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Coauthor: Jason Rosenberg
Resume activist + organizer. jewish programming at 92Y (all tweets are my own). social and member at @actupny. #breakthepatent (he/him)
Info: A passionate tale of love and liberation set amidst the conservative confines of modern Georgian society, AND THEN WE DANCED follows Merab, a devoted dancer who has been training for years with his partner Mary for a spot in the National Georgian Ensemble. The arrival of another male dancer, Irakli-gifted with perfect form and equipped with a rebellious streak-throws Merab off balance, sparking both an intense rivalry and romantic desire that may cause him to risk his future in dance as well as his relationships with Mary and his family
release date: 2019
Country: Georgia
Actor: Kakha Gogidze
runtime: 113 Min.
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Levan Akin, a Swedish-born filmmaker of Georgian descent, is in Cannes with his third film, And Then We Danced, about a young man’s sexual awakening. The Directors’ Fortnight title’s subject matter required the team to be scrappy while shooting in Tbilisi, he explained during a visit to Deadline’s Cannes Studio.
The cast and crew had bodyguards, says Akin in the video above, adding, “We couldn’t be open about what the movie was about; we had to make up stories. It is legal to be gay in Georgia and there is protection on an official level. But as soon as we wanted to use locations and they would somehow hear what the movie is about, then the day before they were like, ‘No you can’t film here. ’ So we were like this ragtag group of people running around, it was pretty tough in that sense. ”
In the film, teacher Aliko (Kakha Gogidze) says, “There is no sexuality in Georgian dance. ” That doesn’t sit well with Merab (Levan Gelbakhiani) who has been training since a young age at the National Georgian Ensemble. His world is suddenly turned upside down when the charismatic and carefree Irakli (Bachi Valishvili) arrives and becomes both his strongest rival and desire. In this conservative setting Merab finds himself having to break free and risk it all.
Akin previously made 2015’s The Circle which premiered in Berlin, and 2011’s Certain People. And Then We Danced is his first Georgian-language film. In the video above, the writer/director explains he was inspired by seeing images of Georgia’s first pride parade in 2013 which was “attacked by a counter parade organized by the Georgian orthodox church and some far rightwing groups. Those images were really terrible. ”
For Valishvili, the response to the film’s subject matter has been both positive and negative, but there is movement on the plus side. Overall, he says, there is a switch “to a more warm and positive dialogue-style conversation. ”
Akin concurs: “There is a vocal young progressive group trying to move this issue forward. ”
The Deadline Studio is presented by Hyundai. Cameras provided by Blackmagic Design.
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Georgian dance tests the physical limits of the body. Limbs must move with the sharpest of precision, but your figure must also remain rigid—statuesque, even. It’s a beautiful art form, pretty in the way that old buildings are—enriched by their past, the stories and history that brought them to us, and enchanting because of their total incongruity with the modern world. Above all, Georgian dance is about asserting dominance; it signifies a prideful country positioning itself as a monument of strength. In the explosive new film And Then We Danced (opening February 7 in the U. S. ), a young performer is criticized for lacking strength and being too soft by his troupe’s aggressive leader. “Georgian dance is based on masculinity, ” the man barks. “There is no room for weakness. ” Though he grew up in Sweden, the film’s director, Levan Akin, always loved his native country’s traditional dance. His parents had immigrated to Scandinavia from Georgia years prior, and he would frequently spend his summers there as a child, until the country’s civil war—instigated by clashes between ethnic minority separatist movements and the government—broke out in 1991. As a child, Akin says, he was blind to the country’s fraught history within the Soviet Union. “I had this utopian idea of Georgia because Georgians are very proud of their culture, ” he says. “It's a very small country that was under the rule of other, larger empires throughout history. In that sense, it's been really important for Georgia to keep their own culture unchanged. ” His idyllic memories of his family’s homeland were called into question in 2013, when members of Georgia’s alt-right violently disrupted a Pride event held in the capital, Tbilisi. Around 50 LGBTQ activists congregated in the city’s Pushkin Park for what was intended to be a peaceful rally to celebrate the International Day Against Homophobia, but the counter-protesters numbered in the thousands. Police interference couldn’t stop the escalating violence, as the counter-protesters beat up and threw stones at anyone they believed to be gay, and over a dozen people were hospitalized with broken bones or blunt-force trauma. One man caught up in the violence was the victim of an attempted lynching. The 2013 Pride attack shocked and rattled Akin, who grew up believing Georgia was open and accepting. But instead of causing him to retreat from his heritage, the cultural divide he’d seen between the younger, post-Soviet generation and their patriotic elders inspired him. “I wanted to do something about how tradition is up for interpretation, that nobody can tell you how you should be in order to love your culture or cherish your history, ” he explains. “You can do it on your own terms. ” And Then We Danced tells the story of Merab, an ambitious member of Georgia’s