Estonia

No formal national framework: Sustainability driven by individual producers, co-productions, and early initiatives like Tartu Film Fund’s green criteria.

Education push: Tallinn University’s BFM is integrating sustainability into curricula with a new 4-ECTS Green Production program launching in 2025.

Key individuals leading change: Figures like Mirjam Mikk (EFI) and Olga Hartšuk (Nafta Films) are central in sustainability advocacy.

1. Overview

2. National Guidelines for Sustainable Film Production

3. Legislation

4. Handbook

5. Green Consultants & Managers

1. Overview

This territory profile is based primarily on an interview with Mirjam Mikk from The Estonian Film Fund. She has based her answers on her own experience as well as surveys done with the Estonian film industry. Furthermore, the profile is also based on an interview with Professor Riho Västrik from Baltic Film, Media and Arts School (BFM).

The Estonian film market has seen steady development in recent years, with a gradual increase in production volumes. By the early 2020s, Estonia was producing approximately ten feature-length fiction films annually.

In general, Estonia — similar to Lithuania and Croatia — has not demonstrated significant institutional engagement with sustainable film production. There are currently no official regulations, incentives, or guidelines from government authorities specifically aimed at promoting environmentally sustainable practices within the industry.

According to Mirjam Mikk, a marketing and distribution expert at the Estonian Film Institute (EFI), the decision to prioritize sustainability rests largely with individual production companies. The relatively modest budget characteristics of Estonian and Baltic film productions have historically led to what might be described as a form of "natural" sustainability. Limited financial resources often necessitate the reuse of costumes and sets, and encourage filming within national borders rather than abroad.

However, as international co-productions - particularly with partners in Germany - become more common, Estonian production companies are increasingly exposed to formal sustainability standards and certification systems. This exposure is gradually preparing them to meet evolving international expectations. Examples of that are the tv series Von Folck, a co-production between Lithuania, Estonia, Germany, and Italy, that has successfully obtained the Green Film certification.

This example highlights that, while not widespread, there is some participation in international green certification programs - particularly through co-productions where international partners bring these sustainability frameworks with them.

2. National Guidelines for Sustainable Film Production

There are no formal national guidelines or sustainability standards issued by the Estonian Film Institute or producer associations.

However, there is a small step toward sustainability at the regional level: The regional Tartu Film Fund, which is a part of important international corporation networks such as Cine Regio and EUFCN – European Film Commissions Network, has introduced a requirement for applicants to submit a sustainability plan as part of their funding application. While the implementation and monitoring of these plans are not enforced, this requirement represents an early move towards incorporating sustainability considerations into the production process.

3. Legislation

Estonia does not have a specific law exclusively dedicated to film support; moreover, there is no legislation that deals with sustainable film production. The Estonian Film Institute (EFI), established by the Ministry of Culture, oversees film funding through various support schemes and regulations. These include the "Regulations for Aid Support," which outline the procedures for supporting the development, production, and distribution of films.

4. Handbook

The Estonian film industry doesn’t have or promote any handbook.

5. Green Consultants & Managers

The use of green consultants in Estonian productions is still quite limited. There are, however, different production houses, such as Stellar Film, where some of the employees have taken part in the Torino Film Lab – Green Lab course, that are engaged in the sustainable agenda. Furthermore, it is also important to mention the producers Elina Litvinova, Helen Lõhmus, and Jevgeni Supin, who are experienced in working with sustainable film production.

The leading profiles of the Estonian sustainable film production field are:

Mirjam Mikk is an example of a centralized key person working with sustainability in the Estonian film industry with her position at the Estonian Film Institute. Her main occupation is in the distribution side of the Estonian Film Institute, mainly working with short films and animation. She was initially involved in sustainability because of her personal interest in the topic. After various sustainability-related networks started forming, she was involved in two of them: The EFAD Sustainability Working Group and The NEST (Northern European Sustainable Co-Production Team-up). The NEST has been inactive for a while, but is being restarted according to Mirjam Mikk.

Olga Hartšuk from Nafta Films is also relevant to mention as she has formed an alliance together with Emilija Sluškonytė from Lithuania, as mentioned above. Her company, Nafta Films, a prominent Estonian production company, has been at the forefront of sustainable filmmaking in Estonia. They became the first Estonian company to offer carbon-neutral film and commercial production services. They are experienced in Environmental Management Systems fundamentals and specific practices in green production and footprint calculations (Albert, AdGreen, Green The Bid).

6. Green Education

The Baltic Film, Media and Arts School (BFM) is actively working to introduce sustainability into its curriculum. The school is a part of Tallinn University and is a member of the Green Film School Alliance, which is a worldwide organization united to integrate industry-level sustainable production practices into film school programs. The alliance promotes PEACHy (Production Environmental Activity Checklist for Young Filmmakers,) which is a tool to give student production teams specific guidance on how to produce scripted content in line with the Green Production Guide.

BFM has previously tried to integrate sustainable film production into the school’s curriculum by launching an interdisciplinary course focused on green film production. This course involved students from multiple disciplines, including film production and natural sciences, and was aimed at developing sustainable guidelines and practices. The project used the Eureca tool from Flanders.

In the fall of 2025, there will be a new initiative at BFM called Green Production, as the school will host an exchange programme with multiple European film schools. The course provides students with essential knowledge and skills to make film production environmentally sustainable. It covers green practices, rating systems, carbon calculators, and department-specific strategies to reduce environmental impact. Students also explore climate issues, communication, and project management. The course combines theory and practical tools to support sustainable filmmaking and will be credited with 4 ECTS points upon participation.

Due to the small film production volume of Estonia, it is estimated that only a low number of fully trained Green Consultants will be necessary.

Currently, the Estonian Film Institute does not offer any sustainability training, but there is interest in developing education opportunities in partnership with the Nordic countries. One idea is to collaborate on green manager training programs — possibly extending the Stuttgart University program used in the Nordic region to the Baltics.

7. Co-Production

The Estonian Film Institute supports minority co-productions with strong local creative or technical input. Sustainability is not mandatory but encouraged, especially through local crews and reduced travel. Projects with responsible, eco-friendly practices are viewed favorably. Co-productions must follow European or bilateral treaty rules.

8. Prospects & Plans

As outlined above, there is a clear movement toward more sustainable film production in Estonia. The country's participation in relevant networks, along with its educational initiatives, demonstrates a commitment to becoming a sustainable film nation.

According to Mirjam Mikk, several parallel developments are taking place. One involves the Estonian Film Institute, which actively engages with international networks such as NEST and EFAD. The film institute has also received funding to invite representatives from the five Nordic countries to learn more about the pan-Nordic standard as described in the Danish country profile (NES), share best practices and developments in the regions.

Finally, there is a grassroots movement driven by national producers such as Olga Hartšuk, who is initiating conversations and forming cross-border networks with like-minded producers in other Baltic countries. When referring to the questionnaires conducted by Mirjam Mikk, the grassroots movement also involves the Estonian production houses that are looking for ways to produce more sustainably. Even though there are no official guidelines or incentives available.