IMDb > Since Otar Left (2003)
Depuis qu'Otar est parti...
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Since Otar Left (2003) More at IMDbPro »Depuis qu'Otar est parti... (original title)

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Overview

User Rating:
7.6/10   2,187 votes »
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Director:
Writers:
Julie Bertuccelli (written by) &
Bernard Renucci (written by) ...
(more)
Contact:
View company contact information for Since Otar Left on IMDbPro.
Release Date:
17 September 2003 (France) See more »
Genre:
Tagline:
For a mother, a sister and a niece, nothing is the same . . . Since Otar Left [UK Quad Poster] See more »
Plot:
The one joy in the lives of a mother and daughter comes from the regular letters sent to them from Paris from the family's adored son... See more » | Add synopsis »
Awards:
12 wins & 5 nominations See more »
NewsDesk:
(25 articles)
Film Review: ‘School of Babel’
 (From Variety - Film News. 16 December 2013, 4:19 PM, PST)

Liv Ullmann, Carlos Saura, Darwins Nightmare: European Film Awards 2004
 (From Alt Film Guide. 26 November 2011, 3:26 AM, PST)

The Tree
 (From GreenCine. 15 November 2011, 12:36 PM, PST)

User Reviews:
Three Generations of Women's Experience Crafted by First-Time Director See more (28 total) »

Cast

  (in credits order) (complete, awaiting verification)
Esther Gorintin ... Eka
Nino Khomasuridze ... Marina
Dinara Drukarova ... Ada
Temur Kalandadze ... Tengiz (as Temour Kalandadze)
Rusudan Bolkvadze ... Rusiko (as Roussoudan Bolkvadze)
Sasha Sarishvili ... Alexi (as Sacha Sarichvili)
Duta Skhirtladze ... Niko (as Douta Skhirtladze)
Abdellah Moundy ... Le berbère (as Abdallah Moundy)
Mzia Eristavi ... Dora
Misha Eristavi ... Fils Dora
Zoura Natrochvili ... Voisin (Mika)
Alexandre Makhorablichvili ... Fonctionnaire
Micha Moudjiri ... Directeur usine
Jacques Fleury ... Homme d'affaire 1
Frédéric Payen ... Homme d'affaire 2
Manon Abacjodze ... Postière 1
Manana Taralachvili ... Postière 2
Irina Toukhoulova ... Professuer fac
Médéa Roinichvili ... Voisine
Iago Demetrachvili ... Père Alexi
Gotcha Darbaidze ... Otar en photo
Vaja Jalagania ... Photographe
Malamine Sissokho ... Chauffeur taxi
Sarah Chaumette ... Hôtesse de l'air
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Directed by
Julie Bertuccelli 
 
Writing credits
Julie Bertuccelli (written by) &
Bernard Renucci (written by)

Roger Bohbot (adaptation)

Alda Engoian (translation) and
Gotcha Djavakhichvili (translation) and
Miguel Machalski (translation)

Produced by
Sébastien Delloye .... co-producer: Entre Chien et loup
Diana Elbaum .... co-producer: Entre Chien et loup
Yael Fogiel .... producer
Laetitia Gonzalez .... associate producer
Jana Sardlishvili .... executive producer: Studio 99 (as Jana Sardlichvili)
 
Cinematography by
Christophe Pollock 
 
Film Editing by
Emmanuelle Castro 
 
Casting by
Stéphane Batut 
 
Production Design by
Emmanuel de Chauvigny 
 
Costume Design by
Nathalie Raoul 
 
Makeup Department
Msia Kentshiashvili .... hair stylist (as Mzia Kentchiachvili)
Msia Kentshiashvili .... makeup artist (as Mzia Kentchiachvili)
Françoise Ben Soussan .... hair stylist: Paris
Françoise Ben Soussan .... makeup artist: Paris
 
Production Management
Reza Boirahmady .... assistant unit manager
Sylvie Caillabet .... post-production manager
Mat Troi Day .... production manager
Adam Marchand .... assistant unit manager
Jean-Philippe Moreteau .... assistant unit manager
Regis Saillard .... unit manager (as Régis Saillard)
 
Second Unit Director or Assistant Director
Elsa Amiel .... second assistant director: Paris
Marine Kulumbegashvili .... first assistant director (as Marina Kouloumbegachvili)
Gabriele Roux .... assistant director
 
Art Department
Bruno Albanti .... assistant set decorator: Paris
Besarion Gelashvili .... assistant art director (as Bessarion Guelachvili)
Gia Laperadze .... assistant art director (as Guia Laperadze)
Virginie Noël .... set decorator: Paris
Mamuka Tkeshelashvili .... set designer (as Mamouka Tkechelachvili)
 
