동시대 조지아 영화의 스토리텔링 연구: 영화 《달은 나의 아버지이다》와 《마른 잎》을 중심으로

초록

This paper compares the storytelling of two Georgian films introduced in 2025: George Ovashvili’s The Moon Is a Father of Mine, which had its world premiere at the Black Nights Film Festival in Estonia, and Alexandre Koberidze’s Dry Leaf, which received a Special Mention at the 78th Locarno Film Festival. Both center on a parent-child relationship, send their characters across the provinces of Georgia, continue forms their directors had developed in earlier features, and inherit models from film history, namely Andrei Zvyagintsev’s The Return(2003) and John Ford’s The Searchers(1956). On this shared ground the two works move in opposite directions. The Moon Is a Father of Minefollows Chekhov’s principle of the gun. The rifle presented in the opening completes its narrative function only in the shot that opens the third act, so that reconciliation between father and son is achieved solely by passing through a loss foreseen from the beginning. The setting of autumn 1991 links this private story to the political collapse that followed independence, while the mother’s departure for Moscow and the father’s return to the mountain village personify Russia as the mother country and Georgia as the father country. Nothing in this film appears by chance. Dry Leafreverses this logic. The search for the missing daughter serves as a pretext for chance encounters, and episodes accumulate side by side rather than in causal sequence. Shot on a long-discontinued Sony Ericsson W595, the film renounces the automatic perfection of the image and claims, through its 144p imperfection, the sensory truth of the poor image. Where The Searchersfilled its journey with hatred and vengeance, Dry Leaffills that place with the Kiarostamian ethics of observation. Comparing the two films along six aspects, namely causality, image, allegory, temporality, spectatorship and mode of production, the paper shows that all six refract a single question: does narrative impose order on the world, or accept its disorder as it is? Answering at opposite extremes, both films converge on the attitude a Georgian community should take toward modernization and loss. The vitality of Georgian cinema in the 2020s lies in the coexistence of an aesthetics of necessity and an aesthetics of contingency.

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