Georgian Panorama of The Film Festival is the Panorama of latest Georgian Films
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Festival in Media
2018-11-15

The opportunity to examine the latest Georgian cinema, more precisely what it's like in the latest period, even more precisely at the example of the years 2017-2018, will traditionally be provided at Tbilisi International Film Festival.

Tbilisi Film Festival hasn't changed its route in any other ways - it follows the flow of Georgian cinematography step by step (as it is). According to the overall quantity and quality of films presented in the programme, it (the festival) always keeps the principle: to show what happens in Georgian cinema the way it happens. At which level of existence and development it is, and generally in terms of conditions of existence (technologies, finances, distribution etc.).

The quantity of films involved, its' theme, problematics, category, genre, quality - all is the result of everything mentioned above and its contribution in the sections, the existence of different sections is determined by the production in hand.

The majority of the pictures presented has not been shown to the audience yet. Some of them has gone to several international festivals (big or small, prestigious or less famous) with more or less success. The part of it is known to very small group of people and the others will be premiered at the Festival.

There is maybe not unexpected but sad shortage in the section of feature films. We will see five film there - young debutants by the side with already experienced and successful authors.Young but already successful Tinatin Kajrishvili's Horizon, Parade by Nino Jvania, Hamlte by Giorgi Megrelishvili and Neighbours by Gigisha Abashidze - fulfill the diverse spectrum of Georgian Panorama in feature films section.

Without changing the principle, the quantity changes in the Documentary section as well. The authors represent different generations and in different chronometry, they emphasize on different matters, problems and modern people (interesting for the society itself for some reason, or made interesting by the film). Not even the events important for the whole world are beyond their attention.

Documentary: Poisoned with Dust - Tamar Bartaia, Giorgi Bartaia; Transparent World Vakhtang Kuntsev-Gabashvili; Prime Meridian of Wine Nana Jorjadze; Jara - Nika Tsiklauri; Lantsky Papa's Stolen Ox - Elene Naveriani/ Thomas Reichlin; Homeless - Zurab Inashvili; Grandama - Giorgi Gedevanidze; Giorgi Gagoshidze - Invisible Hand of My Father - are outstanding this way, besides to interesting directing decisions and artistic solutions.

These pictures equal the feature films with duration, themes and main ideas. They continue the tradition of Georgian documentary film in accordance with exploring new problems, themes and heroes.

All the documentaries somehow follow the same rule of seeing Georgian reality in historical or traditional terms and share the idea of inseparability of past and modernity.

For example, as Oliko Jgenti (who not only tells the stories in her films but also examine and analyze them) goes to the core of the past in "Averili" to explore the life and fate of not well-known but grand historical figure and shows us the history of USSR and the world of XX century.

For instance, Nana Jorjadze, who speaks to the audience about the tradition and history of Georgian winery, wine culture, its importance and present-day life in her Prime Meridian of Wine.
Or Nika Tsiklauri who emphasizes on bees and old, traditional Beekeeping, including ecology issues in the world of "Jara".

In Poisoned with Dust by Tamar and Giorgi Bartaia, love of the theatre which beats the everyday life and breaks the coziness of grey reality, is one of the escapes from the problems of modern people.

The same is the situation in short films section in terms of themes, and better in terms of quantity (which seems logic) but the age of the authors doesn't "cross the border" of youngsters (which is natural for short films). But even in these age category, there are the experienced ones and debutants who make their first statements in front of Georgian and foreign societies. The films and authors (which will be introduced to the audience this year) are: Davit Gurgulia - Dialect; Davit Pirtskhalava - Ereaser; Ani Kvichidze - Delgma; Giorgi Gagoshidze - Invisible Hand of My Father; Giorgi Sikharulidze - New Year; Davit Japaridze - Proposal, Vajiko Chachkhiani - Winter Which was not There and Cotton Candy; Bidzina Gogiberidze 1943 and Giorgi Gedevanidze "Grandma", Giorgi Gersamia "The Smell of Bread", Giga Khaindrava - Police Officer, Grigol Janashia and Nato Gabunia - Night Duty Doctor.

This films from young filmmakers are the brightest illustrators of new Georgian cinema. What is the generation which starts filmmaking here and now; What do they care of, what do they like or don't like, what makes them happy, what is their mission, what do they think about, what language they speak and what are their ways of expressing the things they want to say.

The part of young authors (both feature and short films) respond to our festival from foreign countries - represent different European film schools and are in search of self.

Not only in search but also in the organic process of merge with other cultures. For example, the interest of young filmmakers goes as far as Germany. The fragments of the life of modern Germans and the times long forgotten. The Word War II, father's guilt syndrome where they are responsible before their children. Bidzina Gogiberidze's 1943 and Giorgi Gedevanidze's Grandma describes such cases.

Human sadness, solitude and incompatibility with surrounding world, and looking for the solution or obedience is the leading theme of Georgian feature cinema, like it was in 60-70-80s of the 20th century. Now there are the other, modern heroes, with new social, urban and abstract backgrounds. The people who act, fight, obey, who destroy the important. Who want to save others. The people who go to the jail or come back home where no one is waiting for them. The people who have no shelter anymore.

The routes of lonely people cross and take new shade. "Parade" and "Eraser" can be found in new artistic dimensions and frames. The same motives with different shades are shown in „Parade", "Eraser" Vajiko Chachkhiani's Cotton Candy, Tinatin Kajrishvili's Horizon. The last one captures the problem of human rejection with his characteristic irony. In his short film "Whinter which was not there" Vajiko Chachkhiani uses satire and metaphors, so rare in today's Georgian cinema.

Giga Khaindrava's Police Officer and Grigol Janashia and Nato Gabunia's Night Duty Doctor go into the inner world of these people through talking about their professional responsibility/irresponsibility and create new film heroes.

Life in Gigisha Abashidze's "Neighbors" goes on in Italian yard (very specific to Tbilisi and Georgian cinema) of modern times, uniting problems of present time, generalizing to the image of the country and its society. He uses the events we can meet at every step to show the reality of much bigger scale.

Filmmakers from the programme of this year's film festival, (just like every director of every country and every time) observe. Search in themselves. Go in the depth of their problems, make public from the personal and turn the others' into theirs.

According to this year's panorama (as in last years), we can think that Georgian cinema panorama describes what troubles people today, or what always troubled and attracted them. What is forever, is still in the lens of latest cinema. Sometimes it goes back to past to remember, what was there, to tell us, to help us explore.

It was possible to discuss more concrete details and matters, to give examples and talk about each film but we leave the right to explore modern Georgian cinema and to make choices to the audience.

Tbilisi International Film Festival, first of all, follows the principles of democratic existence, assistance and development of cinematography. The more and better is the production of the year, the more interesting and diverse is the film festival. To cut a long story short, Georgian panorama is as the cinema is. And what is the latest and still unknown Georgian cinema like, the audience will check herself.

 

 

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