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A Georgian dancer finds his voice amidst a conservative culture in Levan Akin's luminous drama, which is Sweden's official Oscar submission. Merab is a dancer. Like his mother and father before him, he has trained in the art of traditional Georgian dance since he first began walking. Lean and sinewy, he delicately balances stiffness and flow with each precise move, his eyes alight with the pure joy of creative expression. Hes the paragon of Georgian health, a perfect marriage of the fledgling democracys bright future and its proud past. If only his demanding dance coach, who barks that he is “too soft, ” could see it that way. If only there were room in Georgian dance — in Georgia itself — for a little softness, maybe the country wouldnt be losing so many of its artists, scholars, and innovators to more progressive climes. “ And Then We Danced, ” Swedish filmmaker Levan Akin s luminous tour de force (and his native countrys Oscar submission for Best International Feature Film) adorns itself with the question of cultural identity as proudly as Merab dons his traditional Georgian dance robe in its rousing final scene. Born in Stockholm to Georgian parents from Turkey, Akin chose to set his third feature film in Tblisi, at the intersection of one young mans arrival at queerness amid his rigorous training in the National Georgian Ensemble. We learn that hyper-masculinity is one of the central tenets of Georgian dance, although it only became so in the last 50 years. By framing his gentle coming-of-age tale around such a traditional piece of Georgian culture, he has made an inherently political film, and rendered it in sensitive terms with a celebratory spirit, not to mention a culture rarely seen onscreen. Its one of the years best gay films. “And Then We Danced” begins in the studio, with Merab (Levan Gelbakhiani) circling his longtime dance partner Mary (Ana Javakishvili. In the extensive dance scenes, Merab is smooth and joyous, bringing an unmistakable flair to the hard movements. But every time he seems to get into it, all strong shoulders and splayed hips, hes stopped and made to start again. “Georgian dance is based on masculinity, ” his teacher says. “There is no room for weakness in Georgian dance. ” “And Then We Danced” Anka Gujabidze Merabs day-to-day is an endless stream of hard work and stress: sweating through rehearsals, waiting tables for too little money, fighting with his drunken brother, and keeping the lights on for their grandmother and unemployed mother. Nevertheless, he cant help but skip elegantly on his way to catch the bus, as the citys golden light and colorful clotheslines illuminate his way. When a new male dancer arrives from the country, Merabs initial suspicions of the competition give way to intrigue. Dark-haired and with broad shoulders, the earring-clad Irakli (Bachi Valishvili) talks back to the teacher and follows his own rules. Though Merab is incensed when Irakli takes his place in a duet, he softens to the newcomer when the two start early morning rehearsals together. It isnt long before their desire takes over, once they find each other in the woods during a weekend of partying at a friends country home. Drinking homemade wine out of glass carafes and cavorting loudly around the shabby manor, they settle into a unexpected romantic backdrop. Fallen from its former glory, the setting nonetheless exudes a charming grandeur in its peeling paint and windowed parlors. Dancing to Robyn on the moonlit porch, an oversized fur hat atop his head, Merab vibrates with the electricity of first romance. Stealing sideways glances at Irakli in the car ride home, a wide and knowing smile spreads across his face. Hes too happy to notice the other boy doesnt return his gaze. The rest is fairly predictable, but Akin fills Merabs world with enough other intrigue to transcend the cliches of one unrequited gay romance. Merabs awakening may begin with Irakli, but it doesnt end with him. When Irakli disappears back home without warning, Merab makes eyes at a swishy young man with long hair. He follows his new friend to a gay bar that wouldnt be out of place in any other European city, as the loud and flamboyant crew party all night, ignoring the slurs of passersby. Akins script diverges from the traditional coming-of-age tale, even as he hits all the old notes — forcible outing by a jealous classmate, fight scene, the inevitable heartbreak. Its all there, but the movie remains laser focused on Merabs internal journey. His forceful final dance audition provides the films impassioned finale, as the character finally unshackles himself from the burden of tradition to perform with unbridled style and joy. There may be no room for softness in traditional Georgian dance, but there is always room for interpretation. Grade: A- “And Then We Danced” premiered at the 2019 Cannes Film Festival and is Swedens official Oscar entry for Best International Feature. The film plays NewFest on October 26. Music Box Films will release it in the U. S. in January, 2020. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Arvid is using Letterboxd to share film reviews and lists with friends. Join here. 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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Its like more than magic. love it! 🔮🙌🏻✨. Opens February 7, 2020 1 hr 45 min Drama Romance Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing And Then We Danced near you. ENTER CITY, STATE OR ZIP CODE GO This movie releases on February 7, 2020. Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. And Then We Danced: Trailer 1 1 of 1 And Then We Danced Synopsis Lifelong dance partners are threatened by the introduction of a charismatic rival. Read Full Synopsis Movie Reviews Presented by Rotten Tomatoes.
