My Happy Family is a quite brilliant melodrama predicated on a mother, Manana, who leaves her family that has three-generations living together, apparently common in Georgia. She gives no reason as to why she’s going and as the family descend upon her to demand an explanation, motivated in part by the suffocating fear of social embarrassment, it soon becomes clear why she needs to be free.
Nana and Simon, credited as directors, are Nana Ekvtimishvili (who also wrote) and Simon Groß, and My Happy Family is a follow up to their debut In Bloom (Grzeli nateli dgeebi, Georgia-Germany-France 2013). The visual style is primarily a mix of long takes with an immobile camera and a fluid handheld movement following Manana both in the home and on the street. The long take puts great emphasis on performance and all the actors are superb. The latter, in the home which is often crowded, relies upon skilful blocking (the position of actors in relation to one another and the camera) to allow the camera to carve a way through to keep up with Manana. Nana and Simon direct brilliantly and they prioritise showing over telling allowing the audience to pick up clues about the characters from their body language. At a school reunion one character, who insists Manana sings (the diegetic [in the film not the soundtrack] music in the film is quite fantastic), is succinctly characterised as a ‘dominant male’ through little gestures such as putting his hands on her shoulders.
I recognized Merab Ninidze, who plays the hapless husband, from the TV series McMafia (UK-US, 2018) where he had a mesmerising presence as a Russian mob boss. He’s similarly excellent in this more subdued role. Ia Shugliashvili, in the central role, is new to me and she plays the mother with a mixture of strength and resignation. There are many narratives were an unhappy woman leaves the marital home but there’s invariably a man who appears to reaffirm the need for patriarchy. My Happy Family avoids such cliches and ends with marvellous ambiguity.
Once again I have to thank Netflix for the opportunity to see this film which was feted at Sundance a couple of years ago. Up until recently Netflix seemed to be prioritising television series as a way to hook viewers but it has increased its slate of films. Many are Spanish speaking, which obviously has a wide audience across the world, but it’s great that nations who haven’t had much of an impact on western film culture get a look in too; the Georgian documentary short The Trader (2018) is also available. Apparently it has been argued that Nana and Simon’s films are heralding a Georgian new wave. I hope so as it’s great to see familiar tropes reworked in a different cultural setting.