Programme Notes

Monday 7th June 7.30pm

And Then We Danced (15)

This vibrant and intense love story set in the world of traditional Georgian dance comes from Swedish filmmaker of Georgian descent, Levan Akin, whose rose-tinted perspective of his family’s homeland was challenged by a disturbing 2013 event in the nation’s capital, Tbilisi. Around 50 LGBTQ+ activists had congregated for a Pride event, and were met with violence as thousands of far-right counter-protesters swarmed to throw stones and beat them up. Horrified, and inspired to present a counter-narrative to the conservative nation’s widely accepted homophobic attitudes, he visited Georgia in 2016 with a camera to interview anyone he could about Georgian society and the experiences of queer youth in the country. The idea for And Then We Danced grew from those meetings, and blossomed into this fictional story of Georgian folk dancer Merab (Levan Gelbakhiani), who has been training since an early age, and comes from a family of dancers. When charismatic newcomer Irakli (Bachi Valishvili) joins his troupe, Merab’s initial concern at having extra competition for an elusive spot with the National Georgian Ensemble soon gives way to feelings of desire towards the other man. What follows is a beautifully handled coming-of-age tale that sets the stifling social values of Tbilisi against the energy and engaging physicality of the dancers, as Merab navigates the competitive world of dance, the demands of working class life, and his sexual awakening in a society that does not welcome it. Akin too navigated many difficulties - in getting the film made (and seen) - but can proudly stand tall for having succeeded in making art that challenges preconceptions of tradition, masculinity, and national identity. Embraced by his native Sweden, which submitted the film to the Oscars for the International Film category, And Then We Danced has perhaps most importantly been a symbol of hope for Georgia’s queer community, and rekindled the fight for LGBTQ+ rights within the country.

REVIEWS Few films really capture and convey that feeling of yearning that comes with a fleeting romance, which will leave a lasting impression on both the characters and the audience. And Then We Danced achieves something truly special, in terms of us investing in the characters and urging them on. It is brave film-making, with the climate in which the team worked in Georgia and tells an important story. This is exactly what cinema should be – opening up our world and giving us an experience of people in a different culture to our own, whilst connecting us on a human level through that most universal of themes – first love. Fiona Underhill, JumpCut Online

Levan Gelbakhiani conducts his ballet-trained body with both fragility and fierceness; he is nothing short of a marvel, proven in one lustrous scene soundtracked to Robyn’s ‘Honey’. Crooning lyrics accompany Merab’s hypnotic movements … his body draped in a blanket of golden light, he performs for Irakli’s eyes only. Blowing a cloud of cigarette smoke, his desires are revealed by the slightest of smiles. Transitioning seamlessly from sequences of fast-paced dance to glorious tracking shots lasting minutes, Akin masterfully handles every moment with unwavering care … Central is Gelbakhiani’s Merab learning to love himself against the divisive backdrop of Georgian culture. Akin exposes just how beautiful a reclamation of tradition can be. This film is a precious feat embellished with a daringly courageous and pensive reflection of Georgian identity. The heart of And Then We Danced beats to the rhythm of its own drum and its echoing pulse is felt long after the credits roll. Emily Maskell, Little White Lies

Akin’s film argues that joy can itself be a form of radical defiance. Merab’s story isn’t just about the pangs of desire, but the slow untethering from tradition’s pressures and expectations. At first, he’s desperate to heed his dance instructor’s warnings that his posture isn’t “hard as a nail”. But he soon begins to explore his identity and his sexuality through movement: whether he’s out celebrating in the streets, partying to ABBA, or seducing Irakli to Robyn’s “Honey”. To Merab, those dances are an act of reclamation. The future belongs to him – and all those who dare to live free. Clarisse Loughrey, The Independent

Cast Crew

Levan Gelbakhiani Merab Director Levan Akin Bachi Valishvili Irakli Writer Levan Akin Ana Javakishvili Mary Producers Ketie Danelia, Mathilde Dedye Kakha Gogidze Aleko Cinematography Lisabi Fridell Giorgi Tsereteli David Editing Levan Akin, Simon Ana Makharadze Sopo Carlgren Nino Gabisonia Ninutsa Music Zviad Mgebry

Film Facts

Many of the people Akin attempted to interview in Georgia were downright hostile - or would simply not respond to interview requests - upon learning of his intended film’s plot. He eventually started to ask more generally about youth culture, withholding on the exact angle he was researching. But when it came to seeking funding from the Georgian Film Center, it was the one instance in which he could not hide the film’s subject matter, and the organisation ultimately refused to provide funds. Akin discovered his lead star totally by accident - the 21-year-old Levan Gelbakhiani was a newcomer to acting, and Akin had come across his dance videos whilst scrolling on Instagram. After some persistence, he convinced the dancer to act in his film. The film secured three sold-out screenings in the country, but its premiere in Tibilisi was as fraught as the events that sparked the project’s genesis, making headlines in the international press when cinema attendees were harassed and assaulted by far-right protestors encouraged by the Georgian Orthodox Church and various Russian right wing figures who had publicly denounced the film and called for the screenings to be cancelled. In a GQ interview last year, Akin resigned himself to accepting that three screenings were enough for the country.

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