In the capital of Georgia, three generations of women live together. The beloved son of one (brother and uncle to the others) is absent Otar who has gone to find work in France in the hope of providing a better life for all. He is adored by his mother, loved by his niece, begrudged by his sister – no more so than when his frequent letters arrive from Paris. But after a while they stop coming and, sometime later, news arrives of Otar’s death. His sister, with the reluctant assistance of her daughter, elects to keep the news from mother and fake his presence, continue to write letters and so on. It’s a remarkable conceit that can only end in hopeful despair which it duly does, but not before each of the woman undergoes a striking journey of awareness.

Director Julie Bertuccelli comes from a background in documentaries, an attitude which informs her drama. Not deliberately or self-consciously, she creates all the elements of a documentary then appears to simply point a camera at her characters. The tremendous results are a textbook case in how to make a great movie. The story is exciting, human, personal. The performances are honest, expansive, natural. The direction is engaging, subtle, provocative. The results are award-wining. Although Since Otar Left picked up the Grand Jury prize at Cannes 2003, the film is not to everyone’s taste. There is a leisurely approach that could be mistaken for lethargy; as a woman’s story men could feel disenfranchised; there is no car chase.

Yet as a reflection on how we engage with those we love most, Since Otar Left is simply outstanding.

// COLIN FRASER