{"id":3486,"date":"2026-05-12T13:26:33","date_gmt":"2026-05-12T13:26:33","guid":{"rendered":"https:\/\/gfr.ge\/?p=3486"},"modified":"2026-05-12T13:28:00","modified_gmt":"2026-05-12T13:28:00","slug":"%e1%83%99%e1%83%98%e1%83%90%e1%83%a0%e1%83%9d%e1%83%a1%e1%83%99%e1%83%a3%e1%83%a0%e1%83%9d-%e1%83%9c%e1%83%90%e1%83%97%e1%83%94%e1%83%9a%e1%83%98-%e1%83%93%e1%83%90-%e1%83%91%e1%83%9c%e1%83%94","status":"publish","type":"post","link":"https:\/\/gfr.ge\/en\/%e1%83%99%e1%83%98%e1%83%90%e1%83%a0%e1%83%9d%e1%83%a1%e1%83%99%e1%83%a3%e1%83%a0%e1%83%9d-%e1%83%9c%e1%83%90%e1%83%97%e1%83%94%e1%83%9a%e1%83%98-%e1%83%93%e1%83%90-%e1%83%91%e1%83%9c%e1%83%94\/","title":{"rendered":"CHIAROSCURO - LIGHT AND DARK"},"content":{"rendered":"
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Meta-cinema has always been captivating for the audience, especially when the main character is the director himself, when reality and illusion are closely intertwined, explaining each other and making us look deeper into the depths of the character's soul than alone words can. Such is the case with Aleko Tsabadze's feature film, Chiaroscuro (2025).<\/p>

The film begins without prelude. The audience witnesses a terrible family scene involving a little boy, his mother, and her lover, but the camera pulls back, and it becomes clear that this is just a scene from the film. The second scene is from real life, where this time we can see the film director himself, forty-year-old Vato (Giorgi Bochorishvili), in the so-called family environment - so-called because we learn that he has left the family despite the fact that he still considers Tina (Mari Kitia) his wife, loves her, and is jealous of her.<\/p>

From this point forward, the major line of the action is determined by the issue of jealousy, which leads to tragic events and incorporates detective elements and, consequently, a certain tension into the film.<\/p>

In parallel, we learn more about the main character of \"Chiaroscuro\", Vato, who, according to his producer, the energetic and dedicated Zhana (Ia Sukhitashvili), is an intolerable and tough character, but also appears to be a talented director. He is in the process of shooting a film, which is always difficult, but it is ten times more difficult in the given circumstances and with such a character.<\/p>

In parallel, we learn more about the main character of \"Chiaroscuro\", Vato, who, according to his producer, the energetic and dedicated Zhana (Ia Sukhitashvili), is an intolerable and tough character, but also appears to be a talented director. He is in the process of shooting a film, which is always difficult, but it is ten times more difficult in the given circumstances and with such a character.<\/p>

The difficulty has another basis as well. Vato\u2019s tense gaze, concentrated on the scene in which a little boy discovers his father hanging in a noose, makes it obvious that we are watching more than just the filming of another episode of a script. We also realize that the word \"just\" used earlier in reference to the first scene does not accurately reflect the circumstances. Even if no one tells us, it is evident that Vato is making an autobiographical film. He intends to reflect his own childhood traumas and perhaps release himself from them in this way. And this already heavy and difficult task becomes even more complicated when real life is intertwined with the past, as if repeating it and keeping the character in constant tension.<\/p>

The film is based on a personal drama, but it is also set in a recognizable and clearly identifiable reality; moreover, reality is not just a background. The everyday life, which seamlessly enters the film along with the plot and is perceived as sharply critical, is much more appreciated because the film is not about that; it is a personal drama and does not pretend to be social or political commentary. It is true that this environment, to some extent, bears the stamp of familiar clich\u00e9s, but the authors still manage to find an individual niche.<\/p>

The film is based on a personal drama, but it is also set in a recognizable and clearly identifiable reality; moreover, reality is not just a background. The everyday life, which seamlessly enters the film along with the plot and is perceived as sharply critical, is much more appreciated because the film is not about that; it is a personal drama and does not pretend to be social or political commentary. It is true that this environment, to some extent, bears the stamp of familiar clich\u00e9s, but the authors still manage to find an individual niche.<\/p>

As expected, Aleko Tsabadze's film is shot in exactly the same way, with special emphasis on the filming episodes: contrasting images, bright spots of light next to deep shadows, as well as a nervous camera and unstable compositions, give the film a lively breath (cinematographer Gela Chinchaladze), in contrast to the advertising space, where indifferent, monotonous, speechless light reigns.<\/p>

