...to present and explore a story of prejudice and the resistance of out of touch traditions, mindsets and perceptions to an individuals right to be who they are. Beautifully orchestrated and choreographed, engaging performances all round, genuinely sincere, honest and believable (unfortunately).
98 Reviews
One of the best this year
dakjets27 September 2019
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.
Please touch me with your steps
w-7147428 April 2020
I have never seen a Georgian movie before. Because of this movie, I searched curiously about the protagonist's city, Tbilisi and Batumi, and was shocked by their beauty. In my impression, Tbilisi only has a dark underground printing house, or a mountainous drought like Afghanistan, and Batumi is unheard of. The photos recommended by Google Maps are as beautiful as the magic world, steep cliffs, vast forests, a cathedral with a history of more than a thousand years, and highly saturated buildings. I ca n't wait to travel to Georgia tomorrow.
There are many places in the movie that remind me of "Please call me by your name". The feminine male hero broke through the shackles of the heart through unlovely love, and the ending of the love is not so important. The difference is that one through literature and art, the other through dance art. The male dancer's dance is too beautiful, coupled with the thin and romantic look, people don't want to stop at a glance. The whole movie has a strong artistic temperament, photography, and lighting, which reflects the director's high artistic level. In addition to the rich natural and cultural environment of Georgia, the breathtaking Georgian national dance, I watched and regretted that I didn't have a life. In a country where music and art are part of everyday life.
Although the director is a descendant of Georgia grown in Sweden, the whole movie is not the ethereal and brisk style of Northern Europe, but the gloomy and aesthetic style of the former Soviet Union. It may be filmed in Georgia with the film, and with the heavy history of this ancient Caucasus country and with the Soviet Union. The complicated relationship is related; the mottled dance rehearsal hall floor reminds me of Jia Zhangke's "Twenty-Four Cities". More realistic than "Please call me with your name" is that "Please" is like a utopian castle in the sky. The two male heroes have no risk of livelihood. They just had a love relationship in a beautiful paradise; and this movie The male host Meribu (and the entire Georgia) is living in a forced environment. The dancer ca n't make a living, and has to go to the restaurant to work; the home often has a power outage, and the mobile phone will also owe money. In addition to survival, there is also his dance. The style contradicts the "national spirit" of the tough style left over by the Soviet Union, so it is not a question of appreciation. Meribu's talent for dancing is undoubtedly extremely high ("I will dance when I can walk"), but his brother pointedly pointed out, "There is no future for you", individualism will be bound by ideology; and in In addition, under the general environment of Orthodox Church and ancient traditions, homosexuality is also regarded as immoral, and the critics mentioned repeatedly that a homosexual friend was cruelly excluded from the mainstream society. Livelihood, career, love, there is no way out, what else can he do?
As the name of the movie says, I can still dance. When Meribu danced, he was immersed in his own spiritual world. At the end of the film review, he danced in a crimson Georgian traditional costume audition, which was a disdain for all these things. He has his own dance and his own spirit. I do n't know what the result of the audition will be, but in the previous paragraph, what my brother said when comforting the broken love Meribu is undoubtedly also a hope for the audience: "You have to go out and leave here." Just like the director himself, he left Georgia 's homeland Only when you go out can you look back and face up to what has shaped your core.
There are many places in the movie that remind me of "Please call me by your name". The feminine male hero broke through the shackles of the heart through unlovely love, and the ending of the love is not so important. The difference is that one through literature and art, the other through dance art. The male dancer's dance is too beautiful, coupled with the thin and romantic look, people don't want to stop at a glance. The whole movie has a strong artistic temperament, photography, and lighting, which reflects the director's high artistic level. In addition to the rich natural and cultural environment of Georgia, the breathtaking Georgian national dance, I watched and regretted that I didn't have a life. In a country where music and art are part of everyday life.
