There’s a brief shot early on in Georgian filmmaker Alexandre Koberidze’s wondrous romance and Berlinale competition entry What Do We See When We Look at the Sky? (Ras vkhedavt, rodesac cas vukurebt?) that might seem to illustrate something quite mundane.
The male protagonist’s soccer practice session has ended. Koberidze chooses the locker room as the location for the scene, as indeed most filmmakers might.
But what makes the shot unexpected is that all that we see is an anonymous corner of the locker room, chipped tiles and all.
The boys’ jerseys are thrown into that corner and form a rapidly growing pile as we hear the sound of soccer cleats hitting the floor and showers being turned on.
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