As Georgia continues to backslide on its commitments to both the EU and the UN Sustainable Development Goals (SDGs) — particularly SDG5 on gender equality — Tamar Dekanosidze discusses the chilling effects of newly enacted legislation, from the controversial foreign agent law to the erasure of the word ‘gender’ from national law.
From stop-motion animation to documentary footage of Georgia’s ongoing anti-government protests, these films show off Georgia’s cinematic diversity.
Symbolic but static, Haide misframes universal issues, with rushed delivery and dated ideas that dilute its impact on modern audiences.
Who’s Gonna Heal Our Wounds is experimental theatre that delivers powerful feminist statements, but lacks depth and a solid dramatic structure.
By weaponising gender, the Azerbaijani authorities redraw the boundaries of who is allowed to speak.
The women were detained earlier in August and given three months of pre-trial detention on charges of robbery.
Me, Margarita by Ana Kordzaia-Samadashvili captures the chaos, wit, and romance of Georgian women in stories as bitter-sweet as the country itself.
