Before watching “April”, the new movie from the Georgian director and screenwriter Dia Columbashvili, I only saw another fictional movie that includes a real child. It was “staying up” (2016), from the French director Alan Jeroudi, and although the film was completely drowned in absurdity, the birth was filmed in one who was not doubtful in his health. I also watched some films with graphic scenes but clearly from miscarriage, including another French movie, “Prefer” (2022), and Ukrainian drama, “The Tribe” (2015), from the director Myroslav Slaboshpostkiy. It is recognized that my research is intermittent, but the generation cinema in the face has always felt that it was a European artistic phenomenon in the first place. Really or wrong, I can’t think about an American movie – even “It is rarely not always“Elisa Hitman’s drama, which was strictly observed by miscarriage, since 2020-which was either achieved or terminated for such a scrutiny to show the audience.
Even in this amazing confrontation company, “April” is another. This unusually dark and destructive work, which is located in a wet extension in Eastern Georgia, shows an emulator, two incompatible-ethnic births, and a C-and, and for good, the Sophisticated Management. Each of these scenes is photographed in a fixed one, by the Arseni Kacchaturan, in the ratio to almost the square height – they refuse far away until the procedure is completed. You remember that the key to realism is not necessarily a convincing mutation or a boom at a good timing; It is the same time weight. By giving these medical interventions for a period and appropriate respect, Kulumbegashvili proves them with a component of the sacred. This is true, even from the abortion scene: a young woman who was raped by rape was subjected to a procedure on the dining table for her family. (Abortion is legal in the Georgia Republic of pregnancy under two weeks, but it may not be so: The power of the strong Georgian Orthodox Church of abortion dominates public opinion.
The doctor is Nina (IA Sukhitashvili), a high-skilled OB-GYN specialist in her forties, which has a special experience that oversees complex pregnancy and difficult melodies. The film, which reveals over a few cold weeks in April 2023, was moved with a rare tragic result: Nina received a child, after a few minutes, his death was announced. Father (Sandro Calnsads), sadness and anger, accuses her of intentionally killing the child, which is an accusation of a brutal disagreement; Word has spread from the abortion that Nina performs in the village. A close medical colleague, David (Kakha Kintsurashvili), who hears about abortion, warned against stopping for her career: “No one will thank you, and no one will defend you.”
David was asked, as it happens, to supervise an investigation into the hospital in the salvation, although Nina has already determined and correctly the reason for its occurrence: the pregnancy has never been revealed, and therefore the mother (DOA) did not receive any prenatal care, leaving any possible signs to discover it, during work. The film indicates that the non -reported load is not exceptional in this part of the country, as young women are pressed in marriage and childbirth early. Breed contraceptive methods are less than a miscarriage. In one of the great scene, Nina meets with a newly terrified teenager until she admits that she is not ready for motherhood; Nina slips a package of birth control pills, warning her against telling anyone. The woman’s voice does not rise above the whisper, yet we attach to each word, and the intimate conspiracy relationship that the camera designed. His silent throat seems to be a promise, as if the film itself was imposing a seal of knowledge.
Kulumbegashvili has made its advantage with the title “Beginning” (2020), a drama in a society far from Jehovah’s Witnesses who suffer from violent attacks by extremists in the surrounding Orthodox majority. Sukhitashvili also starred in this movie; Yana, the wife of the preacher, who gradually understands – and begins to decline – plays the religious prison that was built around her and other women in the middle. It will be difficult to imagine two more standing films to work as more accompanying pieces than “Beginning” and “April”, both of which depend on the same deliberate and contemplative stylistic well and based on severe contradictions in the human experience. In each of these films, cruelty wanders with tenderness, and hideous actions against the background of amazing natural beauty often. Sukhitashvili is making the camera with fierce intelligence if it is soft-quality of reserves, however, that her hero boldly forward, to Odyssey, is a character filled with spiritual torment and sexual violence.
On at least one occasion in “April”, Nina appears to call such violence, with a fearful knowledge of what it might require. On nights that are not at home or in the hospital, she ventures in her car and picks strangers to have sex, for reasons that seem to go beyond the rapid gratification of the physical desire. Sometimes, she wondered whether Nina was, at a level, to achieve more radical sympathy with her less fortunate patient, to subject herself to her harsh excuses, air, and misery completely for the intimate bodily relationship that brought some of these women to the examination room in the first place. It seems that the need to enhance an individual’s sympathy, and receive all fear, is of decisive importance. Early, wandering with a potential connection, Nina tells a haunting memory since childhood, when she was very small – and very frozen of fear – to interfere in the issue of life and death. It is the same moment when Colomatic Coptic approach to placing the psychological cards for Nina on the table.
It is appropriate, April itself was organized as a kind of examination – an investigation into the stark facts and retrospective situations that are not new, of course, unique to any part of the world. Columbashvili’s view is by cold diagnostic rotation and fierce exploration, which is the division that appears in the utmost cinematic imaging in Khashratran. The internal spaces, such as the empty hospital corridor where Nina is waiting for bad news, tends to be constantly and similarly framed, which is an aesthetic decision that may, in this environment, have a sterile clinical separation. But Nina’s method with her patients is not sterile, and her anxiety with their luxury is the opposite of separation. Over and over again, Columbgashvili suddenly entered the awareness of the protagonist: the more the camera goes out of the open air, it suddenly invades us in the wild and rough self, and address the beauty of spring flowers, or the cold in a rainy evening, from Nina Vant. These footage accompanies this view with the voice of fixed taxes, which we realize as breathing; It seems as if Colomatic Coptic was pressing a headset against Nina’s chest, not only imagining inhalation and exhalation, but also the flow of her feelings and ideas.
In fact, it turns out that the real theme for examining the movie is Nina herself, and she is a doctor whose constant and professional surface is almost tirelessly hiding self -attached pain. But this anguish, in turn, is inseparable from – and it may lead to this – a deep moral necessity and not shake: make every effort to women under their care. These mothers include hope and events; Abandoned, terrified; And women who decided this, at the present time, will not be mothers at all. The additional focus of the film is on the moral design of the abortion presenter, instead of despair filled with a miscarriage, distinguishes it, in a hidden, but important way, from dramas such as “occurrence”, “rarely not always”, “4 months, 3 weeks and 2 days” (2007). Although the concentrated mongiu intensity looks like one of the many detected effects on Kulumbegashvili’s work, it cannot explain some amazing moments when it completely abandons realism.
“The beginning” ends with watching the body of a man who disintegrates to the dust – a reference to the Old Testament (“to the dust to which you must return”), in addition to a stained leap in abstraction. April, although it might be, it is insolent to what is not explained all the time. The first and last shots that we see from a nude, enormous personality, are known as a woman but have never been identified, with a hanging breast, wrinkle skin, and unique emptiness for the face. Early, she was saddened by what appears to be after another, an area of absolute darkness. Do not say anything. It does not seem to have a mouth, although this does not prevent her from breathing and yellow so much as Nina does. Can this deformed fake in reality descend? He is Nina – or are they the remains of her scars, or a manifestation of Nina’s fear, lust, or anger? By the end, Colomlophylli, which now depends on the images of the New Testament, presented another possibility: this creature, despite all that she has, may be a kind of compensatory miracle, the worst concern for women that fill in a meaningful work. It is no longer hanging in the dark, it slowly presses forward, in the light. ♦