Although the director is a descendant of Georgia grown in Sweden, the whole movie is not the ethereal and brisk style of Northern Europe, but the gloomy and aesthetic style of the former Soviet Union. It may be filmed in Georgia with the film, and with the heavy history of this ancient Caucasus country and with the Soviet Union. The complicated relationship is related; the mottled dance rehearsal hall floor reminds me of Jia Zhangke's "Twenty-Four Cities". More realistic than "Please call me with your name" is that "Please" is like a utopian castle in the sky. The two male heroes have no risk of livelihood. They just had a love relationship in a beautiful paradise; and this movie The male host Meribu (and the entire Georgia) is living in a forced environment. The dancer ca n't make a living, and has to go to the restaurant to work; the home often has a power outage, and the mobile phone will also owe money. In addition to survival, there is also his dance. The style contradicts the "national spirit" of the tough style left over by the Soviet Union, so it is not a question of appreciation. Meribu's talent for dancing is undoubtedly extremely high ("I will dance when I can walk"), but his brother pointedly pointed out, "There is no future for you", individualism will be bound by ideology; and in In addition, under the general environment of Orthodox Church and ancient traditions, homosexuality is also regarded as immoral, and the critics mentioned repeatedly that a homosexual friend was cruelly excluded from the mainstream society. Livelihood, career, love, there is no way out, what else can he do?
As the name of the movie says, I can still dance. When Meribu danced, he was immersed in his own spiritual world. At the end of the film review, he danced in a crimson Georgian traditional costume audition, which was a disdain for all these things. He has his own dance and his own spirit. I do n't know what the result of the audition will be, but in the previous paragraph, what my brother said when comforting the broken love Meribu is undoubtedly also a hope for the audience: "You have to go out and leave here." Just like the director himself, he left Georgia 's homeland Only when you go out can you look back and face up to what has shaped your core.
My favourite film of the year so far.
Gpkap6 August 2019
May 2013. Tbilisi, Georgia. Dozens of gay activists proudly marching against homophobia were violently beat by 20,000 protesters, led by Orthodox Church priests. Police did nothing to prevent the incident. Around this time, 15 countries had legalised the right to same-sex marriage while many others were on their way to doing the same.
But not Georgia.
This deplorable tragedy struck a chord with Levan Akin, whose Georgian roots urged him to make And Then We Danced - a sensual tale on falling in love in a place held back by austere traditions, and the bravest act one can commit under these circumstances: staying true to who you are by opening up your heart. It's easy to compare this to Call Me By Your Name - both films are delicate and emotionally charged explorations of first love where actions pioneer over words - but to do so would be a disservice to a story so ravishingly distinct and culturally significant, one that isn't even supported by its own country because the freedom to love is still imposed by the horrors of convention. Yet, despite the contextual heartache surrounding its conception, Akin moulds a beautiful recital of yearning and acceptance, condemning Georgia's stance by joyously celebrating gay love rather than directly chastising a nation through a cynical narrative. Only those who have learnt to love against all the hate in this world can fight that way, and Akin delivers in euphoric spades.
And Then We Danced is a technical showpiece and a tender introspection on becoming who you were always meant to be. I won't stop thinking about its everlasting embrace.
But not Georgia.
This deplorable tragedy struck a chord with Levan Akin, whose Georgian roots urged him to make And Then We Danced - a sensual tale on falling in love in a place held back by austere traditions, and the bravest act one can commit under these circumstances: staying true to who you are by opening up your heart. It's easy to compare this to Call Me By Your Name - both films are delicate and emotionally charged explorations of first love where actions pioneer over words - but to do so would be a disservice to a story so ravishingly distinct and culturally significant, one that isn't even supported by its own country because the freedom to love is still imposed by the horrors of convention. Yet, despite the contextual heartache surrounding its conception, Akin moulds a beautiful recital of yearning and acceptance, condemning Georgia's stance by joyously celebrating gay love rather than directly chastising a nation through a cynical narrative. Only those who have learnt to love against all the hate in this world can fight that way, and Akin delivers in euphoric spades.
And Then We Danced is a technical showpiece and a tender introspection on becoming who you were always meant to be. I won't stop thinking about its everlasting embrace.
AMAZING
itstsirachka9 November 2019
So close to Georgian reality, i felt like i was back in Tbilisi again, which i absolutely loved. So much representation for the culture, in a way that highlights the good parts and also touches on the bad parts that need to be improved, or disposed of.
the storyline is wonderful! the buildup for the romance is amazing and well-developed.
The actors are phenomenal, i felt literally every emotion they felt.
I absolutely loved the metaphor of Kintouri, that Merab & Irakli dance together.
the music!!! is so good!!!
In conclusion, the movie is wonderful and literally everyone needs to watch it.
Huge Shoutouts to the actors and Levan Akin for creating this story and putting it out there in the world.
