Women in Georgian Film
In diesem Filmfestival geht es um die Frau: einschließlich all der Klischees die mit Frauen in unser Kulturgeschichte verbunden sind: Die Frau als Mutter und Hüterin des Hauses, als “dieses obskure Objekt der Begierde” nach Bunuel, als Mitglied der Gesellschaft in verschiedenen Zeiten und politischen Regimen, Frau als Opfer und als Projektionsfläche – letztendlich Frau als die ewige Quelle und Ursprung, als geistiges Prinzip, Komponent des YinYang Prinzips. Vor allem geht es um die Georgische Frau jetzt in Zeiten der Globalisierung, in der Epoche sozialen, geschichtlichen, und ökonomischen Umbruchs und Krise.

Die preisgekrönten Filmen im Festivalprogramm von Frauen und über Frauen thematisieren Georgien als ein Land am Rande Europas, als eine der ältesten Wiegen europäischer Kultur. Hier sind die Einflusse der orientalischen kulturellen Tradition noch immer spürbar und prägend. In den Filmen geht es um die gegenwärtige Umwertung alle Werte, und damit verbundene Stellung der Frauen: um ihre scheinbaren Freiheiten und materiellen Abhängigkeiten, um konventionelle gesellschaftliche Rollenverteilung und ungeschriebene soziale Regeln, um die wahren Lebensverhältnisse hinter den Fassaden postkommunistischer demokratischer Reformen, neoliberalistischen Marktökonomien und daraus stammende geschlechtliche Machtpositionen.

Nicht zuletzt geht es in diesen Filmen um die schwere Last statlinistischer Repression und sowjetischer Diktatur. Erstmalig auf den großen Leinwand nach MOMA und Premieren in zahlreichen internationalen Filmfestspielen zeigen wir in Deutschland die Filme von drei Generationen von Frauen im Georgischen Film: Meisterwerke der Georgischen Filmgeschichte “Buba” gedreht 1930 von Nutsa Khutsishvili-Ghoghoberidze - der ersten georgischen Filmemacherin, “Several Interviews on Personal Matters” der erste sowjetische feministische Film von ihrer Tochter der Filmemacherin Lana Ghoghoberidze und “Line of Credit” von Salome Alexi-Meskhishvili, Nutsas Enkelin. Diese drei Filme, die Georgische Filmgeschichte geprägt haben, von drei Frauen stammend, aus der selben Familie könnten kaum unterschiedlicher sein, thematisch und formensprachlich. Aber eines haben die Filmemacherinnen gemeinsam: den Mut Wahrheit durch kinematografische Mittel zu zeigen und was den Filmen betrifft - unverfehlbare ästhetische Qualität.

Kurz zum Eröffnungsfilm des Festivals “Buba” und seiner Autorin: Filmemacherin Nutsa Khutsishvili-Ghoghoberidze war Opfer der Stalinistischen Repressionen und sollte nach ihrer Entlassung aus dem Gulag mit Filmenmachen für immer aufhören. Ihre atemberaubende, emotionalgeladene Dokumentation “Buba”, gedreht im Jahr 1930 zeigt die Bewohner und die Natur vom Racha, einer Bergregion Georgiens. Der Film wurde verboten und erst Jahrzehnte später in ehemaligen sowjetische Filmarchiven aufgefunden von Nutsas Tochter, damals die einzige sowjetische Filmemacherin Lana Ghoghoberidze. Der Film “Buba” ist ein wahres Juwel der Kinogeschichte nicht nur wegen des Inhaltes und atemberaubenden Formensprache sondern auch weil an dessen Vorbereitung ein hervorragendes Team von Künstlern gearbeitet hat, wie zum Beispiel David Kakabadze, einer der bedeutendsten Georgischen Avantgarde Maler.

Wie in der Georgischen Film Retrospektive die von März bis Mai 2016 in der Werkstatt der Kulturen in Berlin stattfand, freuen wir uns, auch jetzt ein herausragendes Kurzfilmprogram als Ergänzung, Kontrapunkt und Videokommentar zu den langen Spiel- und Dokumentarfilmen im Programm präsentieren zu können. Es sind künstlerische Positionen der Gegenwart junger Künstler weltweit, die ich eingeladen habe am Festival teilzunehmen und dabei die Parallelen, Kontinuitäten und Einflusse im gegenwärtigen Kino und Videokunst zu hinterfragen.

