Piligrimai

Pilger sind Menschen, die heilige Orte besuchen. In PILIGRIMAI von Laurynas Bareiša wird der Begriff ins Negative gewendet: Paulius und Indre besuchen die Orte eines Verbrechens. Vier Jahre nach dem Tod von Matas vollziehen sie penibel nach, was damals passiert ist. Sie geben sich dafür als Immobilienkunden aus, kaufen das Auto, in dessen Kofferraum Matas viele Stunden gefangen war, und konfrontieren Menschen, die mehr wissen, als sie vor Gericht gesagt haben. 
Schritt für Schritt, Detail für Detail, in sorgfältig komponierten Bildern von den Innenräumen und Landschaften einer litauischen Kleinstadt, entsteht die Anatomie eines grässlichen Mordes. (Bert Rebhandl)

In Anwesenheit von LAURYNAS BAREIŠA.

PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something.
The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas’ was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death.
Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, Laurynas Bareisa’s film asks itself all these questions, examining not only one single crime, but also larger questions of national identity.
(Lucía Salas)

In the presence of LAURYNAS BAREIŠA.

LAURYNAS BAREIŠA: DEMBAVA (2014, K), THE CAMEL (2016, K), BY THE POOL (2017, K), KAUKAZAS (2018, K), ATKURIMAS (2020, K)