In Finland, when summer comes, the lawn has to be mowed. For some, it’s a job. For others, it’s a real chore. Whether you like it or not, you’re going to have to mow the lawn…
Directed by Otso Alanko
Photography: Jukka Moisio
Sound: Joonatan Hietanen, Mika Miettinen
Editing: Matti Näränen, Joni Aapaoja
Music: Veera Nummi
Production: Kameron Oy
Interview
Otso Alanko Filmmaker
“Lawn-mowing is one of those tasks nobody particularly enjoys, though there are some people who oddly love it!”
- Can you introduce yourself in a few words, Otso?
Hello! I’m Otso from Finland. I love making films and I try to pay my bills with that passion, though it’s not always easy. I’m also a huge fan of punk music, Chaplin, and football. I live in Helsinki in a small flat, I love the sauna (of course!), and I’m currently learning how to swim freestyle.
- How did your interest in… lawn-mowing come about?
As you might know, Finland is one of the northernmost countries in Europe, and we have very short summers with long daylight hours. In winter, everything is dark and can be a bit depressing, so summer is really the time when Finns come alive and enjoy life!
During summer, everything turns green here, and many people own houses with gardens or summer cottages. Naturally, maintaining your yard becomes a big task—one that many take on to impress (or outdo) their neighbors. So, lawn-mowing is something everyone is familiar with. It’s one of those tasks nobody particularly enjoys, though there are some people who oddly love it! I thought it would make a fun and relatable subject for a film.
“For me, a good short documentary should offer something new—either visually or by sharing information I didn’t know before.”
- How did you find the people who feature in your film?
We made this film during the pandemic, so finding people was challenging. We relied on friends and family to recommend people who might fit the film. We had a clear idea of what the characters should be doing—mowing their lawns as they normally would. We focused on getting the right actions and thought the different landscapes would work together if the scenes were aligned.
- Your use of editing and music gives the film a comical atmosphere. Can you talk about your approach, both in terms of content and form? Were there any films or directors that particularly inspired you?
I’ve made a lot of observational documentaries where the camera just follows the main character, but for this project, I wanted to challenge myself to do something more visual. I’m a big fan of methodical photography and love full-frame shots because there’s so much detail to explore. The initial concept was to film static, cinematic shots and repeat them in different locations. Initially, I envisioned a commercial-style intro and outro, with the core of the film being wide static shots, but that approach didn’t work during editing. Fortunately, my brilliant editor, Matti Näränen, worked his magic, mixing the footage and creating something more dynamic.
While on location, I was quite strict about not filming unnecessary footage, but our cinematographer, Jukka Moisio, was so enthusiastic about using anamorphic lenses that he captured more than we planned, which turned out to be a blessing. The documentary evolved naturally and took turns we hadn’t anticipated, which is typical in documentary filmmaking, at least for me.
Some of the films that inspired me include Kansakunnan olohuone (“The Living Room of the Nation“) by Jukka Kärkkäinen and Ruben Östlund’s The Guitar Mongoloid. In general, I love the work of Roy Andersson, Aki Kaurismäki (no surprise there!), and, of course, Ruben Östlund. And for me, Chaplin is the ultimate artist.
- Recently, we’ve been seeing more Finnish short documentaries at festivals. Many share a wry sense of humor and a certain self-mockery.
I think you’re right! We Finns definitely have a dry sense of humor, and teasing your friends and family is almost a way of showing affection. Giving direct compliments isn’t really our thing—or at least it’s not common in my life. I think this reflects a lot about the Finnish mentality. We’re always preparing for the worst, and there’s a constant undercurrent of shame, probably from how we’re raised to be “decent” people. Maybe that’s why we enjoy laughing at these things as well. Of course, I want to focus on positive things and spread love, but hey, I’m Finnish—it’s in my nature!
- What’s your view on short documentaries in particular? What makes this genre special?
As someone who loves storytelling, I believe that any form where you can be creative and connect with people through a story is amazing. But I also think that short documentaries are particularly challenging. With feature-length films, you have the time to dive deep into details. In a short format, though, you have to be concise, and that gives you more freedom to explore artistic expression and take risks without explaining everything to the audience.
For me, a good short documentary should offer something new—either visually or by sharing information I didn’t know before. It doesn’t need to tell a huge story, but it should be interesting. There are no secret ingredients, but a good story always has a beginning, a middle, and an end. As someone once said, maybe not in that order!
- What are your upcoming projects?
I’m currently editing my first feature documentary about the worst national cricket team in the world—which happens to be Finland’s. The funny thing is, none of the players are actually Finnish! It’s a bit like the Spinal Tap of cricket, but underneath, it’s a story about immigration and friendship.
We’re also filming another project about a retired punk rocker who’s taking care of his 30-year-old son, also a punk rocker, who has disabilities and needs to move into his own place. It’s a bittersweet, humorous story about letting go and independence. Other than that, I’m working on commercials and other visual projects, so if you need any help, just let me know!
- Is there a specific film that caught your eye on 99?
I was really happy to watch The Hanging and The Shampoo Summit. I also liked No Crying at the Dinner Table—I appreciated the human touch behind it. The variety of films you showcase is impressive. Great job!
- What do you think of 99 and the fact that your film is now subtitled in several languages?
I feel really privileged that my film is available to such a wide audience—and for free! We made this film with no budget, so the fact that it’s been selected for several festivals and now for 99 is just amazing. I’m also proud to have my work featured alongside filmmakers who really know their craft. It makes me proud of what we’ve accomplished. Thank you so much for this opportunity!