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And Then We Danced
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Reporter: Green Slime 1999

rating: 4211 Votes
story: A passionate coming-of-age tale set amidst the conservative confines of modern Tbilisi, the film follows Merab, a competitive dancer who is thrown off balance by the arrival of Irakli, a fellow male dancer with a rebellious streak
stars: Ana Javakishvili

writed by: Levan Akin
genre: Romance

Achei q era riverdale Hsvhwhzhshzhsz. 🙋 segunda 🏆. This I wish would happen to me. 然後我們跳了舞 free full game. Funny, the film was released in Finland weeks ago already but only after the riot in Tbilisi people got really interested. Good film, good story, great music. Where the rage comes from, don't get it, a cultural gap here maybe.

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I saw this film in Paris, where it was widely acclaimed. I came out of the cinema with a sense of this is always going to happen; the persecution and the destruction of gay people's lives. I was not uplifted by it and although persecution against gays is acute in Russia and the former USSR I feel that this persecution is like an advanced cancer spreading through the whole body politic of these countries. But the film deserves all the accolades that it can get, despite the feeling that I do not find it a particularly interesting film. The acting of the two main protagonists was good, but no better than many other LGBTQ films I have seen. It is bad to compare, but I would urge viewers to watch the Russian film ' Stand ' which is tougher, richer in cinematic terms and deserved much more attention in the West than it got. But I will buy the DVD when it eventually surfaces and study its nuances further. There is an element in the scenario which I will not give away that reminded me of ' Call Me By Your Name ' and the pain was just as acute and far more terrible to watch due to the fact that Georgia can kill if you do not conform, and the West does not. Also the sexual love was far more explicit and frantically expressed in ' And Then We Danced ' than in the other film. It also looked authentic and bravo to the actors for achieving that. It put the sexuality into homosexuality and for that alone, against all reservations I admire and respect it. It is precisely the sexuality that makes killers of so-called normal society and the hatred of so-called ' normal ' men.

