In the history of modern cinema, Zaza Urushadze’s film “The Confession” (2017) is one of the most important works that highlights a person’s internal struggle, the burden of conscience and their relationship with society. The director tries to analyse the depths of a person’s psychological and spiritual state, fears and mistakes.
The story begins quite positively. Together with his disciple, father Giorgi arrives in a small village for a church service. In order to gain the locals’ goodwill and partake them of spiritual life, he decides to organise film screenings in the evenings. At first, everything goes well until people start to show their true colours. This is where the hero’s spiritual struggles begin. Although the main character is a priest, the film is not at all religious. After all, a clergyman is also a person, he may face a dilemma and find it difficult to make the right choice.
The visual solutions of the film evoke much greater emotions and feelings than various dialogues, although it is noteworthy that the dialogues are quite sophisticated and expressive. There are many beautiful scenes in the film, the most important of which is the final one, the dialogue between the novitiate Valiko and Father Giorgi, in an open space, under a beautiful, large tree. This is where the transformation of these two characters takes place. They realize their mistakes and how to correct them, although the finale is open. Despite the fact that the ending tries to explain everything, the film leaves several unanswered questions, but perhaps that is how it should be, because after an interesting work there should always be an unexplained element so that the viewer thinks about the idea, the problematic of the work of art and tries to find the answer for himself.
The camera constantly follows the characters, which creates an additional deep feeling in the viewer. Each frame, as meticulously detailed, well conveys the characters’ spiritual tension. It moves slowly, which helps you get close to the characters and experience their feelings. There are also frequent long shots. The cameraman (Giorgi Shvelidze) often shows the characters in an isolated and non-contact state, which well reflects the struggle with light and personal crisis.
Although music is very important for the film, natural sounds dominate in Urushadze's film. In several places, the buzzing of a fly is clearly heard, symbolizing the tension and negative atmosphere. The fly, as the voice of conscience, is restless, does not stop, like the characters’ internal wars. The dramatic and moving melody, accompanied by hymns, gives the film a complete shape.
This work is largely psychological, although it also contains small humorous elements, which turn into cynicism and irony in some places. It is mainly used to assess one's own situation. In this regard, the scene of returning from fishing without a fish and the servant's reactions to minor events are interesting. Although humour in the film is secondary, its role is significant and emotionally charged. It contributes to the generalization of dark tones to a small extent, but still contributes to the generalization of dark tones.
The film is distinguished by a heavy depressive atmosphere, which is visually well conveyed. Dark colours and minimalist decorations are used. Great importance is attached to the landscape, which often corresponds to characters’ inner mood. Cloudy skies, wide spaces, empty surroundings and rainy meadows are metaphors for the character's changing emotional state. This work is distinguished by its focus on details, which allows for an in-depth analysis of not only the main character's inner world, but also his relationship with his own conscience and society.
One of the strengths of “The Confession” is the acting. The actors’ pure and undisguised emotions are presented with delicacy and sophistication. They deliberately leave many things unsaid, but their subtle gestures, glances, and regrets tell additional little stories. The characters gradually create complex emotional archetypes, which adds even more drama to the film. The expression of the characters’ emotions is so natural that the viewer easily gets into their inner world.
Dimitri Tatishvili (Father Giorgi), as one of the main characters of the film, perfectly conveys a person’s inner struggle, unstable character, and the process of transformation. He realistically shows the pangs of conscience and a person who has realized his own mistakes; tries to determine what is right and how to act correctly. The character undergoes a strong transformation in the process of development.
Soso Khvedelidze (novitiate Valiko) plays a multifaceted and complex character. Like Father Giorgi, he also experiences a spiritual crisis, constantly has questions about even the most insignificant events. He asks many questions especially Father Giorgi, but still manages to answer them himself. He is an example of a pure heart. Out of fear of the population, he did not stay by the priest's side in times of trouble, but he realized his actions and returned, which clearly shows the torment of his conscience. You will be pleasantly surprised by his accurately chosen character.
Sophio Sebiskveradze’s (Lili) on-screen appearance is naturalistic. She managed to convey the image of a woman in a spiritual crisis. Her performance aggravates the psychological and moral aspects of the film.
It is also impossible not to mention Nata Murvanidze’s and Darejan Kharshiladze’s characters. Although the latter appeared in an episodic role, she manages to deeply capture the issues of human conscience and religious or personal choice.
Many shots are compositionally organized, which emphasizes the mood of the film's plot. For example, in the scene of Lili's confession, sometimes her face and sometimes that of her father are blurred. This depends on their inner mood. If Lili feels anxiety, doubt or fear, the camera also shares her feelings and the image is blurred and unconvincing, and the same happens in the case of the second character, Father Giorgi. If there is a dilemma and confusion in his soul, the cameraman uses the same technique in this case.
At first, you might think that some scenes have been left out, forgotten, and there is a feeling of emptiness, but in reality this is not the case. In the end, the viewer's imagination fills in the missing episodes that were not there at the beginning and explains the events that were mentioned in only a few words in the film.
Some viewers may find "The Confession" difficult to comprehend due to its overly depressive atmosphere, so it requires paying attention to every detail or word in order to properly grasp the author's intention. This is facilitated by the slow development of the plot and the unnecessary length of several scenes.
The characters’ true nature and the centre of the spiritual crisis appear during the confrontation between the village and the father. Everyone believes Lili's lie that Father Giorgi abused her, except for Gocha, from whom this was least expected. Gocha is not loved by his fellow villagers because of his coldness, although he turned out to be the fairest. When personal beliefs clash with the moral norms of the village, emotions run wild and human weaknesses are exposed. Everyone expresses themselves as they truly are.
The villagers are very different from each other and, at the same time, very similar to each other. If we consider each resident separately, we will notice that they are endowed with distinctive qualities. All of them have their own human weaknesses, sins and remorse, and the path of repentance is different for everyone.
In the end, does the morality of the inhabitants of a small village become understandable? Of course not. Is it possible to blame them? No. We cannot do this because we are no better than them, we are practically the same, only with less intensity. These people are a collective image of society, which becomes a weapon in the name of justice and God.
In the finale, there is a strong emotional catharsis and euphoric effect, but they are immediately interrupted by the sad reality and irreversibility of life. The author gives vent to emotions, says that we are all human and make mistakes. This is a work that has the most peculiar effect. "The Confession" allows the viewer not only to assess the emotions and psychological state of the characters, but also to adapt to themselves and fight human weaknesses.
Teona Vekua
