Otar Iosseliani

The panorama of human affairs encounters the “man with a movie camera”. His playground has no boundaries, his curiosity no limits. Characters, situations and places pitch camp in the life of a humanity that is at once the viewer and the thing viewed. But what are the last days of this humanity? Have they already passed? Are they now or still to come?

Algumas semelhanças são perturbadoras. Como aquelas entre um visconde guilhotinado, um capelão do exército, um vagabundo parisiense e o porteiro do edifício onde se cruzam quase todos esses personagens. E, no entanto, no meio de todo o caos, ainda existe a chance de esperança por um amanhã melhor.

Algumas semelhanças são perturbadoras. Como aquelas entre um visconde guilhotinado, um capelão do exército, um vagabundo parisiense e o porteiro do edifício onde se cruzam quase todos esses personagens. E, no entanto, no meio de todo o caos, ainda existe a chance de esperança por um amanhã melhor.

Algumas semelhanças são perturbadoras. Como aquelas entre um visconde guilhotinado, um capelão do exército, um vagabundo parisiense e o porteiro do edifício onde se cruzam quase todos esses personagens. E, no entanto, no meio de todo o caos, ainda existe a chance de esperança por um amanhã melhor.

Dedicated to the 80th anniversary of Andrei Tarkovsky. The film uses unique materials related to the years Tarkovsky spent in Italy, personal accounts of friends and professionals, the shooting locations of his films, to what degree his works reflects his personal life. The film brings us closer to the man to whom contemporary filmmaking owes so much.

Nicolas é um artista, um cineasta, que só deseja expressar-se e a quem todos desejam reduzir ao silêncio. Quando inicia a sua carreira na Geórgia, os "ideólogos" esperam amordaçá-lo, preocupados com o facto de a sua obra não seguir as regras fixadas. Perante a determinação daqueles, Nicolas deixa a sua terra natal e viaja para França - a terra da liberdade e da democracia. Mas o "estado de graça" não vai durar muito.

Nicolas é um artista, um cineasta, que só deseja expressar-se e a quem todos desejam reduzir ao silêncio. Quando inicia a sua carreira na Geórgia, os "ideólogos" esperam amordaçá-lo, preocupados com o facto de a sua obra não seguir as regras fixadas. Perante a determinação daqueles, Nicolas deixa a sua terra natal e viaja para França - a terra da liberdade e da democracia. Mas o "estado de graça" não vai durar muito.

Nicolas é um artista, um cineasta, que só deseja expressar-se e a quem todos desejam reduzir ao silêncio. Quando inicia a sua carreira na Geórgia, os "ideólogos" esperam amordaçá-lo, preocupados com o facto de a sua obra não seguir as regras fixadas. Perante a determinação daqueles, Nicolas deixa a sua terra natal e viaja para França - a terra da liberdade e da democracia. Mas o "estado de graça" não vai durar muito.

When he loses his position as a powerful government minister, Vincent is dropped by his pretty mistress and must begin life anew, without the privileges of power. As he gradually becomes acquainted with milieus which he d either forgotten or never known and a host of sometimes eccentric, often remarkable everyday people, Vincent really begins to start living again.

When he loses his position as a powerful government minister, Vincent is dropped by his pretty mistress and must begin life anew, without the privileges of power. As he gradually becomes acquainted with milieus which he d either forgotten or never known and a host of sometimes eccentric, often remarkable everyday people, Vincent really begins to start living again.

When he loses his position as a powerful government minister, Vincent is dropped by his pretty mistress and must begin life anew, without the privileges of power. As he gradually becomes acquainted with milieus which he d either forgotten or never known and a host of sometimes eccentric, often remarkable everyday people, Vincent really begins to start living again.

When he loses his position as a powerful government minister, Vincent is dropped by his pretty mistress and must begin life anew, without the privileges of power. As he gradually becomes acquainted with milieus which he d either forgotten or never known and a host of sometimes eccentric, often remarkable everyday people, Vincent really begins to start living again.

A story told quietly of Vincent a welder at a large and seemingly toxic plant along the Rhône, living in a village with his sons, wife, and mother, saying little to each other.

A story told quietly of Vincent a welder at a large and seemingly toxic plant along the Rhône, living in a village with his sons, wife, and mother, saying little to each other.

