"Pilseta pie upes" is a masterpiece of contemporary Latvian cinema. This film provides a poignant narrative about a challenging period in Latvia's history. Set in a remote Latgalian town, it navigates through the profound trials faced by the inhabitants: the Holocaust, the horrors of communism, and the nightmare of fascism, which crash upon the lives of ordinary people like relentless waves. The central character, a simple yet deeply soulful young man, symbolizes the Latvian people caught in the grinding gears of war. His journey is not just a personal odyssey but a reflection of the collective experience of a nation under siege. The film's ability to portray such intense historical and emotional landscapes with authenticity and sensitivity makes it an exceptional work in Latvian filmography.

With its powerful storytelling, compelling performances, and hauntingly beautiful cinematography, "Pilseta pie upes" stands as a testament to the resilience of the human spirit in the face of unimaginable adversity. This film is not just a historical recount; it is a deeply human story that resonates on many levels, making it an essential watch for anyone interested in the rich and turbulent history of Latvia.

Latgale or Latgalia is the landlocked easternmost region of Latvia north of the Daugava river. It has a mostly Catholic or Eastern Orthodox population, in contrast with the rest of Latvia, predominantly Protestant. Latgalia also had a large Jewish minority before WWII; most of them perished in the Holocaust or emigrated. Latgalia has its own language, one of the historic forms of Latvian. This is the language of this film. Scenario: a town on the Daugava river. Subject: the life and loves of Ansis, a young budding local artist who makes a living as a sign painter. He is Everyman, a survivor, carried by the tide of his country's fortunes while trying not to lose his good nature.

Originally a part of the Russian Empire, Latvia became independent in 1920 during the Russian Civil War. In 1934 a nationalistic dictatorship took power, and the movie begins in this period. Ansis' love interest is Zisele, daughter of a local Jewish shopowner, a courtship strongly discouraged by her father and the local priest. Zisele is a convinced Communist; we see her reading one of Alexandra Kollontai's books (Kollontai was a champion of Marxist feminism). Zisele supports the Soviet occupation in 1940 but is put off by its oppressive nature. Ansis' new love interest is Naiga, a Latvian girl. He feels an obligation to Zisele, and in fact saves her life during the Nazi occupation. The movie ends at the closing of the war, with the Germans defeated and in flight, a new Soviet occupation looming and many Latvians trying to get away as far as possible from the madness of Europe. All through the movie a small boat plying the Daugava reflects the changes; we see it first loaded with right wing paramilitaries, then Soviet soldiers, then Nazi soldiers and finally desperate fugitives.

I liked this movie with some reservations. The action is at times too slow. I was somewhat put off by the oblique, off kilter shots. This device works in edgy urban scenes (The Third Man) but is not suited to a placid rural setting. There is not much feeling or chemistry in either of Ansis' relationships. On the positive side, acting is first rate (many of the actors are nonprofessional) and cinematography does justice to the melancholic landscapes of Northern Europe. As a bonus, you get to listen to Latvian folk songs, both plaintive ditties and spirited, joyful dance music.