In the hands of a young filmmaker, a Handycam primarily used for homemade family movies transforms into a tool for self-reflection. Compilations of personal archives and images from the subconscious prompt us to embark on a journey of re-examining gender-identity formation in a conservative, post-Soviet Republic of Georgia.
Guri and his mother, Sanata, have been living in a mountainous village of Georgia, with a dog – Tuia. The visual observational journey vividly shows motherhood’s bond, image of everlasting, pure, endearing union. Meanwhile, living in harmony, what happens if a third person intrudes in their tacit relationship. The young lady’s rapid appearance arouses questions – to what direction their life will turn, what will be transformed, lost, or gained.
Three young bears are sent by their father to hunt on their own, using different techniques: strength, agility and smartness.
Temo is in debts, just like majority of Georgian population, he has lost everything and now he’s sheltered by his girlfriend who lives in a tiny shack, together with her mother. Temo tries different things to get out of the situation, but his attempts are naïve and futile, be it discovering of constant energy or farming frogs for selling on the internet. Social complications are putting more and more weight on Temo’s back, because of this Temo is forced to take a criminal way to solve his problems.
The portrait of a pigeon breeder named Hossam, and a look at the culture of the Kashasheen in the city of Amman, Jordan. The recreational breeding of pigeons is widely practiced in several countries of the Levant. The Kashasheen will train their birds to fly and to follow their directions given by whistles, calls, and movements. After having soared high and far in the sky, they will always come back to rest with their master. It is a sport of patience and contemplation, based on building a bond of trust between the Kishash and his horde of birds.
What do children do when the whole world is in isolation due to the coronavirus and they have to spend all their time at home? Do they go to online classes? Do they call friends? Improvise on the piano? Sunbath on the balcony? Do they easily adapt to their isolation? This film follows the lives of two small dreamers, stuck in isolation in Tbilisi during the spring of 2020, the spring of the coronavirus.
In front of a little kid, unrolls a story of two groups of people, whose conflict revolves around Georgian society's cultural and political challenges which lead them into a mystical, and tragic, journey. Coming from elements of the society such as fairy tales, religion and pop-culture the film is filled with unforeseeable twists and shifts in the story, aesthetics, and genres.
In Adjarian village Kirnati is a well organized kindergarten, which everyday hosts dozens of children, but one day huge snow came and teachers had nothing to do but wait for children all day.
Every corner of the mountains has its guardian angel - the Adgilis Deda (“place mother”). An old woman who has no right to die has become the Adgilis Deda of the abandoned mountain village. As long as she is alive, the village is called a village, only with her death will any sign of life disappear from that corner.
I, the daughter of a Georgian tiger mother, travel around classrooms and observe children to help portray my childhood. I juxtapose these images with my mother's letters, reflecting her attempt to transform me from a restive child into a model citizen.
he story describes the events of the civil war in 1992 in Tbilisi. Death is seen as something obvious, normal and an everyday occurrence. Death brings together very different people in abnormal circumstances and at the same time it pulls them apart to finally alienate them completely. The way these people behave, only underlines the great absurdity and tragedy of war.
Beka is 26 years old... His father taught him his profession. Beka makes art photography and a film about a physicist and composer. He had his first photo exhibition recently. Father's patience and understanding helped him to introduce his son to adult life and make him believe in his own talent.
Winter which was not there’ can be seen as a metaphor for the liberation of an individual from his or her own history. In the film, a man watches a monumental concrete sculpture of a man being hoisted out of the sea. The sculpture is clearly reminiscent of a classic heroic monument but in a strange, and somewhat uncanny way, the face and figure of the sculpture look amazingly like the man who’s watching it rise out of the sea.
Entire film takes place on stairs. In a flat someone feels very bad and for that reason ambulance is called. The situation is becoming worse and worse. A neighbor is browsing the stuation to understand what is happening.
What happens when the imagination puts the mind into the unreal borders of false fear, the world around transforms into prison, and the only way out seems to be an escape to the new imagination, to the visual creation of the mind.
Grandmother always replies to Luka's curious guestions, one answer forces the child to catch birds, which will help him to see his mother. All days the boy spends on the roof with a trap, trying to catch a huge number of birds. grandmother react calmly to his desire, she only remarks that birds have mothers and they miss them too. later a group of older boys takes away his trap and only after that realizes the little boy these words. the conflict with the boys finishes after Luka's attempt to get his birds back. this incident changes a lot of thing for the little dreamer, he doesn't want to achieve his aim by using other creatures and releases the birds.
A metaphoric depiction of post-Soviet countries. The artificial environment of the USSR, built on an ideology that was not possible outside of theory has crumbled, but in its place the new cherished "freedom of democracy" remains merely the hollow words of concept. The film takes place in a vast building of a train station, resembling an aquarium. There the lost masses are ruled by chaos. The terror and misunderstandings of their country has been replaced by senseless and heartless bureaucracy. Having lost all hope, the travelers seek to abandon their country and find a new home, but the trains that come rushing through their station are not stopping. We meet people from all walks of life: a couple of lovers; a group of musicians; a priest; a thief; a banker carrying a briefcase of money; models walking idly on a podium; unhappy families; thieves, prostitutes. All seem trapped and cannot leave.
Gogui and Omar flee in suburban trains to sell pornographic photographs. With no other perspective than to survive each day, the two outcasts transform their convergence of circumstance into a camaraderie that may rescue them, if the world does not interfere.
