Abstract
ABSTRACT This article explores the changing memory of Soviet mass deportations in Estonian film through a comparative analysis of two features: Jüri Sillart’s Awakening (1989) and Martti Helde’s In the Crosswind (2014). Examining their artistic choices and reception offers distinct depictions of mass deportations, shaped by the memorial frames of the times in which they were produced. The article shows how Awakening contributed to the formation of a national narrative and the illumination of historical complexities later sidelined in the nationalized memory culture, while In the Crosswind aimed to contribute to the transmission of the memory of mass deportations beyond Estonia.
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