27 baci perduti

I realize that the film maker wishes us to find her 14 year old Georgian Lolita a delightful free spirit but after 30 min all I could see was a smug bore.

27 Missing Kisses shows that Europeans are still capable of producing strong little pictures about life in general as lived by ordinary people . Much of the charm of the film lies in the recognition of man's ability of making a complete fool of himself. The natural beauty of the leading character, Sibylla, her disarming honesty in her doomed love for an older man makes one wonder at the forced and unnaturally contrived lives we all lead. Never preachy or heavy-handed, sentimental nor crude, but always utterly believable, its straightforwardness is deceiving. The village in which most of the action takes place is filled with its fair share of funnily sketched characters. Entertaining as they are, they only serve as distractions from what lies beneath.

The clever and convincing script, the sober but beautiful photography and the natural performances combined with the assured direction make this German/Georgian co-production a little gem of which any big name director would have been proud. I'm happy to say they still make them this way.

I saw "27 Missing Kisses" tonight on a campus theatre. The main character, Sibylla played by Nutsa Kukhianidze, is a free-spirited tomboy who enlivens a small town where she is visiting her aunt. I found the film to be edgy, zany with nonsequiturs, and interesting though perhaps self-referentially absorbed. It was reasonably believable and interesting, and some of it was quite funny, but I didn't find it to be particularly memorable. I probably missed key cultural context, though the film's narrative style did remind me a bit of Russian writer Nikolai Gogol. The setting and photography were quite appealing.

This movie is very lively and poetic. Based around a romantic triangle between two teenagers and the boy's father, the movie plunges you in the ambiance of a small georgian village. Combining moments of comedy and tragedy, it succeeds in being entertaining.

Set in Georgia -- the one in Eurasia, not the one around Atlanta -- or perhaps seacoast Bohemia, this movie, directed by Nana Dzhordzhadze, is a Shakespearean comedy that makes liberal use of images from his tragedies. In a theatrics-mad town, the screening of the French movie Emanuelle has everyone discussing this new vision of art, and has fourteen-year-old Nutsa Kukhianidze deciding she is going to seduce and wed the forty-one-year-old father of her age-appropriate boyfriend.

It's shot in sections of Tbiliisi and Athens -- the one in Greece, not Georgia -- and lit by cinematographer Phedon Papamichael that give it the look of a Kenneth Branagh Shakespeare movie from the 1990. Somehow it manages to mock the psychology of teen-aged girls and show their sorrows at the same time, and be beautiful to look at.