And Then We Danced

And Then We Danced is a beautifully woven narrative of love, passion, and tradition, set against the backdrop of the disciplined world of Georgian dance. This 2019 film is directed by Levan Akin, who also takes credit for the script. The plot pivots around the life of the main character, Merab, portrayed by the talented Levan Gelbakhiani, a dancer who dances through the labyrinth of his emotions and desires, often veering into uncharted social territories.

The film opens within the heart of Tbilisi, the capital city of Georgia. Within the walls of the National Georgian Ensemble, we meet Merab, a gifted dancer graced with dreamy yet stern eyes. He dances the vigorous traditional Georgian dance along with his partner Mary, played by Ana Javakishvili. From the early moments of the film, we see Merab’s world revolve around chunks of grueling dance rehearsals, odd jobs to support his family, and quiet reflections evidencing his innate yearning for something more.

Enter Irakli, engagingly played by Bachi Valishvili. Arriving with a radiant smile and an air of effortless confidence, Irakli brings a gentle clatter to Merab’s life. He becomes Merab’s biggest competition for a spot in the main ensemble - a much-coveted position that can provide financial stability, prestige, and a chance for international tours. As they vie for the same goal, an electrifying dynamic unfurls between the two, sparking a complex friendship that pushes the boundaries of their shared beliefs, aspirations, and emotions.

In the backdrop, the film intricately showcases the traditional dance form of Georgia. The dance, much like the society it originates from, is steeped in masculine virtues, rigorous guidelines, and a restricted emotional palette. Each move in the dance screams of strength, pride, and poised manliness. Akin stirringly contrasts this with the perceived 'taboo' of same-sex relationships in Georgia, creating a rich, authentic portrayal of these opposing worlds.

Gelbakhiani’s performance as Merab is deeply stirring. He beautifully illustrates Merab’s emotional journey, as he navigates between the radiant passions that stir within him and the societal constructs that bind him. His internal struggle is presented through his transformations on the dance floor – each pirouette and stomp resonate with emotions that words fail to express.

Ably supporting him is Valishvili as Irakli, whose enigmatic persona and the stirring chemistry with Merab add an intriguing layer to the narrative. Ana Javakishvili as Mary puts forward a nuanced performance, offering a delicate balance to the intense relationship dynamic between Merab and Irakli. The rest of the cast, including dancers, family members, and friends, are seamlessly woven into the plot, creating a rich tapestry of characters that add depth to the movie.

The narrative is complemented by its aesthetic filming. The cinematography paints a vivid picture of Tbilisi’s raw charm, the tussle of tradition and change, and the erupting emotions of its characters. The screenplay flows not just through dialogues but through silences, dances, and carefully chosen music effortlessly knitting the narrative together.

And Then We Danced also examines the broader contours of Georgian society – its deeply ingrained patriarchal values, rigid gender roles, and the generational gap in thinking. But the movie is far from being just a commentary. Instead, it captures the emotions, desires, and struggles of its characters with sensitivity and dignity. The narrative meanders through the landscape of confrontation, reflection, acceptance, and rebellion without losing its grip on authenticity.

In essence, And Then We Danced is a poignant narrative of love and self-discovery set in the rigid confines of tradition. It stirs thought, tugs at heartstrings, and leaves an echoing impact long after the credits roll. The movie serves as a canvas on which director Levan Akin paints a story of breaking barriers and dancing to one’s own rhythms, challenging the given move of society’s dance. Through Merab's story, the film eloquently asserts that perhaps, the most beautiful dance is the one where we freely express ourselves, with no rules to bind or steps to follow, but the rhythm of our own heartbeats.