Their love is built on rape.

The film plungs us into a complicated context of covid Georgia, particularly through the life of Tina who has to hide to steal jewelry offered by her ex-mother-in-law to be able to pay her rent at Megi's. We have the two opposite elements but which in fact intersect: the wise Tina who neither smokes nor drinks, babysit the child, and the bad girl Megi who dreams of the West.

Lots of plans that last a long time for absolutely no reason. Close-ups of Tina during the evening after their first night of CONSENSUAL sex were there to say nothing and just to deprive the viewer of the important component for the evolution of the character: her dress. Tina and her clothes are strongly connected : she put on the low cut neckline for Beka her boyfriend, which she subsequently locked up with an other top to signal the end of the relationship and her cold in the street without a roof.

Tina's wound wasn't even kissed during any love or sex scene. There is no love interest in this film. Their relationship was only built on rape.

Why did you create this channel at the end? Megi left for UK, okay, but why introduce a new girl?

I had high hopes for this film for openly lesbian representation for the Caucasian population. But nothing is revolutionary. It's a conservative film. It's still a male gaze, a blah porn scenario: "My stomach is burning."/ "Put your wet hand on my stomach.".

The whole idea of the room (Virginia Woolf) was promising. They could have created a closed session of sharing, of confession, of love, of spitting out the window.

But too many bad choices were made for this film. A great shame.