{"id":3464,"date":"2026-05-05T09:19:26","date_gmt":"2026-05-05T09:19:26","guid":{"rendered":"https:\/\/gfr.ge\/?p=3464"},"modified":"2026-05-05T09:20:08","modified_gmt":"2026-05-05T09:20:08","slug":"%e1%83%9d%e1%83%9b%e1%83%98-%e1%83%a0%e1%83%9d%e1%83%9b%e1%83%94%e1%83%9a%e1%83%98%e1%83%aa-%e1%83%90%e1%83%a0-%e1%83%93%e1%83%90%e1%83%a1%e1%83%a0%e1%83%a3%e1%83%9a%e1%83%94%e1%83%91%e1%83%a3","status":"publish","type":"post","link":"https:\/\/gfr.ge\/en\/%e1%83%9d%e1%83%9b%e1%83%98-%e1%83%a0%e1%83%9d%e1%83%9b%e1%83%94%e1%83%9a%e1%83%98%e1%83%aa-%e1%83%90%e1%83%a0-%e1%83%93%e1%83%90%e1%83%a1%e1%83%a0%e1%83%a3%e1%83%9a%e1%83%94%e1%83%91%e1%83%a3\/","title":{"rendered":"THE WAR THAT HASN\u2019T ENDED"},"content":{"rendered":"
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When we talk about Georgian cinema, we often think of old, classic films where everything is clear, the characters are either good or bad, and the story has a clear ending. Merab Kokochashvili\u2019s film, \u201cTerzo Mondo\u201d (2024) is a completely different type of film. This is not a film that will entertain you. This is a work that will remind you of old times and make you think about what hurts you the most. The film is about people who went through the hell of the 1990s and still can\u2019t understand how they lost each other.<\/p>

The 1990s were not just a crisis of electricity and gas. It was a time when a civil war was raging in Georgia. When your childhood friend, with whom you grew up, suddenly becomes your enemy simply because he has a different political view. This war did not end when the guns stopped firing. The pain of this period has not disappeared to this day. It remains in memory as an unspoken trauma that still appears in various forms in modern Georgian culture and art. \u201cTerzo Mondo\u201d is an attempt to understand and convey this pain.<\/p>

At a glance, the plot of the film is based on a classic dramatic conflict: many years after the end of the war, childhood friends Aka and Mojito meet in Europe. They are not only distant personally, but also ideologically: different political views create an invisible but solid wall between them. This conflict is further exacerbated by their common past - Natia, whom they both once loved, although the film uses this \"triangle\" only as an excuse. The main thing here is not love, but how time and history destroy human connections.<\/p>

Much of the action takes place in Europe. This is not a random choice. Europe is presented as an orderly, calm and civilized space where everything has its place. It is at the background of this calmness that the inner chaos of the characters becomes even more acute.<\/p>

They fled to Europe to forget Georgia of the 1990s, the war, the hardships, and the spiritual devastation they endured there. The director shows that changing geographical locations means nothing if a person has a war inside. The characters walk along beautiful streets, sit in cafes but their thoughts are still in the ruined Tbilisi. They seem to be stuck in space. They no longer belong to the old Georgia because it no longer exists and they cannot find peace in the European world because it is foreign and cold to them. In fact, Europe is an unsuccessful attempt to escape from themselves.<\/p>

The musical score is a distinctive component of the film. The melodies are precisely and tastefully selected, they do their job gently, almost imperceptibly. Not only does the music here create the atmosphere, but also reflects the inner state of the characters. Sometimes it says more than the dialogues.<\/p>

\u201cTerzo Mondo\u201d can be perceived as the director\u2019s personal confession. This is a film about unspeakable pain, about the feeling that accumulates over the years and finally finds a way out in art. Kokochashvili seemed to have been carrying this saying in his heart for a long time and only when the time came did he manage to convey it. In this sense, the film is very tender. He does not try to be commercially profitable but rather conveys his own truth.<\/p>

At the same time, this very simplicity creates a certain distance. The film is so personal that it is sometimes difficult to fully engage with it. It does not provide simple explanations, does not offer clear answers or conclusions. On the contrary, it leaves us with questions, uncertainty, and unfinished emotions.<\/p>