Much Love from Sakartvelo (Georgia)
Emotional masterpiece with a power to help people understand
Wasil_216 November 2019
Never before in cinema have I seen a relationship in which I would so genuinely believe. In every word, move, look, gesture of Merab (Levan Gelbakhiani) I can see and feel an ordinary young artist struggling with self-identification and experiencing first love.
The idea of portraying gay romance in such a conservative country as Georgia could give the director Levan Akin many reasons to be moralistic and pretentious. Yet the end result is by no means like this. In every scene, every word, it is subtle, naturalistic, thought-provoking without any unnecessary preachiness. Opinions and feelings are conveyed through music and dance, which enables the film to achieve all its purposes in a delicate yet decisive way.
Akin does not portray Georgian society as something evil. As everywhere, there are people who hate, people who do not understand and people who support. 'And Then We Danced' is a meaningful masterpiece made by those who support not only for those who need the support, but also for those who do not understand yet.
The idea of portraying gay romance in such a conservative country as Georgia could give the director Levan Akin many reasons to be moralistic and pretentious. Yet the end result is by no means like this. In every scene, every word, it is subtle, naturalistic, thought-provoking without any unnecessary preachiness. Opinions and feelings are conveyed through music and dance, which enables the film to achieve all its purposes in a delicate yet decisive way.
Akin does not portray Georgian society as something evil. As everywhere, there are people who hate, people who do not understand and people who support. 'And Then We Danced' is a meaningful masterpiece made by those who support not only for those who need the support, but also for those who do not understand yet.
Simple, real and emotional
Nninchka10 November 2019
For director the one challenge is to shoot a film about LGBTQ issue and not to dramatize script, another is to take Georgian film about the same issue and do not express a enormous wave of aggression to homophobia and to catch the balance. If you ask me why I will answer: In Georgia plenty people are on the side of homophobia. From my point of view the main problem is that they think LGBTQ people are strangers, they live somewhere not near them, not in their families, not in their neighborhood or in the circles of friends. They think gays are some savage, immoral people without families or normal lives.
And then there is the movie AND THEN WE DANCED. Director is catching the balance, it doesn't show any aggression, it only tells that gay people are between us, as normal as anyone and we only need to face that and to be humane.
The film is kind and emotional. RECOMMEND! Maybe after watching this film people haunted by homophobia will rethink the issue.
And then there is the movie AND THEN WE DANCED. Director is catching the balance, it doesn't show any aggression, it only tells that gay people are between us, as normal as anyone and we only need to face that and to be humane.
The film is kind and emotional. RECOMMEND! Maybe after watching this film people haunted by homophobia will rethink the issue.
True to Georgia, And The First of Its Kind
scratchthat200921 October 2019
Warning: Spoilers
And Then We Danced was a masterpiece! I love when I can empathize with a film through and through.
Levan Gelbakhiani's performance pierced through my heart more than most I've seen in my life.
I loved the choice of ending even if it wasn't the happiest, it was smart especially the metaphor at the very end, also very realistic.
Great cinematography, not outstanding but great.
Perfect acting and proper humor (just the right amount of laughs, and they're not forced).
Perfect amount of sensuality and drama (grab a tissue - for both reasons, lol.)
And it showcased the situation for LGBT people in Georgia so well, the majority was set in Tbilisi but even so the conservatism and tradition was still pervasive.
Near-perfect.
More than "that gay Georgian dance movie"
euroGary18 March 2020
Warning: Spoilers
Merab (Levan Gelbakhiani) comes from a family of accomplished - if impoverished - dancers: his grandmother danced at La Scala; his parents at the Royal Albert Hall. His brother is a member with him in an ensemble specialising in Georgian traditional dance. But unlike his irresponsible sibling - who is more interested in general carousing - Merab dedicates himself to his craft, spending hours at practice both in the studio and at home. When talented, self-assured and charismatic newcomer Irakli (Bachi Valishvili) joins the ensemble, Merab's nose is immediately put out of joint. But Irakli's cheerfulness and talent gradually win over Merab and the two young men grow closer in ways that Merab had never expected.
