People of the town in this film are worried about the outcome of the scientific experiments and the future of the religious buildings. They see these buildings as cultural heritage in Durkheimian-Parsonian sense. The artist of the town tells the mayor that only an ethical leader can lead people to the enlightment. Scientific progress without moral progress is one of the things which worried Frankfurt School.
This Abuladze film is an utterly absorbing masterpiece. It flawlessly walks the cinematic tightrope between absurdism and savage socio-political realism. Particularly harrowing are the dream sequences strewn throughout, embroidered with the most minute but pertinent detail. Required viewing for the West.
This movie is a rare pearl, full of eastern symbolism and subtle yet snaring critique of authoritative powers. It portrays the strangling destruction of the reign of stupidity that was authoritative power at the time. Its modest beauty is also its weakness however, it is too clever to be captured by the eye of the wider public as a plain and simple demonstration of the atrocities that were at play at the time.
This epic and bizarre film plays like history as a weird dream but it is a fairly accurate representation of Georgian society: very strange and highly evolved in a way that is different from any other nation on earth. Even the Georgian language has no relatives or ancestors-completely unique among all the languages of the world. And it isn't clear whether Georgia is in Europe or Asia; It's somewhere else instead.
“Repentance” starts like a comedy but grows up to be a great tragedy and a damn amazing film. It depicts life under dictatorial powers, coping with its arbitrariness, search for justice, repentance over generations. At times surreals, sometimes reminiscent of Tarkovski, constantly impressive and filled with outstanding performances. The dictator singing opera to the soon-to-be imprisoned artist was truly disturbing.
An odd black comedy, a sort of deadpan burlesque, that starts off like an unexplained inside joke and never, over its 2.5 hours, quite ends up making up for it. When context, after 30 minutes, comes, it pools - immiscible - on the too-well-formed set-up, creating layers - of surrealism, politics, scathing humour, sadness; a film in stiff strata. 11 years later, Kusturica would combine the same elements more artfully.
Multiple award winner at Cannes '87 after having been banned at home. Abuladze casts an eye on three generations of a family by examining the history of a grandfather recently past and his tyrannical background as a local politician. The filmmaker's weapons are satire, black comedy, political farce and surrealism; and he wields them fiercely. Scripting is fascinating as is the vile lead turn by Avtandil Makharadze.