There aren’t many films willing to plunge into the dark caverns of human society with the courage of Dito Tsintsadze’s. With utter simplicity and a masterful touch, the Georgian director describes the murderous prejudices of a provincial mining town against anyone who is seen as different from the norm.
Irina’s backstory come out in well-timed bits and pieces. As a hospital nurse, she stole drugs for her addict husband, and when caught she took the rap alone so he could look after their two children and his old mother. But as Irina soon discovers, all those lonely years in prison have alienated her kids from her – her little school-age boy sleeps with his granny, who spoon feeds him at the table, and her teenage daughter Sopo won’t even speak to her.
Soon she meets Luka , a languidly handsome young man whose mother was in prison with her. When she brings him news that she is dying of cancer, Luka’s automatic reaction is to reach for the comfort of red lipstick. He is another outsider like herself, clumsily hiding his gayness at the price of having no one to love. Rather charmingly, he tells her that he does yoga because “I want to find out who I am.
Luka invites Irina to a party, where the social worker and yoga teacher are also present. The atmosphere is transgressive and Ana encourages Luka to “express his inner self” by donning a glittering woman’s costume, make-up and a wig. As Irina and the other guests look on, he performs a weird, jerky dance that bodes no good. The next day, he goes missing.
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