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• rating=3838 vote
• 
• 113 m
• Giorgi Tsereteli, Levan Gelbakhiani
• writers=Levan Akin
• Directed by=Levan Akin

 

And then we danced soundtrack. And then we danced robyn. And then we danced film. YouTube. Hyojin Choi is the best cheerleader. So fun to watch. Movies, ‘And Then We Danced Review: Caught Between Desire and Tradition “There is no sexuality in Georgian dance, ” an instructor says. Then things get complicated. Credit. Music Box Films Feb. 6, 2020, 7:00 a. m. ET And Then We Danced Directed by Levan Akin Drama, Romance 1h 53m More Information Watching an attractive young male-female couple go through a complicated routine, a bearded, older instructor (Kakha Gogidze) glowers. They should not be looking at each other; their gaze should be to the floor, he says. “There is no sexuality in Georgian dance, ” he almost growls. The rehearsal is interrupted by the arrival of a new dancer, Irakli (Bachi Valishvili) whos told to remove his earring almost immediately. Merab (Levan Gelbakhiani) the young male dancer who had been at work, looks at the new guy with trepidation and something else. In the event you needed more foreshadowing, theres a subsequent scene in the female changing quarters where dancers gossip about a male member of the troupe who was kicked out for being gay. Tbilisi, where this movie, written and directed by Levan Akin, is set and was shot, looks like a pleasant place to live, but also like a land out of time. The young members of the Georgian dance group all smoke like chimneys, and their world, and the world around them, has seriously retrograde ideas about human relations. This means trouble for Merab, who has more than a socially unacceptable new love on his plate: his family is struggling in poverty. Gelbakhiani, the lead actor, has a lean physique, striking red hair and certain facial features that suggest hed actually make a great Alfredo Linguini in a live-action remake of “Ratatouille, ” not that such a thing should happen. He and the rest of the cast perform with conviction, and the whole movie is attractively, solidly put together. But its dramatic components, fraught as they are, are tepidly delivered. The movie catches fire only in its final scene, in which Merab expresses his rebellion in the language of dance, not words. And Then We Danced Not rated. In Georgian, with English subtitles. Running time: 1 hour 53 minutes.

And Then We Danced Genre Dramafilm Regissör Levan Akin Producent Mathilde Dedye Manus Levan Akin Skådespelare Levan Gelbakhiani Bachi Valishvili Originalmusik Zviad Mgebry Fotograf Lisabi Fridell Klippning Levan Akin Simon Carlgren Produktionsbolag French Quarter Film Distribution Triart Film Premiär 13 maj 2019 (Filmfestivalen i Cannes) Speltid 105 minuter Land   Sverige   Georgien Språk Georgiska IMDb SFDb And Then We Danced är en svensk- georgisk dramafilm från 2019, med regi och manus av Levan Akin. Filmen hade premiär på Filmfestivalen i Cannes 13 maj 2019 och hade Sverigepremiär 16 september samma år. Filmen skildrar ett danskompani i Georgien och handlar om förbjuden kärlek i ett homofobt samhälle mellan de två unga dansarna Merab ( Levan Gelbakhiani) och Irakli ( Bachi Valishvili. Filmen väckte stor uppståndelse i Georgien, som är ett av Europas mest homofobiska länder, och under inspelningen hade filmteamet livvakter och mottog hot. Vid filmpremiären i Tibilisi utbröt våldsamma protester när demonstranter försökte stoppa filmvisningen. Bakom demonstrationerna låg uppmaningar från bland annat den nationalkonservativa och hbtq-fientliga organisationen Georgiens marsch, samt den ortodoxa kyrkan, som uppmanade sina anhängare att öppet visa sitt missnöje med filmen. På grund av filmens kontroversiella tema vågade exempelvis inte filmens koreograf skylta med sitt namn i eftertexterna och produktionen budgeterade för att skådespelare snabbt skulle kunna lämna landet om det behövdes. 1. 2] And Then We Danced mottog god kritik och utsågs även till Sveriges bidrag till Oscar för bästa internationella långfilm inför Oscarsgalan 2020. 3] På Guldbaggegalan 2020 vann filmen fyra priser; bästa film, bästa manuskript, bästa manliga huvudroll samt bästa foto. 4] Rollista (i urval. redigera, redigera wikitext] Levan Gelbakhiani – Merab Ana Javakishvili – Mary Anano Makharadze Bachi Valishvili – Irakli Giorgi Tsereteli – David Ninutsa Gabisonia Tamar Bukhnikashvili – Teona Kakha Gogidze – Aleko Källor [ redigera, redigera wikitext] ”Efter protesterna mot ”And then we danced”: Vi var inte beredda på det stora stödet filmen fått”... 11 november 2019... Läst 4 december 2019. ^ ”Levan Akin: Vi hade livvakter under inspelningen”. Sydsvenskan... Läst 4 december 2019. ^ ”And then we danced blir Sveriges Oscarsbidrag”. SVT Nyheter. 28 augusti 2019... Läst 4 december 2019. ^ ”And then we danced vann bästa film på Guldbaggegalan”. 20 januari 2020... Läst 21 januari 2020. Externa länkar [ redigera, redigera wikitext] And Then We Danced på Internet Movie Database (engelska) And Then We Danced på Svensk Filmdatabas v   •   r Guldbaggen för bästa film 1963–1970 Tystnaden (1963/64)   Bröllopsbesvär (1964/65)   Heja Roland! 1965/66)   Persona (1966/67)   Hugo och Josefin (1967/68)   Den vita sporten (1968/69)   Misshandlingen (1969/70) 1971–1990 Utvandrarna (1970/71)   Äppelkriget (1971/72)   Viskningar och rop (1972/73)   En handfull kärlek (1973/74)   Det sista äventyret (1974/75)   Släpp fångarne loss – det är vår! 1975/76)   Mannen på taket (1976/77)   Picassos äventyr (1977/78)   Ett anständigt liv (1978/79)   Mannen som blev miljonär (1979/80)   Barnens ö (1980/81)   Den enfaldige mördaren (1981/82)   Fanny och Alexander (1982/83)   Smärtgränsen (1984)   Mitt liv som hund (1985)   Offret (1986)   Pelle Erövraren (1987)   Vid vägen & Tillbaka till Ararat (1988)   Miraklet i Valby (1989)   God afton, Herr Wallenberg (1990) 1991–2010 Il Capitano (1991)   Änglagård (1992)   Kådisbellan (1993)   En pizza i Jordbro (1994)   Lust och fägring stor (1995)   Hamsun (1996)   Tic Tac (1997)   Fucking Åmål (1998)   Tsatsiki, morsan och polisen (1999)   Sånger från andra våningen (2000)   Så vit som en snö (2001)   Lilja 4-ever (2002)   Ondskan (2003)   Masjävlar (2004)   Ninas resa (2005)   Förortsungar (2006)   Du levande (2007)   Maria Larssons eviga ögonblick (2008)   Män som hatar kvinnor (2009)   Sebbe (2010) 2011– Apflickorna (2011)   Äta sova dö (2012)   Återträffen (2013)   Turist (2014)   Efterskalv (2015)   Jätten (2016)   The Nile Hilton Incident (2017)   Gräns (2018)   And Then We Danced (2019.

