CRITICAL – Georgian director Dea Kulumbegashvili signs a first moving film in the form of a portrait of a woman.
In an isolated village in Georgia, a priest discusses Abraham’s sacrifice. At the back of this barracks serving as a church, the fixed camera transforms the spectator into an observer. A projector echoes images of sacrificial paintings. The atmosphere is collected, and the device sets up an atmosphere that oscillates between light and dark. As if good were waltzing with evil.
The missionary of Jehovah’s Witnesses will not have time to complete his sermon. A Molotov cocktail falls and sets the place of worship on fire, causing panic and trapping the worshipers in an unbreathable place. Georgian director Dea Kulumbegashvili, whose first feature film it is, changes plans. From a distance, under an ancient tree, appears the church in flames in the hollow of the mountain. Children are running around. The firefighters arrive. Filmed from behind, we discover Yana, the wife of the priest with the strict bun. She observes the scene, and sees her husband’s place of worship go up in smoke.
“In the beginning” is apparently corseted in form but breathes every second