Detective von Fock – Truly Estonian, Truly International
Detective von Fock is not only Estonia’s most expensive and most complex TV series production to-date, but also an excellent example of how international co-production initiatives could bring to life some thrilling stories from small Estonia to the global TV markets.
In this exclusive interview with TVBIZZ Magazine, producer Jevgeni Supin and screenwriter Leana Jalukse tell Georgi R. Chakarov how this unique co-production on a pan-European level came to life and the impact it will have on the development of the audiovisual industry in Estonia and the Baltics as a whole. ZDF Studios is selling the show internationally and presenting it to buyers at NATPE Budapest 2025.
In this exclusive interview with TVBIZZ Magazine, producer Jevgeni Supin and screenwriter Leana Jalukse tell Georgi R. Chakarov how this unique co-production on a pan-European level came to life and the impact it will have on the development of the audiovisual industry in Estonia and the Baltics as a whole. ZDF Studios is selling the show internationally and presenting it to buyers at NATPE Budapest 2025.
Screenwriter Leana Jalukse (top) and producer Jevgeni Supin
Jevgeni, Leana, Von Fock is the first Estonian series to receive support from both the MEDIA strand of Creative Europe and Eurimages’ pilot program for series co-productions and is also the country’s highest budget series to date. How did this dual endorsement shape the development and production of the show?
Jevgeni: We began developing the show back in 2021. It was clear from the beginning that this project had strong potential for the international market and for a co-production model, which meant that, in order to fulfill this ambition, we needed to approach the series differently than usual. The typical approach involved utilizing resources available from the local market, but being a country with low production capacity meant that these resources wouldn’t be sufficient to produce a period drama at the scale we had envisioned, and with the production value required for the international market. Several countries and production partners were needed to assemble the financing, and support from Creative Media TV Online and the pilot program of the Council of Europe for Series Co-Productions were cornerstones for our production. In fact, the Pilot Program of the Council of Europe became available as we were in the midst of development, and when we learned about this new addition, it was the final piece in our financing puzzle that made this project possible.
Can you walk us through the process of securing funding for the series and what is the total budget?
Jevgeni: At the end the total budget of the series was approximately €4 million. It was a long journey to secure that amount but the first and very important milestone was securing local financing. Eesti Telefilm, part of Estonian Public Broadcasting and led by Toomas Luhats, made an unprecedented decision to commission the series with a significantly larger contribution than usual and also facilitated the attachment of the Lithuanian public broadcaster LRT to the project. The next logical step was attaching the local film fund, EFI. Finding co-production partners and finalizing the production setup took time, but at the end with the help of consultants Carlos Hertel and Silke Wilfinger, we connected with the Italian production company movie.mento and producer Markus Frings, who came on board with one-third of the budget backed by IDM Film Commission Südtirol and a local tax-rebate. At this stage we had become eligible for the Creative Media Support, and the timing was perfect for applying. Our third partner, the Latvian production company Berghein Production / Nafta Films, helped us with Latvian cash rebates (LIAA and Riga Film Fund), which opened support from the Council of Europe. Finaly, we secured a minimum guarantee from Distributor ZDF Studios, an essential component of the financing plan that helped close the remaining gap.
What impact did this European funding have on the scope and ambition of Von Fock, especially in terms of international filming and production values?
Jevgeni: European funds are the cornerstone of our production efforts. Support from these initiatives signifies a recognition and provides a guarantee that could facilitate access to other financing possibilities. This backing might even become a decisive factor in securing further support of other funds and partners. Without this support, we wouldn’t have been able to achieve the same level of production quality, as we simply do not have other financing sources. The Baltic region is still a grey zone for most of the European broadcasters and streaming platforms. They have heard about our work, but it has yet to be seen, and no one wants to be the first to take this step.
The series was shot on location in Estonia, Latvia, and Italy by Zolba Productions, Latvia’s Berghein Production and Nafta, Italy’s movie.mento, Albolina Film and Eesti Telefilm. What were the creative and logistical considerations behind choosing these three countries and what were the main challenges during production?