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Wadi tqveni dedac movtyan. February 2020 who's here enjoying? 🌞❤️. Finally, a lyrics video where I can actually read the lyrics. Sometimes simple is better. DŽ後我們è³äº†èˆž free full text. When this song played in And Then We Danced I was literally screaming. Wow this looks amazing. I always wanted go to Georgia and learn Georgian. 03:30 thank me later. And Then We Danced Film poster Directed by Levan Akin Written by Levan Akin Starring Levan Gelbakhiani Bachi Valishvili Ana Javakishvili Music by Zviad Mgebry Cinematography Lisabi Fridell Edited by Levan Akin Simon Carlgren Production company French Quarter Film Release date 16 May 2019 ( Cannes) 13 September 2019 (Sweden) Running time 105 minutes Country Sweden Georgia Language Georgian Box office $185, 282 [1] And Then We Danced is a 2019 Swedish-Georgian drama film directed by Levan Akin. It was screened in the Directors' Fortnight section at the 2019 Cannes Film Festival. [2] [3] It was selected as the Swedish entry for the Best International Feature Film at the 92nd Academy Awards, but it was not nominated. [4] [5] Screening of the film in Georgia sparked protests, due to the story about a gay love affair. [6] Premise [ edit] Merab (Levan Gelbakhiani) has been training at the National Georgian Ensemble with his partner Mary (Ana Javakhishvili). However, when Irakli (Bachi Valishvili) arrives, he becomes both his rival and strongest desire. Cast [ edit] Levan Gelbakhiani as Merab Ana Javakishvili as Mary Anano Makharadze Bachi Valishvili as Irakli Giorgi Tsereteli as David Ninutsa Gabisonia Tamar Bukhnikashvili as Teona Critical response [ edit] On review aggregator website Rotten Tomatoes, the film holds an approval rating of 93% based on 14 reviews. [7] The film also won the Grand Prix, decided by the audience, as well as the Best Film and Best Actor awards, decided by the international jury, at the 10th Odesa International Film Festival in July 2019. [8] In August 2019, Levan Gelbakhiani won the Heart of Sarajevo Award for Best Actor at the 25th Sarajevo Film Festival. [9] In October 2019, the film won the Best Feature Film Award at the 2019 Iris Prize Festival. [10] It tied with Aniara for most awards at the 55th Guldbagge Awards, winning 4 awards including "Best film". [11] Screenings and protests [ edit] Georgian police reinforcement at the second protection line during the premiere. Ultra-conservative and pro-Russian [12] groups threatened to cancel the screening of the film in Tbilisi and Batumi, Georgia. [13] Head of the Children Protection Public Movement Levan Palavandishvili, pro-Russian businessman Levan Vasadze, head of Russian Yevgeny Primakov Foundation in Georgia, Dimitri Lortkipanidze, and the leader of ultra-nationalist movement Georgian March Sandro Bregadze announced they would go to the cinemas to not allow the showing of the film "which is against Georgian and Christian traditions and values and popularises the sin of sodomy". [14] The director of the film, Levan Akin responded to the threats, saying "It is absurd that people who bought tickets need to be brave and risk getting harassed or even assaulted just for going to see a film. I made this film with love and compassion. " The Georgian Orthodox Church disapproved the film premiere but also stated that “church distances itself from any violence. ” [14] On 8 November 2019, the Ministry of Internal Affairs of Georgia mobilized police troops at Amirani Cinema and nearby territory and placed special riot police troops nearby territory of Philharmonic Hall. Police officers surrounded the entrance to the building of Amirani Cinema. [15] Later that day several hundred members of Georgian March attempted to break the police cordon and forcibly enter the building of Amirani Cinema, but were stopped by the police. [16] The protesters wore masks and used pyrotechnics. [17] Despite the attempts, all screenings of the film took place as planned. [18] The police detained two persons and accused them of violating Article 173 of the Code of Administrative Offenses of Georgia (disobedience of lawful order of a police officer) and Article 166 (hooliganism). [19] One of the leaders of the Republican Party of Georgia, Davit Berdzenishvili, was attacked by the protesters. [20] Civil activist Ana Subeliani was also heavily injured in a clash with protesters and transferred to a hospital. [21] See also [ edit] List of submissions to the 92nd Academy Awards for Best International Feature Film List of Swedish submissions for the Academy Award for Best International Feature Film References [ edit] External links [ edit] And Then We Danced on IMDb.



