“Tear Gas” in Tbilisi: A Film Born from Chaos and Censorship

The streets of Tbilisi have been a battleground for over 600 days, with protesters demanding greater freedoms and a more democratic future for Georgia. Amidst this chaos, the film “Tear Gas,” directed by Uta Beria, has emerged. The movie weaves the raw emotion and defiance of these demonstrations into its narrative, born from a five-year journey that is a testament to the power of art in the face of censorship and institutional pressure.

The film’s title, while aptly chosen from a literal perspective, also echoes the words of Beria: “Tear gas is a weapon created to disperse us, tear us apart, make us cry, and restrict our breathing.” This poignant metaphor speaks to the essence of the protests – the struggle for freedom of expression in the face of an authoritarian government.

Beria recounts that her project faced numerous challenges, including securing funding and navigating strict rules imposed by the Georgian Film Center. The team had to cut costs, raise additional funds themselves, and deal with a contract dispute that threatened to stall production entirely. This is a stark reminder of the risks taken by artists who dare challenge the status quo.

The use of real-life demonstrations as the backdrop for “Tear Gas” adds an unparalleled level of authenticity to the film. The challenges faced by Beria and her team in communicating with actors amidst the chaos demonstrate their dedication and creativity. Without walkie-talkies, they relied on mobile phones – a stark contrast to the carefully choreographed scenes often seen in fiction films.

The film is more than just a story about a movie; it’s an indictment of Georgia’s increasing authoritarianism. The Foreign Agents Law, also known as “the Russia law,” has become a rallying cry for protesters, who fear their country’s descent into a Russian-style regime. By tackling these themes head-on, Beria and her team have produced a work that showcases the resilience of Georgian artists and highlights the global implications of creeping authoritarianism.

The world premiere at Locarno comes as a welcome reprieve for “Tear Gas,” which has been recognized with prestigious awards, including the HBF Empowerment Award and the Outward Gaze Award. Despite this recognition, Beria’s team still faces financial pressures from the Georgian National Film Center – a situation that underscores the precarious position of artists in countries where censorship and institutional pressure are ever-present.

The challenges faced by “Tear Gas” raise questions about the role of art in confronting societal issues. Can films like these truly be seen as acts of resistance, or do they risk becoming mere spectacles of suffering? The answer lies in their impact – not just on the audience but on the filmmakers themselves. Beria’s journey is a testament to the enduring power of creative expression even in the face of adversity.

The world premiere of “Tear Gas” is a beacon of hope in the face of censorship – a reminder that art can be both a reflection of our times and a force that shapes them. As Beria says, “When you inhale [tear gas] and panic takes over, you instinctively begin fighting for what is most precious to you.” This phrase encapsulates not just the film’s theme but also its very essence – a testament to the enduring power of human spirit in the face of adversity.