National Dance Ensemble. A potential rival arrives in the form of Irakli, a charming rebel with the natural talent that Merab craves. But any competitiveness between the two quickly dissipates, giving way to a tentative romance told through longing glances. In an oppressive country where gay men are unable to voice their feelings, love becomes corporeal. The first time the two men act on their desires, it’s in darkness, better for avoiding the gaze of others. As clothes are hastily removed, the voices of drunken men can be heard in the background—a constant reminder of the threat always lurking in the periphery. Akin’s film is romantic and tender, but it’s all too aware of its defiance against a powerful, oppressive system that sees queerness as a threat to the fabric of Georgian tradition. All of this is told through the prism of dance: the hallmark of the country’s national identity forged on traditionalism. And Then We Danced is one of the most intimate, devastating and euphoric love stories ever told on screen. But in Georgia, it’s also the most controversial film to ever hit theaters. Before And Then We Danced, Akin says he felt lost. He had made two films in Sweden, including a YA adaptation of the Scandinavian best-selling novel The Circle, which failed to spawn the franchise that had initially been planned. “I had been working for a very long time and I felt like I had lost my curiosity in filmmaking, ” Akin says. And Then We Danced was, he felt, going to be his ticket back to his roots, of making “little movies for fun. ” He just didn’t know what the movie was going to be about. In 2016, Akin flew to Georgia with a small, inexpensive camera in hand and no money, to interview anyone who would talk to him about what it was like to be young and queer in a country that would prefer they not exist. The director understood the potential dangers of what he was embarking on: here he was, entering an openly homophobic country where LGBTQ people had been attacked in a public park just three years prior. But that Pride parade was the catalyst of this trip, not the deterrent. Many of the people he attempted to interview would, if they were not openly hostile towards him, just ignore him—a gesture that still telegraphed hostility. That was the extent of Georgian hospitality. In one instance, Akin was in the middle of a conversation with a dance teacher. He was civil and courteous, until Akin mentioned the film’s plot. The teacher instantly switched from civility to outright disgust, storming out of the room, leaving Akin sitting there confounded. The director recalls another encounter with a theater director he emailed to help enlist interviewees. “I contacted that person several times, and then I realized: it's because of the topic that I'm researching that they're not getting back to me. ” It took some time for Akin to understand that some manipulation and withholding of the truth was needed to get the information he wanted. If he sensed that someone wouldn’t be as responsive to the film’s subject, he avoided the topic completely, instead asking questions about Georgia’s youth culture. After several trips, he’d eventually collected stories from around 50 interviews with LGBTQ organizations and Georgian citizens (both young and old), many of which were incorporated into the finished product. In the film, for instance, the women of the troupe share gossip about a disgraced member who was sent to a monastery after his family discovered he was gay, only to escape when he was sexually assaulted by the priests. This is, as you’ve likely guessed, based on a real story Akin heard. Akin assembled a cast of professional actors and amateurs to fill out the cast around his leading man, a 21-year-old newcomer he discovered by accident. Scrolling through Instagram, he came across a dancer with delicate, Elven features framed by soft, brown curls. “I remember it so clearly, ” Akin says. “He’s so cute. He put up dance videos [that were just] super endearing. ” The account belonged to Levan Gelbakhiani, a part-time dancer who was working at a hostel in Tbilisi at the time. Akin reached out to Gelbakhiani to ask if he would act in his movie. He said no. But the director wouldn’t relent. It took several more pleas until he finally convinced the dancer to audition. In the room together, Gelbakhiani impressed Akin so much that, according to the director, “the film grew from him. ” The director scraped together a cast and crew, along with a minuscule budget thanks to funding from the Swedish and French Film Institutes. And though the Georgian Film Center is encouraging of homegrown cinema, the organization refused to give them funding, the one instance in which Akin couldn’t avoid the film’s subject matter. Akin shot the film in Tbilisi in just four weeks. Securing locations presented challenges: despite providing a fake plot synopsis, they would lose locations on a day’s notice because the truth had somehow gotten out; bodyguards were hired to protect the cast and crew in case of protests or intrusions; the choreographer is to this day credited only as “Anonymous” for their safety. Despite the potential danger of what he was doing, Akin reveled in the spontaneity the shoot demanded from him. “It was really like a neo-realist approach and it rejuvenated my filmmaking, ” Akin says. “I always want to work like this now. ” The first time Akin and I meet is in hotel lobby around the corner from where And Then We Danced had just received a 15-minute standing ovation at the Cannes Film Festival. Unfamiliar with the festival’s unspoken etiquette of prolonged applause, the 40-year-old didn’t know how to take it. (He assumed it was just extras who were clapping. ) “I got uncomfortable, because I'm Swedish, ” Akin says. “We're supposed to be humble. I wish I'd known how it was, because