Levan Akin's queer coming-of-age drama stoked protests in Tblisi, Georgia, and pushed the filmmaker to make his most impactful film yet. In mid-2013, violent anti-LGBT demonstrations erupted in Georgia, the fledgling democracy in the South Caucasus which only five years prior had successfully recovered from an aggressive Russian invasion. Roughly 20, 000 counter protestors had gathered in the capital of Tblisi to target some 50 LGBT activists marching for gay rights. Watching the violence unfold from his home in Sweden, gay filmmaker Levan Akin felt ashamed that his country of origin, where he spent summers in his youth, would display its homophobia so violently. The revelation inspired him to set his third feature film in Tblisi, and envision it as a tour-de-force coming-of-age drama about a traditional Georgian dancer coming to terms with his sexuality. Six years later, “ And Then We Danced, ” which is Swedens official submission for Best International Feature, is reigniting anti-gay sentiment in Georgia. Queer films have enjoyed significant mainstream success and critical acclaim in Hollywood in recent years, with the consecutive trifecta of “Carol, ” “Moonlight” and “Call Me By Your Name” receiving recognition from the Academy, not to mention the fervent adulation of LGBTQ audiences. Were well past the days of “Brokeback Mountain, ” when it was rare to see a queer film in the Oscar conversation. As evidenced by the fervor over last years Kenyan lesbian film “Rafiki, ” queer film is just as galvanizing — and politically impactful — outside the U. S. and Western Europe as it was in Hollywood 20 years ago. Which is why, when a film as tender, well-crafted, and culturally significant as “And Then We Danced” comes along, attention must be paid. “This notion of tradition and culture and these bigots hijacking what its supposed to mean really pisses me off, ” Akin told IndieWire during an interview in New York during Newfest. “A lot of young people were really disowning their heritage in Georgia because it represented oppression and patriarchy for them. With this film I wanted to be like — ‘It doesnt have to. You can decide what you want it to represent. '” Even though it was filmed in Tblisi, the film has been ecstatically embraced in Akins home country. In addition to being the countrys Oscar pick, it is Swedens top-reviewed film of the year and continues to screen in theaters there. Its reception in Georgia, while rapturous among progressives, has been decidedly more fraught. When an initial trailer premiered accompanying the films Cannes Film Festival premiere, it was “like a bomb” according to Akin. But for the filmmaker, the trouble started from the beginning of production. “And Then We Danced” Anka Gujabidze “I set it up as a very classic narrative. I knew that I couldnt deviate too much because I never knew what I would have, we would lose location on like one days notice, ” Akin said. Once word got out about the content of the film, Akin and his producers not only had trouble securing shooting locations, but they also had to hire a security detail after receiving threats. Initially naive about the potential challenges of shooting a queer film in a conservative country, Akin first realized how dire the situation was during an early meeting at one of the national dance ensembles. “When they found out what the movie was about they basically kicked us out, and they were like, ‘Why is it a movie about a boy and a boy? There are no gay people in Georgian dance. And I was like — ‘Actually there are, I interviewed several. And they were like, ‘Get the fuck out of here. '” Rather than giving up, Akin described the constraints as liberating. The filmmaker — who trained under Swedish auteur Roy Andersson and has directed for the Swedish National Television, which he describes as “a machine” — knew how to work on the fly. “I really had to be flexible. But Ive never filmed like this before, and this is how I always want to work now. It was so fun to be in the moment and to never really know what I was gonna get, but I took what I could all the time, ” he said. “The restaurant was open when were filming, the [sex workers] were working that night. Its very neorealist. We literally ran out with our camera and were like — ‘OK lets do this scene now. Ive never worked like that. ” Casting proved a unique challenge as well. For his luminous leading man, with whom the filmmaker shares a first name, Akin tapped contemporary dancer Levan Gelbakhiani for the role of Merab. With distinctive features and a lithe physicality, Gelbakhiani toggled effortlessly between child-like innocence, explosive anger, and wisdom beyond his years. His riveting performance is indisputably the heart and spine of the film. But because of the sensitive subject matter, not to mention an ambivalence towards acting, Gelbakhiani was initially reluctant to even meet with the director. Akin eventually wore him down, and began the process of getting the dancer comfortable being vulnerable on camera. In an initial teaser to help raise production money, Gelbakhiani was far too guarded and reserved. Levan Akin (R) with actors Ana Javakishvili (C) and Levan Gelbakhiani Nacho Gallego/EPA-EFE/Shutterstock “That was a concern my Swedish producer had. She was like, ‘Hes nice to look at, he has a very intriguing face, but you can feel that hes protecting himself. And I was like, ‘Just give me time and Ill break him down, ” Akin said. His inexperience forced Akin to get creative with the edit. “He isnt an actor, so a lot of the things were one-shot takes. It was very hard to get him to do the same thing two times. It was really sort of like Russian roulette. I edited the movie, and it was almost like editing a documentary in a way, because I had so much material but so little of the same thing. ” While the story includes a satisfying romantic storyline, with an earring-clad fellow dancer no less, the film is really more about Merabs personal journey of self actualization. Lest wary queer audiences worry, the film includes multiple sex scenes — and theyre smokin hot. “I have [the sex scenes] in the movie because I thought they were necessary for the narrative, they were necessary for the viewers to understand their connection, ” Akin said. “There is a love story in the film, but to me it was never supposed to be a love movie. Its about him finding his place in this traditional society and the love story is a catalyst for that. ” Akin is enjoying the success of “And Then We Danced, ” though he was understandably upset about news of anti-gay protests at screenings in Tblisi. The film has received universally rave reviews, including from the Georgian media ( as well as from this critic. Its both heartening and refreshing to see a gay film with political impact, something the blockbusters of todays Hollywood lack in a big way. By returning to his Georgian roots, Akin was able to shine a light on a global issue while injecting a shot of adrenaline into his own artistic process. The result is his most impactful film yet. “I think Id gotten bored of the old way of filming, ” he said. “So this film really gave me back my joy of making film. Im happy that it showed somehow in the movie. ” Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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