2012 წელს ტელეკომპანია „მეცხრე არხის“ ეთერში გავიდა ერთი დოკუმენტური ფილმი. ეს იყო ამბავი ბავშვთა სახლში გაზრდილ ახალგაზრდა ქალზე, რომელიც 4 წლის შვილთან ერთად ქუჩაში ცხოვრობდა. ის ყოველდღიურად მუშაობდა, თან მოწყალებას ითხოვდა, რომ 5 ლარად ექირავებინა ადგილი ინტერნეტ-კაფეში, სადაც ბავშვთან ერთად ღამეს გაათენებდა. მაყურებელმა მტკივნეულად მიიღო და გულთან ახლოს მიიტანა მისი ამბავი. ტელევიზიაში რეკავდნენ, მიდიოდნენ ადამიანები, […]

ბობ დილანი 1960-იანი წლების გარდამავალ პერიოდში, როდესაც ახალ და ძველ თაობას შორის დაშორება ყველაზე მეტად გამოიკვეთა, ახალგაზრდობის „ხმად“ მოგვევლინა. მისი სიმღერა „დროები, ისინი იცვლებიან“ ერთგვარ მანიფესტად იქცა ჰიპურ რევოლუციას ჩამორჩენილი უფროსი თაობის მისამართით. ომის შემდგომი ახალგაზრდობის ფრუსტრაციისა და არსებული რეალობის პრობლემების „მიკროფონად“ ეს მინესოტელი პატარა კაცი აირჩიეს. ინდუსტრიალიზაცია, ომები, მასკულტურა – ქაოსსა და გაურკვევლობაში ამყოფებდა

War was invented by people to revenge. When it begins, it destroys everyone and everything around. It doesn't matter which side is right. It brings only corpses, ruined cities and pain. There are no winners in war - only losses and wounded are counted there. The buzz of bullets remains in people's memory for a long time. The most bitter is the war between brothers: it feels like you are cutting off part of your body and bleeding. Giorgi Barabadze's film, "Sokhumi" (2025) tries to convey this merciless and devastating national tragedy onto the screen. Many films have been made about the Abkhazian war and directors have always...

There are pains that time cannot heal. They only disappear in silence, turn pale and stick like needles into people's bodies from time to time. Similarly do collective traumas as well, hidden from us from generation to generation, completely devoid of emotions. Do many people remember the catastrophe of forced displacement, Muhajirism, which took with it the fate, future and happiness of thousands of people? However, there will always be people who cannot escape these traumas, who will live with this pain and take it upon themselves, dragging these tragedies on their backs. How do the pains of the past control ...

A grandmother is the warmest memory in a person's life. A voice that comes from the past and comforts the future. A person who has known you longer than you have known this world. It is interesting that each grandmother had her own story, each lived their lives differently and became a sweet memory in the end. It is this path that makes a person who they are. In the village of Utsera in Racha region, there is a house with a beautiful yard. A grandmother, a warm, loving and painful adventurer lives here. It is about this woman ...

The depiction of loneliness in cinema is well-adapted and the ways of expressing it are diverse. Directors try to convey characters’ feelings in various ways, since such topics are often successful at international film festivals. Some directors manage to do this particularly subtly, expressing inner loneliness gently, others less deeply, although almost all works have the power to give the viewer the opportunity to think. Especially appreciated are those directors who tenderly present the emotional difficulties of a person's inner state in a way that loneliness does not turn into just a spectacle but becomes a bridge between the viewer and the character. Bakur Bakuradze's film, "Snow In My Yard" (2025) observes two people’s inner ...

The unique ability of animation to convey a person’s inner world in a surreal way lies in its complete freedom to ignore all the laws of physics and logic, which feature film can never achieve. This medium becomes a direct window into the subconscious where emotions, fears and thoughts are not only described but also materialized on the screen. Surreal animation allows objects and environments to change shape and content instantly and illogically, thus directly letting the image follow the flow of the character's thoughts. For example, during times of deep anxiety, objects ...

A difficult socio-political situation developed in Georgia after gaining independence. In the country there appeared lost territories, refugees, marginalized people excluded from family and society and immigrants who went to different countries to earn a living. The reflection of this diverse range of problems in Georgian cinema began with its usual superficiality. Authors limited themselves to only certain accents and concentrated on issues that were painful and urgent for society. Just as in the Georgian documentary of the previous period (1970-1980), the tendency to “aestheticize” the problem remained relevant. Georgian film director Levan Koguashvili creates his interesting works in a style that differs from this tendency. An interest in his work arose from his very first films which is partially conditioned ...