In recent years, Georgian feature and documentary film, along with many other topics, has been characterized by the presentation of real life, political circumstances, and social reality in various forms and perspectives, including by placing it within the framework of a parable and searching for new means of expression.
In modern film parables, traditional schemes and laws are violated, stereotypes are rejected; a generalized environment is created, the real boundaries of the world and everything in such a conditional connection are conveyed through symbols and metaphors. Events develop without special zigzags and sharp transformations (detours). Didactics are excluded, and everything is aimed at reflecting the essence of life, general life values and problems of society, values (preserved or devalued), observing them and making unforced judgments.
The history of Georgian cinema begins with the documentary film “Akaki Tsereteli’s Journey to Racha-Lechkhumi.” This highly artistic work by Vasil Amashukeli, created in 1912, depicts a specific story, specific people, Akaki Tsereteli and his contemporary society, events that developed in a specific time and environment, but its main value is determined by the generalization of this particularly important fact for the history of Georgia as a universal human event. And, explicitly or implicitly, it contains the signs and properties of a parable, which becomes especially evident and visible with the distance of time.
Georgian documentary film has justified its existence since then and is always distinguished by its novelty, significance and originality, the diversity of which generations have created till now.
One such novelty, continuing the tradition, which (like many other Georgian documentary and feature films) was met with a response from professionals in Georgia and abroad (at several international festivals and competitions) is Elene Mikaberidze's full-length documentary "Blueberry Dreams" (2024, produced by Elene Margvelashvili. "Parachute Films," Georgia-France-Belgium-Qatar).
Elene Mikaberidze is a young director of a new generation. "Blueberry Dreams" is a film that tells the story about the Meladze family living in Zugdidi – Soso and Nino and their children – Lazare and Giorgi – their lives and activities – a blueberry plantation and a small family business.
The director shows the story of this family and creates an environment that contains a system of messages to the viewer, with a special authorial position, about social, political, public and personal issues and problems. This society does not demand anything special. Only elementary conditions to live by their own labor, work with dedication and fulfill their desires for a better reality. But the goal is not achieved, dreams and desires are not and cannot be fulfilled, but they are not faded either.
The director carefully depicts all stages of planting, care, and growth process of blueberries which are almost not and cannot be sold and shares her knowledge with the viewer. Poverty acquires sharp colors and another layer is introduced into the film.
The heroes of the film live harmoniously. What happens directly in their family, in their neighbors, in the settlement or in the town, what connects people and how they lead their lives, is an expression of peace, of the beauty of life. But the surrounding reality does not contribute to the carefree flow of life, moreover, it hinders and contradicts the desires and interests of society too. Furthermore, the conflict zone and the fictitious border with Abkhazia located just a few kilometers away, the memory of the Abkhazia war, the “invasion” and inseparability of the topics of the ongoing war in Ukraine from the general structure – violate the feeling of peace and sound like sharp sounds of anxiety and alarm.
The primary and main thing for this family is love, harmony and, if not idyll, peace, the desire for comfort, the choice of the best, which is “in conflict” with external tension and lack of peace.
What is important is “a feeling of closeness to the ground, the love of several people, the knowledge that there is always a place where the heart finds relief and harmony – this is a lot for one life, but it is not enough for a person” (Albert Camus. “Marriage. Summer in Algiers”). (ალბერ კამიუ. „ქორწინება. ზაფხული ალჟირში“).
Elene Mikaberidze filmed “Blueberry Dreams” for two years (she herself became a member of the Meladze family. As an invisible observer, she saw the life of this family from all angles and nuances). These two years are directly recorded in the film. Events follow each other, along with the passage of the seasons. And this change, the passage of time, is sharply expressed, against the background of an almost monochrome, calm and pastel-colored image and in the color scheme.
Such a development of moods, feelings, situations and events in time is naturally and chronologically arranged into visually clearly defined scenes – spring, summer, autumn, winter and spring again. When blueberries are planted, bloom, ripen and are harvested. This sequence, on the one hand, is a description of natural processes and, on the other hand, a metaphor for life, with all its grandeur and life-giving ritual.
Reality is what the Meladzes (society) live in, what they do – how they act; what they strive for and what they dream of. How the flow of their everyday life goes. How Soso and Nino dance, how Giorgi and Lazare play, how they perceive problems lightly and playfully and how they experience what is happening around them, how they express sympathy, how they grieve and how they get encouraged and encourage others.
“Blueberry Dreams” lasts more than an hour and, at a glance, at first perception, reflects the monotonous and uniform flow of life. Nothing seems to distinguish the similarity of the days, except for small novelties (which accompany the life of any person). However, the Meladzes’ daily routine turns into a pastoral in the eyes and hands despite the hardships, difficulties, and contradictions. And every day or night, despite the “ordinariness” of days and nights, acquires a different meaning and sense, is filled with new content, importance, and depth.
Blueberries, on which Soso and Nino not only have their hope, mean more to the director than just berries. By planting and nurturing them, the Meladzes also contribute to the birth of new life and bring benefits to the world. Blueberries are perceived as a symbol of mythical fruit, fertility and color.
Is there harmony between these people and nature?! Is this family a part of nature and its “master?” Can a person today still remain a creation of nature and contribute to its development, as he once could, before he separated from it? And what was one of the main themes and characteristic problems of Georgian (and not only) cinema and literature?
Elene Mikaberidze “describes” nature as the first created world and nature, which man himself creates and which at the same time obeys the power and “command” of nature. The continuity and conflict of nature and man, the existence of the world and the eternal cycle continues. Right in the zone, near it, at the border and for the whole country. A conflict that does not seem to end yet, although nothing can stop the power of nature.
“Blueberry Dreams” does not hide or embellish reality. On the contrary, the director's main goal, through the language of fiction and metaphors, is to show and "expose" the reality that prevents people from living a normal life. Elene Mikaberidze manages to generalize the social drama and elevate the story, position and attitude to life.
And I, as a viewer, "have the feeling that" the Meladzes and people like them, who represent the dignity of the nation and justify human existence, "live on the high seas, threatened, at the heart of a royal happiness " (Albert Camus. "Summer. The Sea is Very Close").ალბერ კამიუ. „ზაფხული. ზღვა სულ ახლოს“).
Lela Ochiauri
