Koguashvili speaks about the themes of his films, their ethical implications, and comedic intentions.
Koguashvili speaks about the themes of his films, their ethical implications, and comedic intentions. What is it that motivates your fascination with revealing the virtues of people who are victimized and rejected by society?
In Women from Georgia, life is both dramatic and cinematic. These women in the US bring up their kids in Georgia via telephone, teaching them songs and prayers this way.
Plus, I thought that as a Georgian who belongs to this culture, I have a responsibility to depict the life that is part of my country. The same goes for Street Days. It was not a film about drugs per se. These people attempted to legitimize their lives by imitating life through drug possession: Drugs really were a huge problem for my generation — so many great people died.
Drugs were a tool which generated cinematic situations and allowed me to depict this problem. Was it important to reveal their humanity, too?
Depicting a junkie with dignity is both interesting and closer to reality. I know so many nice people who suffered from drugs. I feel sorry for them for wasting their lives.
Showing this sort of dignity on screen is important. Movies have to give you some sort of example for decent behavior. If you just show that you devastate. You need to leave open a little door of escape from this reality.
You can show reality without knowing what to do about it. Did you have the intention of making a comedy? No, I never wanted to make a pure comedy. I wanted to make the film funnier than what my generation has been doing, including myself.
People keep living, they have humor. Comedy and tragedy are always mixed.
Good filmmaking is always about showing comedy on screen, even in tragedies. I just mentioned Cassavetes — what does he do? Tragedies as comedies.
I looked for a theme and again returned to the lost generation subject. Georgian films from the s and s had this comedic tragedy-signature — Iosseliani, Shengelaya etc.
And then it was lost, I think in the s. I tried it there, too, but I think less. Male lethargy takes much worse forms in Georgia than that. But at the same time, I want to show that this guy has some good qualities.Dec 19, · Directed by Levan Koguashvili.
With Andro Sakvarelidze, Ia Sukhitashvili, Archil Kikodze, Vakho Chachanidze. Fortysomething Sandro still lives at home with his parents.
He and his best friend seem to have no luck at finding true love during their misadventures of meeting and date various women.7/10(). Levan Koguashvili was born in in Tbilisi, Georgia. He began his studies at the State Institute of Film and Theatre in Tbilisi, and then worked as a journalist for independent television after civil war broke out in Georgia.
He studied Film Directing at the Russian State University of Cinematography (VGIK) in Moscow between and Born: Levan Koguashvili, 18 November , Mtskheta, Georgia.
«Der Georgier Levan Koguashvili schuf mit «Blind Dates» eine feine, lakonische, meditative, absurde Komödie über die Schwierigkeiten, sich persönlich zu begegnen.» Der andere Film, Hanspeter Stalder «Blind Dates ist ein Lichtstreifen.» Der Freitag «Schon das Gesicht von Sandro ist ein Ereignis, es changiert zwischen unbewegt und.
The Golden Apricot Yerevan International Film Festival (GAIFF) (Armenian: «Ոսկե Ծիրան» Երևանի միջազգային կինոփառատոն) is an annual film festival held in Yerevan, Armenia. The festival was founded in with the co-operation of the "Golden Apricot" Fund for Cinema Development, the Armenian Association of Film Critics and Cinema Journalists.
Levan Koguashvili, Director: Brma paemnebi. Levan Koguashvili is a director and writer, known for Brma paemnebi (), Quchis dgeebi () and Brighton regardbouddhiste.comtion: Director, Writer, Producer.
Levan Koguashvili on Blind Dates Vol. 38 (February ) by Konstanty Kuzma.
K onstanty Kuzma met Georgian director Levan Koguashvili during the Berlinale (February ) where his second feature “Blind Dates” screened in the Forum section of the festival. Koguashvili speaks about the themes of his films, their ethical implications, and.