Lily Fürstenow-Khositashvili
Freitag 4. November 19:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Karten: 5,- €, Festivalpass: 20,- €


The Camera (36)

by Musquiqui Chihying
2016, Berlin, ORWO 36mm B&W Film, 1:10 on Loop

Olympia, one of the most prestigious propaganda film produced by German director Leni Riefenstahl, documenting the 1936 Summer Olympics in Berlin, Germany. As Korea was controlled by Japanese Empire at the time, when Sohn Kee-chung won the gold medal in the marathon, he was actually a member of the Japanese delegation. For rejecting his colonial nationality, Sohn intentionally hided the “Hinomaru” on his shirt — the symbol of Japanese flag while the Japanese anthem played during the award ceremony, and the movement was also recorded in Riefenstahl’s film. As a filmed object, Sohn tried to return the dominant narrating power of camera by hiding the national flag, turned a passive body into an active image in Riefenstahl’s film. The work The Camera (36) attempts to maintain this capacity of power reversing, by remaking a fictional documentary in the Olympiastadion Berlin. Through Sohn’s perspective, the work envisions how Riefenstahl made her famous shot of Sohn during the performance of Japanese anthem.
Buba

by Nutsa Gogoberidze
1930, USSR, 39 min., silent
Russian intertitles, English subtitles

Long suppressed and nearly written out of film history, Buba is an exceptional documentary filmed in the northern reaches of Georgia, in the remote mountainous region of Racha. The title of the film is taken from the name of one of Racha's high mountain villages. It tells about the poorest in society living in the mountains and the rise of the SSSR.
The film was restored in 1980 and with recently composed music by Gio Tsintsadze.

Nutsa (Nino) Ghoghoberidze
(1902, Kakhi in Sainglo -1966, Tbilisi)
at the age of 25 became the first female film director in the Soviet Union, but only directed 3 films due to Stalinist repression.  In the late 1920s and early 1930s she was a close associate of Alexander Dovchenko, Sergei Eisenstein and Mikheil Kalatozishvili (Kalatozov). Her first documentary, Mati (Theirs), was made with Kalatozishvili. Buba, her second film, was followed by Uzhmuri (Grumpy) 1934, the first Soviet feature film made by a female director.


From the middle of the 1930s she was under surveillance by the NKVD, and was excluded from cinematography, mainly because of her husband, Levan Ghoghoberidze, who had been a communist party worker. Levan was executed in 1937 and Nutsa was exiled to the Gulag for 10 years. After exile she spent the rest of her working life in the Institute of Linguistics in Tbilisi. Her name has been omitted from all Soviet encyclopaedias.
Ukanasknelni
The Last

by Alexandr Rechviashvili
Documentary, 2006, 71 min.
English subtitles

The film is a brilliant cinematographic portrait of the last inhabitants of the mountainous villages of Racha, a Georgian province that has been hardly changed throughout the recent decades. Breathtaking landscapes, daily lives of the village natives, their centuries long customs and traditions offer a unique insight into the characters, private lives and the magnificent nature of the region. Pictures of daily labour, natural environment, faces and figures of elderly people who work hard every day make up the core of the film. The film analyses the human condition at large moving from the small village lost in the Georgian mountains to the universal laws of existence, peace and cycle of life.

Alexandr Rechviashvili wurde am 17/01/1938 in Moskau geboren geboren. Im Jahr 1962 absolvierte er die Fakultät des Betreibers von VGIK (A.Galperina) VGIK (1971, Workshop S.Gerasimova). “Ich war einer von denen, die schwierigen Beziehungen mit den Behörden wurden gebildet haben, war ich halb geschlossenen gerichtet, daß mein Bild genommen ist, wie es war, aber nicht angezeigt. Gerettet durch die Tatsache, dass meine Filme auf Festivals Anerkennung erhalten. Mein erstes Bild war die georgische Chronik XIX Jahrhunderts waren dann der Weg nach Hause, Stadium, Angleichung, und mehrere Kurzfilme. Ihre vereinigten Opposition der Lebensformen, die in der Sowjetunion existierte, wurde sie von jeder Sprache der Gleichnisse, Parabeln zum Ausdruck gebracht. 
Samstag 5. November 20:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Karten: 5,- €, Festivalpass: 20,- €


Lost

by Thomas Eller
15 min.

