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Movie describes real events that took place in 1983 when seven young Georgians, all from intellectual elite families, attampted to flee the Soviet Union by hijacking an airliner. The crisis ended with a storming of the airliner by Soviet special forces that resulted in eight dead. The surviving hijackers were subsequently tried and executed.
In the event that a standout amongst the most fascinating improvements in world film as of late has been the development of a cognizant and great national new wave in the previous Soviet republic of Georgia, Rezo Gigineishvili’s “Prisoners” maybe denotes a sort of development point for the development. It isn’t so much that the film, a fictionalized retelling of a genuine 1980s seizing in which seven youthful Georgians endeavored to reroute a plane to Turkey keeping in mind the end goal to abscond toward the West, is any more grounded or more capable than the foundational movies of this territorial recovery, for example, George Ovashvili’s “Corn Island,” Zaza Urushadze’s Oscar-selected “Tangerines” and a year ago’s staggering Karlovy Vary-granted “The House Of Others” from Rusudan Glurjidze. In the event that anything, it is extensively more non specific and unknown than those titles, yet that in itself is a sort of advance: “Prisoners” denotes the time when Georgian film has picked up in fearlessness to the extent that it would now be able to set its sights on the standard, in any event at home, with this cleaned entertainment serving to repackage an agonizing episode from the nation’s current history as a successfully gleaming spine chiller.
It is 1983 and a gathering of appealing youngsters, revolved around performing artist Nika (Irakli Kvirikadze) and his life partner Anna (Tina Dalakishvili) are sprinkling about in the shallows of the dark Black Sea on the nation’s western drift. The state of mind of young abundance is slowed down by the presence of a few fighters who instruct them to get dressed. “Are you anxious we’ll endeavor to swim to Turkey?” jokes one of their number — however as the resulting scenes unfurl we turn out to be bit by bit more mindful of reality talked in that joke.
The friend network, generally the offspring of moderately unopinionated, fiscally agreeable, and cluelessly absent proficient guardians (individuals we’d call working class if there were such thing as classes in the Soviet Union) take part in benevolently subversive exercises like going to chapel and swapping carried in Beatles collections. Be that as it may, there is likewise among them the inclination to sudden quiets and important looks: something is in the offing.