Avtandil Makharadze

A 50-year-old housewife, Manana, struggles with her dilemma - she has to choose between her family life and her passion, writing, which she had repressed for years - she decides to follow her passion and plunges herself into writing, sacrificing to it mentally and physically.

Soviet Georgia, 1983. Preparations for Nika and Ana's wedding are in full swing and it's a big day for both of their elite families. For the newlyweds and their friends, however, the celebrations are in fact part of a cover-up, as they plot an audacious escape from the Soviet Union.

Dmitrij has recently returned to his small Georgian hometown after graduating from a university abroad. His monotonous days drag on, between working and the solitary rock-climbing excursions.

In capital city Baku, eminent editor Yusef Abranov (Mustafayev regular Avtandil Makharadze) and director Mehmet (Yashar Nuri) are determined to get their latest movie made by any means necessary, after being shut down by the bankrupt national studio. Following various schemes, the only way left to raise the cash is to marry off Yusef’s son to the daughter of the rich guy who’s bought Yusef’s bizarre, mirror-filled house.

Berlin Film Festival 1991

A man prays in a forest to mourn over the recent death of his wife. He is kidnapped by an enemy tribe, leaving his children completely alone. The enemy tribesmen demand payment for his release. Will the man live?

Based on the famous novel of Milos Crnjanski, the story follows Serbian migrations from the Austro-Hungarian Empire during the XVIII century.

The day after the funeral of Varlam Aravidze, the mayor of a small Georgian town, his corpse turns up in his son's garden. Although it is secretly reburied, the corpse keeps returning until the police capture the local woman who is responsible. This woman says that Varlam should never be laid to rest since his Stalin-like reign of terror led to the disappearance of her family and friends.

The way home for Aleksandr Rekhviashvili is not charted in the conventional sense. It takes the viewer along some peculiar roads and across a unique landscape: Georgian history and legend, politics and social stratification, religion and ethics. Allusive, stylized and allegorical from beginning to end, his long-banned The Way Home is in part a tribute to Rekhviashvili’s favorite director, Pasolini, especially to The Hawks and the Sparrows (1966). Together with the short film Nutsa (1971) and the widely acclaimed Georgian Chronicle of the 19th Century (1979; SFIFF 1983), The Way Home closes a triptych of films that represent Rekhviashvili’s poetic contemplation of Georgia’s past. It makes extensive use of poems by Bella Akhmadulina (the major female poet of the cultural ‘thaw’ of the ’50s and ’60s and a Georgian by descent), and of sets by Amir Kakabadze. Like other films in the trilogy, The Way Home is stunningly photographed in black-and-white.--Oxymoron

An orphaned boy, Lazare, follows a wandering blind man from village to village to find the daily bread. Despite the extreme hardships, their relationship becomes a kind of moral support for the child.