{"id":3562,"date":"2026-06-15T06:55:04","date_gmt":"2026-06-15T06:55:04","guid":{"rendered":"https:\/\/gfr.ge\/?p=3562"},"modified":"2026-06-15T06:55:33","modified_gmt":"2026-06-15T06:55:33","slug":"%e1%83%90%e1%83%9b%e1%83%91%e1%83%90%e1%83%95%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%98%e1%83%99%e1%83%98%e1%83%97%e1%83%ae%e1%83%94%e1%83%91%e1%83%90","status":"publish","type":"post","link":"https:\/\/gfr.ge\/en\/%e1%83%90%e1%83%9b%e1%83%91%e1%83%90%e1%83%95%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%98%e1%83%99%e1%83%98%e1%83%97%e1%83%ae%e1%83%94%e1%83%91%e1%83%90\/","title":{"rendered":"A STORY THAT IS READ, SEEN AND HEARD"},"content":{"rendered":"
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In the 1920s, socialist censorship and ideology acted with strange concessions towards authors of avant-garde from time to time. There already existed a Bolshevik hysteria of unacceptability, which eventually created a censorship of non-existent facts in the 1930s. The same vocabulary, although much more direct and no less ignorant as well as a sense of ignorance was distinguished by the persecution of writers and poets of different ideas and those close to philosophy, faith and other values by German Nazism. There is nothing special about this either, but in the 2020s, when tolerance almost reached a religious pedestal, negative statements in cinema that are simply easy to explain as ignorance towards an interesting and multi-motivated, dramaturgically charged story should be professionally justified, at least at some stage.<\/p>

It is not surprising that Rusudan Glurjidze\u2019s film \u201cAntique\u201d (2024) acquires pathological forms of expression as the completely superficial and primitive neo-ideological (similar to the 1920s and 1930s) the so-called \u201cunacceptability\u201d towards one of the dramatic adventures of Georgians in Russia, but what is strange is that some of the authors who are aggressive towards this film themselves, traditionally \u201cdo not even intend to see it.\u201d No matter how sad this parallel may be, the \u201cfighting Komsomol members\u201d of the 1930s used to say the same thing about films and literary works they did not understand - \u201cIt is clear at whose dictation it was created\u201d - these words were repeatedly mentioned at the so-called \u201ceducational rallies.\u201d Sadly, the dramatic, painful and deeply truthful story of \u201cAntique\u201d - not to mention its unusual visual texture - will not be interesting to those people who suffer from neo-Bolshevik intolerance along with ignorance.<\/p>

The story of \u201cAntique\u201d is based on not one but several tragedies, the ignorance of which is difficult for any of us to forgive. Medea's (Salome Demuria) escape to St. Petersburg, her agreement to buy the house of the old Russian Vadim Vadimych (Sergey Dontsov) (on the condition that the old man continues living there), the relationship between the Georgian boy, Lado and Medea, the deportation of the Georgians - this is not one or two, not only Medea\u2019s myth (as it may seem to us as an associated motif at the level of myth) and not simply the search for the \"image of the enemy\" everywhere and in everything, but also a dramatic story of biblical intolerance and the inevitability of historically tragic events. It is amazing how people\u2019s arguments full of the desire to reject this truly simple, far from pathos cinematic work resembled the Bolshevik slogans of \"adaptation with the occupier.\" Or even how can the author's desire to distance herself from Salome Demuria's character and the harsh feeling of her inability to leave her be an obligation? That she should have thought about the viewer's empathy, but instead, dictated by ruthless reality, she creates a half-toned, color-faded interior of a young woman, as the impossibility of her actions prompted, which cannot be removed by either living fear (but it exists) or the ability to take desperate steps (which is clearly impulsive and therefore realistic), or the illusory world of a disappointed, dying old man lost in personal ideals.<\/p>

At the time when the directors of the \u201cNew German Cinema\u201d did not respond to the legacy of hatred and unacceptability, while Italian neorealism fought against this very facade topics and aesthetics of fascism, and even when Georgian cinema entered the turning point of the 1950s, most viewers were not trapped in an ideological neo-Bolshevik position, did not consider the heroes of Tengiz Abuladze\u2019s \u201cTree of Desires\u201d to be conformists or figures associated with politics, nor were stones thrown at Gia Agladze of \u201cOnce Upon a Time There was a Singing Blackbird\u201d and most importantly, the hero of \u201cExtraordinary Exhibition,\u201d Pipinia Eristavi was not considered a retrograde remnant. This is called the space of generalization and analysis. The topic of tragedy and war did not erase the ability of viewers, especially professionals, to read human tragedy. Accordingly, it is difficult to explain how Rusudan Glurjidze's characters, filled with incredible gravity and drama perceived at the level of feeling, can be approached with the primitive measure of the conformism of the \"occupier and enemy\" and the \"traitor\" uttered with an intonation that has become an ideological delusion.<\/p>

