The Cinematic Rebellion: How 'Tear Gas' Captures the Soul of Georgia’s Protests
There’s something profoundly unsettling—and yet, strangely inspiring—about a film that blurs the lines between fiction and reality. Tear Gas, the latest work from Georgian writer-director Uta Beria, is exactly that kind of film. On the surface, it’s a story about a family caught in the crossfire of Tbilisi’s anti-government protests. But dig deeper, and you’ll find a bold act of defiance, a cinematic rebellion against authoritarianism, and a testament to the human spirit’s refusal to be silenced.
What makes this particularly fascinating is how Beria chose to shoot the film. Instead of recreating protests in a controlled studio environment, he plunged his cast and crew into the heart of real demonstrations. This isn’t just a creative choice—it’s a political statement. By embedding fiction within reality, Beria forces us to confront the raw, unfiltered truth of Georgia’s struggle for democracy. It’s a risky move, both artistically and personally, but one that pays off in spades.
From my perspective, the title itself is a masterclass in symbolism. Tear gas, as Beria explains, is a weapon designed to divide, to suffocate dissent. But in the film, it becomes a catalyst for unity, a reminder that even in the face of oppression, people will fight for what they hold dear. Personally, I think this duality is what makes Tear Gas so powerful. It’s not just a film about protest—it’s a film about resilience, about the human instinct to resist being torn apart.
One thing that immediately stands out is the sheer audacity of the project. Shooting amidst live protests is no small feat. Beria and his team had to navigate unpredictable chaos, from police crackdowns to communication blackouts. What many people don’t realize is that this kind of filmmaking isn’t just about capturing the right shot—it’s about survival. The crew had to devise ingenious methods, like using flags to signal each other in a sea of protesters, just to keep everyone safe. If you take a step back and think about it, this level of commitment is almost unheard of in cinema.
This raises a deeper question: What does it mean to create art under a repressive regime? Beria’s struggles with the Georgian National Film Center (GNFC) are a stark reminder of the challenges faced by artists in authoritarian environments. The GNFC’s refusal to fund the film, followed by threats of financial sanctions, is a textbook example of institutional censorship. But Beria didn’t back down. Instead, he cut the budget, raised funds independently, and finished the film. In my opinion, this is the essence of artistic resistance—refusing to let fear dictate your creativity.
A detail that I find especially interesting is how the film’s production mirrors the very themes it explores. The protesters in Tbilisi fear Georgia is sliding into an authoritarian state, much like Russia. Beria’s battle with the GNFC feels like a microcosm of that larger struggle. What this really suggests is that art and politics are inextricably linked, especially in times of crisis. By completing Tear Gas, Beria isn’t just telling a story—he’s living it.
What this really suggests is that cinema can be more than entertainment. It can be a weapon, a tool for change, a way to amplify voices that might otherwise be silenced. Beria’s hope is that Tear Gas will bring global attention to Georgia’s plight. And honestly, I think it has the potential to do just that. The film’s premiere at the Locarno Film Festival is a victory not just for Beria, but for everyone fighting for freedom of expression.
If you take a step back and think about it, Tear Gas is more than a film—it’s a movement. It’s a reminder that even in the darkest times, art can light the way. Beria’s willingness to risk everything for this project is a testament to the power of storytelling. Personally, I can’t wait to see how audiences respond. Because in a world where authoritarianism is on the rise, stories like this aren’t just important—they’re essential.
In the end, Tear Gas isn’t just a film about Georgia’s protests. It’s a film about the human condition, about our capacity to resist, to hope, and to fight for what we believe in. And that, in my opinion, is what makes it truly unforgettable.