Thank you for posting this. Very interesting discussion! I hope they can visit the US and discuss the film here. And then we danced us release. And then we danced download. And then we danced praha. Gonna do my very best. And Then We dance dance. Movies and then we danced. I will play this song on my first date. I love this song and the girl I'm in love with. 3. And Then We dancer. And then we danced cast. And then we danced ფილმი. Georgian dance tests the physical limits of the body. Limbs must move with the sharpest of precision, but your figure must also remain rigid—statuesque, even. Its a beautiful art form, pretty in the way that old buildings are—enriched by their past, the stories and history that brought them to us, and enchanting because of their total incongruity with the modern world. Above all, Georgian dance is about asserting dominance; it signifies a prideful country positioning itself as a monument of strength. In the explosive new film And Then We Danced (opening February 7 in the U. S. a young performer is criticized for lacking strength and being too soft by his troupes aggressive leader. “Georgian dance is based on masculinity, ” the man barks. “There is no room for weakness. ” Though he grew up in Sweden, the films director, Levan Akin, always loved his native countrys traditional dance. His parents had immigrated to Scandinavia from Georgia years prior, and he would frequently spend his summers there as a child, until the countrys civil war—instigated by clashes between ethnic minority separatist movements and the government—broke out in 1991. As a child, Akin says, he was blind to the countrys fraught history within the Soviet Union. “I had this utopian idea of Georgia because Georgians are very proud of their culture, ” he says. “It's a very small country that was under the rule of other, larger empires throughout history. In that sense, it's been really important for Georgia to keep their own culture unchanged. ” His idyllic memories of his familys homeland were called into question in 2013, when members of Georgias alt-right violently disrupted a Pride event held in the capital, Tbilisi. Around 50 LGBTQ activists congregated in the citys Pushkin Park for what was intended to be a peaceful rally to celebrate the International Day Against Homophobia, but the counter-protesters numbered in the thousands. Police interference couldnt stop the escalating violence, as the counter-protesters beat up and threw stones at anyone they believed to be gay, and over a dozen people were hospitalized with broken bones or blunt-force trauma. One man caught up in the violence was the victim of an attempted lynching. The 2013 Pride attack shocked and rattled Akin, who grew up believing Georgia was open and accepting. But instead of causing him to retreat from his heritage, the cultural divide hed seen between the younger, post-Soviet generation and their patriotic elders inspired him. “I wanted to do something about how tradition is up for interpretation, that nobody can tell you how you should be in order to love your culture or cherish your history, ” he explains. “You can do it on your own terms. ” And Then We Danced tells the story of Merab, an ambitious member of Georgias National Dance Ensemble. A potential rival arrives in the form of Irakli, a charming rebel with the natural talent that Merab craves. But any competitiveness between the two quickly dissipates, giving way to a tentative romance told through longing glances. In an oppressive country where gay men are unable to voice their feelings, love becomes corporeal. The first time the two men act on their desires, its in darkness, better for avoiding the gaze of others. As clothes are hastily removed, the voices of drunken men can be heard in the background—a constant reminder of the threat always lurking in the periphery. Akins film is romantic and tender, but its all too aware of its defiance against a powerful, oppressive system that sees queerness as a threat to the fabric of Georgian tradition. All of this is told through the prism of dance: the hallmark of the countrys national identity forged on traditionalism. And Then We Danced is one of the most intimate, devastating and euphoric love stories ever told on screen. But in Georgia, its also the most controversial film to ever hit theaters. Before And Then We Danced, Akin says he felt lost. He had made two films in Sweden, including a YA adaptation of the Scandinavian best-selling novel The Circle, which failed to spawn the franchise that had initially been planned. “I had been working for a very long time and I felt like I had lost my curiosity in filmmaking, ” Akin says. And Then We Danced was, he felt, going to be his ticket back to his roots, of making “little movies for fun. ” He just didnt know what the movie was going to be about. In 2016, Akin flew to Georgia with a small, inexpensive camera in hand and no money, to interview anyone who would talk to him about what it was like to be young and queer in a country that would prefer they not exist. The director understood the potential dangers of what he was embarking on: here he was, entering an openly homophobic country where LGBTQ people had been attacked in a public park just three years prior. But that Pride parade was the catalyst of this trip, not the deterrent. Many of the people he attempted to interview would, if they were not openly hostile towards him, just ignore him—a gesture that still telegraphed hostility. That was the extent of Georgian hospitality. In one instance, Akin was in the middle of a conversation with a dance teacher. He was civil and courteous, until Akin mentioned the films plot. The teacher instantly switched from civility to outright disgust, storming out of the room, leaving Akin sitting there confounded. The director recalls another encounter with a theater director he emailed to help enlist interviewees. “I contacted that person several times, and then I realized: it's because of the topic that I'm researching that they're not getting back to me. ” It took some time for Akin to understand that some manipulation and withholding of the truth was needed to get the information he wanted. If he sensed that someone wouldnt be as responsive to the films subject, he avoided the topic completely, instead asking questions about Georgias youth culture. After several trips, hed eventually collected stories from around 50 interviews with LGBTQ organizations and Georgian citizens (both young and old) many of which were incorporated into the finished product. In the film, for instance, the women of the troupe share gossip about a disgraced member who was sent to a monastery