The Wedding Day

A struggling theatre actress named Kleo stumbles through her chaotic life – amid poetic songs, drunken parties, and broken hearts, she must choose between the toxic love that's consuming her and the chance to rediscover her artistic soul.

In autumnal Riga, Kleo, a young actress stuck in background roles, stumbles through a life of late nights, chaotic parties, and a toxic relationship with her musician lover, Jūlijs. When legendary director Septimuss unexpectedly offers her the lead in 'Blood Wedding,' she glimpses the chance to reclaim her artistic voice. But rehearsals stir jealousy, addictions spiral, and blurred boundaries with Septimuss reveal both promise and betrayal. Torn between destructive passion and creative rebirth, Kleo must confront her fears, leave behind those who drag her down, and step into her own power. No longer the runaway bride, she emerges as a woman who chooses herself – and her art.

Director's note

From the moment I learned about the existence of romantic love, it played a central role in my teenage mind. I read about fatal loves and soulmates, and watched films about forbidden lovers who find their way to each other despite all obstacles. Only when I grew up did I begin to notice a pattern in these stories – most often, it is the man whom the woman must change or make better, preferably through great suffering and floods of tears. Because the ultimate prize awaits at the end – true love!

I think that's also why I chose to start working in theatre and spend all my free time with musicians – it seemed like a world where that kind of romantic love truly existed. After all, who else but an artist could be my ideal, my 'written in the stars?' Unfortunately, reality turned out to be harsher. Most of these love stories went hand in hand with struggles and addictions, where substances and alcohol were always more important than my love. All my attempts to turn 'bad boys' or 'suffering artists' into loving partners who would value me as their equal ended in pain, severe depression, and the decision not to start romantic relationships again. But that hasn't killed the romantic streak in me, because I can live it in the magical world of cinema, where anything is possible. And there is no more romantic genre than the musical – because I believe music IS love.

The musical is not only one of the film genres closest to my heart, but also probably the only world where I still believe in love and where I can live it. For me, Kleo's story is about how much a woman is able to forgive and tolerate if she has been taught to consider romantic love – and its culmination, a wedding – as the fulfilment of her life.
I have studied this genre for years, watched more than a hundred film musicals, and I believe I am ready for this challenge, which would also be the fulfilment of my greatest dream.
In terms of themes, it is important for me to explore women's self-determination. Secondly, I wish to highlight the issue of addiction.
I see 'The Wedding Day' as a film full of bright colours and dark contrasts – rich tones, dynamic mise-en-scène, and extensive use of parallel editing, a technique for which the musical genre is particularly well suited.

Producer's note

'The Wedding Day' is a film that dares to blend raw realism with poetic musicality. At its core lies the story of Kleo – a young woman whose life spirals between toxic love and the dream of artistic fulfilment. For us as producers, this is more than a film about one actress in Riga – it is a story about an entire generation of women artists fighting for their voices in a world that often silences them.
From the beginning, we were drawn to Marta Elīna Martinsone's bold vision: a musical that emerges not from glossy spectacle but from everyday chaos. Songs rise from late-night bars, broken apartments, and rehearsal rooms – echoing the inner turmoil of characters who live on the margins of both theatre and society. It is a musical that feels lived-in, authentic, and deeply human.
Ego Media has always believed in telling Latvian stories that resonate internationally. With 'The Wedding Day,' we see a chance to create a film that is both culturally specific and universal: a tale of love, addiction, and resilience that will strike a chord whether in Riga, Berlin, or New York. We are proud to bring together a talented creative team of directors, composers, and actors who share the courage to take risks and challenge conventions.
This is not just a film about a runaway bride or a failed romance. It is about choosing oneself – and celebrating that choice through music, theatre, and cinema. We believe 'The Wedding Day' will be a striking and unforgettable contribution to European musical cinema.

Subjects:
love, self realisation, theatre, music, belonging