Although it may be in danger of becoming known as "that gay Georgian dance movie", 'And then we Danced' seems to me to be more about a young man breaking free from the chains of tradition: not only is Merab infinitely more relaxed and comfortable when being introduced to Tbilisi's gay scene, but he is inspired to rebel against traditional dance, rooted as it is in macho culture: "He's making a mockery of Georgian dance" complains one old crusty during the film's climactic audition scene (viewers may find themselves reminded of 'Strictly Ballroom', a completely different sort of film!) Gelbakhiani does a nice job of portraying Merab's intensity - and both he and Valishvili do well to not crack a smile during a scene of frenzied mutual masturbation. Some parts of the film seem as if they have been shoehorned in to give a crash-course in Georgian culture (such as a scene with middle-aged polyphonic singers performing at a young woman's birthday party - would that really happen?) But I did appreciate the opportunity to see a film set in Georgia, a country which rarely makes it to the West's cinemas.
And then there's the dancing: we never see the dancers performing on stage for a paying audience, but there are plenty of rehearsal scenes and they really are spectacular. Merab may be "making a mockery" of traditional Georgian dance, but with its dramatic, speedy style and athletic movements I think the artform could grow in international popularity as a result of its exposure in this film.
Although it may be in danger of becoming known as "that gay Georgian dance movie", 'And then we Danced' seems to me to be more about a young man breaking free from the chains of tradition: not only is Merab infinitely more relaxed and comfortable when being introduced to Tbilisi's gay scene, but he is inspired to rebel against traditional dance, rooted as it is in macho culture: "He's making a mockery of Georgian dance" complains one old crusty during the film's climactic audition scene (viewers may find themselves reminded of 'Strictly Ballroom', a completely different sort of film!) Gelbakhiani does a nice job of portraying Merab's intensity - and both he and Valishvili do well to not crack a smile during a scene of frenzied mutual masturbation. Some parts of the film seem as if they have been shoehorned in to give a crash-course in Georgian culture (such as a scene with middle-aged polyphonic singers performing at a young woman's birthday party - would that really happen?) But I did appreciate the opportunity to see a film set in Georgia, a country which rarely makes it to the West's cinemas.
And then there's the dancing: we never see the dancers performing on stage for a paying audience, but there are plenty of rehearsal scenes and they really are spectacular. Merab may be "making a mockery" of traditional Georgian dance, but with its dramatic, speedy style and athletic movements I think the artform could grow in international popularity as a result of its exposure in this film.
Tradition meets reality
gbill-7487724 October 2020
There's something pretty powerful about a story of gay sexual awakening put into the backdrop of a film that shows so many aspects of traditional Georgian culture. It was pretty courageous too, given the anti-LGBT conservatism that has a hold on the country. A young man (Levan Gelbakhiani) faces the challenges of poverty, a broken home, and chasing the difficult dream of becoming a dancer for the National Ensemble. He meets a rival dancer (Bachi Valishvili) and the two begin training together, leading to friendship and deeper feelings, which represent a challenge of their own.
I loved the glimpse into Georgian culture (dance, music, food, weddings, etc), and confess I would have liked even more of it. I also wish the dance sequences hadn't been as edited as they were - there is so much natural power and grace in these moves, and I think just holding the camera still at mid-distance for longer periods of time would have served them better. With that said, the real story here is about coming of age and gay in such a conservative country, and there the film shines. It exercises restraint by showing emerging love simply and honestly and not spending a lot of time mocking the homophobic men who menace at the outskirts. It does gets in a nice little dig in at the hypocrisy of the Orthodox Church by recounting the story of a priest responsible for "fixing" another dancer who had to leave the group because he was gay, and ended up having sex with him instead.
The cast is uniformly very good if not great, and couple of my favorite scenes were the moments with the sweet grandmas of both young men. Another is the touching moment between brothers, trying to reconcile the traditional path with nonconformity and still love one another. Lastly, the final dance sequence, showing grit and bravado but making it clear that he's personalized the dance, is stirring, and the film ends strong.
I loved the glimpse into Georgian culture (dance, music, food, weddings, etc), and confess I would have liked even more of it. I also wish the dance sequences hadn't been as edited as they were - there is so much natural power and grace in these moves, and I think just holding the camera still at mid-distance for longer periods of time would have served them better. With that said, the real story here is about coming of age and gay in such a conservative country, and there the film shines. It exercises restraint by showing emerging love simply and honestly and not spending a lot of time mocking the homophobic men who menace at the outskirts. It does gets in a nice little dig in at the hypocrisy of the Orthodox Church by recounting the story of a priest responsible for "fixing" another dancer who had to leave the group because he was gay, and ended up having sex with him instead.