after his family discovered he was gay, only to escape when he was sexually assaulted by the priests. This is, as youve likely guessed, based on a real story Akin heard. Akin assembled a cast of professional actors and amateurs to fill out the cast around his leading man, a 21-year-old newcomer he discovered by accident. Scrolling through Instagram, he came across a dancer with delicate, Elven features framed by soft, brown curls. “I remember it so clearly, ” Akin says. “Hes so cute. He put up dance videos [that were just] super endearing. ” The account belonged to Levan Gelbakhiani, a part-time dancer who was working at a hostel in Tbilisi at the time. Akin reached out to Gelbakhiani to ask if he would act in his movie. He said no. But the director wouldnt relent. It took several more pleas until he finally convinced the dancer to audition. In the room together, Gelbakhiani impressed Akin so much that, according to the director, “the film grew from him. ” The director scraped together a cast and crew, along with a minuscule budget thanks to funding from the Swedish and French Film Institutes. And though the Georgian Film Center is encouraging of homegrown cinema, the organization refused to give them funding, the one instance in which Akin couldnt avoid the films subject matter. Akin shot the film in Tbilisi in just four weeks. Securing locations presented challenges: despite providing a fake plot synopsis, they would lose locations on a days notice because the truth had somehow gotten out; bodyguards were hired to protect the cast and crew in case of protests or intrusions; the choreographer is to this day credited only as “Anonymous” for their safety. Despite the potential danger of what he was doing, Akin reveled in the spontaneity the shoot demanded from him. “It was really like a neo-realist approach and it rejuvenated my filmmaking, ” Akin says. “I always want to work like this now. ” The first time Akin and I meet is in hotel lobby around the corner from where And Then We Danced had just received a 15-minute standing ovation at the Cannes Film Festival. Unfamiliar with the festivals unspoken etiquette of prolonged applause, the 40-year-old didnt know how to take it. (He assumed it was just extras who were clapping. “I got uncomfortable, because I'm Swedish, ” Akin says. “We're supposed to be humble. I wish I'd known how it was, because then maybe I would have enjoyed it more. ” When the applause had finally subsided and Akin left the theater, he was stopped by his publicist. “You know they can boo, too? ” she told him. And Then We Danced has become the indie film success story directors dream of. Its secured distribution in over 40 countries (rare for a film of its size and budget) and has been embraced by Akins native Sweden, which selected the film as its Oscars submission for the International Film category and awarded the film four Guldbagge awards (the Swedish equivalent of the Oscars) including Best Picture. When Akin calls in late January, hes heading to Utah the next day for the Sundance Film Festival, the last stop on a nine-month whirlwind tour around the festival circuit. Crucially, though, not everyone has been as kind to And Then We Danced. In Georgia, its stirred something in the cultures deep-rooted attitude towards the queer community. In November, three sold-out screenings were held in Tbilisi and the coastal city of Batumi, all of which were met with violent protests by hundreds of far right demonstrators. The Georgian Orthodox Church had publicly denounced the film as “an affront to traditional Georgian values”, and prominent right wing figures, many of whom were from Russia, called for the screenings to be cancelled. The protest organizer, Levan Vasadze, condemned the film as a “moral threat to the fabric of our society. ” The protestors attempted to stop ticket holders from entering the theater, while civil rights activist escorted them inside through a narrow “corridor of shame” between the angry mobs. Chants of “Long live Georgia! ” and “Shame! ” rang out in front of the entrance to Tbilisis Amirani cinema, while the flames of a rainbow flag being burned lit up the chaos. “I was afraid, because if somebody got hurt because of something that I made, that would really mess with me, ” Akin says. “I had trouble sleeping. It was right around when we were going to L. A. to do the Oscar campaign, so we were all out of it because we were just checking our phones for updates. The news cycle, especially in Georgia, was insane. The only thing every channel was talking about was And Then We Danced. ” The film hasnt been screened in Georgia since the incidents. Akin has, he says, resigned himself to the fact that three screenings were enough. However, since the backlash, the film has ignited a movement for LGBTQ rights in Georgia. Young people have mobilized the film as a symbol of hope against the church and governments oppression of queer people. The films soundtrack—a mixture of folk music (recorded by instrumentalists who remained anonymous for their safety) and pop hits from ABBA and Robyn—serves as the sound of rebellion. To the rest of the world, And Then We Danced seems like a humble, indie film. Back home, its a landmark work of art with real political power. Akin calls And Then We Danced his “love letter to Georgia”: a Georgia that can evolve and change for the better. Perhaps we take for granted the power of film. We tend to dismiss certain stories with a casual “its just a movie. ” But And Then We Danced speaks to what movies are capable of. Film, and especially queer film, is a political act. It has the power to move someone, enrage them or even change their point of view. Akin tells me about an elderly distant relative who recently travelled to Sweden to see the film because it was too dangerous in Georgia. “She couldn't stop crying because she loved it so much, ” he says. “And she's super religious but she adored this film because shes never seen any representation. She was like, ‘It's almost a shame that somebody from outside Georgia has shown Georgia better than any Georgian ever has. ” The fascinating thing about Akin is that, despite the chaos, backlash, and threatening messages in his Instagram DMs, hes immensely proud to be Georgian. He plans to go back next year to shoot part of his next feature. “You know what I love? ” Akin asks. “I love walking in the darkness and not knowing what's around the next corner. ” Its there, in the scary, unfamiliar darkness, that he finds the stories he most wants to tell. Every Studio Ghibli Film, Ranked With the animation titans imminent arrival to streaming, we took a look at the catalog.

