Baltic TV shows – and locations

The Baltic States – Latvia, Estonia and Lithuania – are ready for a flowering in local TV productions and international partners are invited.

“It is an intriguing environment – contemporary and innovative, but we have tons of Soviet heritage,” says Toomas Ili, head of the content at Elisa Estonia. “Our landscape and architecture must still be seen by the world, so Hollywood productions are investigating the Baltic States. Then there is our ability to do more with less. “His newest show, the Ukrainian-Estonian drama ‘My Dear Mother’, about a woman forced to deal with the tragic death of her mother, will premiere at the market for Berlinal Series.

“I was asked which series it seems. The answer is not, “he says.

“Writer Raoul Suvi has subtly sewn all the elements while the story unraveled, so that the viewer – and the characters – are kept in the dark until the end.” When Elisa Estonia started producing dramas six years ago, the Estonian series was “in a really bad form”, he notes, because of “extremely low budgets and non -existent production value.

Now our appetite is growing. We look outside to find like -minded production partners. “In Estonia, all eyes are focused on the” von Fock “period, the first local show that co -produced” on a high scale “with Italy, Latvia and Germany, points to director Arun Tamm.

“In our region it seems like a unicorn,” says Tamm, crediting producers Toomas Luhats, Yevgeni Supin and Helen Lõhmus with the teaching of the series with ambition. “The hope is that it clears the way for other projects with international potential, shows local talent and encourages filmmakers to think big. Our ideas can be convincing in much broader sense.

“The last TV program I directed was in 2015 and things have changed when it comes to budgets and local streaming services. More scripts are made. “But” lack of financing contributes to being underdeveloped, “he notes.” There is another way to go when it comes to offering fascinating stories. “

According to Edith Sepp, head of the Estonian Film Institute, marks the choice of the Berlinale of “My Dear Mother” an exceptional milestone for Estse TV series.

“The recording offers greater visibility for the TV and film industry of Estonia, so that doors are opened for new opportunities,” she says, who teases a new “advanced sound phase” in Tallinn, that “as a magnet” should work for international Productions. “It will position Tallinn as a competitive hub for high-quality productions in Northern Europe,” she says.

Yet Estland must increase [its] Cash discount ”and open for high-end TV dramas with the budget of at least € 200,000 ($ 207,000) per episode. Minimum local expenses are € 70,000 ($ 72,000) per series. “The work on increasing the initiative started last year. We have to look beyond our region to stay competitive, “she says.

Producer Jevgeni Supin from Zolba Productions praises the “no -bullshit” posture of Baltic makers.

“Add to those strong tax stimuli, the nature and cityscapes of Estonia, and you have an endless field for creative needs,” he says. “Co -productions are the only way ahead. Without partners outside the Baltic states, our options to create something really competitive are limited. “

“The ice began to move” and Baltic productions have more impact, from Lithuania’s “Troll Farm” and “Soviet Jeans” from Latvia to “my dear mother” and “von Fock”, Supin adds.

“They had budgets unprecedented for our region, yet small compared to the rest of Europe. These are the first steps in the direction of ambitious co -productions of the Baltic States. Broadcasters throughout Europe will pick them up without hesitation. “

Zane Valenience, head of acquisitions on Latvian television, noted that in 2024 Latvian Public Service Media (LPSM) started an initiative to hold a competition for financing TV series. The next one will be held in March.

“Seeing how the industrial landscape is changing and what kind of content the audience is looking for, creating national TV series is one of the ways to cover a large spectrum of themes, explore the [country’s] Identity and cultural heritage, “she says. “Every local series is a big event in Latvia.” Staņislavs Tokalovs and the coming series ‘The Last Divorce of Communism’ by Teodora Markova follow a few from the eighties to make a split to keep their apartment. Tokalovs and Markova are also behind the “Soviet Jeans”, distributed by Beta Film.

Markova, located in Sofia, praises Latvian talents: “They can be proud of the filmmakers from countries with more established industries.” The most important challenge, he says, is breaking down stereotypes and telling stories on ‘fresh, unexpected ways. What is now needed are more flexible financing schemes and opportunities with which Latvian productions can be competitive on the world market. There is a strong will of the Latvian Film Center and the Ministry of Culture to support this. ”

“The biggest challenge remains in the protection of regular annual financing schedules for high-quality TV series, which means reasonable budgets,” Echoes Markova. “It is a big step for a small country, but ‘Soviet Jeans’ proved that it is worth it.”

Financing allocation for co -productions of minorities for series would enable the region to thrive by “creating connections beyond the borders,” says Markova.

Dita Rietuma, director of the National Film Center of Latvia, notes that six high-quality TV series have been supported in recent years. Between 2022 and 2024, with extra financing of € 6 million ($ 6.2 million), four shows were produced, including “Soviet Jeans.”

“Traditionally, TV series in Latvia are produced by TV stations with limited sources, mainly for the local public,” says Rietuma. “The involvement of the National Film Center has shown that makers of Latvian series have the potential to reach an international audience.”

To continue in the direction started by ‘Emily. Queen of the Press, “” Soviet jeans “and” mutiny “, the institution must” secure a certain amount of financing to support the series, “says Rietuma.

“It is absolutely necessary that series production must be focused on international cooperation. The Support program of the EuroMages Series, with which Letland will become a member this year, is essential. “

Deimantas Saladžius, acting head of the film production department of the Lithuanian Film Center, praises the easily applicable and stable film tax program for foreign productions. “What distinguishes our system is the flexibility,” he says. “The annual budget cap is € 55 million ($ 57 million), so that space is kept for growth and ensuring that we do not experience any problems with financing that is used up early in the year.”

Locations are also crucial, with Vilnius London, Berlin, Oslo and other European cities patching up in films and TV programs. “It is an excellent choice for images of the Soviet era or contemporary Eastern European realities,” says Saladžius.

Yet the absence of a large sound phase is a problem. “We are aware that our neighbors in Estonia have taken meaningful steps to create such facilities,” says Saladžius. “This offers a chance of regional cooperation, strengthening the partnership between the Baltic States and offering more extensive support to international productions.”

Lithuania has organized ‘Tsjernobyl’, the fourth season of ‘Stranger Things’, ‘Ronja, the daughter of the thief’ and an increasing number of German productions, including ‘Sisi’, who returned four consecutive seasons. In Netflix’s “Clark” the historic Lukiškė prison played an “incredible role”, Saladžius notes.

Jūratė Pazikaite of the Vilnius Film Office noted that Vilnius and Lithuania have become favorite destinations.

“In 2024, the American Kaleidoscope Pictures returned for the third time to film ‘Truth and Conviction’, took place in Hamburg from 1941,” says Pazikaite, and “Whiskey on the Rocks” also filmed “,” constantly creative partnerships with Norway , Finland and Sweden. “Sony Pictures Television opted for Vilnius for ‘Star City’, a spin-off from SCI-Fi drama ‘For All Mankind’.

“In the Baltic region you will find friendly cooperation, various locations and sources easily at hand,” says Pazikaite.

Saladžius adds: “The Baltic situations can grow considerably in the near future. By working together, we can fill in each other’s openings. That seems to be the most strategic approach for our industries. “