Jevgeni: Detective Von Fock is a series that has co-production at its core. It is based on a series of novels written by Estonian historian Ain Kütt, which are historically accurate. During the time depicted (the mid-19th century), it was common for the Estonian aristocracy (Baltic Germans) to send their children, especially girls, to study in their region of origin—German-speaking countries. In the initial novel, this tradition is often referred to, and one of our protagonists, Maria von Nottbeck, was studying in Europe, where she engaged in some misadventures that she would later come to regret. This allowed us to seamlessly extend our series to Italy and South Tyrol, providing wonderful opportunities to highlight the striking contrast between two landscapes: the lush, forested Estonia, with its quaint, dollhouse-like manors, versus the majestic Alps and grand European castles.
Moreover, our story unfolds at the estates of Baltic Germans, set within their historic manors. The Baltics were once very abundant in manors owned by descendants of German knights, but over the last century, many of these were lost to time. Despite this, numerous well-preserved mansions and manors remain all over the Baltic countries. We were fortunate to have the opportunity to film in very picturesque estates in Estonia and Latvia, discovering uniquely looking and diverse gems that we are now excited to show to the world.
From a storytelling perspective, how do these varied European locations contribute to the narrative tone and visual identity of the series?
Leana: The Baltic German aristocracy is a uniquely Eastern European phenomenon that has never been explored on screen before. Its presence across varied locations — in countries that never became kingdoms themselves — adds layers of contrast, cultural complexity, and visual richness to the series. The Baltic German world reflected a blend of Germanic aristocratic traditions embedded in Slavic and Baltic landscapes, creating both aesthetic tension and thematic depth. Many of the actual remaining locations — manors, estates, rural churches — remain remarkably unchanged, allowing the series to lean into authenticity and offer a lived-in historical atmosphere not so often seen on screen. These surviving manors are not only architectural remnants but symbols of a forgotten social order that still shapes our cultural and economic heritage. Visually, the series introduces a tone and style that’s completely new for our region: grand estates, elegance, and restrained opulence. It brings something closer to Bridgerton-like splendor into a film culture better known for bleak, minimalist auteur cinema.
How did you ensure that Von Fock remains both authentically Estonian and internationally appealing?
Jevgeni: Von Fock is a classical romance tale that is framed with a classical “whodunit” crime story. Set in mid-19th century Estonia, a period seldom depicted in our cinematic history. The narrative unfolds during an era of nobility and national awakening, a period that is nowadays romanticized and sought after today. At the same time at the core of the story are timeless themes of love, betrayal, corruption and crime, which resonate universally. Our story promises a secure and familiar genre, presented in a fresh visual and aesthetic setting that has not been explored before.
With ZDF Studios on board as the global distributor, how did that partnership come about, and what does it mean for the series’ international reach?
Jevgeni: It all came down to chance. Such was the case when I had the fortunate encounter with wonderful Mirela Nastase, Director of Drama of ZDF Studios at Seriesmania. Initially as the conversations moved, I was unsure if our series aligned with their catalog. I was happy and surprised when I learned that I was wrong. Our discussions about production and distribution marked a significant advancement for us in partnering with them. From past experiences, I’ve observed that established central European broadcasters and distributors approach productions from new territories with caution, often saying “Yes, this is a very nice project, show us a pilot when you are ready.” Therefore, having a major company ready to commit to a yet-to-be-completed project is truly a form of recognition.
This partnership is not only a huge step for me as a producer but also for our entire region, as it clearly shows that our stories are good and they can travel globally, aided by reputable distributors like ZDF Studios.
Von Fock is set in the first half of the 19th century and blends historical drama with crime elements. What inspired this particular genre fusion, and what makes the character of von Fock compelling in today’s television landscape?
Leana: That was our way in — seeing the past not as something distant, but as a mirror. Questions of loyalty, shifting ideologies, and justice under pressure are just as relevant now as they were then. Blending historical drama with crime gave us the flexibility to explore both plot and character — viewers come for the mystery but stay for the people.
