Navigating character, tradition and fate

‘In Bloom’ has teenage friends dealing with the world on their own terms

Darleen Ortega | 3/12/2014, 11:18 a.m.
Our 'Opinionated Judge' Darleen Ortega reviews "In Bloom", a film that sees teenage friends dealing with the world on their ...
Mariam Bokeria (left) and Lika Babluani star in “In Bloom.” Photo courtesy of Big World Pictures

The Russian playwright Anton Chekhov is often quoted as saying that if you introduce a gun (literally or figuratively) in the first act of a play, it had better go off by the last act, or it serves no dramatic purpose. Many of the reviews of "In Bloom"-- a Georgian film that was one of my favorites at this year's Portland International Film Festival and is currently playing at Cinema 21 in Portland -- mention Chekhov's principle, intrigued by the question of whether the film violates or complies with it.

To my mind, this observant and insightful depiction of the too-early coming-of-age for two 14-year-old girls embodies the principle in a way that captures the complexity of the experience of women and girls, specifically in Tbilisi, Georgia in 1992, right after the collapse of the Soviet Union, but also more generally.

The two girls at the center of this story, Eka and Natia, display a familiar adolescent determination to deal only on their own terms with the external world of fighting parents, teachers who shame students, boys and breadlines. They are good girls, but not necessarily compliant ones, except when it suits them, and they act as though the adults in their world should feel lucky for what they get.

But the world around them does contain violently fighting parents, and teachers who shame students quite mercilessly, and boys who will harass a girl walking home alone after school, and breadlines where adults will literally yell obscenities and fight a child for a place at the front. It is a world that is violent enough that when a boy who is sweet on Natia gives her a gun to protect herself, she barely registers a reaction. I watched this film in a continual state of anxiety -- but Natia displays no such concern. She is acclimated to a level of hazard and threat that makes it clear that you are worrying for her much more than she ever worries for herself.

Eka, more bookish and less popular with boys, worries a little. Where Natia's attitude toward boys, teachers, and parents is brash and openly confrontational, Eka is more quiet and watchful. Natia believes her friend needs to toughen up, and even instructs her to use the gun to scare off some bullies. Eka's instincts are still forming, but she tends to keep more to herself, and one guesses that she may have more considered intentions.

Much of the film is spent in very particular observation of the girls' daily routines, from their perspective. Nana Ekvtimishvili, who wrote and co-directed the film with her husband, German filmmaker Simon Gross, based it on her own childhood experiences, and the film benefits from that insider's view. Even in a culture like this one, where girls as young as 14 can be kidnapped and forced into a marriage against their will, girls do not generally feel themselves to be vulnerable victims. They may even adopt a kind of defiance. Their reaction to very real dangers may be much like Natia's attitude about the gun, detached and even playful. Watching these girls toy with the potential uses of a gun is a fitting parallel to watching them navigate the rest of their world.