One of the first scenes of the documentary The Dazzling Light of Sunset, which was awarded best debut film during the Swiss documentary festival Visions du Reel last spring, shows a close up of a light blue sea against a grey sky, surrounded by rocks and trees. However, looking closer, we notice seams in the landscape and realise quickly that we are in fact staring at a wallpaper, a faded and worn wallpaper.
This optical illusion frames the office of journalist Dariko Beria and acts as an indicator of what is to come. Together with a colleague, Dariko works at the local TV-channel in a Georgian village. The two use their days to film and report on the region’s big and small news. Most are small: a village street receives a new and decorative pavement; a farmer has caught a rare owl; a beauty pageant for 12-year olds is underway; a wedding took place. Dariko is present to capture it all, but it is not through her camera we are introduced to these scenes – she stays mostly in the background, as a part of the story told . . .
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