“Nobody Can See It In Georgia”: Dea Kulumbegashvili, director of April, discusses state suppression and the support from Luca Guadagnino.

      Note: This review was initially published as part of our 2024 Filmfest Hamburg coverage. "April" will be released in theaters on April 25.

      Georgian writer-director Dea Kulumbegashvili has garnered considerable acclaim in the film industry with just two feature films. Her remarkable debut, "Beginning," earned a Cannes label at the festival's canceled pandemic edition and claimed four out of seven competitive awards at San Sebastián, including the Golden Shell for Best Film. Her highly anticipated second feature, "April," which tells the story of Nina, an OBGYN who secretly assists women in her village with unwanted pregnancies, debuted at the Venice Film Festival last month and received its Special Jury Prize.

      The film was presented at the recently concluded Filmfest Hamburg, where we chatted with her about her instinctive approach to filmmaking, her plans for a trilogy, and the future of a Georgian New Wave.

      The Film Stage: Your feature debut "Beginning" had an incredibly successful festival journey in 2020. How did it feel to have your "breakthrough" during the pandemic? Did you consider postponing the film?

      Dea Kulumbegashvili: I don't typically view things as "breakthroughs." As a director, you've worked on a film for years leading up to its premiere. For me, directing involves trusting your vision while grappling with significant insecurities, as you often feel quite alone during the process. With "Beginning," everything occurred so rapidly that I didn't quite grasp how it all unfolded. We premiered the film and suddenly received awards. I only began to reflect on it perhaps a year later. Additionally, because of the pandemic, I couldn't travel to festivals or engage with audiences, which made the experience feel disconnected for me. I completed the film, and while people expressed excitement via email, I wasn't fully connected to the experience on a personal level.

      I didn’t think about delaying the film because, well, the producers were eager to proceed due to their commitments to financiers; they insisted we needed to release the film this year. It was also crucial to me because I believe films are meant to be seen. If the film is finished, why should I hold it back? Just to walk the red carpet?

      Luca Guadagnino was the jury president at San Sebastián that year when you won the top award and also produced "April." What was it like collaborating with him?

      First and foremost, I have no idea how Luca manages to accomplish everything he does. I work slowly, and I think it surprised him to see that I can only focus on one task at a time. He was incredibly helpful; he wasn't just a producer for this film but served as a sort of… guarantor for me against doubts from others about my process. There were moments of skepticism, as I was taking my time and making bold choices. When funding is provided, directors sometimes don't fully grasp the extent of the freedom they have. Luca's involvement was invaluable in that respect.

      He acted as a protective figure, which I greatly appreciate. During challenging times, he would step in to assist with raising additional funds for reshoots, for instance. As a director, he understood my struggles and was always there to facilitate communication. I think that's not how producers typically operate; it felt more like collaboration between directors.

      In an interview with Guadagnino for "Beginning," you mentioned the first image that inspired you when you began work on the film. Did you have a similar image or starting point for "April"?

      Yes, for me, it was the image of driving through an endless landscape during the blue hour. While working on "Beginning," we often drove back to the hotel in the evening, witnessing the vast expanse of the sky. That was my initial image for "April": cruising through a breathtaking landscape where nature felt so close it was almost tangible. There was no space to look away. That was the feeling I wanted to convey through the film.

      So, nature is woven into the film's essence.

      Absolutely. At times, I think I might be incapable of making an urban film. Yet, I consider that cities have their own landscapes, so perhaps I just need to see them in a different light.

      Based on your first two films, you seem to be a highly instinctive filmmaker. How much do you think your filmmaking is guided by instincts?

      I believe I'm technically proficient as a director, but that can be a pitfall. I genuinely think that cinema begins when you let go of reasoning. I always strive to reach that point. Yes, I prepare extensively, do meticulous research, and know every detail technically, but I need to achieve a state where I'm free from preconceived notions of cinema, as that tends to be dull. I find it boring to impose intellect onto the filmmaking process constantly; it limits my creativity, and cinema is so much more. To me, becoming a better director means becoming less visible in the process.