“TV presenter Otar Kushanashvili in “The Eyes of Otar” by Gleb Piryatinsky also finds himself locked in a private house: idle and sight, which is being restored after an ophthalmic operation. He will have to lie on the couch for a long time, entertaining himself with music and conversations - witty, but sometimes decadent - with others or with himself. In some scenes, poor Otar turns into a mythical old man, in others he doubles, becoming either angry or peaceful.
The camera captures these moments impartially, stating the slight madness of the situation. It is also a story about interiors that have set the teeth on edge: all these Europeanized faceless rooms, narrow white corridors, uncompromising manor gloss. Otar does not see this, because the tightness of the house does not oppress him in any way - the complete darkness and the endless anxiety experienced by a person who has lost one of his main senses are much more worried. Otar is so immersed in personal suffering that he does not notice the presence of a nurse who loves him - somehow especially gently, courteously and quietly. Her story penetrates Eyes of Otar through "demiurgical montage," as the director calls his method of work. Gently, without unnecessary passes and breaths, there is a quiet adoration.
Maybe the silence of this love is an absolute blessing? Otar, judging by the film, has a long history of difficult divorces and difficult relationships, and in the program of the XIX festival "Spirit of Fire"! - vivid examples of how isolation in cramped apartments can destroy the very essence of family partnership.