A man should manage to do three things in life: have a child, plant a tree and build a house. While a man succeeds in doing these things, what does a woman do?
The issue of personal identity, of an independent person might be the most interesting topic for art since it involves the process of search, resistance, drama, tension, expectation and almost everything that art loves so much.
Nana Ekvtimishvili and Simon Gross’s film “My Happy Family” (2017) explores precisely the issue of personality, and it uses a woman as the central figure for this purpose. The fact that the film is a joint product of several countries (Georgia, Germany, France) was pleasantly reflected in the work, especially from a technical and expressive point of view.
The existing tension, the aggression of the main character's surroundings and the suffocating reprimand, if not the teaching of the mind, are perfectly conveyed in the cinematography, in addition to the action. Tudor Panduru managed to create a claustrophobic environment without any overload. It is not immediately noticeable but with a cover, this gloom is very noticeable. Especially when the living environment of the main character, who has moved to her house, is freed up, brighter and full of oxygen.
The central figure of the film is a married woman living in modern Georgia. Manana (Ia Shugliashvili) is a Georgian language teacher and is trying to overcome a severe internal crisis. The large family that is customary in our society is visible - a husband and wife, their children, a son-in-law, Manana's parents. All sorts of turmoil and chaos fall on Manana's shoulders. Added to this is the attitude of family members and she also begins to wonder where her place is in all this.
The issue of alienation from family and loved ones is a problem for all generations. Sometimes overcoming it is not even on people's agenda, which further exacerbates the problem and increases the damage a hundredfold. In Manana's case, she learned a lesson from someone else. An interesting passage is that the teacher of this life lesson is her own 17-year-old student Tatia (Lika Babluani).
Tatia also faced the problem of alienation in her life. However, her case is more specific. This young girl decided to take a step in time and cause less pain to both parties. But, first of all, she chose the best decision for herself. Of course, in Manana's case, the time factor plays a big role. The longer they are together, the harder it is to part, but she decides that she is ready to overcome all obstacles if the step taken leads to the right destination.
Manana's decision, of course, is unacceptable or incomprehensible to those around her, but for the audience, the most disappointing thing might be her son's misunderstanding of his mother's behavior. The other characters consider Manana's behavior as abandoning her husband, Soso (Merab Ninidze), even though she has decided to leave everyone. Only extreme cases are the limit for them. One by one, all the characters point out that Manana's behavior has no justification or logic since Soso is not a murderer, drunkard, drug addict or criminal.
The directors have clearly and naturally shown the attitude towards the main character, her disregard for her feelings and simple desires in the scene of Manana's birthday. The attitude towards this day is clearly visible from the very beginning. Even the husband formally congratulates her on her anniversary, while the mother has been complaining since morning about the broken refrigerator. This is just another day for these people, not a holiday caused by the birthday of a family member. The birthday girl has only one wish - not to celebrate this day but no one listens to this wish. The issue is further aggravated by the episode when Soso reproaches tired Manana for showing disrespect and demands a 15-minute sacrifice from her but none of the characters seem to be interested in what these 15 minutes mean to Manana.
The prohibition of private life by society is no less visible in Rezo’s (Dimitri Oragvelidze) behavior. The situation is aggravated by the fact that he is Manana's brother and is deliberately bringing his own sister's personal life to his relatives’ attention.
"It is wise to fight someone else's war" - this is the thesis followed by the characters. The gathered relatives are determined that they understand better and know what is best for an adult, developed woman. This episode is also noteworthy in that the children's support for their mother is visible. They might not fully understand Manana's motives, but they do not welcome the fact that someone is rudely interfering in their mother's decision. They try to protect her mother's choice.
Each dramatic passage is connected to each other gradually and therefore the scenario is not overly complicated. Each new scene, in which the problem facing Manana is more and more clearly seen, is added step by step to the scenes already given. Not everything is presented at once, which makes the development of events balanced and thorough, does not present the issue in a one-sided manner and explores its complex nature. There is a sensation in the film that spreads the problem shown to all people. An example of this is Manana's husband.
Soso is a character who is no less caught in the same trap that Manana managed to escape from. He also experiences pressure from public opinion. Her mother, Lamara (Berta Khapava), constantly interferes in the couple’s affairs, prescribes a code of conduct for them to behave so that their behavior is acceptable to people, etc. Therefore, Soso’s every attempt to bring Manana back is motivated by coercion from the others.
In the entire film, Soso is the only one who tries to solve what happened by talking with Manana. Although this happens gradually, he is the person who listens to Manana with all his heart. He feels that he is just as lost as Manana was - "Where is my home?" he asks. He needs help and Manana turns out to be the person who helps him figure it out.
“Who are you actually?”- the film ends with these words and this question is not only asked to Soso, which is why this film is not only a film to be discussed from a feminist perspective, because the problem presented in it as a social scourge does not only oppress women. The shackles of society strangle every person equally, without distinction.
Manana and Soso’s joint song heard in the film's credits, testifies to the fact that Soso is also on the path to liberation. Manana sings this song when she finds peace. Soso managed to turn this song into a duet, and the film wants the duet to turn into a chorus.
Gvantsa Nozadze
