Misha Jaari

Misha Jaari’s filmography is kinda wild, honestly. You’ve got Fallen Leaves from 2023, which has this whole bittersweet, deadpan vibe—think Helsinki at its most grey, two loners just kinda bumping into each other, nursing old wounds. The film just sits with its characters in the silence, letting awkward glances and half-finished sentences do the heavy lifting. No over-the-top drama, just everyday people trying to find warmth in a place that seems allergic to it. The humor’s so dry you might miss it if you blink. Then there’s De uskyldige (The Innocents) from 2021. That one’s a trip—kids in a Norwegian housing block start discovering they’ve got these freaky, supernatural abilities. It’s not your typical “kids with powers” movie, though. The story tiptoes into some dark territory, showing how innocent games can spiral into something way more sinister. The whole thing’s wrapped up in this eerie, sunlit neighborhood that makes you question what’s lurking behind every corner. Childhood wonder and horror, all tangled up. And Betoniyö (Concrete Night) from 2013? That’s a totally different beast. Stark, moody, almost hypnotic. It follows a teenager drifting through a raw, unforgiving Helsinki, shadowed by his older brother’s looming presence. There’s a sense of doom hanging over everything—like, you just know things aren’t gonna end well. The visuals are striking, almost poetic, but there’s grit underneath all that beauty. Jaari’s picks aren’t afraid to get messy or sit in the uncomfortable, and honestly, that’s what makes them hit so hard.