One of the main problems of the film can be considered its plot fragmentation, which is sometimes perceived not as a thoughtful authorial choice, but as a raw narrative. Although the chaotic structure serves the thematic idea to some extent, in a number of episodes the chaos becomes too dominant. As a result, the emotional connection with the characters is lost, as the storylines do not develop consistently and often leave an unfinished impression.<\/p>

The actors\u2019 theatrical performance is also problematic, sometimes creating a feeling of artificiality. The characters appear more like figures of artistic reading than living people, which reduces emotional involvement. This is especially noticeable in the dialogues. They sound less natural and more like an artistic reading of the text than real communication. Because of this, the dramatic potential of the film cannot be fully realized.<\/p>

The pace and emotional tone can be tiring. The constant tension, chaotic editing and heavy atmosphere leave no room for thought, making the film difficult to understand. Although this may be a conscious directorial choice, it effectively creates a distance between the viewer and the events on screen, so a film that aims to establish a deep emotional connection sometimes, on the contrary, enhances the effect of alienation.<\/p>

There are several scenes in the film that convey the entire essence of the work. For example, the first meeting, when Aka and Mojito see each other after years, there is not the warmth between them that we expect from childhood friends. On the contrary, the camera captures their awkwardness and fake smiles. This scene shows that not only has the space grown between them but also a moral abyss. They do not look at each other, but they look for the people in each other who they once loved, but those people were killed by the war.<\/p>

The film often features fragments from the past. These scenes are different in color and lighting from the present. If the European shots are cold and static, the memories are more vivid and emotional. This contrast emphasizes that for the characters, real life ended where their friendship broke.<\/p>

One of the most distinctive and memorable aspects is the visual language focused on details, which gives Merab Kokochashvili's authorial vision a special depth. Each frame seems to be an independent story. Objects located in the environment, interior elements, characters\u2019 small gestures create a subtext that cannot be expressed in words. These details not only carry a decorative function but also actively participate in the construction of the plot, revealing the inner state of the characters and invisible traces of the past.<\/p>

The cinematography as a whole is distinguished by high professionalism. The camera is never a neutral observer, it is an active participant that moves with the characters. The construction of the shot, the use of space - everything is thought out and serves to create a general atmosphere. It is especially important that the visual language does not try to exaggerate. It organically blends with the theme of the film and the director's inner pain, which ultimately creates a strong, impressive and emotionally charged cinematic piece.<\/p>

No one directly talks about political parties or slogans in the film but politics is everywhere here. It is the reason for the gap that has appeared between friends. Different ideologies have built an invisible barrier between people. They seem to live in different realities and no longer understand each other. This is a lesson in how politics can destroy the most sacred friendship.<\/p>

We may think that the 1990s are long gone, but \u201cTerzo Mondo\u201d proves that this is not the case. Confrontation, alienation, and ignorance of each other in our society are as much a problem today as they were 30 years ago. The film tells us that until we learn to look each other in the eye and admit the truth, we will remain prisoners of this \u201cterzo mondo\u201d (\u201cThird World\u201d). It is a lesson in reconciliation that failed and a warning about what happens to a country when people become strangers to each other. \u201cTerzo Mondo\u201d makes us think: who are we today? Why are we so alienated? And do we have the strength to ever forgive each other? The film leaves us with questions, and this is its main power. It does not give us answers, it offers us a process - a process of deepening into ourselves and conceptualizing the past.<\/p>

Teona Vekua<\/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":"

When we talk about Georgian cinema, we often think of old, classic films where everything is clear, the characters are either good or bad, and the story has a clear ending. Merab Kokochashvili\u2019s film, \u201cTerzo Mondo\u201d (2024) is a completely different type of film. This is not a film that will entertain you. This is a work that will remind you of old times and make you think about what hurts you the most. The film is about people who went through the hell of the 1990s and still can\u2019t understand how they lost each other.\nThe 1990s were not just a crisis ...<\/p>","protected":false},"author":3,"featured_media":3465,"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":[64,37,1],"tags":[],"class_list":["post-3464","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-64","category-37","category-1"],"_links":{"self":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3464","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=3464"}],"version-history":[{"count":4,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3464\/revisions"}],"predecessor-version":[{"id":3469,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3464\/revisions\/3469"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media\/3465"}],"wp:attachment":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media?parent=3464"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/categories?post=3464"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/tags?post=3464"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}