A story told quietly of Vincent a welder at a large and seemingly toxic plant along the Rhône, living in a village with his sons, wife, and mother, saying little to each other.

A story told quietly of Vincent a welder at a large and seemingly toxic plant along the Rhône, living in a village with his sons, wife, and mother, saying little to each other.

Nicholas is the eldest son of a wealthy suburban family, whose businesswoman mother makes deals from a helicopter and has an affair with her business partner. His cheerful, alcoholic father, on the other hand, is reduced to a prisoner in his room with his devoted dog and electric train set. Unbeknownst to his parents, Nicholas works as a window cleaner and dish washer in a Parisian cafe. He is also in love with the daughter of another cafe's owner, who, however, has an abusive boyfriend. One night, Nicholas sneaks a few drunken drifters into his family wine cellar and his father unexpectedly takes a liking to the stranger.

Nicholas is the eldest son of a wealthy suburban family, whose businesswoman mother makes deals from a helicopter and has an affair with her business partner. His cheerful, alcoholic father, on the other hand, is reduced to a prisoner in his room with his devoted dog and electric train set. Unbeknownst to his parents, Nicholas works as a window cleaner and dish washer in a Parisian cafe. He is also in love with the daughter of another cafe's owner, who, however, has an abusive boyfriend. One night, Nicholas sneaks a few drunken drifters into his family wine cellar and his father unexpectedly takes a liking to the stranger.

Nicholas is the eldest son of a wealthy suburban family, whose businesswoman mother makes deals from a helicopter and has an affair with her business partner. His cheerful, alcoholic father, on the other hand, is reduced to a prisoner in his room with his devoted dog and electric train set. Unbeknownst to his parents, Nicholas works as a window cleaner and dish washer in a Parisian cafe. He is also in love with the daughter of another cafe's owner, who, however, has an abusive boyfriend. One night, Nicholas sneaks a few drunken drifters into his family wine cellar and his father unexpectedly takes a liking to the stranger.

Nicholas is the eldest son of a wealthy suburban family, whose businesswoman mother makes deals from a helicopter and has an affair with her business partner. His cheerful, alcoholic father, on the other hand, is reduced to a prisoner in his room with his devoted dog and electric train set. Unbeknownst to his parents, Nicholas works as a window cleaner and dish washer in a Parisian cafe. He is also in love with the daughter of another cafe's owner, who, however, has an abusive boyfriend. One night, Nicholas sneaks a few drunken drifters into his family wine cellar and his father unexpectedly takes a liking to the stranger.

A witty, despairing French-Russian-Italian-Swiss art movie set in 16th-century Georgia, Stalinist Georgia, contemporary Georgia, and contemporary Paris, featuring the same set of actors in all four settings.

A witty, despairing French-Russian-Italian-Swiss art movie set in 16th-century Georgia, Stalinist Georgia, contemporary Georgia, and contemporary Paris, featuring the same set of actors in all four settings.

A witty, despairing French-Russian-Italian-Swiss art movie set in 16th-century Georgia, Stalinist Georgia, contemporary Georgia, and contemporary Paris, featuring the same set of actors in all four settings.

You're a provincial kid in Paris and suddenly you're the center of attention: Movie stars, famous directors and sexy women are doting on you because they all think you're the son of their long-dead legendary friend. You never knew your dad, but the facts of this famous guy's life suggest that he might have fathered you. Your mom tells you nothing. All the fuss makes you uncomfortable at first but soon you find it's rather fun to be the son of the famous Gascogne. And in the midst of it all you fall in love. It is, after all, springtime in Paris.

The horrific war in Chechnya, a neighbor of Georgia, gives a special poignancy to Otar Iosseliani’s fascinating, four-hour, made-for-television documentary on Georgia which, like his delightful Chasing Butterflies (SFIFF 1993), was produced in France. Iosseliani presents the history of this former Soviet republic through beautifully interwoven images of landscapes, artwork and clips from other Georgian filmmakers such as Nikoloz Shengalaya and Tenghiz Abuladze. He illuminates the part played recently by two politicians, both KGB men but with very different destinies: Zviad Gamsakhurdia, an ultranationalistic demagogue who died in exile; and Eduard Shevardnadze, who is the president of Georgia today.