And then we danced wiki. Whos here after “and then we danced” ❤️🥰. And then we danced watch online. And then we danced abba. And then we danced adjaranet. Music Box Films and IndieWire just released the US trailer for And Then We Danced. Enjoy! ☺️ US release February 7. #andthenwedanced “As Western queer cinema struggles to find its voice in the rapidly evolving independent film landscape, international queer films can still pack a punch. Case in point: “And Then We Danced, ” a queer coming-of-age drama that has provoked violent protests in Tbilisi, Georgia, where it was filmed. Though it didnt make the short list for Best International Feature (it was Swedens official pick for the award) the film is getting a U. S. theatrical release in February. With its gorgeous cinematography and compelling queer story, “And Then We Danced” will make a nice Valentines Day pairing with “Portrait of a Lady on Fire. ””.

Black Swan რიმეიქია. 🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈💜💜💜💜💜💜💜💜💜💜💜💜. Al Pacino: Im gonna kill myself. A passionate tale of love and liberation set amidst the ultraconservative confines of modern Georgian society, And Then We Danced follows Merab, a devoted dancer who has been training for years with his partner Mary for a spot in the National Georgian Ensemble. The arrival of another male dancer, Irakli—gifted with perfect form and equipped with a rebellious streak—throws Merab off balance, sparking both an intense rivalry and romantic desire that may cause him to risk his future in dance as well as his relationships with Mary and his family. “Akin goes to great lengths to ensure that audiences unfamiliar with Georgian customs appreciate just how formalized and conservative traditional Georgian dance can be in a country not exactly known for socially liberal leanings. ” ( Variety) “Treated with compassion, Akin's love story is a heady tale of identity that elegantly engages with intoxicating dance and unavoidable human impulse. ” ( Film Inquiry) Cosponsored with LGBT Studies. website.

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And Then We Danced Film poster Directed by Levan Akin Written by Levan Akin Starring Levan Gelbakhiani Bachi Valishvili Ana Javakishvili Music by Zviad Mgebry Cinematography Lisabi Fridell Edited by Levan Akin Simon Carlgren Production company French Quarter Film Release date 16 May 2019 ( Cannes) 13 September 2019 (Sweden) Running time 105 minutes Country Sweden Georgia Language Georgian Box office 185, 282 [1] And Then We Danced is a 2019 Swedish-Georgian drama film directed by Levan Akin. It was screened in the Directors' Fortnight section at the 2019 Cannes Film Festival. [2] 3] It was selected as the Swedish entry for the Best International Feature Film at the 92nd Academy Awards, but it was not nominated. [4] 5] Screening of the film in Georgia sparked protests, due to the story about a gay love affair. [6] Premise [ edit] Merab (Levan Gelbakhiani) has been training at the National Georgian Ensemble with his partner Mary (Ana Javakhishvili. However, when Irakli (Bachi Valishvili) arrives, he becomes both his rival and strongest desire. Cast [ edit] Levan Gelbakhiani as Merab Ana Javakishvili as Mary Anano Makharadze Bachi Valishvili as Irakli Giorgi Tsereteli as David Ninutsa Gabisonia Tamar Bukhnikashvili as Teona Critical response [ edit] On review aggregator website Rotten Tomatoes, the film holds an approval rating of 93% based on 14 reviews. [7] The film also won the Grand Prix, decided by the audience, as well as the Best Film and Best Actor awards, decided by the international jury, at the 10th Odesa International Film Festival in July 2019. [8] In August 2019, Levan Gelbakhiani won the Heart of Sarajevo Award for Best Actor at the 25th Sarajevo Film Festival. [9] In October 2019, the film won the Best Feature Film Award at the 2019 Iris Prize Festival. [10] It tied with Aniara for most awards at the 55th Guldbagge Awards, winning 4 awards including "Best film. 11] Screenings and protests [ edit] Georgian police reinforcement at the second protection line during the premiere. Ultra-conservative and pro-Russian [12] groups threatened to cancel the screening of the film in Tbilisi and Batumi, Georgia. [13] Head of the Children Protection Public Movement Levan Palavandishvili, pro-Russian businessman Levan Vasadze, head of Russian Yevgeny Primakov Foundation in Georgia, Dimitri Lortkipanidze, and the leader of ultra-nationalist movement Georgian March Sandro Bregadze announced they would go to the cinemas to not allow the showing of the film "which is against Georgian and Christian traditions and values and popularises the sin of sodomy. 14] The director of the film, Levan Akin responded to the threats, saying "It is absurd that people who bought tickets need to be brave and risk getting harassed or even assaulted just for going to see a film. I made this film with love and compassion. The Georgian Orthodox Church disapproved the film premiere but also stated that “church distances itself from any violence. ” [14] On 8 November 2019, the Ministry of Internal Affairs of Georgia mobilized police troops at Amirani Cinema and nearby territory and placed special riot police troops nearby territory of Philharmonic Hall. Police officers surrounded the entrance to the building of Amirani Cinema. [15] Later that day several hundred members of Georgian March attempted to break the police cordon and forcibly enter the building of Amirani Cinema, but were stopped by the police. [16] The protesters wore masks and used pyrotechnics. [17] Despite the attempts, all screenings of the film took place as planned. [18] The police detained two persons and accused them of violating Article 173 of the Code of Administrative Offenses of Georgia (disobedience of lawful order of a police officer) and Article 166 (hooliganism. 19] One of the leaders of the Republican Party of Georgia, Davit Berdzenishvili, was attacked by the protesters. [20] Civil activist Ana Subeliani was also heavily injured in a clash with protesters and transferred to a hospital. [21] See also [ edit] List of submissions to the 92nd Academy Awards for Best International Feature Film List of Swedish submissions for the Academy Award for Best International Feature Film References [ edit] External links [ edit] And Then We Danced on IMDb.

