screenplay," Dored wrote in his memoirs.
This is a film about creativity, sex and immortality, about the accidentally fateful people who were encountered by the Latvian animation film director Signe Baumane in Latvia and the United States. The images in the film as signs, and someone who is waiting…
Agapitova and the Rescued
This is a film about the return of an individual to the Far North and to the past. Agapitova, Igarka – the vast lands of Siberia to which Ilmārs Knaģis and 4,000 other children from Latvia were deported in 1941. In the autumn of 1942, 700 mothers and children of different nationalities were sent to the death island of Agapitova. Only 60 survived, and among them were six Latvian children – Biruta Kazaka, Pāvels Kliesbergs, Venta Grāvīte, Ilmārs Grāvītis, Pēteris Bērziņš and Valentīna Voiciša. Their memories are bitter and even unbelievable.
In January 2011, Latvia commemorated the 20th anniversary of the tragic events of January 1991, also a time when the cameraman Gvido Zvaigzne got fatally injured and died two weeks later. The cinematographer of Juris Podnieks’ documentary Soviets (1989), the portrait of the collapse of the Soviet Empire, was a young man whose talent had not yet fully flourished. His story, however, contains elements which make it possible to demonstrate not only his personal tragedy, but also the problematic existence of a young and creative person during an era in which everything was crumbling around him. The film about him is also a film about his generation.
Toward the end of World War II, when it became clear that the Soviet military was once again going to be occupying Latvia, some 150,000 people became refugees and moved to Germany. They used cars, trains, horse-drawn wagons, ships or any other form of transport. The refugees were people from various professions – farmers, businesspeople, former politicians, statesmen, members of the creative intelligentsia, as well as labourers who had already experienced the terrible period known as the “year of horror.” After the way, nearly one million people from Eastern Europe who were fleeing the Soviet regime found themselves in Germany. They all required housing and food, as well as medical care. In the American, British and French zones of occupation, displaced person (DP) camps were established so as to house and care for refugees. This system was overseen by the United Nations Relief and Rehabilitation Administration (UNRRA) and, later, the International Refugee Organisation (IRO). People were usually grouped by nationality in the camps. This allowed people to maintain their own nationality by organising various cultural activities. Latvians in the camps called themselves “dee-pees” (displaced persons), “God’s lost sparrows” (Dieva putniņi), or “stepchildren of God”, and they tried to organise their living space so that it would be as Latvian as possible, no matter where they were. This became known as “little Latvia”.