The horrific war in Chechnya, a neighbor of Georgia, gives a special poignancy to Otar Iosseliani’s fascinating, four-hour, made-for-television documentary on Georgia which, like his delightful Chasing Butterflies (SFIFF 1993), was produced in France. Iosseliani presents the history of this former Soviet republic through beautifully interwoven images of landscapes, artwork and clips from other Georgian filmmakers such as Nikoloz Shengalaya and Tenghiz Abuladze. He illuminates the part played recently by two politicians, both KGB men but with very different destinies: Zviad Gamsakhurdia, an ultranationalistic demagogue who died in exile; and Eduard Shevardnadze, who is the president of Georgia today.

Châtelaine Marie-Agnès de Bayonnette lives in her family home with her cousin Solange. The lives of the two old ladies are governed by the traditional codes of aristocracy. When Marie-Agnès died, the heirs from Russia had to fight over the estate with a Japanese company that wanted to buy the property.

Châtelaine Marie-Agnès de Bayonnette lives in her family home with her cousin Solange. The lives of the two old ladies are governed by the traditional codes of aristocracy. When Marie-Agnès died, the heirs from Russia had to fight over the estate with a Japanese company that wanted to buy the property.

Châtelaine Marie-Agnès de Bayonnette lives in her family home with her cousin Solange. The lives of the two old ladies are governed by the traditional codes of aristocracy. When Marie-Agnès died, the heirs from Russia had to fight over the estate with a Japanese company that wanted to buy the property.

Events in an idyllic African village are shown in detail in the period just before logging trucks come in and cut down the forest around the villagers, forcing them to move into the wretched shantytowns that surround major cities throughout the undeveloped world. Despite the familiar premise, this surprisingly unsentimental film by Georgian director Otar Ioselliani has several things going for it, beginning with the cinematography and including the natural and unaffected (non-professional) performances of the villagers.

Events in an idyllic African village are shown in detail in the period just before logging trucks come in and cut down the forest around the villagers, forcing them to move into the wretched shantytowns that surround major cities throughout the undeveloped world. Despite the familiar premise, this surprisingly unsentimental film by Georgian director Otar Ioselliani has several things going for it, beginning with the cinematography and including the natural and unaffected (non-professional) performances of the villagers.

Events in an idyllic African village are shown in detail in the period just before logging trucks come in and cut down the forest around the villagers, forcing them to move into the wretched shantytowns that surround major cities throughout the undeveloped world. Despite the familiar premise, this surprisingly unsentimental film by Georgian director Otar Ioselliani has several things going for it, beginning with the cinematography and including the natural and unaffected (non-professional) performances of the villagers.

It is a brief documentary which records the life of five Augustinian monks in the little monastery of Castelnuovo dell'Abate, a Tuscan village, as well as the everyday life of people in the small town, from farmers to meat-hackers, from wine-makers to wild boar hunters.

It is a brief documentary which records the life of five Augustinian monks in the little monastery of Castelnuovo dell'Abate, a Tuscan village, as well as the everyday life of people in the small town, from farmers to meat-hackers, from wine-makers to wild boar hunters.

A documentary about the life of Andrei Tarkovsky in exile in Western Europe including Italy, Sweden, Germany and France until his sad demise to a fatal cancer.

Esta comédia absurda, com seu extenso grupo de vigaristas, ladrões, anarquistas, prostitutas, inspetores-chefes, negociantes de arte e inventores, lembra as vibrantes tapeçarias de Robert Altman. A história gira em torno de dois objetos, um conjunto raro de porcelana de Limoges, do século XVIII, e um retrato aristocrático do século XIX. Quando esses itens são passados, vendidos ou roubados de um personagem para outro, uma vertiginosa dança em volta do excesso começa a tomar forma, o que sugere que, se a história não se repetir, certamente rima. Juntamente com o co-escritor Gérard Brach, cujos outros créditos de co-escrita incluem Repulsão e Tess, Otar Iosseliani usa um leve toque para expor a futilidade da classe e ordem social, transformando em insignificantes as preocupações dos ricos e pobres. Premiada com o Prémio Especial do Júri no 41.º Festival Internacional de Cinema de Veneza.