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July 2029. Hooters and then we danced. And then we danced showtimes. And then we danced lyrics. And then we danced trailer. If you want a different, warm, gripping and engaging drama - this is the movie! This heartwarming story from Georgia is a charmbomb. Incredibly well filmed with the storytelling taking place in Tiblisi. We follow a young man's encounter with his first love, in unfamiliar surroundings (at least for me. Great performances by these young actors make it both poignant and believable. I think the protagonist of the film clearly manages to show the challenges of being gay, in an environment that is clearly not ready for it. The film's message of what love and sorrow does to us is universal, but the place and surroundings this takes place in this film, lift it up and make it a special and touching experience in the cinema. Thanks to the Oslo Fusion Film Festival setting up this one, I hope it gets wide release worldwide. A warm recommendation from me.

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And then we danced srulad. And then we danced bassiani. And then we danced dj. A Georgian dancer finds his voice amidst a conservative culture in Levan Akin's luminous drama, which is Sweden's official Oscar submission. Editors note: This review was originally published at the 2019 NewFest Film Festival. Music Box Films releases the film on Friday, February 7. Merab is a dancer. Like his mother and father before him, he has trained in the art of traditional Georgian dance since he first began walking. Lean and sinewy, he delicately balances stiffness and flow with each precise move, his eyes alight with the pure joy of creative expression. Hes the paragon of Georgian health, a perfect marriage of the fledgling democracys bright future and its proud past. If only his demanding dance coach, who barks that he is “too soft, ” could see it that way. If only there were room in Georgian dance — in Georgia itself — for a little softness, maybe the country wouldnt be losing so many of its artists, scholars, and innovators to more progressive climes. “ And Then We Danced, ” Swedish filmmaker Levan Akin s luminous tour de force (and his native countrys Oscar submission for Best International Feature Film) adorns itself with the question of cultural identity as proudly as Merab dons his traditional Georgian dance robe in its rousing final scene. Born in Stockholm to Georgian parents from Turkey, Akin chose to set his third feature film in Tblisi, at the intersection of one young mans arrival at queerness amid his rigorous training in the National Georgian Ensemble. We learn that hyper-masculinity is one of the central tenets of Georgian dance, although it only became so in the last 50 years. By framing his gentle coming-of-age tale around such a traditional piece of Georgian culture, he has made an inherently political film, and rendered it in sensitive terms with a celebratory spirit, not to mention a culture rarely seen onscreen. Its one of the years best gay films. “And Then We Danced” begins in the studio, with Merab (Levan Gelbakhiani) circling his longtime dance partner Mary (Ana Javakishvili. In the extensive dance scenes, Merab is smooth and joyous, bringing an unmistakable flair to the hard movements. But every time he seems to get into it, all strong shoulders and splayed hips, hes stopped and made to start again. “Georgian dance is based on masculinity, ” his teacher says. “There is no room for weakness in Georgian dance. ” “And Then We Danced” Anka Gujabidze Merabs day-to-day is an endless stream of hard work and stress: sweating through rehearsals, waiting tables for too little money, fighting with his drunken brother, and keeping the lights on for their grandmother and unemployed mother. Nevertheless, he cant help but skip elegantly on his way to catch the bus, as the citys golden light and colorful clotheslines illuminate his way. When a new male dancer arrives from the country, Merabs initial suspicions of the competition give way to intrigue. Dark-haired and with broad shoulders, the earring-clad Irakli (Bachi Valishvili) talks back to the teacher and follows his own rules. Though Merab is incensed when Irakli takes his place in a duet, he softens to the newcomer when the two start early morning rehearsals together. It isnt long before their desire takes over, once they find each other in the woods during a weekend of partying at a friends country home. Drinking homemade wine out of glass carafes and cavorting loudly around the shabby manor, they settle into a unexpected romantic backdrop. Fallen from its former glory, the setting nonetheless exudes a charming grandeur in its peeling paint and windowed parlors. Dancing to Robyn on the moonlit porch, an oversized fur hat atop his head, Merab vibrates with the electricity of first romance. Stealing sideways glances at Irakli in the car ride home, a wide and knowing smile spreads across his face. Hes too happy to notice the other boy doesnt return his gaze. The rest is fairly predictable, but Akin fills Merabs world with enough other intrigue to transcend the cliches of one unrequited gay romance. Merabs awakening may begin with Irakli, but it doesnt end with him. When Irakli disappears back home without warning, Merab makes eyes at a swishy young man with long hair. He follows his new friend to a gay bar that wouldnt be out of place in any other European city, as the loud and flamboyant crew party all night, ignoring the slurs of passersby. Akins script diverges from the traditional coming-of-age tale, even as he hits all the old notes — forcible outing by a jealous classmate, fight scene, the inevitable heartbreak. Its all there, but the movie remains laser focused on Merabs internal journey. His forceful final dance audition provides the films impassioned finale, as the character finally unshackles himself from the burden of tradition to perform with unbridled style and joy. There may be no room for softness in traditional Georgian dance, but there is always room for interpretation. Grade: A- “And Then We Danced” premiered at the 2019 Cannes Film Festival and is Swedens official Oscar entry for Best International Feature. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

