A Vindicated Woman: Kulumbegashvili Constructs Potent, Profound Study in Body Horror
I do not wish them to have power over men; but over themselves,”...
Premiering in competition at this year's Karlovy Film Festival, Tinatin Karishvili's third feature Citizen Saint is set in a small mining town, where a...
The End of the Affair: Naveriani Finds Love in a Hopeless Place
Georgian filmmaker Elene Naveriani solidifies her gravitational pull towards examining rural social misfits...
Eye See You: Koberidze Spins a Modern Fairy Tale of Distracted Perceptions
Georgian director Alexandre Koberidze ascends to a sublime arthouse stature with his curious...
One of the brighter notes in world cinema circa year one of the pandemic, Dea Kulumbegashvili's directorial debut (an official entry for Georgia for...
Carpet Burn: Kulumbegashvili Unnerves with Exacting Debut of Violence and Veneration
For decades, the international presence of Georgian cinema was thanks (mostly) to the output...
The thrill of meeting Marjane Satrapi reminded me of being 6 years old at Disney Land when I met the living, breathing Cinderella. Except Cinderella was an actress with a blond wig and Marjane is the real woman behind her autobiographical graphic novel, turned movie, “Persepolis”. The distinctive mole on her nose and her dark sultry eyes rose off the page and appeared in front of me, smoking and speaking with a French accent.