Juja Dobrachkous’ Bebia, à mon seul désir (2021)

Vol. 114 (April 2021) by Daniil Lebedev
Daniil Lebedev approaches Juja Dobrachkous' take on Greek mythology through psychoanalysis.

Dea Kulumbegashvili’s Beginning (Dasatskisi, 2020)

Vol. 112 (February 2021) by Daniil Lebedev
Dea Kulumbegashvili tells a sad story of biblical dimensions.

Interview with Dmitry Mamuliya

Vol. 107 (September 2020) by Nina Mdivani
Dmitry Mamuliya discusses the need for a new visual language and the usage of time in his films.

Levan Akin’s And Then We Danced (2019)

Vol. 101 (January 2020) by Konstanty Kuzma
Levan Akin's story of forbidden love advocates a form of progressive patriotism.

Dmitry Mamuliya’s The Criminal Man (Borotmokmedi, 2019)

Vol. 99 (November 2019) by Lucian Tion
Dmitry Mamuliya's film gets tangled up in its subjectivist premise.

Misho Antadze’s The Harvest (Mosavali, 2019)

Vol. 91 (January 2019) by Rohan Crickmar
Misho Antadze portrays Georgia's easternmost region as a nexus between agriculture, modern technological infrastructure and natural wilderness.

Ana Urushadze’s Scary Mother (Sashishi deda, 2017)

Vol. 91 (January 2019) by Daniil Lebedev
Ana Urushadze’s debut feature about a struggling writer defies prevalent cliches about the martyrdom of art.

Rati Oneli on City of the Sun

Vol. 72 (February 2017) by Zoe Aiano
Oneli speaks about the making of his film, his conceptual approach, and plans for the future.

Nana Ekvtimishvili and Simon Gross’ My Happy Family (Chemi bednieri ojakhi, 2017)

Vol. 72 (February 2017) by Zoe Aiano
This Georgian feature tells the story of a family woman and her sudden urge to live an independent life.

Rezo Gigineishvili’s Hostages (2017)

Vol. 72 (February 2017) by Carlos Kong
Rezo Gigineishvili reconstructs the tragic hijacking of a Soviet plane.
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