Destruction in the Name of Construction
On the opening day of the festival, we present films from four different regions of Georgia, where projects initiated or planned in the name of "construction"—whether a “multi-functional complex” at a resort (Bakhmaro 2050), a “Tourist Zipline” on a unique natural monument (Gveleshapi, the water dragon), a financial fraud scheme such as a so-called cryptocurrency pyramid (A Crypto Rush Aftermath), or mineral extraction beneath villages (A village sacrificed for manganese)—reveal the different forms and faces of projects subordinated to a single idea: private profit, where "success" stands on the exploitation of people and nature.
The dominant political-economic narrative, which frames such projects as Development and progress, creates distorted perceptions and, by ignoring risks while entirely devaluing life, claims investment to be a form of salvation for these places, people, and the country.
By sharing ideas about the resistance portrayed in these films, we seek to reflect, critically examine, and discuss: What does the word Development mean today, and what could it mean?
In the second half of the day, we will present a Japanese film (Evil Does Not Exist) that illustrates how identical the desires, logic, and actions of capital can be in vastly distant parts of the world. The phrases spoken by mediators sent by investors to negotiate with local communities in the film are still frequently heard today in various regions of Georgia, where environmental protests are taking place.
The village of Shukruti, like other villages in Georgia’s Chiatura region, is dying—slowly disappearing due to manganese mining beneath it. Mining has damaged homes, and in some cases, caused their complete collapse. For the past five years, the villagers have protested these harsh conditions, yet the local and central authorities continue to ignore them. Out of desperation, 32 days ago they started a hunger strike. In this short film, Giorgi Nepharidze, a resident of the village, shares the story of their ongoing protest and describes the grim future awaiting the village.
A unique resort is now in the hands of an investor. The 12-meter building contains 350 apartments and is expected to welcome 300 000 guests annually. The state granted 4.3 hectares of land to "Orbi" for a symbolic price of just 1 GEL.The painful experience of urban development in Georgia has led to catastrophic results for the director. Before intensive construction starts on the resort, Anka Gujabidze sets out on a quest in Bakhmaro to capture its untouched nature, way of life, and the daily lives of people on camera. What is imagined in the film becomes an inevitable reality for Bakhmaro, which may ultimately sacrifice its unique nature.
Bacho and Tsotne discover the heart of their village, Balda Canyon, now belongs to a private company. Development plans bring concrete constructions and tourist attractions and prevent villagers from accessing the water. What happens when the sacred is sold? There is a jewel in the heart of the village Balda: a beautiful canyon that has been sheltering villagers from the heat, hosting sacred rituals and providing a place for fun and relaxation. For Bacho, this is a place of power. But he discovers that the canyon that once hosted his and his brother Tsotne’s childhood games and fantasies has been leased to a private company for a development project. There's cement construction underway, and someone seems to be claiming ownership of the river that villagers believe belongs to everybody. The locals organize themselves to fight back against this enemy, which acts like the water dragon of fairy tales, cutting people off from the water.
Financial pyramids have been a consistent feature in Georgia’s recent history. State banks, private lenders and construction companies have all taken money from people with the promise of future profit. But in most cases, the money has simply disappeared. The film shows the latest cycle of financial naivety–as well as society’s desperate attempts to earn money fast, even if very strange methods were needed. The film was shot in Javakheti, a southern region of Georgia on the border with Armenia and Turkey that is mostly populated by ethnic Armenians.
Takumi and his daughter Hana, living in Mizubiki Village near Tokyo, face a threat when a planned glamping site near their home risks the local water supply. As company reps from Tokyo reveal the negative impacts, village unrest and ecological dangers jeopardize their traditional way of life.