Salome Demuria's character for me is that knot of tragedy in which neither the depth of adaptation can be read anywhere, nor can anything be said about her loose, comfortable clothes. When Medea, coming from modern reality, begins to assess the situation. The dynamics of Rusudan Glurjidze's film is uneven and this might be one of the most important adequate systems of her artistic thinking in relation to this film, because the rhythm of the narrative suddenly and completely uncontrollably becomes - montage cuts that seem to emerge as a new layer on long montage shots and a single cold, foggy depth on the banks of the Neva River.<\/p>

Salome Demuria's character for me is that knot of tragedy in which neither the depth of adaptation can be read anywhere, nor can anything be said about her loose, comfortable clothes. When Medea, coming from modern reality, begins to assess the situation. The dynamics of Rusudan Glurjidze's film is uneven and this might be one of the most important adequate systems of her artistic thinking in relation to this film, because the rhythm of the narrative suddenly and completely uncontrollably becomes - montage cuts that seem to emerge as a new layer on long montage shots and a single cold, foggy depth on the banks of the Neva River.<\/p>

changes and temporary wars will not change anything for the most part.\nA pale, disillusioned old man suffering from dementia does not recognize the world for which he once dreamed, as he thinks. He wants to erase the traces of his family and past around him with the same ruthlessness that, he might not have doubted the immutability of this existence at the time. On the icy, white, petrified river of St. Petersburg, boats are sliding, and in the front seat of the car, Medea is comforted by young Peter - Vadim Vadimych's son. He tells her that all this is temporary and she should not be afraid. This episode also perfectly illustrates the fragility and nihilism that cannot serve as a refuge, although anyone who wants, can explain this aesthetically refined episode as a \"desire to communicate with the enemy\" or some more serious revolutionary slogan. Medea does not want a refuge. She demands what the old man has come to terms with his own space.<\/p>

There can be no peace here, in this world, the deportation of Georgians is presented in all its horror, and no matter how much the prejudiced viewer may want to, he will find nothing in it except the stirring of painful animal feelings. People packed into a cargo plane, prepared for deportation to Georgia, are ordered to sit on the fuselage of the plane under purple lights... On the way to the plane, the Georgian man's heart stopped.<\/p>

Old Vadim Vadimych died at home - he died without forgiveness, love and relief, without faith in the future, while Medea sneaks out to the banks of the Neva , in the spring... She answers the doorbell once... Then she forgets and opens the window in the old house - no one knows what is hidden behind this window, but it is not a farewell to the spirit of the past and not a coexistence with it - the expectation of reality is more visible in Medea's peace, which is temporary.<\/p>

Medea, who has passed into the clich\u00e9 of a strong but not \"strong character,\" is so interesting in this cold, jaded environment, filled with unexpected aggression and fragility, that almost all the characters next to her and the old man Vadim Vadimich occupy only a motivating place - Medea's past and present, the old man's past and destroyed future, the result of aggressive decisions and the farce voiced in two languages at the end of the film - which we hear in public speeches as a compromise and it is perceived not as aggression, but as a crime. The background and result of this terrible demagogy have not gone anywhere.<\/p>

But I really can\u2019t say, what we should call the work of superficial readers, or more simply \u201ctitle readers,\u201d when they soothe the feeling of misunderstanding and rejection with a few slogans, instead of creative analysis in times of difficulty or peace.<\/p>

Ketevan Trapaidze<\/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":"

In the 1920s, socialist censorship and ideology acted with strange concessions towards authors of avant-garde from time to time. There already existed a Bolshevik hysteria of unacceptability, which eventually created a censorship of non-existent facts in the 1930s. The same vocabulary, although much more direct and no less ignorant as well as a sense of ignorance was distinguished by the persecution of writers and poets of different ideas and those close to philosophy, faith and other values by German Nazism. There is nothing special ...<\/p>","protected":false},"author":3,"featured_media":3563,"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":[64,1,30],"tags":[],"class_list":["post-3562","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-64","category-1","category-30"],"_links":{"self":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3562","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=3562"}],"version-history":[{"count":4,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3562\/revisions"}],"predecessor-version":[{"id":3567,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/posts\/3562\/revisions\/3567"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media\/3563"}],"wp:attachment":[{"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/media?parent=3562"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/categories?post=3562"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gfr.ge\/en\/wp-json\/wp\/v2\/tags?post=3562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}