It casually lays out the domestic space where the story’s events takes place with acutely detailed cultural specificity.
The foreclosure of possibilities provided by the use of the long take assists in the indictment of chauvinism and patriarchal brutality that underpin many moments in the film.
In Bloom is constructed in part from writer-director Nana Ekvtimishvili’s memories of childhood life in 1990s post-Soviet Georgia.