It is natural that when the primary source of the film is literature and new and very popular at the same time, one can't avoid comparisons, and I can say from the very beginning that in this comparison, the film "Blackbird Blackbird Blackberry" (2023) by Elene Naveriani is not a loser. To be honest, I am not a huge admirer of Tamta Melashvili's novel. Many of the things in it seemed to me too constructed, illustrating current ...
I will start with not an original question - according to what do we evaluate the film in general, what do we pay the most attention to: "what" or "how?” If to "what" - then "Wet Sand" (2021) by Elene Naveriani is a wonderful film, with an acute problem, which today has become a leading trend not only in the world, but also in Georgian cinema, despite the fact that society still closes its eyes to it and does not enjoy talking about it much. The gravity of difference...
Soso Bliadze's film "Otar’s Death" (2021) is a bizarre work. When the film is over, you are left unsure of your feelings. What does it say, exactly? The idea is now out of fashion, but in today's terms - what message does it convey? Which is the positive hero? Negative? Who is the audience supposed to empathize with?
In the 1950s, after large-scale cinema and films about great historical figures in the post-Stalinist era, cinema turned to "simply" people, for whom history is only the background of daily life, those who encounter and solve (or do not solve) the small (but also possibly large) routine problems...
30 years have passed since the fall of Sokhumi. It is not a short period of time. It might be such for history, but not for life or for art. The wound is still open, and the pain is still alive. This topic has not been closed in the films either. Every now and then, there are films. Some with good, some with less good messages: "This land is ours," "We are in pain," "We were treated unfairly," "We will be back," "We were opposed by the third force," "We are brothers", and "We must stay brothers."