{"id":3362,"date":"2025-12-25T20:33:08","date_gmt":"2025-12-25T20:33:08","guid":{"rendered":"https:\/\/gfr.ge\/?p=3362"},"modified":"2025-12-26T16:24:08","modified_gmt":"2025-12-26T16:24:08","slug":"%e1%83%92%e1%83%90%e1%83%a3%e1%83%aa%e1%83%ae%e1%83%9d%e1%83%94%e1%83%91%e1%83%a3%e1%83%9a%e1%83%94%e1%83%91%e1%83%98-%e1%83%93%e1%83%90-%e1%83%92%e1%83%90%e1%83%9c%e1%83%ac%e1%83%98%e1%83%a0%e1%83%a3","status":"publish","type":"post","link":"https:\/\/gfr.ge\/en\/%e1%83%92%e1%83%90%e1%83%a3%e1%83%aa%e1%83%ae%e1%83%9d%e1%83%94%e1%83%91%e1%83%a3%e1%83%9a%e1%83%94%e1%83%91%e1%83%98-%e1%83%93%e1%83%90-%e1%83%92%e1%83%90%e1%83%9c%e1%83%ac%e1%83%98%e1%83%a0%e1%83%a3\/","title":{"rendered":"ALIENATED AND DOOMED\u00a0"},"content":{"rendered":"
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As it is commonly called, two nuclear families (husband and wife + children) check in in a family hotel to spend the summer days of their vacation. The hotel is located in the middle of the forest, near a lake and a swamp. Solitude is excluded, which might have been the goal of each of them when they chose this very place for their vacation and environment, isolated from \u201ccivilization.\u201d<\/p>

These are the conditions in which the story of Vakhtang Jajanidze\u2019s feature film \u201cThe Real Beings\u201d (2025) unfolds. Solitude, isolation, alienation, indifference, formal relationships, broken internal connections \u2013 are the main line, the expression and the message of the film by placing it in the appropriate environment and atmosphere. (The film is a joint Georgian-Italian project, produced by Magnet Films, with funding from the Georgian National Film Center\u2019s feature-length debut film competition, the production of which was completed in 2025 and premiered at the 26th Tbilisi International Film Festival).<\/p>

\u201cThe Real Beings\u201d is a story of the same name by Teona Dolenjashvili (winner of several competitions). Distinctive \u2013 with the plot, the problem and the context, its unique style and depth. Later, the author continued the story of \u201cThe Real Beings\u201d in the novel \u201cReplacement\u201d (which is also not an insignificant fact for the history of Georgian literature).<\/p>

Vakhtang Jajanidze\u2019s \u201cThe Real Beings\u201d is based on a story, following the main plot and the course of events and being close to the essence, however, in form, narration, structure and style it is quite far from the story, transferred to cinematic language and plastic expression.<\/p>

One of the characters in the story, 13-year-old Datuna has a goal to \u201creplace real creatures\u201d \u2013 \u201cmiserable, degenerate, inferior people \u2013 with new, beautiful, perfect people created in 3D.\u201d He replaces the hated reality as well as immediate environment with good and evil avatars, virtual space and computer games and takes refuge there.<\/p>

Datuna's pursuit has a unique artistic form and meaning, a goal and a target. The real place of action (Paliastomi Lake and its surroundings) replaces reality and is taken into a new, mysterious dimension, just like the world of computer games. The mechanics of action, unreality, convention, schematicity and artificial, unnatural rules are allegorically transferred to Vakhtang Jajanidze's film and are an expression of the director's metaphorical thinking.<\/p>

In \u201cThe Real Beings\u201d there are several \u201cvisible\u201d active characters \u2013 Lana (Nutsa Kukhianidze), Mika (Polika (Apolon) Kublashvili), Keta (Eka Nizharadze), Tengo (Temiko Chichinadze), the forest ranger (Niko Tavadze), Nia (Nina Eradze), Bebe (Taso Bokuchava), Datuna (Demetre Kavelashvili), the photographer (Jano Izoria). And no one else. Beautiful, graceful, attractive and with a \u201cnon-simple,\u201d non-standard appearance \u2013 people not from the \u201cmass.\u201d From the same social circle. They have a lot in common. They seem to live peacefully and without conflicts. They do not disturb the peace of the surroundings, although they themselves are not at peace.<\/p>

It is seen and felt from the very first episodes that everything is temporary and mediocre for these people. Monotonous and meaningless. It is visible and felt that nothing makes them happy, excited from those \u201cdata\u201d that are called and for which life is worth living. Their doom stems from the lack of moral principles, the loss of living emotions, feelings and interests. First of all, towards each other and then, naturally, towards others. This is what happens when people cannot and do not understand each other; when parents, children, members of society do not understand each other, are neither interested nor excited. Which shows that the problem is much more complex and dead-end than any specific dramatic situation, which has either an end or a solution sooner or later.<\/p>

