Georgian filmmaker Uta Beria’s Tear Gas opens on a series of still images depicting people in migration, which eventually bleeds into the moving image as forest mist double-exposes itself over the final still. This notion of slow, of quiet, of creeping motion, is evocative of what follows, as roughly the first half of Beria’s film chronicles the unassuming quotidian details of a family. First, there’s a procession of elders through a forest, with a 16-year-old girl — our protagonist Elene...
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