If, in certain cases, this fact could be put in the account of a negative injunction, the example of the Georgian film-maker may allow a benevolent reading of it. Because fidelity, it is questioned in his already rich filmography: constant interest in his culture of origin, lucid look at the recent history and trouble of his country, inflexible inclination towards freedom against the various forms of oppression suffered by the civilian population, and finally stylistic inscription in the powerful Georgian cinematic heritage. However, the filmmaker avoids the pitfall of a militant or moralist film, to build stone after stone one of the most original works of East European cinema, resolutely poetic and political. On the occasion of the presentation of his latest opus, Fishing, at the Clermont-Ferrand Festival, Format Court met this atypical and melancholy filmmaker.