November 09, 2024 : Day two of the 29th European Union Film Festival (EUFF) was a whirlwind of emotions, laughter, and thought-provoking cinema. From the comedy-drama “Death is a Problem for the Living” directed by Teemu Nikki, to the romantic-drama “Five and a Half Love Stories In An Apartment In Vilnius, Lithuania” helmed by Tomas Vengris, the day was a rollercoaster of cinematic experiences.
After the screening of the film Five and a Half Love Stories in an Apartment in Vilnius, Lithuania, the audience enjoyed an engaging panel discussion featuring Tomas Vengris, the director of the film, and Yile Yara Vianello, actress from the opening film La Chimera. The session was moderated by Padmapriya Janakiraman—founder of Padma’s Lit Club, an accomplished dancer, and a seasoned actor with over 15 years in Indian cinema, including lead roles in more than 60 films across six languages.
The panel delved into the theme “Longing and Desire: On Screen,” with each speaker sharing personal stories that explored the complexities of relationships, love, and the tension between personal dreams and societal pressures. Their insights resonated deeply, leaving a lasting impact on the audience.
During the panel, Tomas Vengris, the director of Five and a Half Love Stories in an Apartment in Vilnius, Lithuania, shared how he was drawn to the complex, often absurd emotions within relationships and aimed to bring these to life through his film.
He further added that, at some point, he decided to show these stories through the perspective of an apartment, through the POV of a physical building that has been there for centuries and has lived through a million stories, with people who’ve come in and gone out of it. As per him, this somehow allowed him to step back and reflect on things. According to him, part of working in the comic genre is being able to watch from the side. Drama is when you’re looking directly into the perspective, but comedies allow you to step back a little bit, and that gives you the permission to laugh, and by placing the camera in the perspective of the apartment, gave one the permission to laugh. The camera is therefore in another room—behind a shelf, higher up and lower, at every angle so it doesn’t feel like a human being is watching the scene. Some of the little dream sequences in the film or interludes were also meant to show the feeling of this apartment’s spirit.