
Ivane Perestiani’s 1922 phantasmagoria Suramis tsikhe is less a film than a lithograph of the collective unconscious—every intertitle a chisel blow, every iris-in a pupil dilating with ancestral guilt. Shot on orthochromatic stock that renders Caucasian limestone as mercury, the picture feels mercury-cool yet volcani...

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Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Ivane Perestiani

Robert N. Bradbury
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" Ivane Perestiani’s 1922 phantasmagoria Suramis tsikhe is less a film than a lithograph of the collective unconscious—every intertitle a chisel blow, every iris-in a pupil dilating with ancestral guilt. Shot on orthochromatic stock that renders Caucasian limestone as mercury, the picture feels mercury-cool yet volcanically bitter, as though Dovzhenko had hijacked a Pre-Raphaelite canvas and forced it to confess crimes it never knew it committed. Tableaux of Petrifaction From the first frame—a..."
N. Odankevich
Daniel Chonqadze, Ivane Perestiani
Soviet Union


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