People think the Cold War officially ended with the fall of the Berlin Wall in 1989. That may technically be the right answer, but the actual end of the Cold War happened in Moscow on Christmas Day, 1985. That’s when American boxing champ Rocky Balboa knocked out Russian behemoth Ivan Drago in such a humiliating fashion that even his own countrymen were Team Rocky by the end of the slugfest. It was such a blow to morale that the USSR never recovered. Continue Reading →
რას ვხედავთ, როდესაც ცას ვუყურებთ?
Alexandre Koberidze's mystical romance is lovely and well-performed, but overly insistent on its epic status.
This review is part of our coverage of the 2021 Toronto International Film Festival.)
Like Alice Rohrwacher’s Happy as Lazzaro or Olivier Laxe’s Mimosas, Alexandre Koberidze’s What We Do When We Look at the Sky? begins as a promising addition to the subgenre of modern-day religious fables. But ultimately, it left me shrugging my shoulders. Continue Reading →
Our coverage of Tribeca closes out with two international films that handle everything from the power of cinema to parental sacrifice.
(This review is part of our coverage of the 2021 Tribeca Film Festival.)
Last Film Show and Brighton 4th represent two international films of the 2021 Tribeca Film Festival dedicated to sons that have disappointed their fathers. While Indian director Pan Nalin’s Last Film Show focuses on nine-year-old Samay, a boy falling in love with film, Georgian director Levan Koguashvili’s Brighton 4th eyes Kakhi, a father who travels to Brooklyn to aid his son. Two films about tradition and fatherhood, these movies paint different pictures of the father-son relationship in their respective cultures. Continue Reading →
და ჩვენ ვიცეკვეთ
Levan Akin's grounded, richly textured Georgian love story brims with dance and forbidden romance.
“A man is a man, and a woman is a woman,” says a priest during a wedding homily, “but in these times of “globalization”, as they call it…” the rest is cut off, but the implication is clear: we were once strong and knew who we are, but ideas from the rest of the world have confused and weakened us. A common accusation made by homophobic countries is that homosexuality is an unwelcome import from Europe and America; as if queerness was an invasive species stowed away in Western media that's overtaking the native heterosexual population.
This tension between a traditional worldview pushing against globalization is the focal point of And Then We Danced, with its juxtaposition of traditional dance against a backdrop of a Georgia that's hungry for foreign products. The characters praise English cigarettes, dance to Swedish pop music, and fawn over anime posters all while wanting to honor their heritage. It's a tension that Levan Akin is probably familiar with, since the Swedish-born director is of Georgian descent.
Taking place in the Georgian capital of Tbilisi, the film follows Merab (Levan Gelbakhiani), a young dancer vying for a place in the National Georgian Ensemble. However, his standing in the group is shaken upon the arrival of newcomer Irakli (Bachi Valishvili). Merab is frustrated by Irakli’s talent but finds himself drawn to the young man’s rebellious nature. As the pair grow closer, their growing attraction could put them in jeopardy. Continue Reading →