The cast is uniformly very good if not great, and couple of my favorite scenes were the moments with the sweet grandmas of both young men. Another is the touching moment between brothers, trying to reconcile the traditional path with nonconformity and still love one another. Lastly, the final dance sequence, showing grit and bravado but making it clear that he's personalized the dance, is stirring, and the film ends strong.
Mixed feelings
mbrcf8 May 2020
I have very mixed feelings about this one. The film is beautiful, some of the scenes capturing streets and neighborhoods of Tblisi are truly mesmerizing. Levan Gelbakhiani's acting and dancing skills are gifts to the eyes and Georgian dance scene makes a very good setting for a coming of age LGBT story.
Speaking of story, I can not believe how predictable and cliched the screenplay was. Already halfway through the runtime, I found myself being able to predict everything that would be followed on screen as if I've deja vu this film elsewhere.
The film has plenty of virtues but it's seriously lacking in story-telling. Nevertheless, It is certainly enjoyable and I would recommend it to my freinds.
Speaking of story, I can not believe how predictable and cliched the screenplay was. Already halfway through the runtime, I found myself being able to predict everything that would be followed on screen as if I've deja vu this film elsewhere.
The film has plenty of virtues but it's seriously lacking in story-telling. Nevertheless, It is certainly enjoyable and I would recommend it to my freinds.
One of the best movies I watched
elpi259 September 2020
Warning: Spoilers
I watched this months before, but I just can't move on from watching this movie until now. I had a chance to visit Georgia last year, and I kinda fell in love with it. But, I also know that like its neighbors, homophobia is prevalent in Georgia. That's why I was surprised that there's a film that features an LGBT+ character.
I like the visuals and its simple storyline. The actors also did a good job considering that this is their debut performance. The main actor perfectly showed and portrayed what a homosexual character's struggles are in a conservative country.
I also like that it has an open ending, but it's not like the other films where it ended abruptly and unsatisfyingly. And should I mention the last dancing sequence? It was done beautifully! I would love to watch this again.
I also like that it has an open ending, but it's not like the other films where it ended abruptly and unsatisfyingly. And should I mention the last dancing sequence? It was done beautifully! I would love to watch this again.
Unhealthy fantasy
l_makaradze10 November 2019
beautiful
Kirpianuscus4 February 2021
Warning: Spoilers
A beautiful film. In profound sense, just a beautiful film. For high and moving and seductive honesty. For the nuances of performances and for choreography. For the family portrait and for large, wise used, islands of ingenuity. For the taste of salt and for great work of Levan Gelbakhiani. For a special form of hope and joy. For the inspired end. For the high delicacy. A film about art, tradition, family, friendship. And about love. It is unfair to define the motives for I love it. Maybe, because I feel me be part of its story. The music, the cinematography are admirable, too.
One Of The Best Gay Films I Have Seen From Last Year!
javierubio15 December 2020
I really like everything About This Film: The Direction, The Set up, The Story and The Acting!
In this movie the principal Character captivated me in many ways since he had to work extra in a restaurant, having a dysfunctional family and had to cope with his own sexuality at the same time where he ended up falling in love to a guy that even with a lot of complicity, they could not be together.
Also this film shows up how hard life can be in a country where Economy is still not the best and the traditional culture is still there!
Big thumbs to this film!
Masterpiece with true story of current state
oto1002 September 2019
INSPIRATIONAL
KeremUlucay18 February 2020
And Then We Danced is a great film, I enjoyed it. But honestly, I find it a bit overrated. We learn a lot about Georgian culture. On the other hand, there is nothing creative. Story is so simple and usual. For me, this movie is valuable but not as much as people say.
Beautifully made
avenuesf8 November 2019
I was fortunate to have had the opportunity to see this at the 2019 Chicago International Film Festival and I'm looking forward to seeing it again. The performances and choreography by the lead actors are excellent and I found the film to be very moving; I can only hope it gets a wider release and finds the audience it so badly deserves. Not only does the film illustrate how rigid gender expectations are in traditional Georgian dancing, it also has the courage to turn against those expectations in an amazing finale. Highly recommended.