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On the website And Then…

Watch full movie camera. Dow`n&lo"ad' Ful`l'And'Then'We, Watch And Then Online Download Subtitle. როგორ მიყვარხართ ორივე 😘😘. May 18, 2019 3:42AM PT A young dancer tries to make sense of his same-sex desires within Georgian society's oppressively conservative boundaries. In an equitable world, Levan Gelbakhiani, the lead actor in the Tbilisi-set “ And Then We Danced, ” would be thrust to stardom for his extraordinary performance as a dancer who finally acts on his gay desires. But this is far from an equitable world, and though the uneven film is likely to get significant attention on the arthouse scene, it will require several visionaries to realize the international potential of a young Georgian actor-dancer with a gift for captivating the screen. Following its launch in Directors Fortnight at Cannes, writer-director Levan Akin s third feature should easily leap beyond the LGBT ghetto and find love among multiple demographics. But as in Akins first film, “Certain People, ” the script here too often slips into cliché, yet the filmmaking skills are frequently exceptional and Gelbakhiani is riveting. Akin goes to great lengths to ensure that audiences unfamiliar with Georgian customs appreciate just how formalized and conservative traditional Georgian dance can be in a country not exactly known for socially liberal leanings. When first seen in the studio, Merab (Gelbakhiani) is berated by instructor Aliko (Gogidze) for not being formulaic enough: His eyes are too playful, his posture too soft. “There is no sex in Georgian dance! ” thunders the brooding ballet master, but just at that moment in walks Irakli (Bachi Valishvili) a new student who immediately captures Merabs eye. Dance is in Merabs DNA: His separated parents Teona (Tamar Bukhnikashvili) and Ioseb (Aleko Begalishvili) and grandmother (Marika Gogichaishvili) were all professionals, though their moments in the sun were brief, and his troublemaking brother David (Giorgi Tsereteli) is also at the school, despite lacking the same sense of vocation. Hard-working Merab is drawn to impish Irakli, a rule-breaker who easily raises Alikos hackles, and the two are occasionally paired in male duets whose macho nature is subverted by Merabs feelings of attraction. Upcoming national auditions increase tension, so a break for the troupe at the countryside house of Merabs dance partner Mary (Ana Javakishvili) is a welcome chance for everyone to let off steam, with the help of alcohol. Late at night, Merab and Irakli find themselves alone, and a shirtless Merab tosses on a woolly white papakha hat as he dances to Robyns “Honey, ” with its deliciously provocative line, “Come get your honey. ” Its an outstanding scene, showcasing Gelbakhianis bewitching screen presence and joy-giving dance moves, yet just at the moment when the viewer is eager to let the scene play out to the end of the song, Akin inexplicably cuts away, undermining the build-up. Later, when the two young men finally make love, the act opens up a floodgate of emotions for Merab, who cant think of anyone else but Irakli. Hovering over his passion is the cautionary story of a former dance school pupil, now an object of ridicule, whose coming out was the start of a fast decline leading to a life of hustling on the streets. Thats what Mary is terrified will happen to Merab as she watches her friend, once a potential boyfriend, open himself up to desires that pit him headlong against the countrys very conservative traditions. Mary (sympathetically played by Javakishvili) is but one of several underwritten characters whose stereotyped function — in her case, as the hesitant but ultimately supportive female friend — cries out for at least a bit more development to avoid the sense that weve seen this figure far too many times. David too is a cliché throughout most of the film, his gift for screwing up rather loosely drawn, but then almost at the end, Akin includes a scene between the two brothers of rare emotional depth that highlights even further the dissonance between the expertly conceived moments and their weaker counterparts. The director, born in Sweden to Georgian parents, has stated that he developed his story following numerous interviews with gay Georgians, and while theres no arguing the truth of the situations, the script needs sharper writing to translate commonalities into a fresher, more trenchant storyline. That said, its important to add that for audiences less familiar with the robust back catalog of coming-out stories, “ And Then We Danced ” is certain to touch many receptive chords. This goes beyond the basic truths of the narrative, with its predictable trajectory, and can firmly be ascribed to the films exceptional technique and exciting lead actor. Gifted as both a thrilling dancer and a nuanced actor, Gelbakhianis magnetic presence goes a long way toward papering over some of the more timeworn plot elements (an injured foot subplot, for example, is especially unnecessary) and the film should make audiences clamor for more vehicles that feature his seemingly effortless ability to radiate joy. Also deserving significant praise is the visual language Akin crafts through his collaboration with cinematographer Lisabi Fridell (“Something Must Break”) whose marvelously fluid camerawork elides with the emotional states of protagonists and audience. For example, during a scene at a party toward the end, the camera glides through the rooms, fixed on Merab in a moment of crisis, and then loses him only to seamlessly find him through a window, one floor below on the street. Its a masterful shot, quietly bravura without calling attention to itself. Editing is also a strong suit, apart from that frustrating cut during the Robyn song. After three weeks in theaters, Sonys “Bad Boys for Life” is officially the highest-grossing installment in the action-comedy series. The Will Smith and Martin Lawrence-led threequel has made 291 million globally to date, pushing it past previous franchise record holder, 2003s “Bad Boys II” and its 271 million haul. The first entry, 1995s “Bad Boys, ”. The BAFTA film awards have kicked off in London, with Graham Norton hosting this year at the Royal Albert Hall. The awards will be broadcast on the BBC in the United Kingdom and at 5 p. m. PT on BBC America. “Joker” topped the nominations with 11 nods, while “Once Upon a Time in Hollywood, ” and. “1917, ” Sam Mendes World War I survival thriller, has taken an early lead at the 73rd British Academy of Film and Televisions Film Awards with four wins so far. “1917” took the first award of the evening, the Outstanding British Film Award, where it was the clear favourite in the category against fellow nominees “Bait, ”. Every summer, more than 1, 000 teens swarm the Texas capitol building to attend Boys State, the annual American Legion-sponsored leadership conference where these incipient politicians divide into rival parties, the Nationalists and the Federalists, and attempt to build a mock government from the ground up. In 2017, the program attracted attention for all the wrong. Box office newcomers “Rhythm Section” and “Gretel and Hansel” fumbled as “Bad Boys for Life” remained champions during a painfully slow Super Bowl weekend. Studios consider Sundays NFL championship a dead zone at movie theaters since the Super Bowl is the most-watched TV event. This year proved no exception. Overall ticket sales for the weekend. Ahead of tonights BAFTA Awards in London, Amy Gustin and Deena Wallace, co-directors of the British Independent Film Awards (BIFA) discuss how they shook up their awards voting mechanisms to become more inclusive of a wider variety of films and filmmakers.  BIFA is different from other awards bodies in its process as well as its. A wide range of Scandinavian films, including the politically-charged Danish drama “Shorta, ” the supernatural Icelandic drama “Lamb” with Noomi Rapace, and the Finnish-Iranian refugee tale “Any Day Now, were some of the highlights at this years Nordic Film Market. They were presented, along with 13 other films in post-production, as part of the Work-in-Progress section.

