Creating films about war started from the very origins of cinema. Different generations of filmmakers have brought to the screen the devastating consequences of senseless bloodshed to remind us that there are no winners in war. The topic of war is already shown from all sides, both inside and outside, but all wars end sooner or later and the question inevitably arises, what happens next? Sure, a peaceful life but what would it look like? ...
I will start with not an original question - according to what do we evaluate the film in general, what do we pay the most attention to: "what" or "how?” If to "what" - then "Wet Sand" (2021) by Elene Naveriani is a wonderful film, with an acute problem, which today has become a leading trend not only in the world, but also in Georgian cinema, despite the fact that society still closes its eyes to it and does not enjoy talking about it much. The gravity of difference...
Fog Curtain" (2019) is Tinatin Emiridze’s short student film. When it comes to this kind of work, the director can be forgiven for some mistakes because professional experience eases him over time and his subsequent works gradually improve, although there are issues that stand out as glaring ones in this particular film. All types of cinema have their own distinct characteristics, including documentary film. There are many difficulties in working with it. First of all, it means unforeseen ...
It's good when a filmmaker makes a film along with like-minded people. In Levan Koguashvili’s case, like-minded to him, first of all, is Boris Frumin – director, screenwriter, producer, teacher, who taught him film directing in his master's degree at the Tisch School of Art of New York University. Frumin is the co-author of Koguashvili's film scripts: "Street Days" (2010), "Blind Dates" (2013) and the screenwriter of the film, "Brighton 4th" (2021). Koguashvili has another like-minded person, Kote Japaridze, who ...
Under the conditions of the existence of the Soviet government, censorship and ideological pressure, documentary cinema became a passive attester of reality, although in this routine, monotonous process of development there were stages when it tried to state the author's vision and citizen's positions. It can be said that the 1920s and 1960s are the stages of the rise of Georgian documentary cinema....
The first films are a statement to establish oneself in great cinema. At first, it is difficult to determine how independent an artist is. Film director Ana Urushadze is one of the lucky exceptions, and her first full-length feature film "Scary Mother" (2017) stands out from the filmmakers of her generation in terms of its range of interests and artistic value. It tells a seemingly simple story: the mother of the family, housewife Manana (Nato Murvanidze) is working
Is there such an interpretation of disagreements between generations in Georgian art, in particular, dramaturgy, cinema, as Gertrude Stein's search for the explanation of the creative realities and psychotypes of the "lost generation"? This is still controversial and will probably take decades but it is clear that more than (or already) 30 years have passed since the collapse of the Soviet system and the somewhat illusory vision of the "lost generation"
A Simple Story of Loneliness that Disappeared Somewhere Read More
School, a place where people spend most of their lives. They get to know others, make friends, they even fight, make mistakes and then all this follows them throughout their lives. Each misstep or inappropriate behavior affects others. The barriers people have from school are sometimes visible, often invisible, and destroy them. "Greetings, my painful childhood!"-
Cinema plays an important role in social development and formation of public opinion. The movies that talk about social problems can draw attention to them and help solve them. In addition, they are able to influence the cultural values of society and inspire people to exhibit high morals. Gigisha (Grigol) Abashidze's debut film, "Neighbors" (2018) depicts the daily life of poor and middle-class
არაერთ გამოჩენილ მწერალს შეუნიშნავს, რომ პროზას მხოლოდ იმის წყალობით უკავია თავისი კუთვნილი ადგილი მხატვრულ ლიტერატურაში, თუ რამდენად მოიცავს იგი პოეზიას. იგივე ითქმის ფილმის შესახებაც, რომელიც თავისი „ჩვეულებრივი“ სპეციფიკით პროზაულია, ხოლო მისი კუთვნილი ადგილი კინოხელოვნებაში იმის მიხედვით განიზომება, თუ რამდენად „არაჩვეულებრივია“ იგი თავისი პოეტური ფორმით. ფილმი, რომელ ჟანრსაც არ უნდა ეკუთვნოდეს იგი, ვერ იქცევა ჭეშმარიტი ხელოვნების …