And Then We Danced
jboothmillard1 April 2023
Warning: Spoilers
I found this Georgian film when it was broadcast on television, it received the full five out of five stars from the Radio Times, I didn't know anything about it, but it was up for giving it a go. Basically, Merab (Levan Gelbakhiani) is a young from Georgia with dedication and passion for dancing. He is training at the National Georgian Ensemble along with his partner and non-official girlfriend, Mary (Ana Javakhishvili), and his deadbeat, delinquent brother David (Giorgi Tsereteli). During a day of rehearsals, the class is interrupted by the arrival of replacement dancer Irakli (Bachi Valishvili). The choreographer Aleko (Kakha Gogidze) and other dancers find Irakli an irritation, because of his smug and rebellious attitude, but he proves himself to be a natural talent. He soon replaces Merab in a dance, as Aleko had criticised him for his lack of masculinity and rigidity. Merab is initially jealous of Irakli's talent, as Irakli has been dancing for much less time than he has. But the two are tasked with rehearsing together and begin to bond. A friendly rivalry forms as they compete for a coveted spot in the main ensemble. Mary learns that the spot became vacant because the previous male dancer was caught having sex with another man, he was severely beaten by the other dancers and sacked. Later, it is said that the male dancer was sent by his family to a monastery to be cured of homosexuality, but he escaped after a monk took advantage of him. His family will not take him back and he has resorted to prostitution to survive. Merab visits his father Loseb (Aleko Begalishvili) who implores him to give up his passion and attend school, as there is no future in dance. Meanwhile, Merab and Irakli become friends, and Merab finds himself becoming increasingly attracted to him. On a trip with friends to visit Mary's father, Merab and Irakli succumb to their mutual attraction and have sex. Although they are discreet, Mary becomes suspicious of their closeness. Though the pair do not discuss their relationship, Merab performs a dance for Irakli in his own style as a means of communicating his feelings. After the group returns home, Irakli disappears, and Merab is unable to contact him. After several missed practices, David finally returns, but he is removed by Aleko due to his frequent absences and criminal behaviour. Merab secures a job for his brother at the restaurant where he works part-time, but they are caught dealing drugs on the job and are both fired, leading them to have a fight. Merab is in low spirits and missing Irakli, so he spends time at gay clubs, filled with drag queens and transgender women, and has a great time. However, he is seen leaving by another dancer, Luka (Levan Gabrava). The following day, Merab is hungover and performs badly during practise, until he injures his ankle. He spends time with Mary while recovering. He finally receives a call from Irakli; he tells him that he has returned home to look after his father who is dying of cancer and probably won't make the audition. Aleko discourages Merab from auditioning due to his behaviour and injury, but Merab insists on continuing to practice. While leaving, he is heckled by Luka, but Mary wants him to be careful and not end up like the ensemble's former dancer. Merab learns that David is having rushed wedding to a girl he has gotten pregnant. At the wedding, Merab spots Irakli in the crowd. Merab is happy to see him but is surprised when Irakli tells him he is leaving the city and giving up dancing. Irakli tells Merab that his father died and that he is engaged to his girlfriend to be close to and provide for his mother. Heartbroken, Merab leaves the reception before breaking down in tears, and a sympathetic Mary comforts him. At home, he is comforted by David, who reveals he was injured after standing up for his brother to Luka and the other dancers. Merab admits that he is gay, but David accepts him and encourages him to get out of Georgia to reach his full potential. On the day of the audition, Mary shows up to support Merab, whose ankle is still healing. Merab dances passionately but is nevertheless dismissed by the unimpressed director. Merab continues anyway, breaking away from the traditional dance to perform in his own unbridled, androgynous style. The director is offended by his actions and storms out, but Aleko stays to watch. After he is finished, Merab bows and departs. Also starring Tamar Bukhnikashvili as Teona, Merab's mother, Marika Gogichaishvil as grandmother Nona, Nino Gabisonia as Ninutsa, Ana Makharadze as Sopo, and Mate Khidasheli as Mate. Newcomer and real-life dancer Gelbakhiani gives a great performance as the young man having an emotional journey, Valishvili is interesting as the fellow dancer he has a crush on, and Gogidze gets his moments as the fierce tutor. It is an interesting story of a character wanting to achieve his goals while struggling with his sexuality, the emotional scenes just about work, there are themes of politics, poverty and culture that are fine, but for me the most eye-catching scenes were the electrifying dance sequences, both individual and partnered, as an overall film, it is a worthwhile coming-of-age drama. Good!