Despite their similarities and being \u201ccreatures,\u201d the actors create characters with expressive and precise psychological features, whose qualitative characteristics expressing their nature and inner state include more than one layer and angle.<\/p>

The only one who has not yet lost her noble qualities is Bebe, a little girl who sacrifices herself to the negligence and indifference of her parents, elders, and society - as an inevitable punishment for everyone because lack of love, sincere connections replaced by coexistence, inevitably lead to such sacrifices - in the form of the purest and brightest \"real being.\"<\/p>

The beautiful and diverse, enchanting landscapes captured by cameraman Giorgi Shvelidze, as well as vast and open spaces, a lake, a swamp, meadows, forest paths, boat docks, the sun, greenery \u2013 everything that surrounds a house standing in a deserted place \u2013 should be peaceful, meditative, bringing a sense of comfort and inner freedom. The microcosm of \u201creal creatures,\u201d neutral and detached, indifferent and cold-hearted nature, becomes a clear and distinct metaphor for isolation, impotence and hopelessness.<\/p>

Here, in this emptiness and aloofness, neither the hotel owner nor the service staff are visible from the outside, although somewhere, \u201cbehind the shot,\u201d the presence of \u201creal\u201d hosts confirms that the place does not look without an owner and abandoned. Breakfast is served on site, the rooms are tidy. With the absence of \u201cothers,\u201d the director intensifies and activates the parabola of isolation, mystery and alienation.<\/p>

Instead of intense plot and collisions, Vakhtang Jajanidze resorts to monotonous, \u201cimmobile\u201d action and silence spread over time, distancing, internal drama and tension, the power of expressing an unbanal internal rhythm. Silence and actual immobility are the main signs of the artistic style of \u201creal beings\u201d \u2013 both the characters and the film as a whole. Silence, \u201cdoing nothing,\u201d non-creation. If I apply the established terms and definitions, \u201ccontemplation\u201d and \u201cmeditation.\u201d<\/p>

The director is an observer, not a participant, which is a direct authorial \u201cresponse\u201d to the characters\u2019 qualities, lifestyle and problem, which \u201cThe Real Beings\u201d is about. In any case, the connection should always be internal, not external. Because if this does not happen, authenticity and \u201cauthorship\u201d are replaced by artificial schemes. Dogma, however, is always what spoils the work and deprives objects and events of their essence and purity, their purpose. It tarnishes. Both in relationships and in art.<\/p>

The viewer is also left with a feeling of being there, of being involved in that environment. He also watches the story framed on the screen \u201cfrom a distance.\u201d A seemingly accidentally blindfolded, colorless section of the lives of two families. And he remains cold, indifferent to the characters\u2019 fate, even to the fate of the child who starts to drown in the swamp. And only then, when everything is over, is the viewer \u201cforced\u201d to reassess what happened, to look at it from a different perspective and perceive it from a different angle.<\/p>

Vakhtang Jajanidze shows with clear and precise nuances the uninteresting, boring and banal monotony of the characters\u2019 lives. He shows that, practically, everything has happened, that it is already a result, and not a cause and process. By showing the atmosphere of emptiness and the \u201cinner\u201d essence of reality, the director limits the existence of such a world in the space presented by an individual vision and follows the path of personal creative freedom.<\/p>

Lela Ochiauri<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

As it is commonly called, two nuclear families (husband and wife + children) check in in a family hotel to spend the summer days of their vacation. The hotel is located in the middle of the forest, near a lake and a swamp. Solitude is excluded, which might have been the goal of each of them when they chose this very place for their vacation and environment, isolated from \u201ccivilization.\u201d \nThese are the conditions in which the story of Vakhtang Jajanidze\u2019s feature film \u201cThe Real Beings\u201d (2025) unfolds. Solitude, isolation, alienation, indifference, formal relationships, broken internal connections \u2013 are the main line, the expression and the message of the film by placing it in the appropriate environment ...<\/p>","protected":false},"author":3,"featured_media":3363,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[59,12,1],"tags":[],"class_list":["post-3362","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-59","category-lela-ochiauri","category-1"],"_links":{"self":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3362","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/comments?post=3362"}],"version-history":[{"count":10,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3362\/revisions"}],"predecessor-version":[{"id":3376,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3362\/revisions\/3376"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media\/3363"}],"wp:attachment":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media?parent=3362"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/categories?post=3362"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/tags?post=3362"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}