‘The Antique’ Review: An Unlikely Bond Blossoms in a Hostile Climate in Georgia’s Stately Oscar Submission

As a cinephile with a soft spot for films that delicately weave historical context into personal narratives, “The Antique” left me captivated and reflective. Having lived through the tumultuous times portrayed in Rusudan Glurjidze’s sophomore feature, I can’t help but feel a deep connection to the characters and their struggles.

In Rusudan Glurjidze’s worn, wintery sophomore film “The Antique,” the title could symbolize various decaying artifacts: the beautifully aged pieces of furniture that Georgian immigrant Medea (Salome Demuria) smuggles illegally from her homeland to Russia for resale; the once-majestic but deteriorating Saint Petersburg apartment that she acquires at a discounted price, under peculiar circumstances; or Vadim (the late Sergey Dreyden), the apartment’s prickly, elderly former owner who stubbornly refuses to vacate even after the property has been legally transferred. Alternatively, it could represent Russia itself, an ancient nation struggling to adapt to a changing population, as depicted here during a forceful 2006 campaign to expel or assimilate thousands of established ethnic Georgians.

As a movie enthusiast, I found Glurijidze’s latest film, “The Antique,” to be a poignant exploration of culture clash, veiled beneath a layer of warmth. Beneath this warm veneer, the film occasionally solidifies and freezes with a lingering resentment towards injustice. However, this anger is subtly conveyed, allowing for moments of recognition between seemingly opposing characters, as they both reveal their shared scars. The film is slightly worn around the edges, but intentionally so – it stretches an elegiac metaphor to its limit.

Although “The Antique” might not match the intense, haunting effect of its previous version, its soft-spoken sentimentality could potentially take it farther in the international arthouse market after a challenging festival debut. Originally withdrawn at the last second from its Venice premiere slot due to a suspected copyright issue that the filmmakers claimed was an attempt at Russian censorship, the movie eventually made a late appearance on the Lido. Now, these unplanned challenges could add more significance to its portrayal of Georgian resistance under Putin’s Russia.

In this adaptation, Demuria portrays Medea as a practical woman with a stern demeanor, characterized by self-restraint. Much like many others from her homeland, she has moved from Georgia for financial reasons and isn’t eager to form relationships in Saint Petersburg, a city that mirrors her cold disposition with its grand but frosty streets. Her work in an antiquated warehouse is solitary, receiving instructions from a mysterious superior via intercom. This depiction of mid-2000s Russia paints a picture of every individual fending for themselves to evade authoritarian scrutiny. The spacious apartment Medea purchases at the film’s start serves as an ideal sanctuary: run-down, neglected, and filled with relics from bygone eras, it’s a haven for those who wish to remain overlooked.

The apartment has a condition attached: it can only be sold if octogenarian widower Vadim, a retired government official, continues to live there. Despite being young, his new roommate encounters brusque disrespect from Vadim, stemming from both the old man’s grumpiness and prejudice inherited from his environment. By nature, Vadim maintains distance and suspicion towards others. His most significant human interaction is watching curling matches as a spectator.

Despite a lack of significant compromise on either part, these two apparent opposites gradually begin to mend their relationship. Vadim, who distantly maintains a separation from his materialistic son Peter (Vladimir Vdovichenkov), is not entirely an isolated figure, while Medea finds it challenging to dismiss the persistent attempts of her Georgian ex-husband Lado (Vladimir Daushvili). Lado’s voyage to Russia in search of Medea puts him at odds with Russian deportation authorities.

The heartfelt bond at the core of this film, spanning cultural and generational gaps, could easily slip into sentimental territory. However, the nuanced and understated performances by Demuria and Dreyden, particularly the latter who passed away last year, prevent this. Their characters possess a unique, sometimes darkly humorous complexity that counters the film’s symbolic undertones. The script, co-written by the director with an unnamed partner, offers intimate sketches of human sorrow amidst broader calamity. The appeal of “The Antique” lies in its immersion into specific settings and atmospheres, beautifully captured by Spanish cinematographer Gorka Gomez Andreu. His work, recognized with an ASC Spotlight award for his work on “House of Others,” imbues the scenes with aged textures reminiscent of water damage and mirror decay. The meticulously crafted shots subtly convey a present that is already becoming a regrettable past, right before the eyes of those living it.

2024-12-12 07:46

‘The Antique’ Review: An Unlikely Bond Blossoms in a Hostile Climate in Georgia’s Stately Oscar Submission

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