Film Review: ‘Blind Dates’
❤️ Click here: Blind dates levan koguashvili online
Manana is clearly interested in Sandro, and vice versa. I looked for a theme and again returned to the lost generation subject.
Camera color, HD , Tato Kotetishvili; editors, Koguashvili, Nodar Nozadze; production designer, Kote Japaridze; costume designer, Tinatin Kvinikadze; sound mixer, Nika Paniashvili; sound designer, Paata Godziashvili; assistant director, Marika Grisgolishvili; casting, Tcitcino Parulava, Natuka Gogidze. The explanation Sandro gives for deciding to become a teacher is very unintuitive for Georgian viewers, and after the film, you do get the feeling that the guy from jail does belong to jail, which may not be the whole story about the Georgian penitentiary system… I understand, this film became a little bit formal. Manana Ia Sukhitashvili , the one woman who seems to be made for Sandro, is waiting for her husband, a small-time career criminal named Tengo Vakho Chachanidze , to be released from jail.
Blind Dates - For licensing motion picture film footage it is advised to apply directly to the copyright holders.
Koguashvili speaks about the themes of his films, their ethical implications, and comedic intentions. What is it that motivates your fascination with revealing the virtues of people who are victimized and rejected by society? In Women from Georgia, life is both dramatic and cinematic. These women in the US bring up their kids in Georgia via telephone, teaching them songs and prayers this way. Plus, I thought that as a Georgian who belongs to this culture, I have a responsibility to depict the life that is part of my country. The same goes for Street Days. It was not a film about drugs per se. These people attempted to legitimize their lives by imitating life through drug possession: they perform all day — acting tough, cheating each other, complaining. Drugs really were a huge problem for my generation — so many great people died. Drugs were a tool which generated cinematic situations and allowed me to depict this problem. Was it important to reveal their humanity, too? Depicting a junkie with dignity is both interesting and closer to reality. I know so many nice people who suffered from drugs. I feel sorry for them for wasting their lives. Showing this sort of dignity on screen is important. Movies have to give you some sort of example for decent behavior. If you just show that you devastate. You need to leave open a little door of escape from this reality. You can show reality without knowing what to do about it. Did you have the intention of making a comedy? No, I never wanted to make a pure comedy. I wanted to make the film funnier than what my generation has been doing, including myself. People keep living, they have humor. Comedy and tragedy are always mixed. Good filmmaking is always about showing comedy on screen, even in tragedies. I just mentioned Cassavetes — what does he do? I looked for a theme and again returned to the lost generation subject. Georgian films from the 1960s and 1970s had this comedic tragedy-signature — Iosseliani, Shengelaya etc. And then it was lost, I think in the 1990s. I tried it there, too, but I think less. Male lethargy takes much worse forms in Georgia than that. But at the same time, I want to show that this guy has some good qualities. I like this mixture of good and bad extremes in a single character. But a person unable to get his life together is a tragedy. It is a huge issue in Georgia — perhaps in other countries too. My Georgian roots are important to me as a filmmaker because I think this is the only culture where I feel comfortable — comfortable enough to make movies about it. You really need to spend a lot of time in place if you want to speak about it, ideally even grow up there. At the same time, it will have this Georgian flavor which is unusual, unknown, and which will distinguish my film from other films. They say something about Italian life, but meanwhile they are close to me because drama is essentially always the same. To be alone, lost, but benevolent is a phenomenon known to all cultures. I appreciated that you want to contrast this forced everything-is-bad approach of contemporary Georgian filmmakers. I have the feeling that a particular kind of socio-political problems — e. On a generous reading, you could say that finally Georgian filmmakers have started talking about the right kind of problems. On a cynical reading, Georgian filmmakers have finally found out how to get into European film festivals. Probably, every filmmaker is more or less influenced by this, including myself. But again, Georgian reality is what I do want to depict. I depict life which I believe needs to be depicted. It is both interesting to make a film about refugees and practical in view of the whole festival thing. To be honest, I mostly care about creating cinematic situations. I need characters with cinematic professions and cinematic locations. I find political films boring. I want to be political without talking about politics. For me Street Days is a political film. Making a film about social problems is political. To make a film about stupid politicians is not interesting at all. I think films need to be bigger than politics. I believe that we have the politics we deserve, so our situations says a lot about our moral state. The explanation Sandro gives for deciding to become a teacher is very unintuitive for Georgian viewers, and after the film, you do get the feeling that the guy from jail does belong to jail, which may not be the whole story about the Georgian penitentiary system… I understand, this film became a little bit formal. I started out more realistically, but during the process it was becoming formal and I had to follow this development. The material dictates how you shoot a film. That will be a totally different film where I do want to show the reality. This one is only part of reality. If I wanted to focus on a guy who gets out of jail, it would be a completely different thing. Is there a style — something that is good or bad about Georgian cinema right now? We are trying to make a realistic movies. Pretty dark, which is a little bit too much for me and is also one of the reasons why I made this film. My generation has become too serious. In fact, it was a little risky to make Blind Dates, because dramas usually sell better at festivals. Tragicomedy is probably the best term. I think this is the best style. Thank you for the interview.
blind dates
My Georgian roots are important to me as a filmmaker because I think this is the only culture where I feel comfortable — comfortable enough to make movies about it. Screenplay, Boris Frumin, Koguashvili. That will be a totally different film where I do want to show the reality. Tout: Andro Sakhvarelidze, Ia Sukhitashvili, Archil Kikodze, Kakhi Kavsadze, Vakho Chachanidze, Marina Kartcivadze, Marika Antadze, Sopho Shaqarishvili, Liza Jorjadze, Jano Izoria, Levan Ghlonti. International sales: Films Boutique, Berlin. Levan lived in where he made several short films and documentaries. I need characters with cinematic professions and cinematic locations. If you would responsible to publish text from MoMA's archival materials, please fill out and send to.
