In a modern world that wants to think of itself in widescreen, the squarish 1:33 aspect ratio and the similarly claustrophobic “Academy ratio” have been somewhat ostracized as outliers — relegated to the province of arthouse filmmakers who primarily use them to express confinement of some kind. Dea Kulumbegashvili’s luminously powerful “Beginning” was shot in 1:33 to much the same effect, but this auspicious debut has a more violent and involved relationship with its framing than most of its contemporaries.
From the horrifying sting of its first shot to the becalming ethereality of its longest take, Kulumbegashvili’s film doesn’t simply trap its heroine in a home she longs to escape, it also uses the severe narrowness of these images to isolate her from other people, to articulate the desires she’s smothered in the name of maternal servitude, and to attack her from just beyond the limits of...
From the horrifying sting of its first shot to the becalming ethereality of its longest take, Kulumbegashvili’s film doesn’t simply trap its heroine in a home she longs to escape, it also uses the severe narrowness of these images to isolate her from other people, to articulate the desires she’s smothered in the name of maternal servitude, and to attack her from just beyond the limits of...
- 9/30/2020
- by David Ehrlich
- Indiewire
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