An Eye for an Eye (1999 film)

An Eye for an Eye (Finnish: Silmä silmästä) is a 1999 Finnish horror drama directed and written by Atro Lahtela. The plot follows a woman suffering from nightmares who goes back to her childhood village, where she learns about the hidden history of the community and her deceased father. The cast includes Meri Nenonen, Jukka-Pekka Palo, Johanna af Schultén, and Jani Volanen in a dual role.

The film cost over FIM 1.8 million to produce. It was shown at the Helsinki International Film Festival in 1999 and the following year at South Korea’s Puchon International Fantastic Film Festival.

The story centers on sisters Kiia and Eija, who left the village of Pirunperä in Kainuu after their father’s suicide. Kiia, now a sculptor, is tormented by nightmares tied to the village, while Eija works as a flight attendant. When Kiia returns to create sculptures for the local church, she uncovers her father’s secret past and the village’s dark history, as her art seems to awaken an ancient evil lurking in Pirunperä.

The cast features Meri Nenonen as Kiia Saari, with Ronja Kåhre as young Kiia. Jani Volanen plays both Priest Sulo Salo and his father Kalevi Salo, with Walter Gröhn as young Sulo. Jukka-Pekka Palo portrays Martti Saari, the sisters’ father. Other roles include Ari Piispa as Kai-Petteri “Koo-Pee” Korppi, Ulla Uotinen as Maria Korppi, Heidi Kiviharju as Sari Salo, Inga-Liisa Laukka as Grandma Martta, Johanna af Schultén as Eija Saari, Nicole Henriksson as young Eija, Eeva-Liisa Haimelin as Siiri, Jouko Puolanto as a gallerist, and Jukka-Pekka Mikkonen as an intellectual in the gallery.

Upon release, the film received mixed reviews. In Helsingin Sanomat on October 1, 1999, critic Helena Ylänen noted that the film was clearly inspired by Finnish madness, with its liquor vapors, unpaved roads, fire frosts, hanging loops, religious charms, and covert lusts. In Gorehound magazine 2/1999, Tuomas Riskala praised the choice of theme but criticized the execution, stating that while some moments—like Kiia’s memory bundles and subconscious flashes—succeed, director Atro Lahtela seemed unwilling to craft a truly original horror aesthetic. Also on October 1, 1999, Tarmo Poussu of Ilta-Sanomat commended the acting and Lahtela’s flexible pictorial narrative, particularly his interesting depiction of a sculptor’s work, but harshly criticized the film overall, calling the supern