As expected, Aleko Tsabadze's film is shot in exactly the same way, with special emphasis on the filming episodes: contrasting images, bright spots of light next to deep shadows, as well as a nervous camera and unstable compositions, give the film a lively breath (cinematographer Gela Chinchaladze), in contrast to the advertising space, where indifferent, monotonous, speechless light reigns.<\/p>

There is much less light: childhood love, Jessica - and the way Giorgi Bochorishvili\u2019s face, fixed on the screen during her scenes, conveys the brightness of that feeling better than any words could; however,even that brightness is swallowed by darkness due to a tragic incident; the appearance of the possibility of ending the film? - Is he happy?; Escaping the detective? - Did he feel relieved? Perhaps the most important thing is the relationship with his son, at first somewhat alienated, then warm (again, a feeling expressed with his eyes), which finally emerges from the interweaving of light and shadow as light and represents the emotional climax of the film.<\/p>

The kaleidoscope of characters and events is structured in such a way that it does not turn into chaos. The characters' reactions are always psychologically convincing, and as a result, we can see living people, not invented figures. Especially since the film has a truly excellent ensemble of actors - Giorgi Bochorishvili, Ia Sukhitashvili, Mari Kitia, Vakho Chachanidze, Tatuli Dolidze, and others (it is difficult to list them all). With few exceptions, they convincingly sculpt a character or reveal their face in just one or two scenes.<\/p>

But it is Giorgi Bochorishvili\u2019s acting stands out: marked by restraint, yet equally convincing in scenes of irritation, anger, outburst, or tenderness. His greatest weapon is his gaze - the way he speaks through his eyes.<\/p>

But it is Giorgi Bochorishvili\u2019s acting stands out: marked by restraint, yet equally convincing in scenes of irritation, anger, outburst, or tenderness. His greatest weapon is his gaze - the way he speaks through his eyes.<\/p>

The film is not built on a mystery and its solution, nor does it particularly try to manipulate the viewer's suspense, so the open ending was expected. However, the question arises: is it not \"too\" open? In terms of plot, such an ending may be acceptable, but the purpose of an open ending is precisely to leave the spectator with something to think about, to give them the opportunity to think independently, and thus to remain in their hearts or minds even after the film has ended.<\/p>

In this case, the viewer might have thought about the character's spiritual state and feelings and been satisfied with the shot of the director lying in a coffin, but the scenes and dialogues scattered here and there throughout the film leave the viewer confused, as if the detective thread exists solely to reinforce the plot axis.<\/p>

Udumadze's statement that only he followed this trail (Vato's trail) - what trail are we talking about? What trace did the character leave? The phrase pronounced about the deceased MP is \"He was only an involuntary intermediary.\" Is it intended for Tina and her lover? We cannot find any other hint of this relationship in the film, unless we count the cigarette smoked in Tina's bedroom, which Vato discovers at the very beginning of the film, but neither he nor the audience can get an answer to the question either then or later. The package of food left at the MP's mother's door is also shrouded in mystery.<\/p>

It is impossible to resolve this misunderstanding on their own - the spectator lacks material to analyze or argue. They need the authors' help with the plot, even at the level of assumptions and alternatives, but for some reason they refuse to do so.<\/p>

The authors seem to use this entire plot line as that of Hitchcock\u2019s MacGuffin to pique the audience's interest, raise tension, and develop the action, although it is not compensated for at the expense of other elements. In this form, it fails to play MacGuffin\u2019s role and appears more like a story hole. The mass audience generally does not like open endings, and such an \"open\" one - even more so.<\/p>

Manana Lekborashvili<\/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":"

The authors seem to use this entire plot line as that of Hitchcock\u2019s MacGuffin to pique the audience's interest, raise tension, and develop the action, although it is not compensated for at the expense of other elements. In this form, it fails to play MacGuffin\u2019s role and appears more like a story hole. The mass audience generally does not like open endings, and such an \"open\" one - even more so....<\/p>","protected":false},"author":3,"featured_media":3487,"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":[64,13,1],"tags":[],"class_list":["post-3486","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-64","category-manana-lekborashvili","category-1"],"_links":{"self":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3486","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=3486"}],"version-history":[{"count":4,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3486\/revisions"}],"predecessor-version":[{"id":3491,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3486\/revisions\/3491"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media\/3487"}],"wp:attachment":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media?parent=3486"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/categories?post=3486"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/tags?post=3486"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}