The Graveyard Keeper's Daughter (Surnuaiavahi tutar)

An Estinfilm, Content Companies production. (Worldwide Sales: Estinfilm, Tallinn, Estonia.). Created by Mati Sepping. Co-producer, Katrin Laur. Directed, compiled by Katrin Laur.With: Kerttu-Killu Grenman, Maria Avdjushko, Rain Simmul, Ulla Reinikainen, Epp Eespaev, Esther Koiv, Avoi Klemets, Kersti Kreismann. (Estonian, Russian dialogue)A child's unwavering gaze, neither blindly accepting nor especially judgmental, anchors Estonian helmer Katrin Laur's "The Graveyard Keeper's Daughter," a pastoral tale of alcoholism and neglect. By all civilized standards, 8-year-old Lucia qualifies growing up in danger, having a largely absent father and persistantly drunken mother. Yet, blithely frolicking round the titular burying grounds, supported by her angel, a more youthful girl with Downs Syndrome, Lucia styles a satisfying existence in the cards worked her, safeguarding her autonomy from well-meaning grown ups. The stylistic fluidity from the pic's evocative fairy-tale tropes trumps any sociological overlay, growing "Graveyard"s arthouse appeal. Little Lucia (Kerttu-Killu Grenman) under your own accord cares for Jats (Esther Koiv), a neighbor's Lower Syndrome child whose resemblance towards the statue of the angel at the middle of the graveyard makes her puppy-dog devotion appear much more special. Lucia also uncomplainingly takes care of her mother Maria (Maria Avdjushko) as a direct consequence of her nocturnal drunken games at their stone house situated deep within the forest. Her father Kaido (Rain Simmul), though pleased to train her they are driving (she takes the controls from the graveyard pickup, gleefully perched on his lap), otherwise foists all parental obligation onto his alcoholic wife, denying any understanding of how to look after a woman child. Yet Lucia appears none the worse on her precocious self-sufficiency, particularly leavened because it is by an elemental openness towards the vibrant character round her. Helmer Laur and lenser Annsi Leino transform Lucia's graveyard right into a secret garden, an enchanting host to nocturnal mystery and daylight breaking of the bread whose bloodstream-deep natural cycles render the inevitable procedure for socialization silently tragic. However when Kaido and the family are asked to invest per week in Finland, remaining having a friendly female pastor (Ulla Reinikainen), the holiday first appears like a potential game-changer. Maria and also the pastor share drinks, confidences in Russian (apparently Maria's native tongue) and enjoy their heels, falling over one another in tipsy breaking of the bread. This indication from the girl she was previously inspires Maria to solve to prevent consuming, while Kaido hopes for a half way decent having to pay permanent job. Indeed the visit opens each parent's eyes to the potential of other available choices, none which overcome the trip to Estonia. Meanwhile, the appearance of the youthful, by-the-book teacher (apparently the only real part of Estonia not striking the bottle), concerned over Lucia's low grades, intends to topple the girl's carefully balanced house of cards, whenever a disaster of epic proportions (and impressive Forex) renders all options moot.Camera (color), Anssi Leino editor, Kersti Miilen music, Part Uusberg art director, Eugen Tamberg costume designer, Tamberg seem (Dolby), Bugs Andreas seem designers, Tiina Andreas, Matis Rei. Examined at Montreal World Film Festival (Concentrate on World Cinema), August. 28, 2011. Running time: 102 MIN. Contact the range newsroom at news@variety.com