Thomas Eller(b. 1964, Coburg) started his studies in Fine Arts at the Hochschule der Künste of Berlin. After his forced dismission, he went on to graduate in Sciences of Religion, Philosophy and Art History from the Freie Universität, Berlin.
He has worked as research assistant at the Science Center for Sociology in Berlin (WZB), is the founder of online art magazine artnet.de, where he served as editor-in-chief and was appointed managing director for the German branch of artnet AG, as well as executive director and artistic director of Temporäre Kunsthalle in Berlin.
Line of Credit
Kreditis Limiti

by Salomé Alexi
2014 / 4K / 85 min / color
Georgian with English and Italian subtitles

Nino - woman in 40s, once led comfortable, abundant life in Soviet Georgia. Now she is adapting to the newly obtained democracy, while maintaining previous lifestyle. Abruptly she falls victim to loan sharks and without letting her family know, Nino is trapped under a vicious cycle of high interest debts.

Salomé Alexi was born in Tbilisi in 1966
She graduated from Femis ( Paris film school ) on 1996
To date she has made the short films One Night, Black Sea, Should we go to the sea? ( Femis ) and Felicita ( independant production ) which won a Special Mention in 2009 in the Corto Cortissimo section of the Venice Film Festival.

Sonntag 6. November 20:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart

Georgische Musik mit der Gruppe
Abadelia

Das Programm ist eine Mischung von Informationen über das Land Georgien, Liedern geistlicher und auch traditioneller Art, Gedichten, Geschichten, Aufnahmen und auch einer „Liebeserklärung” an Menschen, Kultur und nicht zuletzt an die Schönheit des Landes Georgien, das wie eine Perle im Dornröschenschlaf zwischen Russland und der Türkei liegt. Es ist die Essenz einer Mischung aus Melancholie, tiefem Glauben, Temperament und Lebensfreude, Überlebenswillen und ständiger Hinwendung zur Liebe, die das Konzert zu einem emotionalen Erlebnis werden lässt.

Eintritt frei, wir bitten um Spenden

 
Sonntag 13. November 19:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Karten: 5,- €, Festivalpass: 20,- €
Guards for Sexted Bodies _ Language Curves Space"
by Vassiliea Stylianidiou
2010, DV Pal Colour, 15 min 38 sec.

In the video installation „Guards For Sexted Bodies_Language Curves Space“ explores the phenomena of power and money in the context of the present economic and social crisis and contrasts them to the dynamics inherent in language as the social subject's practice which is experimental, gendered and transgressive. In Stylianidou´s work, language pierces and subverts its everyday use in an attempt to suggest new paradigms for knowledge and experience.
The work also explores the interconnections between, on the one hand, the language and, on the other, the voice, the body and the image as rhythm and materiality.
A Trip to Karabakh
Gaseirneba Karabaghshi

by Levan Tutberidze
Drama/Action, 2005, 1h 45min.
with English Subtitles

The film is based on the 1992 novel “A Trip to Karabach” by Aka Morchiladze. A group of teenage boys from Tbilisi take a trip to Azerbaijan to buy drugs, and end up fighting in the Nagorno-Karabakh war when they are captured by Azerbaijani militants, with one subsequently being captured by the Armenians.
The film shows the absurdity of war with poignant humor and satirical wit. The main protagonists prove themselves as lost heroes on a serious voyage to adult life and its remarkable adventures.

Awards:
Grand Prize (Kinoshok - Open CIS and Baltic Film Festival)
FIPRESCI Prize (Tbilisi International Film Festival)

Levan Tutberidze (1959, Tbilisi, Georgia) graduated in 1982 from the State Institute of Theatre and Cinematography of Georgia and specialized as a film director. He participated in various feature films as an actor. Tutberidze is founder of the first Georgian independent film studio, AISI, and one of the founders of the Amirani cultural and movie centre.

The Tushetian Cheese (1978), Ubisi (1980), Makhare (1984, short), The Last Prayer of Nazare (1989), The Shadows of the Past (1995), Gaseirneba Karabakhsgi/A Trip to Karabakh (2005)


Mittwoch 16. November 20:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Karten: 5,- €, Festivalpass: 20,- €


Short Films

by Sophia Tabatadze
Pirimze

by Sophia Tabatadze
2011/2012, 40 min.