Von Fock is a man out of time, born into privilege, but emotionally and practically unprepared for the chaos around him. That fish-out-of-water quality makes him relatable today. Our female lead is ahead of her time, pushing against the limits of her world — and in doing so, reflecting struggles that women still face.
Throughout the writing process, we kept one eye on the present. In any era of social change, people are asked to hold onto ideals while working inside broken systems. That tension is what makes the story feel timeless.
The series tackles themes of loyalty, justice, and ideology in a volatile time. How did you approach crafting a story that feels both historically grounded and resonant with modern audiences?
Leana: For the series, we expanded the world quite a bit — especially when it came to female characters, relationships, and the dynamics within families. We introduced themes like the discovery of sexual orientation, backstabbing within families, love reforming a character, and a spiral of deceit becoming a deadly vortex around one. The society we portray was far more complex — and in many ways, more liberal — than we might expect. Much of this character work, particularly the relationship storylines, was developed specifically for the series to make it more relatable and emotionally engaging for a modern audience.
Power dynamics remain universal: questions of who gets to decide what’s “just” — and how ideology shapes that — are relevant now more than ever. In a time when borders, loyalty, and rule of law are again being tested, it felt right to revisit the moment when those systems were first being formed — and manipulated.
The show is part of Zolba Productions’ expanding international slate. How does Von Fock fit into your broader strategic vision as producers?
Jevgeni: Zolba Productions’ international slate is very diverse, featuring everything from gripping social dramas like My Dear Mother and Breaking the Ice to imaginative high concept series such as Operation Silver Wolf. We also journey through time with period crime drama Detective von Fock to mystical thriller with Girl from Tallinn and crime comedy like Let It Snow. At Zolba Productions, we embrace this diversification as a testament to our strength and dedication to quality storytelling and productions. We believe in the stories we tell as they resonate with audiences worldwide, as in its deep core they all have the same values. And hell, we just love telling good stories.
What does this project represent for the Estonian and for the Baltic audiovisual industry?
Jevgeni: Detective von Fock is a natural progression for us, an early bird standout from our region. This series marks several first for us in many ways: story originates from Estonia, with a delegate producer from Estonia, first co-production between all three states - Latvia providing physical production, Lithuania participating as a pre-buy partner. It also stands out as our first truly international series with a co-production with Italy, the first local series backed by Creative Media and the Council of Europe, and not to mention our collaboration with major European distributor ZDF Studios. I do want to believe that this project will serve as a gateway to many more great productions, awaiting to be discovered and introduced to the global market.
Are there plans to expand the story beyond the initial two seasons?
Jevgeni: Definitely. There are three more books in the series by Ain Kütt to explore. Moreover, there is a great opportunity to create a spin-off and in addition there is great possibility do create a spin off from our great female protagonist. We are already working on it.
Jevgeni: We began developing the show back in 2021. It was clear from the beginning that this project had strong potential for the international market and for a co-production model, which meant that, in order to fulfill this ambition, we needed to approach the series differently than usual. The typical approach involved utilizing resources available from the local market, but being a country with low production capacity meant that these resources wouldn’t be sufficient to produce a period drama at the scale we had envisioned, and with the production value required for the international market. Several countries and production partners were needed to assemble the financing, and support from Creative Media TV Online and the pilot program of the Council of Europe for Series Co-Productions were cornerstones for our production. In fact, the Pilot Program of the Council of Europe became available as we were in the midst of development, and when we learned about this new addition, it was the final piece in our financing puzzle that made this project possible.
Can you walk us through the process of securing funding for the series and what is the total budget?
Jevgeni: At the end the total budget of the series was approximately €4 million. It was a long journey to secure that amount but the first and very important milestone was securing local financing. Eesti Telefilm, part of Estonian Public Broadcasting and led by Toomas Luhats, made an unprecedented decision to commission the series with a significantly larger contribution than usual and also facilitated the attachment of the Lithuanian public broadcaster LRT to the project. The next logical step was attaching the local film fund, EFI. Finding co-production partners and finalizing the production setup took time, but at the end with the help of consultants Carlos Hertel and Silke Wilfinger, we connected with the Italian production company movie.mento and producer Markus Frings, who came on board with one-third of the budget backed by IDM Film Commission Südtirol and a local tax-rebate. At this stage we had become eligible for the Creative Media Support, and the timing was perfect for applying. Our third partner, the Latvian production company Berghein Production / Nafta Films, helped us with Latvian cash rebates (LIAA and Riga Film Fund), which opened support from the Council of Europe. Finaly, we secured a minimum guarantee from Distributor ZDF Studios, an essential component of the financing plan that helped close the remaining gap.
