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Cast
Rest of cast listed alphabetically: | |||
Vissarion Apliaa | ... |
Self
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Valery Gergiev | ... |
Self
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Olga Konskaya | ... |
Self
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Marat Kulakhmetov | ... |
Self
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Mamuka Kurashvili | ... |
Self
(as Gen. Mamuka Khurashvili)
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Dmitry Medvedev | ... |
Self
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Angela Merkel | ... |
Self
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Andrey Nekrasov | ... |
Self
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Vladimir Putin | ... |
Self
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Mikheil Saakashvili | ... |
Self
(as Mikhail Saakashvili)
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Eduard Shevardnadze | ... |
Self
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Directed by
Olga Konskaya | ||
Andrey Nekrasov |
Written by
Olga Konskaya | ... | () |
Andrey Nekrasov | ... | () |
Produced by
Giorgi Arveladze | ... | executive producer |
Karsten Brünig | ... | line producer |
Torstein Grude | ... | executive producer / producer |
Olga Konskaya | ... | producer |
Lasha Kotrikadze | ... | line producer |
Andrey Nekrasov | ... | executive producer |
Bjarte Mørner Tveit | ... | associate producer |
Oddleiv Vik | ... | associate producer |
Music by
Peter Scartabello |
Cinematography by
Davit Asatiani | ... | director of photography |
Vako Qarchkhadze | ... | director of photography |
Trond Tønder | ... | director of photography |
Editing by
Olga Konskaya | ||
Andrey Nekrasov |
Editorial Department
Erik Andersson | ... | additional editing |
Gary Cranner | ... | assistant editor (as Gary Cranner Dahle) |
Anja Keyßelt | ... | on-line editor |
Raquel Stern | ... | additional editorial assistance |
Silje Tjomlid | ... | assistant editor |
Bianca Violet | ... | additional editorial assistance |
Production Design by
Sarah Horton |
Production Management
George Ratishwili | ... | production manager |
Imke Sommerkamp | ... | production manager |
Second Unit Director or Assistant Director
Alexej Stoljarow | ... | assistant director |
Maxim Tartakovsky | ... | assistant director |
Art Department
Martina Valentina Baumgartner | ... | art department |
Thomas Bertram | ... | art department |
Jule Bunsch | ... | art department |
Martin Kvamme | ... | poster design |
Peter Naguib | ... | art department |
Michael Reusche | ... | art department |
Stefan Rohner | ... | art department |
Francis Kiko Soeder | ... | art department (as Frances Soeder) |
Sound Department
Oliver Grafe | ... | sound |
David Gvasalia | ... | sound |
Soso Gvasalia | ... | sound |
Arne Hovda | ... | additional sound |
Manuel Laval | ... | supervising sound editor |
Peter Sandmann | ... | foley artist |
Special Effects by
Iryna Aseeva | ... | graphics |
Tom Chr. Lilletvedt | ... | graphics (as Tom Christer Lilletvedt) |
Visual Effects by
Jan Berner | ... | visual effects |
Falk Hofmann | ... | compositing artist: Elektrofilm |
Matthias Jürgensen | ... | digital compositor |
Jochen Masching | ... | visual effects coordinator |
Benjamin Seide | ... | visual effects supervisor |
Camera and Electrical Department
Davit Asatiani | ... | camera operator |
Armin Bach | ... | lighting department |
Leonid Deryagin | ... | additional camera |
Levan Gogniashvili | ... | camera operator |
Rati Gomarteli | ... | camera/lighting assistant / still photographer |
Torstein Grude | ... | still photographer |
Artyom Kiyaev | ... | additional camera |
Giorgi Kotrikadze | ... | camera/lighting assistant |
Ainis Kupche | ... | camera operator |
Markus Pluta | ... | camera department |
Vako Qarchkhadze | ... | camera operator / still photographer |
Dominik Roge | ... | camera department |
Ronald Schwarz | ... | lighting department |
Alexander Seidl | ... | lighting department |
Malkhaz Sichinava | ... | camera department |
Trond Tønder | ... | camera operator |
Sergey Yurizditskiy | ... | camera department |
Music Department
Nino Katamadze | ... | singer |
Vakhtang Kikabidze | ... | singer |
Nika Tsertsvadze | ... | music consultant |
Transportation Department
Joerg Kraft | ... | transportation |
Additional Crew
John Iver Berg | ... | production assistant |
Odd Brandtzægg | ... | computer technician |
Kim Dixon | ... | publicist |
Christian Eide | ... | accountant |
Vetta Kirillova | ... | production assistant |
Anna Konskaya | ... | production assistant |
Karina Lavik | ... | production assistant |
Jörn Pankonin | ... | production assistant |
Thanks
Nicholas Alasania | ... | thanks |
Robert Amsterdam | ... | thanks |
Steinar Bjørkhaug | ... | thanks |
Kirsten Bonnén Rask | ... | thanks |
Toma Chagelshvili | ... | thanks |
Ludmilla Cvikova | ... | thanks |
Maria Fuglevaag Warsinski | ... | thanks |
Finn Gjedebo | ... | thanks |
Ola K. Hunnes | ... | thanks |
Zaza Jgarkava | ... | thanks |
Susanne Mitscherling | ... | thanks |
Irmelin Nordahl | ... | thanks |
Torunn Nyen | ... | thanks |
Sjur Paulsen | ... | thanks |
Niels Rinke | ... | thanks |
Bente Roalsvig | ... | thanks |
Randi Schulz | ... | thanks |
Toril Simonsen | ... | thanks |
Yvonne Thommasen | ... | thanks |
Production Companies
Distributors
- Kudos Family (2010) (World-wide)
Special Effects
Other Companies
- BBC Motion Gallery (archival footage)
- Elektrofilm Postproduction Facilities (post-production facilities)
- Filmkraft Rogaland (funding)
- Freedom of Expression Foundation (funding)
- Hinterland (post-production facilities)
- Matriarch Foundation (funding)
- Norwegian Film Institute (festival distribution)
- Norwegian Film Institute (funding)
- Rustavi 2 Broadcasting Company (thanks)
- Vestnorsk Filmsenter (funding)
Storyline
Plot Summary |
The film starts as a journey by the two directors-protagonists. Olga and Andrei, on the two sides of the frontline during the Russian-Georgian wars in August 2008. A film on such a hot political (and geopolitical) subject first of all establishes emotional contact with the audience by depicting human drama, before coming up with political conclusions. They emerge naturally and powerfully as overwhelming evidence of Russian imperialist plot shows through the Russian media smokescreen as well as mistakes and naivete of the Georgians. The filmmakers return to their St. Petersburg studio loaded with unique footage and evidence which they analyze in the process of film-editing. This process is intertwined in the film's narrative and the viewer gets a sense of partaking in it. In this way the filmmakers are able to come to forceful conclusions without slipping into propaganda and prejudice that characterize too many films about the August war. Importantly the film puts the recent war in context of the post-Soviet history which has managed to keep its darkest secrets away from the international public's attention despite dozens of relevant UN resolutions. At the same time as Milosevic was earning the reputation of the biggest evil of the post-communist world, Russia was sponsoring and conducting the campaign of terror and ethnic cleansing against the Georgian population of integral parts of Georgia, with cruelty exceeding that of the war in the former Yugoslavia. Written by official summary |
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