The film is about PIRIMZE, a six-floor edifice from the Soviet era. Starting as a curious journey through the labyrinths of PIRIMZE and observing fascinating skills performed by the craftsmen who used to work there, the theme unfolds to a broader picture and shows what has been happening in Georgia since the collapse of the Soviet Union.

Sophia Tabatadze
Date of Birth:  19.03.1977
Place of Birth:  Tbilisi, Georgia
Nationality: Dutch/Georgian
Sophia Tabatadze is visual artist, making videos and multimedia installations.

Mittwoch 23. November 20:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Karten: 5,- €, Festivalpass: 20,- €


Au pair

by Tamar Magradze

Au-Pair - is a film about those who choose the right candidates for the au-pair program and those wishing to take part in it. Is au-pair a lucrative business for those running it or a chance of the lifetime for young people? For those from Georgia it's a promising adventure, an escape into the rich and thriving world of the West. But who knows the difference between harsh reality and the rosy dreamworlds?

Tamar Magradze was born in 1988, in Tbilisi/Georgia. She graduated high school in 2005. Until 2007 she studied at the (Nikoladze Art College) in Tbilisi and at the Georgian Academy of Arts during 2007- 2011. From 2012 she moved in Berlin. Since 2014 she is a student of Berlin University of Art (UDK) in the class of Hito Steyerl.
Zahesi

by Tamar Karumidze
Documentary, 2002, 45 min.
English subtitles

The film is just like one week of life in Tbilisi of the 90s. Capital of Georgia after soviet system broke down and the organaised and usual lifestyle just vanished. We dive into the Georgian reality and into the real emotions. There is nothing to investigate. There is a lot to observe... just to watch… 


Donnerstag 24. November 20:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Karten: 5,- €, Festivalpass: 20,- €


The Camera (16)

by Musquiqui Chihying
HD Video, 1:46 on Loop, 2016, Seoul

Some Interviews on Personal Matters
by Lana Ghoghoberidze
USSR, 1977, 95 mins, Color, 35mm
In Georgian with German subtitles and English electronic titling

Sofiko, a young newspaper employee, is passionately involved in her work interviewing people who have submitted complaint letters to the editor. One of the women Sofiko interviews is her mother, and the pair's onscreen relationship strongly resembles the tragic early life of the director and her mother, making this a very personal film for Lana Gogoberidze. A bold mixture of documentary and social-psychological drama - and the first film to make mention of Stalin's camps - Some Interviews on Personal Matters makes powerful statements about women, work, family, and marriage that earned it international acclaim as the first feminist film of the Soviet cinema.

Dienstag 29. November 20:00
Theater am Olgaeck, Charlottenstraße 44, Stuttgart
Karten: 5,- €, Festivalpass: 20,- €


Lift

by Sandra Becker
15 Min.

Sandra Becker
1967 geboren in Freiburg/Breisgau, lebt in Berlin, aufgewachsen in Bonn, Ankara, Lima und New York.
seit 2013 Organisation und inhaltliche Leitung der Vorlesungsreihe „Cybertechnik“ „iblend-learning“, am Rechenzentrum der FU als Modellprojekt für die Umstellung der Lehre auf elearning
The Lake
Tba

by Kakhaber Kikabidze
Drama, 1998, Georgia, 87 min. OmU
Inspired by Heinrich Mann's "Abdication" (short-story)
Written by Len Massaar
Stars: Dito Shvelidze, Irakli Mshvildadze, Nino Koberidze

This film tells the story of one boy's struggle to come to terms with his harrowing past; an adult story seen through the eyes of a child.
Zura is forced to watch as his father is slaughtered by members of his small village. The mother escapes with the boy, eventually moving away and living in a run-down apartment in Tbilisi where a new life (hopefully) awaits. However, a new location cannot begin to erase the psychological trauma the boy has experienced and this manages to affect his every relationship; neighbours, his new teacher, schoolmates and even his mother. His father's death at the banks of the lake (hence the title), have twisted his strong personality towards sinister/evil ways. His pent-up grief manifests itself in dark ways... can he possibly ever escape his anger and sorrow?



 
 
Mit freundlicher Unterstützung von erka

Stadt Stuttgart




 
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