What impact did this European funding have on the scope and ambition of Von Fock, especially in terms of international filming and production values?
Jevgeni: European funds are the cornerstone of our production efforts. Support from these initiatives signifies a recognition and provides a guarantee that could facilitate access to other financing possibilities. This backing might even become a decisive factor in securing further support of other funds and partners. Without this support, we wouldn’t have been able to achieve the same level of production quality, as we simply do not have other financing sources. The Baltic region is still a grey zone for most of the European broadcasters and streaming platforms. They have heard about our work, but it has yet to be seen, and no one wants to be the first to take this step.
The series was shot on location in Estonia, Latvia, and Italy by Zolba Productions, Latvia’s Berghein Production and Nafta, Italy’s movie.mento, Albolina Film and Eesti Telefilm. What were the creative and logistical considerations behind choosing these three countries and what were the main challenges during production?
Jevgeni: Detective Von Fock is a series that has co-production at its core. It is based on a series of novels written by Estonian historian Ain Kütt, which are historically accurate. During the time depicted (the mid-19th century), it was common for the Estonian aristocracy (Baltic Germans) to send their children, especially girls, to study in their region of origin—German-speaking countries. In the initial novel, this tradition is often referred to, and one of our protagonists, Maria von Nottbeck, was studying in Europe, where she engaged in some misadventures that she would later come to regret. This allowed us to seamlessly extend our series to Italy and South Tyrol, providing wonderful opportunities to highlight the striking contrast between two landscapes: the lush, forested Estonia, with its quaint, dollhouse-like manors, versus the majestic Alps and grand European castles.
Moreover, our story unfolds at the estates of Baltic Germans, set within their historic manors. The Baltics were once very abundant in manors owned by descendants of German knights, but over the last century, many of these were lost to time. Despite this, numerous well-preserved mansions and manors remain all over the Baltic countries. We were fortunate to have the opportunity to film in very picturesque estates in Estonia and Latvia, discovering uniquely looking and diverse gems that we are now excited to show to the world.
From a storytelling perspective, how do these varied European locations contribute to the narrative tone and visual identity of the series?
Leana: The Baltic German aristocracy is a uniquely Eastern European phenomenon that has never been explored on screen before. Its presence across varied locations — in countries that never became kingdoms themselves — adds layers of contrast, cultural complexity, and visual richness to the series. The Baltic German world reflected a blend of Germanic aristocratic traditions embedded in Slavic and Baltic landscapes, creating both aesthetic tension and thematic depth. Many of the actual remaining locations — manors, estates, rural churches — remain remarkably unchanged, allowing the series to lean into authenticity and offer a lived-in historical atmosphere not so often seen on screen. These surviving manors are not only architectural remnants but symbols of a forgotten social order that still shapes our cultural and economic heritage. Visually, the series introduces a tone and style that’s completely new for our region: grand estates, elegance, and restrained opulence. It brings something closer to Bridgerton-like splendor into a film culture better known for bleak, minimalist auteur cinema.
How did you ensure that Von Fock remains both authentically Estonian and internationally appealing?
Jevgeni: Von Fock is a classical romance tale that is framed with a classical “whodunit” crime story. Set in mid-19th century Estonia, a period seldom depicted in our cinematic history. The narrative unfolds during an era of nobility and national awakening, a period that is nowadays romanticized and sought after today. At the same time at the core of the story are timeless themes of love, betrayal, corruption and crime, which resonate universally. Our story promises a secure and familiar genre, presented in a fresh visual and aesthetic setting that has not been explored before.