Esta comédia absurda, com seu extenso grupo de vigaristas, ladrões, anarquistas, prostitutas, inspetores-chefes, negociantes de arte e inventores, lembra as vibrantes tapeçarias de Robert Altman. A história gira em torno de dois objetos, um conjunto raro de porcelana de Limoges, do século XVIII, e um retrato aristocrático do século XIX. Quando esses itens são passados, vendidos ou roubados de um personagem para outro, uma vertiginosa dança em volta do excesso começa a tomar forma, o que sugere que, se a história não se repetir, certamente rima. Juntamente com o co-escritor Gérard Brach, cujos outros créditos de co-escrita incluem Repulsão e Tess, Otar Iosseliani usa um leve toque para expor a futilidade da classe e ordem social, transformando em insignificantes as preocupações dos ricos e pobres. Premiada com o Prémio Especial do Júri no 41.º Festival Internacional de Cinema de Veneza.

"Before we started work on the film "Les Favoris de la Lune" , I tried to capture on film my first impressions of the city and the people who inhabit it. This etude of Paris, slightly shortened, was shown on television." -- Otar Ioseliani

Part of a series in which foreign filmmakers portray a region or town in France. Otar Iosselani looks at the Basque region and its inhabitants.

"Before we started work on the film "Les Favoris de la Lune" , I tried to capture on film my first impressions of the city and the people who inhabit it. This etude of Paris, slightly shortened, was shown on television." -- Otar Ioseliani

In the mountain village comes a group of young musicians in Tbilisi. Here they are going to relax and rehearse. Sad story about the final rupture occurred, the peasants do not sing beautiful old songs, the musicians play music incomprehensible to them ... Far from the idyllic image of rural life.

In the mountain village comes a group of young musicians in Tbilisi. Here they are going to relax and rehearse. Sad story about the final rupture occurred, the peasants do not sing beautiful old songs, the musicians play music incomprehensible to them ... Far from the idyllic image of rural life.

Gia is a carefree young percussionist who works at a theater in Tbilisi, capital of Georgia. He lives in a small apartment with his mother. Gia spends his days flitting from friend to friend, lover to lover, avoiding any responsibility, and never staying still for five minutes. However, he always manages to arrive at the theater just in time to play the drums at the end of the ballet.

Gia is a carefree young percussionist who works at a theater in Tbilisi, capital of Georgia. He lives in a small apartment with his mother. Gia spends his days flitting from friend to friend, lover to lover, avoiding any responsibility, and never staying still for five minutes. However, he always manages to arrive at the theater just in time to play the drums at the end of the ballet.

Under the premise of documenting for the sake of preservation the various forms of Georgian religious chanting, a distinct kind of sonorous psalmody passed over from generation to generation, what Otar Iosseliani captures in reality is the snapshot of a not-so-distant past that coexists with the world we might know yet transports us to what used to be.

A young idealist takes a job at a local state run winery only to discover and become disillusioned by the corruption of the Soviet State.

A young idealist takes a job at a local state run winery only to discover and become disillusioned by the corruption of the Soviet State.

Documentary of the Rustavi Metal Works, in the country of Georgia.

Documentary of the Rustavi Metal Works, in the country of Georgia.

A critique of materialism, the film is about a young couple who live in a rundown empty apartment. Their love is so strong that it makes the water flow and the electricity work, but when they start purchasing furniture and knickknacks, they fight and grow apart.

A critique of materialism, the film is about a young couple who live in a rundown empty apartment. Their love is so strong that it makes the water flow and the electricity work, but when they start purchasing furniture and knickknacks, they fight and grow apart.

"Sapovnela" means "the flower that nobody can find." We present this film without subtitles (the voiceover was forced on us by the censorship in the counter-revolutionary times, but the film was banned anyway due to its ending). This was my first attempt at combining music and colors. Also, this is a story about the old florist Mikhail Mamulashvili who created wonderful compositions in his small garden. -- Otar Iosseliani

A man tries to escape from his wife in order to visit an exhibition, where he sees a painting representing his own house.

A man tries to escape from his wife in order to visit an exhibition, where he sees a painting representing his own house.