LOST IN TIME HERO

"Hello, ma'am, do you have any vacancies?" - a voice is heard from behind the shot, still in the background of the black screen and credits - this is how the director Keko Chelidze begins to introduce the main character of her film, “Dead Souls' Vacation” (2020) to the audience. Somewhere in the fourth minute, the music starts, and the hero himself is clearly visible - a small, thin man standing at the crossroads, holding a big guitar, to which the sounding melody belongs. He introduces himself like this: "I'm Levan, Svanidze, a musician, 44 years old, I live with my mother, which should not be surprising, somewhere at the end of the Didi Dighomi district, and I'm trying…well, to make something happen..."

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MOTHER AND FATEFUL HAVOC

Lana Gogoberidze has had a prominent place in Georgian cinema for more than 60 years. From the very beginning of her work, in the first feature film, "Under One Sky" (1961), her interest in the fate of women, their problems, which is inherent in all her work, was evident. But the reflection of this topic concentrates on the fateful and dramatic date of the totalitarian country – the year 1937, which destroyed the largest part of the outstanding, thinking, creative people of the country and their family members. The director focused on the tragic events of her childhood forever imprinted in her memory and the resulting emotions. As a result of studying the existing available and objective documentation, she, at the age of 93, made a documentary film, "Mother and Daughter or the Night is Never Complete."

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IN QUEST OF DEUS EX MACHINA

Although Marxism in its essence excludes, religious faith in general, and is hostile to the church, it places a surrogate’s functional role of fundamental religiosity, especially in relation to Christianity. Some religious scholars consider Marxism one of the world religions. The famous French film critic and theoretician, André Bazin, in one of his articles, "The Myth of Stalin in Soviet Film," discusses how Stalin's idealistic image was reflected in the cinema, how Stalin is portrayed as a superman in Soviet films, he who orders the chaos...

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THE MERCIFUL GOD IS ONE

“There are three types of judgment: scientific, religious, and poetic. Myths, in my view, cover all three aspects of judgment. Therefore, the model of mythological judgment is a universal form of knowledge of the world” – this quote is read by one of the characters in the film “Namme” (2017) and makes the peculiarity of the film's artistic language fully understandable. Director Zaza Khalvashi combines all three types of knowledge of the world in his work. Religion is introduced in the category of faith, science – in the form of ecology, and poetry – is the story itself and the visual-physical solution of the film.

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LIZA'S WAY

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."

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WE ARE ALL WATCHED AND SEEN BY ONE AND THE SAME SKY

A few years ago, a new voice was suddenly heard in a new Georgian film. A new person appeared: Alexandre Koberidze, who, with his second full-length film, "What Do We See When We Look at the Sky?" (with his own script, a co-production of Sakdoc Film, Georgia, and DFFB, Germany, financed by the National Film Center and other organizations), captured the attention of the entire film world. The young director made the film (in contrast to "Let the Summer Never Come Again," which was shot on a phone in 2017) with a professional camera, together with professional Iranian cameraman Faraz Fesharaki, professional German gaffer Moritz Friese, professional composer Giorgi Koberidze, and professional and non-professional actors.

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