Glamor and Grit Collide in Akaki Popkhadze’s San Sebastian Bound Debut ‘In The Name of Blood,’ Which Gets a Trailer (EXCLUSIVE)

As a filmmaker deeply rooted in the world of martial arts, particularly judo, I find that my practice has profoundly influenced not only my physical being but also my storytelling. Judo, with its focus on balance and redirection of forces, has taught me to find harmony between the visual and narrative aspects of filmmaking. Florent Hill, my childhood judo companion, serves as my anchor in striking that delicate equilibrium.

In Akaki Popkhadze’s debut film, “In The Name of Blood” (also known as “Brûle le sang”), the polished allure and charm of Nice is stripped away to reveal a grittier reality. This revealing exploration premieres in the New Director section at San Sebastian.

The director explains to EbMaster that Nice is a city where wealthy individuals and those less fortunate reside in close proximity. He notes that the impoverished areas are only a short tram ride from the city center, avoiding a lengthy drive to witness poverty. He further remarks that what sets Nice apart is the coexistence of poor residents amidst palm trees, stunning landscapes, luxury cars, casinos, bustling tourist zones, and opulence – a spectacle which can confuse people and lead them astray in terms of life aspirations. In his opinion, however, all this grandeur is merely superficial.

The camera first pans from a picturesque view of Nice’s bay, revealing a neglected area with a chain-link fence, towering apartment buildings, and a busy highway. This overlooked part of Nice serves as the backdrop for a narrative that delves into themes of conflict, religion, and family.

The movie was created by Sébastien Aubert and Leslie Jacob for Adastra Films based in Cannes, and it has already secured pre-purchases from Canal+ and Ciné+. It is also a co-production between Beside Productions of Belgium, Gemini of Georgia, and Elly Films of Austria. The sales are being handled by Urban Sales.

During my initial encounter with Akaki, I found myself greatly admiring his unwavering resolve. To him, this movie wasn’t just a project, it felt like a matter of survival. This was the sentiment Aubert, CEO of Adastra, shared with EbMaster. “There’s always an element of risk in launching a director’s first film,” Aubert stated, “but Akaki exuded the air of a visionary leader from the get-go. He was both demanding and attentive in his collaboration. I couldn’t be more pleased with his debut feature and eagerly anticipate bringing his next project to market (which won’t be long now).

In the movie, a resident from the local Georgian neighborhood is wrongfully killed, assumed to be his powerful Russian boss. His son, Tristan, portrayed by co-writer Florent Hill, who aspires to become an Orthodox priest, is now left with his mourning mother. Amidst this chaos, Gabriel, played by Nicolas Duvauchelle (“A Decent Man”), enters the scene – he’s Tristan’s older brother with a troubled past, motivated by honor and vengeance. Together, they are pulled into the shady side of Nice, attracting the attention of a local crime boss, brilliantly played by Denis Lavant (“Holy Motors”).

The film stands out from typical crime genre movies due to its exploration of themes like faith and family. In particular, the character of Catherine, played by Ia Shugliashvili (“My Happy Family”), yearns for her sons to reconcile and lead fulfilling lives. This movie is not just one thing; it’s a blend of genres, transforming the intricacies of challenging lives into a multi-layered revenge thriller. The cinematography, according to Justin Vaudaux, the director of photography, draws viewers in by using only two lenses – an 8mm and a 12mm on a Super35 sensor. This technique makes the audience feel more connected to the characters while fully immersing them in the environment.

The story draws from the filmmaker’s upbringing where violence was part of life. “I was spending more and more time in the street, getting involved in fights, going to nightclubs on Saturday night and to the church on Sunday morning. Very contradictory, but this was my reality. For integration in the movie I divided my experience into three vectors. Faith for Tristan, violence for Gabriel and family for Catherine.”

On the brink of Toronto and San Sebastian, I had the privilege of connecting with the filmmaker. In our conversation, I was curious to know: How did your own experiences of cultural dislocation and the trials faced as an immigrant shape the narrative of ‘In the Name of Blood’?

