Alexandre Koberidze’s Berlinale rivalry section is a wondrous sentiment from Georgia.
There’s a short shot from the beginning in Georgian movie producer Alexandre Koberidze’s wondrous sentiment and Berlinale rivalry passage What Do We See When We Take a gander at the Sky? (Ras vkhedavt, rodesac cas vukurebt?) that may appear to show something very commonplace.
The male hero’s soccer practice meeting has finished. Koberidze picks the storage space as the area for the scene, as without a doubt most movie producers may. Yet, what makes the shot startling is that all that we see is an unknown corner of the storage space, chipped tiles what not. The young men’s pullovers are tossed into that corner and structure a quickly developing heap as we hear the sound of soccer spikes hitting the floor and showers being turned on. The picture at that point blurs to a perspective on the female hero, a clinical understudy, killing the light at a college working prior to returning home.
What Do We See is brimming with contacts this way. The camera regularly appears to catch apparently ordinary minutes, yet Koberidze’s painterly eye raises them to insinuate blazes of verse and pleasure. Something comparable can be said of the manner by which the producer, who filled in as his own manager, compares his pictures to make affiliations that feed into the film’s in general topical concerns. Here, the free heap of garments proposes the possibility of real nonattendance, the shedding of skin and purifying, which are exceedingly significant subjects being foreshadowed here. They are built up in the subsequent shot of the female hero, who, through the basic activity of killing the light, recommends change, trouble and murkiness ahead yet in addition the guarantee of, somewhat farther, a bright new day.
At its most rudimentary level, Koberidze has made an epic-feeling sentiment with a little carbon impression. The film is set over the mid year season in Kutaisi, west of the Georgian capital, Tbilisi, an antiquated common town that will get fixated on soccer as the World Cup spreads out over the late spring. The expansion of only a couple lo-fi powerful contacts take into account little subtleties from regular daily existences to sparkle as splendidly as the very much cleaned protection of a fantasy ruler. Furthermore, a vital portion of film and the enchantment it can present gets through the equal undertakings of two moderately aged movie producers — played, in an ideal meta contact, by the chief’s folks — who are searching for couples for another venture.
What Do We See When We Take a gander at the Sky begins with the unforeseen experience of the twenty-year-olds (Giorgi Ambroladze) and Lisa (Oliko Barbakadze), who meet by chance when they in a real sense catch each other in the city and one of them drops a scratch pad. During their meet-charming, the camera at first doesn’t show their countenances however a nearby of their feet — both an amusing wink to the film’s title just as a first idea that possibly their actual appearance isn’t the main thing about them.
Following another opportunity meeting at an intersection, this time appeared in an incredibly wide shot in which they look like little ants, they choose to meet the following day for a date at a particular bistro close to an extension. In any case, the morning of their gathering, the two of them awaken and a spell appears to have modified the presence of both (Giorgi Bochorishvili and Ani Karseladze currently assume control over the lead jobs), so the probability that they’ll perceive each other at their bistro rendezvous has abruptly vertiginously dropped.
The remainder of the film sees how they explore their new reality while they can’t help thinking about what may have happened to the next individual (more so than to themselves — love makes them pleasingly oblivious to their own deficiencies or changes in this story). Will they actually locate one another or will they gradually give up and consider the great, more extensive world around them once more? Will they, maybe, mull over discovering another person … like, for every one of them, that charming obscure who appears to have likewise gotten a mid year line of work close to that disastrous scaffold?
Shooting in part on superbly immersed 16mm stock, Koberidze and his Iranian cinematographer, Faraz Fesharaki, discover instances of the humor and hangdog appeal of life in Kutaisi just as apparently interminable proof of the easygoing arousing quality of youth and summer. The pictures are suggestive of the casual regular excellence of Éric Rohmer films, however the jovial voiceover portrayal brings to mind the relationship dramatizations of the French New Wave that were generally clearly.
This doesn’t imply that Koberidze hasn’t made a Georgian component. Regardless, the film, which runs 150 minutes yet doesn’t feel a moment excessively long, is so explicitly nearby that as a watcher sense you could stroll around the Kutaisi roads and across its extensions to get to that one spot where the local children play soccer, or where the grown-ups go to watch a soccer match on television, while never losing your heading.
The guarantee of a common khachapuri, the culinary wonder that is Georgian cheddar bread, marks what is maybe the film’s most urgent moment. However, just like Koberidze’s wont, the second feels both earth shattering and casually made light of, as though to remind watchers that on the off chance that you realize what to search for, magnificence and importance can be figured out whenever and anyplace, even in a heap of filthy soccer shirts toward the side of a storage space.