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13 Tzameti takes viewers on an existential journey down an awfully grim rabbit hole. Once in its grip, you won’t blink till the end... Babluani hooks viewers with a seductive visual tone that builds from slow burn into a wildfire.

The high-contrast black and white photography infuses the film with an oppressive feel... [while] the strange, almost claustrophobic atmosphere is compounded by the impressive gallery of rugged, leathery gamblers, who, with their crocodile skins and glassy eyes look like the monstrous offspring of film noir villains and Goya portraits.

“13 Tzameti” flaunts a grim sense of the absurd that suggests a French new wave film infected with a virulent strain of Eastern European nihilism... With its icy cynicism and desolate settings, the film evokes the work of the young Roman Polanski in his sadistic trickster mode.

You can guess the outcome of the final act once the wheels start turning, but the pitch-black fun of 13 (Tzameti) is less about unpredictability and more about Babluani’s expertise—and snickering glee—in turning the screws.

It’s a masterful film debut, the kind of “big idea” movie that will undoubtedly grab the attention of the filmgoing community, but Babluani directs it with enough caution and craft to ensure that he has much more up his sleeve than one neat trick.

Shot in high-contrast black and white, the film’s rigorous starkness recalls the work of Robert Bresson in visual but, alas, not moral terms, as the director’s debut... is only about its surprise-reliant plot machinations, a detrimental shortcoming considering that its one-shot story plateaus at the very moment it should be climaxing.

Gela Babluani makes a stunning debut with what might yet become a classic...[Tzameti] is not just an accomplished arthouse film, but an unendurably tense thriller.

The spare screenplay, elliptical editing, minimalist characterisation and black-and-white cinematography combine to create a bare, Spartan world whose grim realism readily attracts to itself some allegorical shadings... [Babluani] has debuted with an impressively noirish moral fable that, for all its bleakness, offers ample rewards to those willing to take a chance on it.

A thriller of starkly economic proportions [and an] impressive debut... Babluani works like a prize fighter, distracting attention with one hand before slamming home with the other, and the clinical black and white photography only adds to the nightmare.

“13 (Tzameti)” turns into a shocker of Tarantino proportions in protracted sequences of explosive violence that leave viewers quaking... The forceful images linger in the memory... [while] Tariel Meliava’s B&W cinematography has a stark brutality that brings the old Georgian cinema to mind, as do the faces of just about every member of the cast.

In 13 (Tzameti) there is no innocent victim, the observer is as guilty as the actual murderer, and the frontier between passive and active behaviour is blurred. Babluani's film is an aesthetic variation on a universal theme... the utter absurdity of life.

Babluani makes an immediate and indelible impact with this chilling debut feature... It’s the efficient direction, Tariel Meliava’s noirish monochrome cinematography and the concept’s sheer audacity that mark this out as something genuinely extraordinary.