Fascinating
laduqesa4 October 2021
This was a look into a society that few people know much about in Western Europe. Georgia, despite being in Europe seems so far away and it is, in both geographical distance and attitudes.
Not only homophobia was on display here. I wasn't aware of the level of hatred and discrimination against Armenians there. The disgraced dancer Zaza's transgressions were made worse by their having been committed with an Armenian in Yerevan. When Merab's brother was forced to marry, disparaging rumours and gossip were spread about his wife's family possibly being of Armenian origin.
Then the homophobia. It seemed ingrained in Georgian society. Unfortunately the film didn't help in one respect. Apart from Merab and Irakli, the only other gay people portrayed were shrieking drag queens and stereotypical and dissolute gays and lesbians in seedy clubs. Many of the gay minor characters were portrayed as prostitutes. I admire the bravery of the film, but I think that this was a mistake
The dance itself encouraged masculine, hettie stereotypes too. At one time, Aleko tells Merab that there is no place for weakness or effeminism in Georgian dance, that all that was done away with fifty years previously. Nonetheless, the art form has engendered an interest in me and I'll be looking up some performances to watch online.
Merab's dance in the closing scenes was a tour de force, rejecting the imposed, ossified and constricting confines of traditional dance. It so scandalised the auditioner from the national dance group that he walked out, but the musicians and Aleko, as well as Mary, looked on fascinated.
I'd had this film for ages. I don't know why I hadn't watched it before. I think I'd been put off by the length, which was an hour and fifty three minutes. I needn't have been. I wasn't bored for a single second.
Not only homophobia was on display here. I wasn't aware of the level of hatred and discrimination against Armenians there. The disgraced dancer Zaza's transgressions were made worse by their having been committed with an Armenian in Yerevan. When Merab's brother was forced to marry, disparaging rumours and gossip were spread about his wife's family possibly being of Armenian origin.
Then the homophobia. It seemed ingrained in Georgian society. Unfortunately the film didn't help in one respect. Apart from Merab and Irakli, the only other gay people portrayed were shrieking drag queens and stereotypical and dissolute gays and lesbians in seedy clubs. Many of the gay minor characters were portrayed as prostitutes. I admire the bravery of the film, but I think that this was a mistake
The dance itself encouraged masculine, hettie stereotypes too. At one time, Aleko tells Merab that there is no place for weakness or effeminism in Georgian dance, that all that was done away with fifty years previously. Nonetheless, the art form has engendered an interest in me and I'll be looking up some performances to watch online.
Merab's dance in the closing scenes was a tour de force, rejecting the imposed, ossified and constricting confines of traditional dance. It so scandalised the auditioner from the national dance group that he walked out, but the musicians and Aleko, as well as Mary, looked on fascinated.
I'd had this film for ages. I don't know why I hadn't watched it before. I think I'd been put off by the length, which was an hour and fifty three minutes. I needn't have been. I wasn't bored for a single second.
A storyline of mess
simoncarlsson2718 September 2019
During the movie, it has three different stories, but it does not focus on any one of them, instead it just tell a little of each, and then drops ending with no conclusion.
Afterwards it felt like you had seen a weaker version of '' Call me by your name ''
This film is doubtful to win best foreign movie, if even getting nominated.
This film is doubtful to win best foreign movie, if even getting nominated.
A stunning exploration of intimacy
Sir_AmirSyarif13 January 2021
There is no sexuality in Georgian dance. There is also no place for individuality, nor for weakness. There is tradition, there is pride for the country. And nothing more. Using the beautiful traditional male Georgian dance as a metaphor, Levan Akin's 'And then We Danced' explores themes of fragile masculinity and sexuality in a way that is refreshing, organic, and powerful. This gorgeously lensed film also offers tender and warm story about identity, self-discovery, first love and sexual awakening, led by an outstanding performance from Levan Gelbakhiani.
Beautiful pictures but you'll think you've seen this already
smihrne10 March 2020
The cinematography is amazing, stunning camera and pictures. The actors and actresses are all authentic and well performing.
Some scenes felt bland though and predictable, something that lets you think you've seen this kind of story already a hundred times.
Some scenes felt bland though and predictable, something that lets you think you've seen this kind of story already a hundred times.
False story
kakabadzemarika9 November 2019
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