In Levan Akin’s third feature, AND THEN WE DANCED, comes a tale of innate bravery, masterful performances, and a promising story of youthful ambition and the hurdles that must be overcome to attain glory for a young gay dancer in a conservative country.

In a studio in Georgia, professional dancer Merab (Levan Gelbakhani) recites a brusque and tight routine with dance partner Mary (Ana Javakishvili) while their teacher berates and harps on at them about the traditions of the dance and its hardened masculinity. Already, we can see this inner flair and resolution within Merab that laces from his fingertips during each position and continues to outshine his counterparts in the room. Life is steadfast for him; spending days rehearsing continuously, then working by night as a local underpaid and underappreciated waiter, before sloping home to contend with his slightly tumultuous family. He truly comes to life in the studio. However, his neat little world is unravelled with the arrival of replacement dancer Irakli (Bachi Valishvili). We can tell from the moment their eyes lock; with Merab studying him with a certain level of curiosity as the newcomer is made to perform, that this is to be no ordinary meet-cute.

Tensions begin to rise between the group as national auditions commence, and the pressures of life begin to pile up. Merab and Irakli find themselves alone together more and more due to intense practising and begin to grow closer. Their passion for each other and happiness together are uncontainable; they shimmer almost collectively, their feelings left unspoken. To break from the stress, they head to the countryside with friends and one night, finally end up alone; their intense lovemaking long-overdue from the rising sexual tension over the weeks feels like a physical sigh. During the most sultry moments in the film; golden light streams into the room as it soaks every piece of furniture in this sensual lustrous glow, commanded by the silhouette of Merab as he pirouettes in the fading light and the arches and curves of his body levitate soundlessly. This is one of the most tantalizing and exquisite scenes, as the sculpted contours of the dancer’s body flow in and out of the shadows in one fluid movement, as Irakli gazes on in awe with the audience. However, you can see Mary begin to grow more irked by Irakli’s presence, fearful of the repercussions that may befall her childhood friend, things other homosexual dancers have faced from being out about their sexuality. Georgia is not renowned for its socially liberal views, and as reported in Variety: “The director, born in Sweden to Georgian parents, has stated that he developed his story following numerous interviews with gay Georgians” allows for this fearful undertone to run through the plot without always being explicitly stated.

“This is one of the most tantalizing and exquisite scenes, as the sculpted contours of the dancer’s body flow in and out of the shadows in one fluid movement, as Irakli gazes on in awe with the audience.”

The relationships between the dancers emit an exuberance of youth. Having honed in on their skills, mastered their dances, and expelled any insecurities about their abilities – one of the most grasping aspects of the piece is the technicality and professionalism of their dancing. Every beat from the drum grasps you as their feet hit the ground, arms extended, the sheer concentration never leaving their faces. The Georgian Dance is emboldened, decisive and triumphant; there is a confidence and assuredly needed to perform it perfectly and the unrelenting training sessions are a testament to the dancer’s devotion. What Akin manages to do so captivatingly is capture the important historical essence of the dance, conveying the traditions of the countries – for better and for worse – yet spins the modernist nature of the young dancers around it too. From playfully performing in the street to the demanding pressure of auditions for the national team, it narrates together the new and the old respectfully and tentatively.

What stands out most about this film, as well as performing notably well across the film festivals and gaining traction for global distribution and screenings since its debut, the film beautifully captures the essence of cultivating one’s persona through your passions in life. A celebration of queer identity within an inherently conservative culture and the tenderness of a burgeoning romance between two exceptional performers. Gelbakhani is going to be a figure to watch in the coming years, already brimming with potential as he captures the audience in his spellbinding performance. AND THEN WE DANCED is a true delight.