Sound Department
Thomas Gauder .... sound mixer
Aline Gavroy .... foley recording mixer
Olivier Goinard .... sound editor
Olivier Goinard .... supervising sound editor
Alex Hudd .... sound consultant: dolby
Xavier Marsais .... foley artist & post-synchronization recording
Henri Morelle .... sound
Stéphane Morelle .... sound assistant
Arnaud Rolland .... assistant sound editor
Arnaud Rolland .... sound editor
Philippe van Leer .... foley artist (as Philippe Van Leer)
 
Camera and Electrical Department
Arnand Cousin .... electrician: Paris
Lucilio Da Costa Pais .... electrician
Eric Lesage .... electrician
Cyril Liberman .... camera operator (as Cyrille Liberman)
Olivier Regent .... chief electrician (as Olivier Régent)
 
Casting Department
Marion Touitou .... casting: children
Isabelle Ungaro .... extras casting
 
Costume and Wardrobe Department
Dolores Gonzalez .... wardrobe (as Dolorès Gonzalez)
Keti Palavandishvili .... wardrobe (as Ketty Palavandichvili)
Filippa Russo .... chief costumer
 
Editorial Department
Serge Anthony .... grader
Julie Delord .... assistant editor
Thomas Glaser .... assistant editor
Bruno Patin .... color timer
 
Music Department
Dato Evgenidze .... composer: song "Poissons"
Vladimir Spivakov .... musician: piano for Pärt's "Spiegel im Spiegel"
 
Other crew
Samantha Mialet .... production assistant
Maria Moutot-Tolomio .... location manager
Sandrine Pillon .... production assistant
Els Rastelli .... script supervisor
Rémi Roy .... administrator
Martine Vidalenc .... production assistant
 
Thanks
Jean-Louis Bertuccelli .... thanks
Emmanuel Finkiel .... thanks
Otar Iosseliani .... thanks
 

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Additional Details

Also Known As:
"Depuis qu'Otar est parti..." - France (original title)
See more »
Runtime:
103 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

FAQ

Is this film based on Argentine writer Julio Cortazar's short story "The Health of the Sick"? Plot too close!
See more »
26 out of 27 people found the following review useful.
Three Generations of Women's Experience Crafted by First-Time Director, 13 May 2004

[See IMDb home page for this film for cast names-they aren't known in the U.S.]

Consistently interesting and often moving, first-time director Julie Bertucelli brings to the screen a sometimes humorous, often sad story about three women - grandmother, mother and daughter - living in Georgia (the Georgia that was part of the USSR). No one is starving here but a workers' paradise it isn't either.

The white-haired grandmother is bent and saddled with a heart problem. Living with her in a small but neat apartment boasting many shelves of French books in fine bindings are her daughter, Marina, widow of a soldier killed in the Soviet Union's Afghanistan debacle, and Ada, a student in her late teens or early twenties. She isn't a great beauty but her sensitive face reflects a growing intelligence and a wide range of feelings. All three speak French fluently and each has an emotional attachment to France. The grandmother boasts that the family managed to hide the tomes from "the Bolsheviks."

Notwithstanding her love of France, grandma pines for the good old days of Stalin where everything currently out of kilter would have been fixed by Uncle Joe. She goes as far as to claim she can prove the dictator never ordered anyone killed. There's a surprisingly large number of older Russians and people from former Soviet republics who still maintain that view today.

Otar is the grandmother's beloved son, a Moscow-trained doctor who left Georgia to work, illegally, in construction in France. Writing or phoning regularly, and occasionally sending money, was his habit until, near the beginning of the film, Marina learns he has been killed in an on-the-job accident.

Marina and Ada grieve intensely by themselves. Marina comes up with the terrific(!) idea to keep the news of Otar's demise from the old lady. Her assumption is that her mother, who lived through The Purges and The Great Patriotic War, would die upon hearing the awful news. Not too hard to imagine the complications that can arise from such a scheme with the risk of disclosure of the truth hanging like a cheap suit. Ada is impressed into writing fulsome letters from Otar which his mother never seems to recognize as bogus, even when looking at them.

Things become more complicated, not surprisingly. This isn't the most original plot ever. But then grandma shocks and amazes Marina and Ada with tickets for a Paris vacation to see Otar.

The trip allows the story to continue to an unexpected, satisfying and very lovely ending (which I won't, of course, reveal).

This film is less about a missing and mourned son than it is about inter-generational dynamics among three women who have a very deep and honest love for each other. And it's also a reminder of how resilient people can be when they must. Ada is torn between two worlds but she isn't neurotic or destructive-she's quietly finding her own way. Marina is resigned to life with a supportive, kind boyfriend who cares for her but who she says she can't love. But she isn't cold or exploitative-she seems like a lot of fun when she's with him. And grandma, her devotion to Stalin notwithstanding, is a rock. A realistic one at that.

I hope to see more from Ms. Bertucelli soon.

9/10

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What's been Ada doing in France all these years? dsnasa1
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