It feels very real, as if the filmmakers have recorded some actual real-life moments.
Since Otar Left (2004)
Tomatometer
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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 tells a story of conventional melodrama, and makes it extraordinary because of the acting.
A film, in which fictional characters become human by talking as real people really talk.
Director Julie Bertucelli...doesn't have a very distinctive visual style, but she's aided tremendously by the architecture and scenery of Georgia
Director Julie Bertucelli's film works so well because of its adherence to the basics of good writing and strong acting.
A story full of gentle grace notes and keen-eyed observation, writer-director Julie Bertuccelli's first feature is at turns funny, sweet, sad, trenchant and telling.
Paced slowly and deliberately, 'Since Otar Left' nonetheless provides sufficient narrative drive to sustain interest in the outcome.
Although the premise is rather obvious, and at times a little too full of its own whimsy, the portrayal of the women is very incisive.
Since Otar Left could have played to broad comedy. Or it could have played to tearjerker sentimentality.
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.
...an insightful look at how three generations of women cope with changing times. Julie Bertuccelli's deft touch leaves one with a feeling of wistful hope.
It makes its points quietly, with sorrow and humor and a rich palette of human emotions that transcend language and culture and nationality.
It's a wonderful film with a love of intimacy, an eye for potent small moments that can go by unobserved and a willingness to explore the emotional complications of family relationships.
The kind of small film ... that expands our understanding of the emotional economy of family life, with its ebb and flow of love and hostility, secrecy and egregious candor.
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