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The generation, which said its debut word in Georgian film in the early 1980’s, as it was discovered later, was planning to take a road of quite harsh (could be described as critical) realism. They were not aiming to make modern being, life more appealing or wrap it in a poetic-romantic fog. They did not want
to deceive the viewers with lies, or made-up-artifi cial reality.
They were not running away from showing brutal pictures of socalled “The bottom” of society’s life. The 80’s generation was forcing us to watch the unpleasant reality on the screen. Back then, some viewers might have found this process as some kind
of aggression from the new generation of film directors, but one thing is certain – whether we wanted it or not, was is acceptable, satisfying or not – this world existed in our country’s reality. Therefore, turning a blind eye on it for a long time, ignoring it,
The presented work talks about a few episodes from two films which were created by one of the most distinctive members of the aforementioned generation, Temur Babluani, in the beginning of his career (“The Flight of the Sparrows”, 1980; And “Brother”, 1981). Where the artist’s message is revealed in the way of ethical paradox. In general, Temur Babluani’s characters never carry standard qualities or are anywhere near ideals, which are stereotyped by society. Frequently, a human, who looks gloomy, repulsive at fi rst sight, has unknown
intentions and desires, can be seen from an unusual, unexpected angle and the viewer might fi nd a solid, firm personality in them.
The director is not looking for a non-existent world; he is not fascinated by the pathos of mankind. He does not lie and stays true to himself and the audience. He sees and documents what he knows and what really bothers him. Because of this,
distinctive point of view and maybe many other reasons, these two films maintain the interest of viewers to this day and what’s most important, despite the fact that many years have passed
(39-40 years), they have not lost their modern sound.