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   2,205 votes »
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Director:
Writers:
Julie Bertuccelli (written by) &
Bernard Renucci (written by) ...
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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:
Going (and growing) through grief 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 »
31 out of 33 people found the following review useful.
Going (and growing) through grief, 3 October 2004
Author: livewire-6 from Ottawa, Canada

There is a famous photograph, taken in 1852, of three grieving British queens: dowager Queen Mary, Queen Mother Elizabeth, and the not yet crowned reigning Queen Elizabeth. They are mourning the death of King George VI -- a son, a husband, a father. They are clad in black from head to toe, veils and widow's weeds. They are stony-faced in their own individual grief, yet huddled together to give each other comfort.

"Since Otar Left" is like that: a portrait of three generations of grief, and how a Georgian grandmother, mother, and daughter evolve from handling that grief in their own way, to showing concern for the sadness and loss of the other two women.

Of the three, middle-aged Marina is the most grounded in reality, no-nonsense, down to earth. She worries about the day-to-day things: how to keep body and soul together when her brother Otar dies and is no longer able to supplement the family's income. She worries about her mother's health, staying by her bedside and massaging her feet in a very physical and intimate expression of love and caring. She swallows her pride and borrows money from her erstwhile lover, an antiquities dealer, and even considers selling the leather-bound, gold-stamped volumes of French literature that are her father's legacy.

Young Ada responds differently. At first, she is affected in a practical way: mourning makes it difficult for her to concentrate at school, and the loss of income from her brother causes her to resort to petty theft. But she uses her creativity and imagination, and draws inspiration from the same French literature that Marina wants to sell. Ada reinvents her dead brother and clothes him in the brightness of Paris, City of Lights -- the city to which he emigrated and in which he tragically died.

Elderly Eka seems like a combination of the two. Like Marina, she is tough as nails. An early scene shows Eka relishing a rather large piece of cake, and bristling when Marina helps herself to a forkful. We see that, beneath her outward appearance as a kindly old lady with fine white hair, Eka can be petulant and stubborn. She has an iron will and a spine of steel. When she fails to hear from her son Otar for several months, she takes matters into her own hands and decides to go to Paris to find him. Eventually, she learns the truth that he is dead. We see her grief in her sad eyes and her suddenly tired old body. But then Eka surprises us by rising above her own bereavement and reaching out to those who remain.

"Since Otar Left" is a powerful, touching, heart-rending, yet hopeful film. Its characters transcend the realm of celluloid and screenplay, and emerge as well drawn, fully rounded human beings. In the face of death, they respond with the vitality of life. In the face of despair, they shine as beacons of hope. And in the face of loss, they learn the lesson of love.

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