With ZDF Studios on board as the global distributor, how did that partnership come about, and what does it mean for the series’ international reach?
Jevgeni: It all came down to chance. Such was the case when I had the fortunate encounter with wonderful Mirela Nastase, Director of Drama of ZDF Studios at Seriesmania. Initially as the conversations moved, I was unsure if our series aligned with their catalog. I was happy and surprised when I learned that I was wrong. Our discussions about production and distribution marked a significant advancement for us in partnering with them. From past experiences, I’ve observed that established central European broadcasters and distributors approach productions from new territories with caution, often saying “Yes, this is a very nice project, show us a pilot when you are ready.” Therefore, having a major company ready to commit to a yet-to-be-completed project is truly a form of recognition.
This partnership is not only a huge step for me as a producer but also for our entire region, as it clearly shows that our stories are good and they can travel globally, aided by reputable distributors like ZDF Studios.
Von Fock is set in the first half of the 19th century and blends historical drama with crime elements. What inspired this particular genre fusion, and what makes the character of von Fock compelling in today’s television landscape?
Leana: That was our way in — seeing the past not as something distant, but as a mirror. Questions of loyalty, shifting ideologies, and justice under pressure are just as relevant now as they were then. Blending historical drama with crime gave us the flexibility to explore both plot and character — viewers come for the mystery but stay for the people.
Von Fock is a man out of time, born into privilege, but emotionally and practically unprepared for the chaos around him. That fish-out-of-water quality makes him relatable today. Our female lead is ahead of her time, pushing against the limits of her world — and in doing so, reflecting struggles that women still face.
Throughout the writing process, we kept one eye on the present. In any era of social change, people are asked to hold onto ideals while working inside broken systems. That tension is what makes the story feel timeless.
The series tackles themes of loyalty, justice, and ideology in a volatile time. How did you approach crafting a story that feels both historically grounded and resonant with modern audiences?
Leana: For the series, we expanded the world quite a bit — especially when it came to female characters, relationships, and the dynamics within families. We introduced themes like the discovery of sexual orientation, backstabbing within families, love reforming a character, and a spiral of deceit becoming a deadly vortex around one. The society we portray was far more complex — and in many ways, more liberal — than we might expect. Much of this character work, particularly the relationship storylines, was developed specifically for the series to make it more relatable and emotionally engaging for a modern audience.
Power dynamics remain universal: questions of who gets to decide what’s “just” — and how ideology shapes that — are relevant now more than ever. In a time when borders, loyalty, and rule of law are again being tested, it felt right to revisit the moment when those systems were first being formed — and manipulated.
The show is part of Zolba Productions’ expanding international slate. How does Von Fock fit into your broader strategic vision as producers?
Jevgeni: Zolba Productions’ international slate is very diverse, featuring everything from gripping social dramas like My Dear Mother and Breaking the Ice to imaginative high concept series such as Operation Silver Wolf. We also journey through time with period crime drama Detective von Fock to mystical thriller with Girl from Tallinn and crime comedy like Let It Snow. At Zolba Productions, we embrace this diversification as a testament to our strength and dedication to quality storytelling and productions. We believe in the stories we tell as they resonate with audiences worldwide, as in its deep core they all have the same values. And hell, we just love telling good stories.
What does this project represent for the Estonian and for the Baltic audiovisual industry?
Jevgeni: Detective von Fock is a natural progression for us, an early bird standout from our region. This series marks several first for us in many ways: story originates from Estonia, with a delegate producer from Estonia, first co-production between all three states - Latvia providing physical production, Lithuania participating as a pre-buy partner. It also stands out as our first truly international series with a co-production with Italy, the first local series backed by Creative Media and the Council of Europe, and not to mention our collaboration with major European distributor ZDF Studios. I do want to believe that this project will serve as a gateway to many more great productions, awaiting to be discovered and introduced to the global market.
Are there plans to expand the story beyond the initial two seasons?
Jevgeni: Definitely. There are three more books in the series by Ain Kütt to explore. Moreover, there is a great opportunity to create a spin-off and in addition there is great possibility do create a spin off from our great female protagonist. We are already working on it.
