The happiest day in the life of Olli Maki

Friday, 11 th November, 20:30, Yugoslav Film Archive, Belgrade
Saturday, 12 th November, 17:00, Cultural Centre of Belgrade, Belgrade
Monday, 14 th November, 20:30, Arena Cineplex, Novi Sad
Sunday, 13 th November, 21h, Niš Cultural Centre, Niš

The Happiest Day in the Life of Olli Maki (fic.)

Director: Juho Kuosmanen
Country: Finland , Germany, Sweden
Year: 2016
Runtime: 92’
Language: Finnish
Subtitle: Serbian, English
Cast: Oona Airola, Eero Milonoff, Jarkko Lahti
Screenplay: Mikko Myllylahti
Producer: Jussi Rantamäki
Director of Photography: J.P. Passi
Editing: Jussi Rautaniemi
Music: Laura Airola, Joonas Haavisto, Miika Snåre
Production: Aamu Film Company, One Two Films
Distribution: Five Stars Film Distribution /


Funny, forlorn, and irresistibly charming, Juho Kuosmanen’s assured debut feature The Happiest Day in the Life of Olli Mäki, which won the top prize in the Un Certain Regard section at this year’s Cannes, is inspired by the true story of Finland’s most successful boxer of the 1960s. Shot in black and white with scrupulous attention to period detail, the film centres on the prelude to Mäki’s historic fight in Helsinki with American Davey Moore, the bantamweight champion of the world.

Director’s biography
Juho Kuosmanen was born in Kokkola, Finland, and is now based in Helsinki. Since graduating from ELO Helsinki Film School he has directed for film, theatre, and opera. His short films include Roadmarkers (2007), Citizens (2008), and The Painting Sellers (2010). The Happiest Day in the Life of Olli Mäki (2016) is his first feature film.

Festivals and awards
Un Certain Regard Prize, Cannes Film Festival, 2016
Finnish entry for the Best Foreign Language Film at the 89th Academy Awards

Critic’s Word
This year’s Un Certain Regard champ, Juho Kuosmanen’s tender, melancholic boxing biopic beguiles from start to Finnish.
Guy Lodge, Variety

The movie is a small marvel of impeccable craftsmanship.
David Rooney, The Hollywood Reporter

Through Jarkko Lahti’s skillfully internalized, soft-spoken performance, we see a mirror to our imperfect selves.
Shane Slater,