The Ministry of Public Affairs decided to release the film The Dam (“Aizsprosts”), about romantic love and the valour of the Latvian army, in the fall of 1940. However, that summer Latvia was annexed by the Soviet Union and the film disappeared. In the first years of the Soviet regime most of independent Latvia’s filmmakers continued working in the film industry, but at the end of WWII the majority of them immigrated.
In the 1940s almost all Latvian filmmaking was under the management of cinematographers who had arrived from Russian film studios. A conditional (within the confines of the Soviet system!) resurgence of national filmmaking occurred only from 1955, when the number of “nationals” (i.e. Latvian professionals) in the film industry had increased. The “Latvianization” of film also occurred due to the cinematization of Latvian literary classics. The most notable resurgence film was Frost in Springtime (“Salna pavasarī”, dir. Pāvels Armands, Leonīds Leimanis, 1955) - a return to the visual aesthetics of the 1930s wherein the elements of nature appear as a metaphor for the trials of the characters, and are in themselves significant.