Wet Sand

Tbilisi, Georgia, nowadays. April aged 34, just spent a night in jail for prostitution. She is now resuming her work in the run down night life hub in the underground of a luxury hotel. There she meets Dije, a young Nigerian immigrant. He entrusts her his journey to Tbilisi. Originally, believing he was headed for Georgia, USA, he finds himself trapped in an extreme alienation in a country offering no perspective. An odd love emerges between these two human beings while they try to survive together on the margins of society.

Merab has been training since a young age at the National Georgian Ensemble with his dance partner Mary. His world is suddenly turned upside down when the charismatic and carefree Irakli arrives and becomes both his strongest rival and desire. In this conservative setting Merab finds himself having to break free and risk it all.

Sandro is a forty-something teacher and still lives with his parents, who constantly meddle in his private life. He shows little interest in the blind dates his friend Iva pressures him to go on. On an outing to the Black Sea, he falls in love with the hairdresser Manana. When her husband Tengo is released from jail early, Sandro’s predicament takes on absurd dimensions. He gets caught up in wild family disputes and feels compelled to move Natia, pregnant with Tengo’s child, into his parents’ home. Wrong conclusions and misunderstandings are the driving force of this melancholy comedy, in which everyone meddles with everything but no one really listens, which only leads to yet further confusion. When in doubt, they all argue together with true ferocity, the situation invariably ending in intense outbursts. Levan Koguashvili’s second feature is thus in keeping with the best traditions of Georgian cinema. The narrative tone stays calm, as the events come thick and fast. Unsentimental, with various ellipses and allusions, and shot with wonderful colour compositions and an incredible feel for space, architecture and cityscapes, the film ultimately attains extraordinary profundity.

Keti (36) and her son Nika (16) find themselves in a precarious situation when Nika hits an old man in a car accident. The victim’s family promises to refrain from pressing charges against Nika if he compensates their loss in cash. Within a single day Keti has to raise a large amount of money to prevent her son Nika from being imprisoned. An unexpected turn gives the drama a tragicomical air.

Told through captivating imagery and visuals this long-awaited movie from a renowned Georgian filmmaker is an unusual psychological drama that demonstrates just how unnecessary dialogue can be for creating maximum audience effect. An old peasant and his innocent 16-year-old granddaughter sow corn on an island in the middle of the Inguri River dividing Georgia from Abkhazia. The intense bond between nature and the two individuals is disturbed, however, by the arrival of the border police.

Twelve-year-old Tedo lives with his young mother in Keto in an isolated hut on the outskirts of Tiflis. Tedo and Keto are refugees from Abchasia. The civil war has claimed everything they ever owned, including Tedo’s and Keto’s hopes for a bright future as an intact family unit. Tedo was just four years of age when they were obliged to flee from Abchasia. At the time, they had to leave behind Tedo’s father - his weak heart made it impossible for him to take on such a strenuous journey. Tedo is now an apprentice at a car repair shop and Keto is working as a sales assistant. Tedo gives the few pennies that he earns to his mother so that she no longer has to be nice to strange, unfriendly men. It pains the young boy agreat deal that he cannot earn more of a living for them; moreover, his mother’s moral conduct begins to weigh heavily on him. One day, when he discovers that she has a lover it becomes all too much for him and he decides to return to his father in Abchasia. Perhaps he will find the solution to all his problems there. Tedo meets many people on his journey - and suffers many a blow. He is by no means welcome everywhere. As his journey comes to an end he has acquired many an insight - such as the realisation that the grass is not necessarily greener on the other side.