 

And then we danced honey.

And then we danced interview. And Then We dance music. Login • Instagram. When they cannot make a film about the ' Battle of Didgori' then they make low-level films about Georgians. Swedish-born director Levan Akin's third film, set in Georgia, is about a young male dancer who develops feelings for his main rival. Merab, a young Georgian from a family of dancers, has been training all his life for a career with the National Georgian Ballet in  And Then We Danced (Da cven vicekvet. Though his dance teacher is very demanding and daily rehearsals are physically draining, Merabs biggest obstacle to overcome is the fact he starts to have feelings for a newly arrived fellow dancer, who happens to be not only also a man but his main rival for a much-desired spot at the Ballet. This third feature from Swedish-born director Levan Akin ( Certain People,  The Circle) who is himself of Georgian descent, combines familiar tropes from stories about dancers and stories about young people falling in love and coming out. So besides the fascinating backdrop of Georgian traditional dancing, which wont be that well-known for audiences outside of Georgia, this is largely unsurprising material that will appeal to LGBT showcases and distributors but which will have a hard time breaking out of that specific niche. It premiered in Cannes in the Directors Fortnight. “There is no sexuality in Georgian dance, ” according to dance teacher Aliko (Kakha Gogidze) a burly man with a gray beard who looks more like an Orthodox priest than a choreographer (indeed Gogidze played a man of the cloth in Renny Harlins  5 Days of War. According to Aliko, traditional Georgian dance, which represents “the spirit of our nation, ” instead requires “virginal candor" — which makes Merab (Levan Gelbakhiani) who is having trouble concentrating lately, frown. Merabs career as a dancer was practically preordained, as his grandmother and his divorced parents were all dancers. And his future looks relatively bright, as the young man is much more disciplined than his layabout older brother, David (Giorgi Tsereteli) who is technically also training with Merabs group for future dancers at the National Ballet but who prefers to party hard at night and then has trouble showing up in the morning. Money is tight in the family — as dance careers are relatively short — so the youth also waits tables at night to help make ends meet. Akin and Swedish cinematographer Lisabi Fridells polished images have a lovely grain and soft, enveloping light, which help sketch the young dancers very structured daily life without ever making it feel boring. But Merabs routine starts to come apart after the arrival of Irakli (Bachi Valishvili) a possible competitor. This new dancer, with sleek dark hair, a beefy frame and round, somewhat roughly drawn features, is in many ways the opposite of Merab, who is more angular and elegant, with his thinly carved lips, wide-open eyes and wavy hair with a reddish glow. Irakli doesnt only come with the air of mystery that surrounds most newcomers, but hes also accompanied by a lot of gossip, including the news that he supposedly has a girlfriend in Batumi, Georgias second-biggest city. Merab is “more or less” — his words — together with Mary (Ana Javakishvili) a dance partner with whom he has been training for years. But the two barely see each other outside of their daily rehearsals. And her presence never quite puts a smile on Merabs face like the one he gets when Irakli falls asleep on his shoulder at the back of a bus or after Merab has visited Iraklis room at his grandmothers house. All of these moments are beautifully played by Gelbakhiani, who brings not only a wiry and intense physicality to the part but also has an extremely expressive face that can never conceal his characters true emotions. But no good performance can hide the fact that what happens during roughly the first hour is perhaps beautifully laid out and told but also extremely familiar. There is an expectation that Akin, also credited with the screenplay, will somehow step it up in the second half with a new twist or unexpected insight. But quite the opposite happens, as the narrative becomes both more melodramatic and erratic, with numerous subplots suddenly vying for attention and an overdose of plot getting in the way of proper characterization. This gives the proceedings a staccato feeling that makes it harder for viewers to keep identifying with Merabs emotional rollercoaster, his feelings now frequently snowed under by scenes meant to illustrate the rather obvious contrast between Georgian tradition and Merabs more liberal desires. That said, the films midsection and last act contain some of Akins most compelling images, including not one but two impromptu dance sequences at a festive countryside gathering that really showcase Gelbakhianis charisma and total command over his body (which, it has to be noted, is far superior to Valishvilis. The closing sequence, while finally open to interpretation in a way that might frustrate more plot-oriented viewers, does work beautifully as a visual metaphor for the pain and ecstasy of someone finally fully living their own truth.   Production companies: French Quarter Film, Takes Film, RMV Film, Inland Film, Ama Productions, SVT Cast: Levan Gelbakhiani, Bachi Valishvili, Ana Javakishvili, Giorgi Tsereteli, Ninutsa Gabisonia Writer-Director: Levan Akin Producers: Mathilde Dedye, Ketie Danelia Director of photography: Lisabi Fridell Production designer: Teo Baramidze Costume designer: Nini Jincharadze Editors: Levan Akin, Simon Carlgren Music: Zviad Mgebry, Ben Wheeler Sales: Totem Films Venue: Cannes Film Festival (Directors Fortnight) In Georgian No rating, 106 minutes.