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But you also see it in the lost, zombified gazes of the people in the background, the ones passing her in a hospital corridor or lining up to board a streetcar in a public square that once bustled with activity. Perhaps Balagov’s most acute insight is that when devastation is the order of the day, people become numb even when things take a turn for the worse (and yes, they can always get worse). Something unbearably, shatteringly cruel happens early on in the movie, but while you may gasp in shock and horror, for the other characters it’s just one more blow to absorb. That’s true of Masha, too, when she returns home from the war front wearing a strange, uncomprehending smile that barely falters when she hears about her and Iya’s latest bout of very bad news. And yet that bad news sinks in deep nonetheless, spurring Masha to take actions that are both inscrutable and decisive. 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Masha is smaller but also fiercer, more determined, and when she isn’t staring into space her eyes can suddenly blaze with mischief. As stark and grimly realistic as “Beanpole” is, Balagov adds another expressionist layer. Some of the movie’s most powerful moments transpire in the cramped apartment that Masha and Iya share, and for all its squalor and disarray, the place, as shot by the gifted cinematographer Kseniya Sereda, also has a wistful, incongruous beauty. Sergey Ivanov’s production design is full of retina-searing flares of red and green, Christmassy colors that are reinforced by the sweaters the women wear. Will they ever know this kind of brightness and cheer again, or are their clothes and peeling wallpaper expressing emotions that they cannot? Balagov doesn’t say, but in spite of it all he leaves you with a shred of hope. It’s as though the director were channeling both the austerity of one of his mentors, Russian filmmaker Alexander Sokurov, and the lush palette of Douglas Sirk, the Hollywood filmmaker whose 1950s melodramas turned bold slashes of color into a whole new language of feeling. Bachi Valishvili and Levan Gelbakhiani in the movie “And Then We Danced. ” (Lisabi Fridell / Music Box Films) “Beanpole” first premiered in a sidebar at last year’s Cannes Film Festival, where Balagov, a prodigious 28-year-old talent, won a directing prize. (This is his second feature after his controversy-stirring 2017 debut, “Closeness. ”) There’s a certain perversity in the fact that this overwhelmingly bleak story about the enduring and destructive power of platonic love — and also the uselessness of erotic love — is being released in L. A. theaters on Valentine’s Day. For audiences looking for a more conventionally moving art-house romance, this week also sees the arrival of the luminous and absorbing coming-of-age drama “And Then We Danced, ” which hails from the former Soviet republic of Georgia. “Beanpole, ” shortlisted for the international feature film Oscar, was submitted to the motion picture academy by Russia; “And Then We Danced, ” though shot and set in the Georgian capital of Tbilisi, was submitted by Sweden. Its writer-director, Levan Akin, is a Swedish-born filmmaker of Georgian descent who had to shoot the picture under difficult, ever-changing conditions and tight security: A story of romantic love between two men was still deemed too taboo for a society where homosexuality is legal but homophobia runs rampant. (Local screenings of the movie last year were fiercely condemned by conservative politicians and pro-Russia groups. ) The strict conservatism of traditional Georgian culture is one of Akin’s key targets, but it’s also a subject that clearly fascinates him. The movie unfolds in the world of Georgian folk dance, where Merab (a superb Levan Gelbakhiani), a 20-something dancer with a broad, elfin grin, dreams of becoming a member of the national ensemble. His parents, now separated and poor, once harbored such dreams themselves. His ne’er-do-well older brother, David (Giorgi Tsereteli), also dances, though often misses practice due to his late-night drinking binges. Merab, responsible and hard-working, is his family’s best hope for the future, rehearsing tirelessly by day with his longtime dancer partner, Mary (Ana Javakishvili), and working as a restaurant waiter by night. But the dance community is fiercely competitive, and the stern instructor (Kakha Gogidze) criticizes his body and gestures as too soft and effeminate (“You should be hard as a nail! ”), and orders him and Mary to keep any hint of seductive playfulness out of their tightly choreographed movements. “There is no sex in Georgian dance, ” he declares with a straight face, laying down a challenge that the movie will proceed to demolish. But the object of Merab’s affection isn’t Mary, despite their nominal couple status. It’s Irakli (Bachi Valishvili), a handsome, muscular young man who has just joined their troupe, claims to have a girlfriend back in his home city of Batumi, and turns out to be a more seasoned dancer than Merab. But any sense of rivalry is quickly engulfed by the power of their shared attraction, as the intense physicality of their dance moves (shot with a fluid, focused camera by Lisabi Fridell) quickly takes on an erotic dimension. Their friendship and flirtation play out in secret, though Merab, drawn not only to Irakli but also to Tbilisi’s underground LGBT nightlife, can keep the truth hidden for only so long. Audiences who have seen other exquisite gay romances of recent years, like “Call Me by Your Name” or the under-appreciated “God’s Own Country, ” will not be surprised by how “And Then We Danced” plays out. But the story is rescued from its somewhat formulaic groove by the vividness of its milieu and the vitality of the performances. Tellingly, Merab and Irakli’s relationship is endangered not only by the threat of exposure, but also by the soul-crushing challenges and upheavals of family and working-class life, which encourages young people not just to conform but to settle. But in its most rousing moments, “And Then We Danced” suggests another way forward. Its narrative moves may not be terribly original, but even the most traditional steps can be executed with force and feeling. And some of them can even be turned on their head. Akin builds to a climax in which the art of traditional dance — projecting a rigid, desexualized vision of masculinity that Merab has no interest in upholding any longer — is thrillingly subverted and reclaimed. ‘Beanpole’ Not rated In Russian with English subtitles Running time: 2 hours, 19 minutes Playing: Starts Feb. 14, Landmark Nuart Theatre, West Los Angeles ‘And Then We Danced’ In Georgian with English subtitles Not rated Running time: 1 hour, 53 minutes Playing: Laemmle Playhouse 7, Pasadena; Laemmle Royal, West Los Angeles; Laemmle Town Center 5, Encino
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