Towards an Apocalyptic Zero Point: Approaching Work in Post-Soviet Estonian Auteur Cinema
Towards an Apocalyptic Zero Point: Approaching Work in Post-Soviet Estonian Auteur Cinema

Summary/Abstract: Drawing on David Harvey's conceptualisation of neoliberalism as the accumulation of capital by dispossession, this article considers representations of work in Estonian auteur cinema of the last decade, in particular in Agent Wild Duck (Agent Sinikael, 2002, Marko Raat), Autumn Ball (Sügisball, 2007, Veiko Õunpuu), Temptations of St. Tony (Püha Tõnu kiusamine, 2009, Veiko Õunpuu) and Letters to Angel (Kirjad Inglile, 2011, Sulev Keedus). In different ways and from the perspectives of various types of labour (professional, working class, artistic etc.), these films criticise the hegemony of the free market philosophy and its characteristic processes that undermine, in the name of capital, public interests and the social and personal sense of security of workers, atomising society in all aspects.

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