20 wins & 15 nominations. See more awards  » Learn more More Like This Drama, Romance 1 2 3 4 5 6 7 8 9 10 8. 2 / 10 X On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman. Director: Céline Sciamma Stars: Noémie Merlant, Adèle Haenel, Luàna Bajrami Certificate: 18A War 7. 2 / 10 1945, Leningrad. WWII has devastated the city, demolishing its buildings and leaving its citizens in tatters, physically and mentally. Two young women search for meaning and hope in the struggle to rebuild their lives amongst the ruins. Kantemir Balagov Viktoria Miroshnichenko, Vasilisa Perelygina, Andrey Bykov Certificate: 14A 7. 7 / 10 Hoping that self-employment through gig economy can solve their financial woes, a hard-up UK delivery driver and his wife struggling to raise a family end up trapped in the vicious circle of this modern-day form of labour exploitation. Ken Loach Kris Hitchen, Debbie Honeywood, Rhys Stone Certificate: G 6. 9 / 10 A North Macedonian woman throws herself into a traditionally men-only ceremony, kicking up a ruckus and standing her ground. Teona Strugar Mitevska Zorica Nusheva, Labina Mitevska, Stefan Vujisic 8. 1 / 10 Two sisters born in Rio de Janeiro make their way through life, each mistakenly believing the other is living out her dreams half a world away. Karim Aïnouz Julia Stockler, Carol Duarte, Flávia Gusmão Adventure Thriller On a remote mountaintop, eight kids with guns watch over a hostage and a conscripted milk cow. Alejandro Landes Sofia Buenaventura, Julián Giraldo, Karen Quintero Crime A cop from the provinces moves to Paris to join the Anti-Crime Brigade of Montfermeil, discovering an underworld where the tensions between the different groups mark the rhythm. Ladj Ly Damien Bonnard, Alexis Manenti, Djebril Zonga Sci-Fi 5. 9 / 10 Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. Against company policy, she takes one home as a gift for her teenage son, Joe. Jessica Hausner Emily Beecham, Ben Whishaw, Kerry Fox Comedy 7. 6 / 10 A couple in crisis. He, disillusioned, sees his life upset the day an entrepreneur offers him to plunge back into the time of his choice. Nicolas Bedos Daniel Auteuil, Guillaume Canet, Doria Tillier 6. 6 / 10 A stormy reunion between scriptwriter Lumir with her famous mother and actress, Fabienne, against the backdrop of Fabienne's autobiographic book and her latest role in a Sci-Fi picture as a mother who never grows old. Hirokazu Koreeda Catherine Deneuve, Juliette Binoche, Ethan Hawke 8. 7 / 10 Vadim is twenty-two. He's a sound engineer and a downer. He's going to Canada in three months. Forever. Before the departure he's assigned to record the voice of a very rare bird, which. See full summary  » Antonio Lukich Irma Vitovskaya, Andriy Lidagovskiy Certificate: PG Filmmaker Elia Suleiman travels to different cities and finds unexpected parallels to his homeland of Palestine. Elia Suleiman Elia Suleiman, Tarik Kopty, Kareem Ghneim Edit Storyline A passionate tale of love and liberation set amidst the conservative confines of modern Georgian society, AND THEN WE DANCED follows Merab, a devoted dancer who has been training for years with his partner Mary for a spot in the National Georgian Ensemble. The arrival of another male dancer, Irakli-gifted with perfect form and equipped with a rebellious streak-throws Merab off balance, sparking both an intense rivalry and romantic desire that may cause him to risk his future in dance as well as his relationships with Mary and his family. Plot Summary Add Synopsis Details Release Date: 7 February 2020 (USA) See more  » Also Known As: And Then We Danced Box Office Cumulative Worldwide Gross: 195, 564 See more on IMDbPro  » Company Credits Technical Specs See full technical specs  » Did You Know? Trivia Ketie Danelia (producer of the movie) stated in an interview with "Radio Tavisupleba" that the Ministry of Culture and Monument Protection of Georgia, declined to fund the trip for the filming crew to visit the Cannes Film Festival (where the movie was initially set to premiere) and that they've explicitly specified that it was solely due to the fact, that it was depicting homosexual romance. Because of this, very few people that were associated with the production (basically only the main cast and crew) went to visit the Cannes, on their own personal funding. See more » Connections References Spirited Away  (2001) See more ».

Alright, who came from Great Big Story. And Then we dance. And then we danced protests tbilisi georgia. And Then We dance floor.

 

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