The Georgia That Time Forgot: Levan Koguashvili’s ‘Guria’ Revives a Forgotten Era

Levan Koguashvili’s black-and-white tragicomedy “Guria” will premiere at the Venice Film Festival in its Spotlight section on September 9. Set in the western Georgian region of Guria, the film tells the story of Zuriko, a 45-year-old widower and farmer struggling to find love amidst the economic hardships of post-Soviet Georgia.

The movie is a co-production between several European countries, including Switzerland, Luxembourg, and Bulgaria. This international collaboration has raised eyebrows, with some questioning why such a global effort was necessary for a story set in a relatively isolated region like Guria. The involvement of Saudi Arabia’s Red Sea Fund, which joined the project at the last minute, adds to the complexity.

However, Koguashvili suggests that this international cooperation was driven by financial necessity rather than creative vision. He and his co-writer, Boris Frumin, had to seek out multiple funding sources to bring their project to life. The director credits the international crew with bringing a unique energy to the film, but it’s hard not to wonder whether the involvement of so many parties has watered down the story’s local flavor.

Guria, as depicted in Koguashvili’s film, is a place where poverty and hardship coexist with a sense of humor and absurdity. The director draws on his own experiences growing up in Georgia, including his fond memories of traditional supra gatherings, where singing and music played a central role. By incorporating folk songs into the narrative, Koguashvili adds another layer to the film’s already complex cultural context.

Koguashvili’s work often straddles the line between tragedy and comedy, as seen in his previous films like “Street Days” (2010) and “Brighton 4th” (2021). This blend of genres allows him to capture the complexities of life in post-Soviet Georgia without resorting to easy clichés. By introducing humor into the story, he creates a sense of levity that makes the narrative more digestible.

Koguashvili’s use of folk singing as a narrative tool taps into the cultural heritage of Georgia, allowing him to convey the complexities of life in this region without sacrificing artistic integrity. His approach raises important questions about cultural representation and ownership: is it driven by creative vision or financial necessity?

As “Guria” premieres at Venice, audiences will get their first glimpse into this little-known region and its people. Will Koguashvili’s film succeed in bringing attention to Guria, or will it become just another example of a well-intentioned but ultimately superficial portrayal of a foreign culture? The world will have to wait and see.

The film promises to be an unforgettable experience, with its unique blend of tragedy and comedy set against the backdrop of post-Soviet Georgia. As Koguashvili’s work continues to explore the complexities of life in this region, it marks another chapter in the ongoing story of cultural representation on the global stage.