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18
kino baliSis qveS da
kanis festivalze
a film undEr thE pilloW
and at thE CannEs
fEstival
im Svidi kinosuraTidan mxolod erTic rom
gadaeRo, mas mainc eqneboda novatoris saxeli.
es martivi maTematikaa!
radgan: Tengiz abulaZis „magdanas lurjas“
kanis kinofestivalze sapatio jildo ergo, „vedrebas“
_ kinopoeziis statusi, „sxvisi Svilebi“
pirveli qarTuli neorealisturi suraTia,
„natvris xeSi“ nanaxi lika qavJaraZe ki muza da
sizmaria.
Tumca udardeli 1970­ianebi am droisTvis,
metaforulad da pirdapiri mniSvnelobiTac,
suls Rafavda da miwuruls uaxlovdeboda,
religiur­politikuri disidentoba Zlierdeboda,
da mwifdeboda raRac Zvirfasi, _ Tavisuflebis
survils rom hgavda Soridan raRaciT.
amboben, adgilobrivi politikuri istebliS­
nestan nene kvinikaZe
nEstan nEnE kvinikadzE
Even if he had made only one of his seven films, he’d
still have been an innovator. It’s a simple math!
Because: Tengiz Abuladze’s Magdana’s Lurja won an
honorary award at Cannes Film Festival, The Supplication
won the status of a poetic film, Children of Others is
the first Georgian neorealist film and Lika Kavzharadze as
seen in The Wishing Tree is a muse and a dream.
Although the care-free 1970s was coming to its end
and struggled to breathe literally and metaphorically,
religious and political dissident activity was gaining a
stronger foothold and maturing into something precious
– something that seemed like a desire of freedom from
afar.
They say that to a certain extent the local political
establishment did give permission for an anti-Soviet
screenplay, which was probably caused by the fact that
their good sense of smell allowed them to anticipate the
looming overthrow, feeling that cinema would promote
a smooth transition. When needed, they would proudly