Grzeli nateli dgeebi

I do not agree with Nika Gigashvili. I think Georgia should not do international movies.

I am in love with the country. And I am from Hungary. And we have similarities, after the socialist era collapsed.

For me was quite enough, how they were speaking about the whole rape and stuff during marriage. Maybe 'cuz I am a girl. The ignorance is a very massive part of the film. And during my travel through the country I experienced the same. I mean the locals with each other, not with me. But situations were quite similar during my childhood. Except guns.

I was a great movie. I watched it two weeks before and it is still keep me thinking.

The story revolves around two 14 year old girls, best friends growing up together in Georgia.

Although it's set in 1992, the time-line and history is merely a canvas for a tale of friendship and difficulties in a flawed culture and society.

We witness the hardships the two girls have to go through and negative or positive emotional bonds they have with friends/schoolmates/family.

There's not much dramatization or cheesy drama going on, since the narrative is documentary-style realism à-la "A Separation". I have to applaud the two young actresses for more-or-less carrying the whole story on their shoulders, with success. Not that the other actors are bad, they all contribute to the authentic atmosphere.

It's also hard to ignore the setting, the homes and streets that reek of post communist decay. This felt personal to me, having grown up in an "fresh" democratic Romania, where the circumstances were similar, even if not the same.

I can totally recommend "In Bloom" to anyone interested in a good story. This is no Hollywood moneymaker, but I also disagree with another reviewer writing that it's hard to understand for non-Georgians. Cinema is universal.

Nana Ekvtimishvili's "In Bloom" is the story of steadfast friendship, of familial strife, of young love and premature commitment, of jealousy and intended revenge, of economic hardship set in the backdrop of civil war and of a precocious maturity which surpasses the misfortune.

Fourteen year-old Eka (portrayed by the mesmerizing Lika Babluani), who resides in Tbilisi, labors in line with her neighbors to buy a couple loaves of the meagre stock of bread, at school with her boisterous classmates whom her teacher cannot seem to control, at home where her father is away, her mother seems detached and her sister patronizes her, and at times with her bosom friend, Natia, who makes a decision to escape her own strife which has dire consequences.

It is this adolescent bond, between Eka and Natia, about which the story principally revolves, the comfort and support they are able to give each other as the one or the other faces a drunken or screaming family member, tormenting peers, pressure from and violation by willful men and verbal abuse from nearly everyone. Eka is the stalwart, principled character who seems to be able to see beyond the chaos.

Exquisitely directed and acted, the viewer senses not one false note among any of the characters or their actions. Emotions are heightened and several times brought to a head, and they are so well played that the sense is that it all could have happened, exactly as portrayed.

In several scenes the camera stays on minor characters, shooting from behind or over a protagonist as she addresses them or engages in some action which holds their attention, to play out the scene through capturing the reactions of the minor cast instead of training eyes on the principal character herself: the supporting cast project their characters so impeccably, this occasional perspective works seamlessly.

On other occasions, scenes are not concluded, such as during the circumstance of a kidnapping or the consequences for the perpetrators of a mortal act or a meeting which closes the film. But the characters, all of them, and the scenes, in the short space of 100 minutes, are so finely developed by writer Ekvtimishvili and portrayed by the actors, that it is unnecessary, there is nothing wanting, the imagination easily completes the picture.

The able editing, post-processing and spare soundtrack all complement and amplify the superior direction. Stand-out cinematography, pace of the film and color grading are reminiscent of Romanian New Wave cinema, such as those of "The Death of Mr. Lazarescu," "The Way I Spent the End of the World," "California Dreamin'," or "12:08 East of Bucharest."

If a viewer were pressed to find fault, he might say that "In Bloom" relates a story which lacks transcendent or inspirational moments, grand epiphanies, heroic characters or poetic dialogue. But it is the totality of poignant story and evenly-skilled effort from those behind and in front of camera to convey that story which makes the indelible mark.

This viewer was reminded several nights back in starting a commercial film (a film in which everything is spelled out, for the densest audience, nothing left to interpretation) and in having completely forgotten a recent viewing of it: the vast majority of movies are forgettable. "In Bloom" stays with you.

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Rating: 7.5+/10 (rounded up for IMDb)

Viewing: DVD, distributed in the USA by Big World Pictures (widescreen presentation; English subtitles; Dolby Digital 2.0; trailer aside, no special features relevant to picture)

I don't believe I've ever seen a Georgian film before watching In Bloom, but it was a great place to start and I'll certainly be looking more into Georgian cinema.

Like many coming of age stories the film focuses on two young teenage girls, but unlike most typical American or European films, the background for this film involves a country that has recently overcome one violent coup and is in the middle of a civil war. Screenwriter and co-director Nana Ekvtimishvili handles these details with lovely subtlety never making them feel heavy handed or overt. The camera- work for the film is also a knock out. The cinematographer, Oleg Mutu, is the same one responsible for the Romanian masterpiece 4 Months, 3 Weeks, 2 Days, and he flawlessly employs the steady hand and long takes he used in that movie to great effect here. There is a beautiful 5 minute scene that is a one shot take of one of the girls dancing and it is the perfect meld of technical camera-work and physical performance.

I would be remiss of course not to mention the acting of the two lead girls who are simply fantastic. And while they are both strong actresses, it's Lika Babluani, in a much quieter performance, who is devastating. She has a face made for cinema and she can carry those long takes and fill them up with her presence without feeling laboured or strained.

"In Bloom" is a first-rate coming-of-age drama from ex-Soviet Georgia, set in the capital, Tbilisi, in 1992, when the newly independent country is on the verge of coming apart. Russian-backed insurgents are fighting on the coast, bread is rationed, lawless customs from the bad old days —bride kidnapping, settling romantic rivalries with knives—are making a strong comeback.

The two leads, both first-time actresses, are amazing. Natia, already a beauty at 14, is being courted by two older guys—an unsavory tough, Kote, and the more appealing Lado. Before Lado goes off on an inopportune trip to Moscow, he gives Natia a revolver to protect herself. The stage seems to be set for an operatic climax until hard-headed Eka takes matters in hand.

The establishing scenes of squabbling families and menacing streets are quite well done, but it's the strong plot and the two lead actresses' sensitive performances that save this film from art-house miserabilism. Surprisingly, the real highlights are both musical numbers—Natia, Eka and their friends gather around the piano to sing a world-weary lovesong (something about "life is hard, and it will crush your dreams"), and Eka performs an amazing solo dance at a traditional wedding party. "In Bloom" is one of the better unheralded foreign films we've seen on Netflix lately.