Vielfältiges Programm begeisterte Publikum in Wiesbaden(Wiesbaden, 27. April 2010) Filme aus Georgien, Ungarn, Israel und Russland gewinnen bei der zehnten Ausgabe von goEast. Mit der feierlichen Preisverleihung endete das zehnte Festival des mittel- und osteuropäischen Films am heutigen Dienstagabend in Wiesbaden. „Das aktuelle Kino unserer östlichen Nachbarn und Freunde ist im Kommen und in der Filmwelt kein Exot. Die bei goEast gezeigten Filme zeugen von einem vielseitigen und ästhetisch anspruchsvollen Kino. Das verheißt einen Boom auch außerhalb von internationalen Filmfestivals: Es ist für die Zukunft noch viel zu erwarten!“, so Festivalleiterin Nadja Rademacher.
Zehn Spiel- und sechs Dokumentarfilme wetteiferten um die mit insgesamt 29.500 Euro dotierten Festival-Preise, die von der international besetzten goEast-Jury unter Vorsitz des russischen Filmkritikers Andrej Plachow vergeben wurden. Der Škoda-Preis „Die Goldene Lilie“ für den Besten Film (10.000 Euro), gestiftet von Škoda Auto Deutschland, geht an Levan Koguashvili, der mit AUF DER STRASSE / QUCHIS DGEEBI (Georgien 2010) die beste Tradition des georgischen neo-realistischen Kinos wiederbelebe, so die Jury.
FESTIVAL Georgischer Film "Auf der Straße" gewinnt "Die Goldene Lilie" bei goEast / Preisverleihung im Caligari: Erwartungsfroh in die Zukunft
Bewegende Dramen: Das Filmfestival goEast Deutsche Welle - In dem georgischen Film "Auf der Straße" von Levan Koguashvili ist schon die alltägliche Kommunikation unmöglich geworden.
Schlacke mit SchaschlikJunge Welt - »Quchis Dgeebi« (Auf der Straße) von Levan Koguashvili ist eine (sehr) schwarze Komödie über eine Bande alter Junkies
Wenig zu lachen bei ,,Go East"-Filmfestival Echo-online - In dem georgischen Film ,,Auf der Straße" von Levan Koguashvili scheint schon die alltägliche Kommunikation unmöglich geworden zu sein.
Einer verliert, einer gewinnt Wiesbadener Tagblatt - ... dramatische soziale Gegensätze, korrupte Bullen und ein Antiheld, der seine Zukunft längst hinter sich hat - Regisseur Levan Koguashvilis Film erhielt den ersten Preis ...
Interview: Levan Koguashvili - Street Days
With Street Days, a film about the daily life of a junkie in Tbilisi, the independent republic of Georgia is up for a VPRO Tiger Award for the first time. It's also the first feature film for Levan Koguashvili (1973), who went back to his homeland for this project after seven years in New York.
Elevator Pitch
'This is the story of a lost generation of Georgian thirty-somethings. These are people that grew up in the Soviet Union but can't find their place in the current situation. The previous regime is over, but the new system hasn't been built up yet. It's difficult to live in but interesting to film. They find solace in drink and drugs, but despite their cruel fate they maintain a certain humanity.'
Realism
'To give the protagonist as realistic a character as possible, I worked with non-professional actors. Real people are more believable than actors, who are accustomed to wearing masks. For the casting I had some help from the police, who I walked around with for a few days. I also chose a classic approach: minimal editing in long held shots. And no shaky hand-held camera.'
The First Time
'In New York I had already made a few documentaries and short films, so I really felt ready for this step. I didn't discount my experience with documentaries, in fact the opposite. I work without a storyboard and I like to get on with things quickly. In that way I give myself room for improvisation.'
Georgia
As I'd been away for seven years, I had to get used to the recently changed Georgian society. My ties have always been to Georgia. My New York documentaries were about the Georgian immigrants there. The film climate in Georgia is difficult, but it's also the same in New York. It's difficult for film all over the world. Georgian funds are limited; there isn't enough for more than three films per year.
Bright Future
'My next film will be a tragi-comedy. I'm considering two projects. One is about a man that wants to get married but it doesn't work out, which gives a cross-section of Georgian society. The other is about the adventures of illegal immigrants in Brooklyn in which I look at New York from their perspective. These stories are just a starting point. My films are about big themes; about love or lack of love. The plot is important, because we're making these films for the public.' (PvdG)
Source: filmfestivalrotterdam.com
Elevator Pitch
'This is the story of a lost generation of Georgian thirty-somethings. These are people that grew up in the Soviet Union but can't find their place in the current situation. The previous regime is over, but the new system hasn't been built up yet. It's difficult to live in but interesting to film. They find solace in drink and drugs, but despite their cruel fate they maintain a certain humanity.'
Realism
'To give the protagonist as realistic a character as possible, I worked with non-professional actors. Real people are more believable than actors, who are accustomed to wearing masks. For the casting I had some help from the police, who I walked around with for a few days. I also chose a classic approach: minimal editing in long held shots. And no shaky hand-held camera.'
The First Time
'In New York I had already made a few documentaries and short films, so I really felt ready for this step. I didn't discount my experience with documentaries, in fact the opposite. I work without a storyboard and I like to get on with things quickly. In that way I give myself room for improvisation.'
Georgia
As I'd been away for seven years, I had to get used to the recently changed Georgian society. My ties have always been to Georgia. My New York documentaries were about the Georgian immigrants there. The film climate in Georgia is difficult, but it's also the same in New York. It's difficult for film all over the world. Georgian funds are limited; there isn't enough for more than three films per year.
Bright Future
'My next film will be a tragi-comedy. I'm considering two projects. One is about a man that wants to get married but it doesn't work out, which gives a cross-section of Georgian society. The other is about the adventures of illegal immigrants in Brooklyn in which I look at New York from their perspective. These stories are just a starting point. My films are about big themes; about love or lack of love. The plot is important, because we're making these films for the public.' (PvdG)
Source: filmfestivalrotterdam.com
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