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Sashishi deda (Scary Mother)

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Sashishi deda (Scary Mother)

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As in the dream that starts with the lines of a novel that slips between your hands as you give way to sleep, it is the literary word that induces the state of alteration to which the victim falls willingly in the debut work of Ana Urushadze, in which not by chance someone keeps someone else awake, while the cycles of day and night are confused, as if the natural state of the film is to sleep with eyes open in which behaviours, gestures and objects take on new surreal connotations. Spaces are also revealed to be a ground of negotiation between intimate and public, porous to the contamination of the subconscious, the famous "Loggias" of Tbilisi, external spaces unlawfully built for private use, or a courtyard that is found to accommodate indifferently a printing machine and a bath tub, to a lynchiana Red room glossy materialization of the explosive inner dimension of the protagonist. The taboo broken by Manana is to write and unhinge every role of which is overlaid (family, female, maternal, sexual), with a process so personal to make with her own body the only surface on which she spontaneously takes notes. The result is vulgar pornography as the family and publishers judge, or a masterpiece as hysterically believes the amusing stationer, her only ally? To choose either of the other hypothesis would mean waking up in the middle, deciding between sleep and wakefulness, psychosis and talent, autobiography and novel, while the revolutionary direction of Sashishi deda (Scary Mother, 2017) is to embrace the multiplicity and the transformative potential of all that we habitually hide within us and outside of us.

Sergio Fant

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