The quest for comfort and an aspiration for something better is fitted tightly in human nature. Usually, when an individual in a dead end cannot break through the walls, he frantically fumbles for openings instead of giving in to complete despair - he might notice the empty spaces that life has failed to fill, and he finds himself on the other side of the wall by stepping on them and clinging to the last dream that has been woven into a thread.
America is not called the “Land of Dreams” for nothing. Whether this is true or not is another matter, but the fact that it is considered a symbol of freedom and opportunity has remained an unchanging fact for decades.
Miranda Namicheishvili’s student film, “The Load” (2021), is the story of a young man who goes or, to be more precise, sneaks off to America to help his brother. Maté and two other people, Ray and Mohammed, travel to America in one of the most notorious illegal ways, on a cargo ship, placed in small boxes like load. The film describes the process of transportation. In a short period of time, we get to know the characters, one way or another, and the connection between them is born and develops before our eyes.
The film has an ideal expositional part, which is not only sophisticated in that it quickly arouses the viewer’s interest in the character, but also in that it describes a lot of details through visual storytelling, although the puzzle still takes on a completed form when Maté tells Ray – “I’m going to America too.” At this point, the viewer will probably remember not only the unusual preparation process shown in the expositional shots, but also such small details as, for example, the American flag draped over the scales. It is noteworthy that the film is not annoyingly confusing for a single moment. Every behavior of a character, no matter how strange it may be, is justified by the situation a little later, when the viewer realizes what the topic is.
The dramatic development of the film also deserves only praise. Despite the fact that the viewer does not see Ray and Muhammad, there is no feeling of dissatisfaction or loss at all because through small remarks said to each other, whether it is speaking in broken English or singing, they are introduced just as much as the main character. The dialogues are very natural and establish a connection between the characters naturally.
It is a well-known fact that being together in a traumatic situation brings people closer together faster than anything else. This is very clearly seen in this film. In this regard, the passage when Maté begins a rhythmic humming saturated with national motifs, while Ray, presumably, sings his national song, is particularly noteworthy. It seems like there should be chaos, but no, on the contrary, there is a wonderful harmony and in the whole film it is the best indicator of the brotherhood that is born simultaneously in three small boxes standing side by side. In addition, this scene is distinguished by its powerful emotional effect. A pleasant sound line and an interesting image together create a tandem that has an impressive effect on the viewer, although there is no effort on the part of the director. The emotion comes naturally, which is not a very common pleasure in student cinema.
Along with the character, the viewer is also locked up in one small space. The atmosphere is created in such a way that those on and off the screen might simultaneously experience claustrophobia, hunger, thirst and all those physiological or psychological elements that are inevitable in such moments of crisis. The cameraman, Davit Gujabidze, does an excellent job on each shot. The visual side of the expositional scenes is also very impressive, although the main artillery of the cinematography is used in the main part of the film, which is logical, it should be so. It is always difficult to make the action developed in one space watchable and, moreover, interesting, let alone in such a narrow space as this box, in which the action does not actually take place. In such cases, one very important skill of the director and the cameraman is revealed with particular clarity – cinematic thinking, which is truly demonstrated in this film.
In the main part of the film, the emphasis is largely on the change of angle, lighting and, of course, the skill of the actor. It seems that the cameraman uses every opportunity, every side and every crevice of the box, to ensure that the shot is not static. It is also true – the dialogue is not so interesting that the static does not tire the viewer, although this fact does not speak about the quality of the dialogue, it is simply necessary in this film. As for lighting, light always highlights the part of the character's face that is most important for developing the emotional narrative at that particular moment.
Lasha Gurgenidze, who plays Maté’s role, fits the character's personality quite well and acts naturally in dramatic situations. His facial expressions and manner of speaking are so suitable for the story that it is worth turning a blind eye to the theatrical mannerisms that are slipped in several times while speaking, we can even justify this with the drama of the plot itself. Moreover, in this film, words are not really the most important means of expression, and therefore, the slightest mannerism does not cause irritation at all.
The director uses each technical element symphonically to unravel the problem shown in the film. It is impossible indeed to unravel the problem completely in a short film, especially such a difficult and extensive problem as the director is coping with, however, taking all this into account, it is even more appreciated how well the film is put together as a whole. The story is superficial, but the characters are not and the reasons for their departure to America do not seem artificial to the viewer. On the contrary, the stories they tell laconically are quite convincing. It should also be noted that we learn the reasons for Maté and Ray from their dialogue, but Muhammad is mostly silent, which may raise some questions in the viewer, although most likely this simply speaks of his calm, balanced character and nothing more, since at one point he also calls on the other two to be silent so as not to waste too much oxygen.
The film ends on a dramatic, very emotional note. One might even say, too emotional, but this is exactly the reality of this problem – dramatic, risky, complex and very sad. People choose this path to go to the “land of dreams” because it is extremely difficult for them, because they are trapped in walls and can no longer breathe, and if a box resembling a coffin is the only chance to reach the other side, they are ready to take a risk.
After the climax, the audience does not know what happened to Muhammad, just as they did not know the reason for his departure to America. This character remains unrecognizable, although his role in the climax is unforgettable.
As for Ray, he does not have an epilogue, or, one might say, his epilogue is the climax – sometimes that is how it happens. Ray’s hope for a better life dies with him in a coffin-shaped box. The film shows this reality – some people’s hopes manage to escape the box, while others remain in the box forever.
Maté left the wall behind and found himself where the possibilities of a better life were waiting for him. In the finale, the audience learns that he has started working. Accordingly, he is already moving towards his goal of helping his imprisoned brother. He should be happy, but it is clear that he is not. A great detail is listening to the song in the headphones that Ray was humming during the journey. This once again confirms what was already obvious – that their connection is eternal. In addition, the fact that the character listens to this song and the film ends with this shot also raises a thought-provoking question:
Did Maté find the “Land of Dreams” what he expected?
His hope might also be doomed to death...
Tamar Zandukeli
