Tamu Berozti

The main protagonists of this slow-paced film are abandoned or suspended spaces associated with the production, distribution, and viewing of cinema in various localities across North Ossetia. The discussion of the decline of the film industry also serves as a way of pointing to the ambiguous position in which the progressive modernist project found itself in the late twentieth and early twenty-first centuries. Ignatov proposes poetic ways of establishing new relations with this project in response to the need to reinvent the links between past and future. The abandoned spaces are brought to life by two visiting musicians playing the uadynz, traditional Ossetian flutes.

Ragon bal remake traditional ossetian music, they structure national identity in a new way. The band has no need in national clothes for their performances, because traditions already live inside the musicians. Ragon bal present the subculture of caucasian post-folk. This music exists in conditions of global world and is not mainstream, but it's difficult to imagine cultural context of the region without it.

Qazt is a traditional game among the Ossetians. It is a ritualistic, musical, dance, and social space that forms on various festive occasions. During the qazt, young people would socialize, boys would showcase their courage, and they would compete in various heroic and joyful activities. In 2020, we traveled to Vladikavkaz to explore the urban qazts, make a documentary film, and issue this release. We were interested in qazt as a new cultural phenomenon, an event of urban culture, and a modern form of Ossetian self-organization.