入圍第24屆塔林黑夜電影節(jié)主競賽。“Whatareyoufiddlingthere?”–“What?”–“Whatareyoufiddling?”–“I’mnotfiddlinganything!”–“Damn,Isawwhatyoudidthereundertheblanket–youwerefiddlingwithyourwillie!”–“No,Iwasn’t!”–“Doyouwanttobecomediseased?Youcouldevendie,ifyoufiddle!”It’snotaneasything,theendofchildhood.Particularlyifyouareaboy,growingupinabackyardofastiflingsmalltowninEstoniaatthebeginningofthe1980s,getbulliedatschoolandyourlifeisotherwisetedious,andathomeyouhavetosufferantiquatedgrandparents.It’sgoodthatyouhaveatleastsomefriends,likeasylum-certifiedKollaandex-convictValter–bothfromthesamebackyard.TheonlyplacewherelifecannottroubleyouwithitsworriesisLakeTamula–youcanloseyourselffishingtherefordays.GrandmasterPeeterSimm’sfilmstaysonthesamewavelengthwithOlaviRuitlane’sbestsellerofthesametitle,beingsimultaneously“IntheBackYard”and“Spring”,comicalandtragic,lyricalandgrotesque,tenderandcruel.Therearealotof‘firsts’here:thefirstwillie-fiddling,thefirstlove,thefirstcloseencounterwithdeath,plusanumberoffarcicaleventswhichcanonlyhappeninthefertileconditionsoftheSovietabsurd.Becausethebackyardisthetheatrestageofthepopulace,whereeveryonedirectstheplaycalled“MyLife”.Still,itisnotastoryoftheSovietabsurdandtheendofanera,butaboutthepossibilitiesofstayinghumaninanimperfectworld.Allthecharactersofthisinnocentlyauthenticuniverse–fromtherecidivisttothecommunist–wishtobeloved.Andthatisthemostimportantthing.TiitTuumalu