| Who is it? | Producer, Writer, Director |
| Birth Day | April 04, 1957 |
| Birth Place | Orimattila, Finland, Finland |
| Age | 66 YEARS OLD |
| Birth Sign | Taurus |
| Occupation | Film director, producer, editor and screenwriter |
| Awards | Silver Bear 2016 The Other Side of Hope Cannes Grand Prix 2002 The Man Without a Past Cannes Ecumenical Jury Special Mention 1996 Drifting Clouds Cannes Prize of the Ecumenical Jury 2002 The Man Without a Past FIPRESCI Award 2011 Le Havre Jussi for Best Film 2006 Lights in the Dusk Jussi for Best Debut Film 1983 Crime and Punishment Jussi for Best Script 1983 Crime and Punishment 1996 Drifting Clouds 2002 The Man Without a Past 2011 Le Havre Jussi for Best Direction 1990 The Match Factory Girl 1992 La vie de bohème 1996 Drifting Clouds 2002 The Man Without a Past São Paulo Audience Award for Best Feature 1996 Drifting Clouds |
Aki Kaurismäki, the renowned Finnish producer, writer, and director, is expected to have a net worth ranging from $100,000 to $1 million by 2024. Known for his unique style and exceptional storytelling, Kaurismäki has captivated audiences worldwide. Throughout his career, he has triumphed in numerous film projects, earning critical acclaim and amassing a significant following. With his diverse talents and contributions to the industry, it is no surprise that he has gained both financial success and recognition in his field. Aki Kaurismäki's masterpieces continue to leave a lasting impact on the world of cinema.
Much of Kaurismäki's work is centred on Helsinki, such as the film Calamari Union, the Proletariat trilogy (Shadows in Paradise, Ariel and The Match Factory Girl) and the Finland trilogy (Drifting Clouds, The Man Without a Past and Lights in the Dusk). His vision of Helsinki is critical and singularly unromantic. Indeed, his characters often speak about how they wish to get away from Helsinki. Some end up in Mexico (Ariel), others in Estonia (Shadows in Paradise, Calamari Union, and Take Care of Your Scarf, Tatjana). The setting of most of his films is the 1980s, or at least contains elements from that decade.
After graduating in media studies from the University of Tampere, Aki Kaurismäki started his career as a co-screenwriter and actor in films made by his older brother, Mika Kaurismäki. He played the main role in Mika's film The Liar (1981). Together they founded the production company Villealfa Filmproductions and later the Midnight Sun Film Festival. His debut as an independent Director was Crime and Punishment (1983), an adaptation of Dostoyevsky's novel set in modern Helsinki. He gained worldwide attention with Leningrad Cowboys Go America (1989). In 1989 he emigrated with his wife to Portugal, saying "in all of Helsinki there is no place left where I could place my camera".
Kaurismäki's film Ariel (1988) was entered into the 16th Moscow International Film Festival where it won the Prix FIPRESCI.
Kaurismäki's most acclaimed film has been The Man Without a Past, which won the Grand Prix and the Prize of the Ecumenical Jury at the 2002 Cannes Film Festival and was nominated for an Academy Award in the Best Foreign Language Film category in 2003. However, Kaurismäki refused to attend the Oscar ceremony, asserting that he did not feel like partying in a country that was in a state of war. Kaurismäki's next film Lights in the Dusk was also chosen to be Finland's nominee for best foreign-language film, but Kaurismäki again boycotted the awards and refused the nomination, in what he claimed was a protest against U.S. President George W. Bush's foreign policy. In 2002 Kaurismäki also boycotted the 40th New York Film Festival in a show of solidarity with the Iranian Director Abbas Kiarostami, who was not given a US visa in time for the festival.
Kaurismäki has been a vocal critic of digital cinematography, calling it "a devil's invention" and saying he "won't make a digital film in this life". In March 2014, however, he reconciled, saying that "in order to maintain my humble film oeuvre accessible to a potential audience, I have ended up in rendering it to digital in all its present and several of its as yet unknown forms."