Upon arriving in France, I found myself unable to speak the local language, which made my initial years of assimilation challenging. I believe it was my inability to communicate effectively that drove me towards violence, as it seemed to be one of my few means of expression. Cinema served as my sole refuge from my reality, and I learned French almost entirely through watching television all day and frequenting the cinema. The only advantage of being unable to communicate is that it hones your ability to observe your surroundings and the people around you. This theme of inexpressible emotions and lack of communication permeates both brothers and the mother in the movie.

Did Florent Hill and you first cross paths during your childhood days, both being involved in judo? Could the martial art’s emphasis on deflecting energies possibly influence the way you tell stories?

Generally, I’m plagued by vivid imagery that persists until I capture them on camera. Florent guides me to discover the storyline that enables me to concentrate solely on the frame and what it contains. Since Judo is about maintaining equilibrium, and I find balance with Florent (between visual and narrative aspirations), I can confidently say that my practice of Judo significantly aids in this process.

Why did you opt for the daring choice of using extremely short focal lengths in your lenses, which seem to distort subjects and reality? What factors influenced this decision?

I’m very comfortable with very short lenses. DP Justin Vaudaux has done a great job because every shot is always a choreography between actors, décor and the camera. I like working with these lenses because it forces me to move physically and find the best point of view in the space. I can go very close to the actors and intrude into their intimacy, be entirely with them often at the same eye level. I believe this helps to show some of their soul on the screen. At least, I hope it does.

It’s obvious that you have a strong affinity for movies belonging to the crime genre. Can you mention any significant inspirations or recurring themes that played a role in shaping this particular project of yours?

I have a strong affinity for the unattractive aspects of reality, and I find myself drawn to delving into the complexities of human nature, particularly the darker sides. This is why crime-themed cinema appeals to me so much. For this particular film, some of James Gray’s early works served as a significant inspiration, including three of his initial movies that dealt with themes such as community struggles, family issues, immigration, and crime. I find myself connecting deeply with these topics, even though it may not be immediately apparent to the audience while watching the movie. During the creation process, however, these ideas were constantly on my mind.

In the tale about the pair of siblings, the mother significantly impacts both the narrative and their bond. Could you explain how you crafted her character to have such a deep impact on the story, despite being a secondary figure?

Growing up, I had both a brother and a sister, but during my time in France, it was just my brother and me. My sister remained in Georgia. Consequently, my upbringing was predominantly influenced by male role models. As an altar boy, I interacted primarily with priests, deacons, and other altar boys. In the neighborhood where we resided, boys and girls seldom mixed. I pursued judo, and once more, it was mostly men – judokas, coaches – that I encountered. My professional life also revolved around male coworkers, as a security guard. The only female influence in my life was my mother. In the movie, the role of the mother is significant, and to further highlight this, she is the only female character. Catherine is a secondary character who plays an instrumental part in shaping events. In the film, these “tough” men appear as vulnerable young boys when they are with their mother. Catherine holds immense importance within the family drama. Through her words and actions, she significantly impacts the behavior of her sons.

In this movie, you’ll notice that the camera work is quite dynamic, transitioning smoothly between long, flowing shots following the action and close-ups tracking the movement within the scene, like a truck’s journey or terrapins scuttling about. This style seems to be inspired by Judo or perhaps another source entirely?

I like movement. I wanted the movie to have continuous movement, handheld or with Steadycam but without blocking the horizontal line and some Dutch angles. I wanted to show the audience and make them feel the internal tumult of the characters and wanted them to be dizzy. To get a feeling that they can fall at any time. I think this shows the instability of the characters. Everybody tries to find a balance and to stay standing. Like in judo, which is all about balance, trying to stay standing, and not fall.

Additionally, judo serves as a means for the brothers to reconnect on a physical level through shared discomfort and exertion, paving the way for deeper emotional reconnection in a later scene of the film.

2024-09-11 15:47

Glamor and Grit Collide in Akaki Popkhadze’s San Sebastian Bound Debut ‘In The Name of Blood,’ Which Gets a Trailer (EXCLUSIVE)

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