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Since Otar Left (2004)
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Reviews Counted:53
Fresh:52
Rotten:1
Average Rating:7.9/10
Consensus: A drama that's both funny and moving.
Theatrical Release:Apr 9, 2004 Limited
Box Office: $220,305
Synopsis: The crumbling squalor of former USSR city Tibilisi, Georgia, is the setting for a tale of three generations of Soviet women. Elder matriarch Eka (Esther Gorintin) lives for the letters from her... The crumbling squalor of former USSR city Tibilisi, Georgia, is the setting for a tale of three generations of Soviet women. Elder matriarch Eka (Esther Gorintin) lives for the letters from her beloved son Otar, who fled to Paris years ago as an illegal immigrant. Her daughter Marina (Nino Khomassourioze) strains under the pressures of their miserable existence in the now "free" country where the electricity and water work only sporadically and the buildings seem as depressed as the people. She loves her mother, though, and when news arrives of Otar's sudden death she asks her own daughter (Dinara Drukarova) to keep writing the letters so as not to break Eka's heart. The plot thickens when Eka decides to spend their life savings on three tickets to Paris so they can track down her beloved Otar. Director Julie Bertucelli previously worked as an assistant director to Krzystof Kieslowski (RED, WHITE, and BLUE trilogy) and she has inherited his genius for lighting, composition, and ability to find beauty in the most squalid domestic settings. The excellent cast conveys much with minimal dialogue, making this register far more deeply than as a mere allegory of a country coming to terms with its past lies and failures. It won the 2003 Critic's Week Grand Prize at Cannes. [More]
Starring: Esther Gorintin, Dinara Droukarova, Nino Khomassouridze, Temour Kalandadze
Starring: Esther Gorintin, Dinara Droukarova, Nino Khomassouridze, Temour Kalandadze, Roussoudan Bolkvadze, Sacha Sarichvili, Douta Skhirtladze
Director: Julie Bertuccelli
Director: Julie Bertuccelli
Screenwriter: Julie Bertuccelli, Bernard Renucci
Studio: Zeitgeist Films
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Reviews for Since Otar Left
Since Otar Left is meant to play out like a fable, but Bertuccelli's direction isn't nimble enough to carry it off.
A film, in which fictional characters become human by talking as real people really talk.
Ms. Bertuccelli's direction is singularly graceful in allotting enough space to each of her three co-protagonists without tearing apart the fabric of familial solidarity.
Paced slowly and deliberately, 'Since Otar Left' nonetheless provides sufficient narrative drive to sustain interest in the outcome.
Bertuccelli convinces us of her capability of sketching portraits of incredible characters that are credible.
Bertuccelli neatly unpacks these three women’s burdened lives and leaves us with a haunting souvenir—the last scene is a shimmering revelation.
Bertucelli has some pace problems -- the pokey movie is at least 15 minutes longer than it needs to be -- but she structures the story intelligently and cinematically.
In her first film, Julie Bertuccelli shows a pinpointed eye and a sweet gift for intimacy.
Everything about this subtly directed drama enhances its pathos and humor.
Julie Bertuccelli's very beautiful first feature is suffused with indelible humanist values and emotions.
You feel like you're watching a real family traipse through an uncertain world instead of actors creating relationships on the spot.
| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 90% 90% | District 9 |
| 86% 86% | 500 Days of Summer |
| 63% 63% | Extract |
| 06% 06% | All About Steve |
| 78% 78% | It Might Get Loud |
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