Love & Anarchy is celebrating its 35th anniversary, and to mark the occasion, a festival trailer takes the viewer through the ages.
The 2022 festival trailer is a compilation of trailers from past years. The cavalcade is limited in lenght, so the compilation is a sampling of the best bits. Since the early days of Love & Anarchy, the Festival Trailer has been an opportunity to showcase one’s own interpretation of love and anarchy. From advertising agencies, film students to aspiring filmmakers, the trailer has been the brainchild of a wide range of people. All of them have been given artistic freedom. The range of interpretations is thus wide, and the trailers reflect not only the filmmaker but also the world and time around them. There is tenderness as well as swords, zombies as well as dancing.
The party trailer is produced by Toast Post and edited by Toast’s Kari Mankinen.
“I had a certain preconception about trailers over the years. From old trailers, you can see the director and crew’s passion for the film and their willingness to experiment. So it was easy to pick out the most delicious scenes and gazes from the trailers for a less than two-minute compilation. The chronology of the years, the music and the interweaving of the old trailers were important to us. Many thanks to the Love & Anarchy for the look at the treasures of the archives and happy anniversary!” comments Mankinen.
The trailer begins with the impact of a sledgehammer and shattering glass. The picture is from 1988. While searching through the trailer material, we also found the first ever trailer. The material version of the trailer was shrouded in mystery until late summer, when it was finally discovered as a now quite rare u-matic tape in director Taru Mäkelä‘s archives. A piece of history finally made its way to the Love & Anarchy office on a memory stick. The trailer is a souvenir from the time when Love & Anarchy was a film week organised by the cultural association Image.
The trailer, directed by Mäkelä, is a pastiche of the Rank Organisation’s iconic video intro. In Mäkelä’s version, an oiled young man hits a glass instead of a gong. Mäkelä says he can’t remember exactly where the idea for the pastiche came from. However, he reflects that anything new also has a respect for continuity.
Mäkelä describes the process of making the trailer as fun, as there was no external advertising agency control. Apart from the director, the only other people present in the studio were filmmaker Jouko Seppälä and the oily brother of an anonymous Finnish journalist.
Next year will see another new image of love and anarchy. The freedom to play and experiment remains, even as the world around us changes.