In “April,” director Dea Kulumbegashvili delivers a shattering and uncompromising depiction of womanhood, grief, and isolation in a harsh, rural corner of Georgia. The film, which solidifies Kulumbegashvili’s status as one of Europe’s most essential filmmakers, is an unflinching exploration of societal cruelty and personal resilience.
A Bleak and Unforgiving World
Set in a remote provincial region of Georgia, “April” follows Nina (played by Ia Sukhitashvili), a seasoned obstetrician at the local hospital who endures a grueling and punishing existence. The film opens with a haunting delivery scene, shot from overhead, where a newborn is delivered but never cries. The sterile hospital hallways, unsettling silence, and graphic imagery of the stillbirth set the tone for a story steeped in sorrow.
Despite Nina’s experience with thousands of births, the tragedy prompts the grieving father to demand a police investigation. In a chilling confrontation, he accuses Nina of performing abortions in the village, calling her a “murderer” before spitting on her. Nina endures the moment in horrified silence, a recurring theme in “April” that underscores her internal anguish.
The Weight of Isolation
While abortion, legal yet fraught with stigma in Georgia, serves as a central theme, “April” delves far deeper into Nina’s loneliness and the systemic oppression she faces. Time and again, Kulumbegashvili places Nina in situations where her professional and personal gestures are minimized or brutally condemned.
One of the film’s most harrowing sequences involves a deaf-mute teenage girl (Roza Kancheishvili) undergoing a clandestine kitchen-table abortion after a mysterious rape. The scene, shot in static profile with half of Nina visible, is both intimate and devastating. The girl’s soft, mournful murmurs resonate throughout the film, contrasting starkly with a world where even cries of pain go unheard. As Kulumbegashvili poignantly illustrates, “only the storm cloud skies cry.”
A Director in Complete Control
“April” extends the promise of Kulumbegashvili’s acclaimed 2020 debut “Beginning” and has already garnered recognition as a prize-winner at the Venice Film Festival. Though its austere style and deliberate opacity may challenge some viewers, the film’s hypnotic intensity and unwavering control over its narrative make for an unforgettable cinematic experience.
Nina’s words are few but powerful. As she confronts an investigation into the stillbirth, she tells her superior, “Other than my job, I have nothing to lose.” Sukhitashvili’s masterful performance speaks volumes through her restrained expressions and yearning eyes, capturing the emotional weight of a woman trapped between duty and despair.
Cinematographer Arseni Khachaturan skillfully alternates between objective and subjective perspectives, often depicting Nina alone, driving through dark roads or searching for fleeting intimacy, or surrounded by men who scrutinize her every move. When Nina recounts the circumstances of the stillbirth, the camera adopts her viewpoint: three men seated in judgment, further highlighting the oppressive imbalance she faces.
A Haunting Visual Mystery
Interspersed throughout the film are enigmatic scenes of a faceless, humanlike figure with sagging, unformed skin, shifting slowly while breathing heavily. Is this a grotesque manifestation of Nina’s tortured soul? A symbolic representation of an adult fetus whose suffering remains unseen? Kulumbegashvili leaves these haunting images open to interpretation, adding another layer of depth to the film’s unsettling atmosphere.
Final Thoughts
“April” is a Metrograph Pictures release, unrated by the Motion Picture Association, with a runtime of 134 minutes. Presented in Georgian with English subtitles, the film earns a 3.5 out of 4 stars for its raw emotional power and uncompromising vision.
Though grimly spellbinding, “April” is an essential viewing experience, too often silenced
Paraluman P. Funtanilla
Paraluman P. Funtanilla is Tutubi News Magazine's Marketing Specialist and is a Contributing Editor. She finished her degree in Communication Arts in De La Salle Lipa. She has worked as a Digital Marketer for start-up businesses and small business spaces for the past two years. She has earned certificates from Coursera on Brand Management: Aligning Business Brand and Behavior and Viral Marketing and How to Craft Contagious Content. She also worked with Asia Express Romania TV Show.
- Paraluman P. Funtanilla#molongui-disabled-link
- Paraluman P. Funtanilla#molongui-disabled-link
- Paraluman P. Funtanilla#molongui-disabled-link
- Paraluman P. Funtanilla#molongui-disabled-link
