Sengedorj Janchivdorj Returns to Tallinn with “The Muralist”
Mongolian filmmaker Sengedorj Janchivdorj, a previous Grand Prix winner at the esteemed Tallinn Black Nights Film Festival, has made a notable return to the competition with his latest feature, ‘The Muralist’. This cinematic offering stands out as one of the sixteen world premieres showcased in the main section of the festival, drawing attention to a filmmaker consistently pushing the boundaries of storytelling. His return marks a significant moment, reinforcing his status as one of Mongolia’s most celebrated and prolific cinematic voices.
Sengedorj Janchivdorj’s Esteemed Return to Tallinn
Sengedorj Janchivdorj is no stranger to the accolades of the Tallinn Black Nights Film Festival. In 2024, his film, “Silent City Driver,” clinched the festival’s coveted Grand Prix. This triumph not only solidified his reputation but also propelled the film to represent Mongolia in the international feature film category at the 98th Academy Awards in 2026. His latest work, ‘The Muralist’, arrives with considerable anticipation, as audiences and critics alike eagerly observe his continued artistic evolution within the festival’s competitive landscape.
‘The Muralist’: A Deep Dive into Art, Memory, and Reconciliation
‘The Muralist’ is described by Sengedorj Janchivdorj as a deeply personal project, a film he has aspired to create for over two decades. It serves as a visually striking meditation on the intricate interplay of art, memory, and the path to reconciliation. While artists have often appeared in supporting roles in his previous works, this time, the muralist takes center stage, allowing for an intimate exploration of the creative spirit and its profound impact on life.
Synopsis and Artistic Vision
The narrative of ‘The Muralist’ follows Bayaraa, a once-successful muralist who, after years spent in Europe, returns to Mongolia with little more than his paints, a rooftop tent, and his loyal stray dog. He dedicates himself to transforming an abandoned factory wall on the outskirts of Ulaanbaatar into a sweeping mural depicting mythical Mongolian landscapes, a poignant contrast to the encroaching urbanization. As the threat of demolition looms and a group of Japanese tourists develop an interest in his artwork, Bayaraa is compelled to confront the unresolved aspects of his past, specifically the family he left behind. A unique symbolic element, a balloon tethered to him, subtly changes color to reflect Bayaraa’s evolving mood as he grapples with his history, which unfolds through nostalgic black-and-white flashbacks.
Longtime collaborator Nergui Erdenekhuyag, known for his poetic imagery, serves as the cinematographer. The film is a loose adaptation of “Picture of the Soul,” a romantic novel by Mongolian author Khishigjargal Dashdorj, who also contributed to the screenplay and served as an executive producer. The film’s core explores the universal dilemma faced by many artists: the choice between art and life. Sengedorj Janchivdorj intentionally leaves the audience to ponder Bayaraa’s choices and their consequences, rather than dictating a definitive interpretation.
Crafting the Emotional Landscape
The emotional depth of ‘The Muralist’ is further enhanced by its carefully chosen cast and evocative score. Sengedorj Janchivdorj undertook an extensive search to find his lead, B.S.Bayinerile, in Inner Mongolia. The director sought an actor who could embody the introverted nature of Bayaraa, whose profound sadness and internal struggles are reflected primarily through his eyes and facial expressions. Japan-based Mongolian actress Ishiyama Gegeenzaya portrays Bayaraa’s estranged daughter, adding another layer to the film’s exploration of family and regret.
The score, composed by the Italian-educated Mongolian composer Tsolmonbayar Munkhtovch, mirrors the film’s emotional progression. It transitions from uplifting piano solos to a more gently nostalgic cello-violin-piano trio, reflecting Bayaraa’s journey and confrontations with his past.
Production and Filming Locations
The production of ‘The Muralist’ was intensive, taking place during July and August 2024. Principal photography utilized an abandoned Soviet factory on the outskirts of Ulaanbaatar, providing a stark and resonant backdrop for Bayaraa’s artistic endeavors. Interior scenes were filmed in one of Mongolia’s large, Russian-era stages, further connecting the film’s aesthetic to the region’s historical and architectural heritage.
The Growing Prominence of Mongolian Cinema
Sengedorj Janchivdorj’s consistent presence at international festivals, including his return to the Tallinn Black Nights main competition, highlights the increasing global visibility of Mongolian cinema. This surge in recognition has been significantly boosted by funding from Mongolia’s National Film Council. Recent successes such as “If Only I Could Hibernate” (Cannes 2023) and “City of Wind” (Venice Orizzonti 2023) have brought international attention, while shorts like “Snow in September” have garnered top prizes at prestigious festivals such as Venice and Toronto. ‘The Muralist’ contributes to this exciting wave, further cementing Mongolia’s place on the international film stage.
Looking to the Future
Even as ‘The Muralist’ makes its debut, Sengedorj Janchivdorj is already looking ahead. He has completed the script for his next project, which he describes as an ambitious love story set against the backdrop of an art festival in Italy. This forward momentum signals a sustained commitment to cinematic exploration and an ongoing contribution to the rich tapestry of world cinema.
Conclusion
‘The Muralist’, which premiered on November 19 at the Tallinn Black Nights Film Festival, is a compelling addition to Sengedorj Janchivdorj’s distinguished filmography. Co-produced by Javkhlan Sonomdorj and Lkhamdulam Dashdorj, with Khishigjargal Dashdorj as executive producer, the film exemplifies a deeply thoughtful and visually evocative approach to storytelling. As the festival anticipates announcing its main competition winner on November 21, ahead of its wrap on November 23, ‘The Muralist’ stands as a testament to the power of art to explore complex human emotions and the enduring vision of one of Mongolia’s most important filmmakers.