then maybe I would have enjoyed it more. ” When the applause had finally subsided and Akin left the theater, he was stopped by his publicist. “You know they can boo, too? ” she told him. And Then We Danced has become the indie film success story directors dream of. It’s secured distribution in over 40 countries (rare for a film of its size and budget) and has been embraced by Akin’s native Sweden, which selected the film as its Oscars submission for the International Film category and awarded the film four Guldbagge awards (the Swedish equivalent of the Oscars) including Best Picture. When Akin calls in late January, he’s heading to Utah the next day for the Sundance Film Festival, the last stop on a nine-month whirlwind tour around the festival circuit. Crucially, though, not everyone has been as kind to And Then We Danced. In Georgia, it’s stirred something in the culture’s deep-rooted attitude towards the queer community. In November, three sold-out screenings were held in Tbilisi and the coastal city of Batumi, all of which were met with violent protests by hundreds of far right demonstrators. The Georgian Orthodox Church had publicly denounced the film as “an affront to traditional Georgian values”, and prominent right wing figures, many of whom were from Russia, called for the screenings to be cancelled. The protest organizer, Levan Vasadze, condemned the film as a “moral threat to the fabric of our society. ” The protestors attempted to stop ticket holders from entering the theater, while civil rights activist escorted them inside through a narrow “corridor of shame” between the angry mobs. Chants of “Long live Georgia! ” and “Shame! ” rang out in front of the entrance to Tbilisi’s Amirani cinema, while the flames of a rainbow flag being burned lit up the chaos. “I was afraid, because if somebody got hurt because of something that I made, that would really mess with me, ” Akin says. “I had trouble sleeping. It was right around when we were going to L. A. to do the Oscar campaign, so we were all out of it because we were just checking our phones for updates. The news cycle, especially in Georgia, was insane. The only thing every channel was talking about was And Then We Danced. ” The film hasn’t been screened in Georgia since the incidents. Akin has, he says, resigned himself to the fact that three screenings were enough. However, since the backlash, the film has ignited a movement for LGBTQ rights in Georgia. Young people have mobilized the film as a symbol of hope against the church and government’s oppression of queer people. The film’s soundtrack—a mixture of folk music (recorded by instrumentalists who remained anonymous for their safety) and pop hits from ABBA and Robyn—serves as the sound of rebellion. To the rest of the world, And Then We Danced seems like a humble, indie film. Back home, it’s a landmark work of art with real political power. Akin calls And Then We Danced his “love letter to Georgia”: a Georgia that can evolve and change for the better. Perhaps we take for granted the power of film. We tend to dismiss certain stories with a casual “it’s just a movie. ” But And Then We Danced speaks to what movies are capable of. Film, and especially queer film, is a political act. It has the power to move someone, enrage them or even change their point of view. Akin tells me about an elderly distant relative who recently travelled to Sweden to see the film because it was too dangerous in Georgia. “She couldn't stop crying because she loved it so much, ” he says. “And she's super religious but she adored this film because she’s never seen any representation. She was like, ‘It's almost a shame that somebody from outside Georgia has shown Georgia better than any Georgian ever has. ’” The fascinating thing about Akin is that, despite the chaos, backlash, and threatening messages in his Instagram DMs, he’s immensely proud to be Georgian. He plans to go back next year to shoot part of his next feature. “You know what I love? ” Akin asks. “I love walking in the darkness and not knowing what's around the next corner. ” It’s there, in the scary, unfamiliar darkness, that he finds the stories he most wants to tell. Every Studio Ghibli Film, Ranked With the animation titan’s imminent arrival to streaming, we took a look at the catalog.
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"Akin flexes his muscles with an optimal aptitude in carving out steamy intimacy and unalloyed vulnerability, partly on the strength of DP Lisabi Fridell's nimble camera movement, over a well-trodden blueprint, unique indigenous elements are potently integrated, while social commentaries seethe on the sidelines (Merab family's tenement dwellings, a footnote on the local trick-turning epicenes) but first and foremost, ATWD resoundingly reverberates as a crusading warrior, plunging its defiant blade into the omnipresence where masculinity is solely defined by a hidebound and rigorous notion, a heart-to-heart reconciliation between two brothers is just what the doctor ordered near the coda, for that purpose alone, ATWD is too good a gem to be overlooked. br>
read my full review on my blog: cinema omnivore, thanks.
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Just saw it and although iam not a fan of love movies i must say, wow! calm and simply beautiful and for sure worth watching.
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ქართველის კომენტარს სიკვდილმისჯილებს უნდა აკითხინებდნენ არ არის ამაზე მეტი ყლეობა არაფერი და ამაზე დიდი სასჯელი ნუ ყველა არა მაგრამ ძაან ბევრი ხართ ყლეიები.
Scenes are beautiful, cast is amazing, soundtracks are charming, and the entire movie is very emotional and just phenomenal! Don't believe the false reviews. They are written by homophobes or people who were paid to do it.
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