Natalia Kipshidze on Turning Her Fairy Tales into Films

| Ana Tsikhelashvili |

Natalia Kipshidze is a rising talent in Georgian cinema, following in the footsteps of her well-known family. The daughter of Giorgi Kipshidze and granddaughter of Zurab Kipshidze, both respected figures in Georgian film and theater, Natalia has grown up surrounded by the arts. Now, she is carving out her own path as an artist, with aspirations of becoming a director in the future.

Currently, she stars in Changing Signs, a TV series that has gained significant popularity among young audiences in Georgia. The show follows a group of university students from different backgrounds, each facing their own struggles and aspirations while sharing the same apartment and the realities that come with it. Changing Signs stands out for its focus on personal growth, friendships, and the challenges of young adulthood, making it relatable for many viewers.

Natalia plays Natia, a character who undergoes notable development over two seasons. At first, Natia appears to be part of an exclusive, wealthy social circle - someone who is distant from real-life struggles. However, as the story unfolds, it becomes clear that she has carefully built this persona to maintain friendships and fit in. Her journey from maintaining a façade to confronting her true self adds depth to the series and showcases Natalia’s ability to bring complexity to her roles.

In out interview with Natalia, you can get to know more about her journey, her work, and what lies ahead.

Natalia, what made you decide to take part in Changing Signs?

I am not a professional actress, but I accepted this role partly to gain firsthand experience of how different departments operate on set. Since my ultimate goal is to become a director, this opportunity was especially valuable - it helped me understand the director’s dynamic with actors and the nuances of guiding their performances.

This series addresses important themes, and your character's storyline follows a particularly sensitive narrative. What was the process like working on this role?

Our generation needed reassurance that the struggles we all face are valid and that speaking up about them is essential. My character’s story explores complex and sensitive themes. This series sheds light on the reality that many teenagers and students experience - trying to fit into societal standards despite financial inequalities. For some, maintaining friendships means fabricating a false reality, a struggle that, unfortunately, is all too common.

My character faced the same challenge - she was forced to live in a fabricated reality. After the series aired, many people reached out to me, sharing their own experiences and telling me they had gone through something similar. It’s disheartening that in Georgia, people feel pressured to hide their financial situation. This is a significant issue and a serious challenge. I’m glad that Changing Signs openly addresses this topic, and I hope this conversation continues in the future

As for the second season, one of the central themes was violence and toxic relationships. My friends and I have also experienced toxic relationships, and we all had one thing in common - we remained silent. But silence can sometimes lead to tragic consequences. The high rate of femicide exists precisely because women are afraid to speak up, and this reality must change.

What about directing? When did you become interested in it?

From a very young age, my parents would take me to film sets, and that space always felt special and magical to me. I was absolutely convinced that I wanted to be an actress. The only other thing that fascinated me just as much was writing. However, at 17, I realized that I had never actually wanted to act - I was simply in love with the film set itself.

I initially planned to build a career in writing, so I enrolled in the Faculty of Digital Media and Communications, where I delved into topics ranging from journalism to PR and marketing. During one of my courses, I studied production and gained my first real insight into the film industry’s inner workings. It was during this period that I worked on ten projects without pay, taking on any task that was needed and putting in more than 12-hour days. That was the moment I knew filmmaking was my true calling.

I started working in various roles, including casting director, head of transport logistics, and casting assistant. Acting is also part of this experiment. At this stage, I am most drawn to studying cinematography abroad - I want to become a skilled DOP. After that, I will return to my true calling - directing and screenwriting - and start making films. That’s all I want. My ultimate goal is to bring my fairy tales to life on screen.

Who is your favorite director?

Sergei Parajanov is one of my greatest sources of inspiration - his unique vision, perspective on the world, and fearless approach to art are truly remarkable. I also have a deep admiration for Paolo Sorrentino, while I consider David Lynch one of the greatest philosophers of our time.

My connection to Parajanov is also personal, which adds an extra layer of emotional significance. He was a close friend of my great-grandmother, and I grew up hearing countless fascinating stories about him. One of the most cherished memories passed down through generations in my family is the piano he gifted my grandmother when she was 12. When I turned 12, she passed that same piano down to me.

To me, Sergei was a genius. If a magic goldfish could grant me a wish, I would ask for just one thing: the chance to have breakfast with him and talk. He always said he had three homelands - Georgia, Ukraine and Armenia. What saddens me most is how often we fail to truly appreciate great people.

What makes Georgia an attractive location for filmmaking?

Georgia has emerged as an exciting filming destination in today’s global film industry, and for good reason. The country’s remarkable diversity allows directors to shoot an urban street scene in the morning, move to the mountains within hours, and film by the sea later that day. They can seamlessly capture both modern settings and 16th-century architecture within the same production. This versatility makes Georgia highly attractive to international producers.

Beyond the economic advantages, this exposure plays a crucial role in the development of the local film industry. The presence of international filmmakers provides Georgian professionals with opportunities to gain hands-on experience, exchange knowledge, and build valuable industry connections - all of which contribute to the country’s growing cinematic landscape.

How do you envision your first feature film?

I know exactly what my first feature film will look like - I dream about it every night. It’s based on my first fairy tale, which remains unpublished, and I’m currently working on adapting it into a screenplay. However, like many around me, I struggle to fully concentrate at the moment. Still, I try to find sparks of inspiration in even the most challenging situations.

I believe that after everything our country has endured, a new wave of compelling and meaningful projects will emerge. After all, the most beautiful flowers bloom in the mud.

What is the role of women in the Georgian film industry?

While it’s true that my grandfather and father are celebrated actors, they were preceded by my great-grandmother, Elene Kipshidze, and her great-grandmother, Babo Korinteli - two pioneering women in the world of Georgian cinema. Women have always been an inseparable part of cinema’s existence and evolution.

But it’s not just because we have countless talented actresses, directors, and women working in various film departments. In my view, women are the ultimate muse of creativity. From my own experience, having worked in different departments of film production, I can confidently say that women are far more active in this industry than most people realize. Behind the camera and throughout the filmmaking process, women make up at least 60-70 percent of the workforce.

Is cinema inherently political?

Art - whether it’s cinema, a painting, or a poem - has always been, and continues to be, inherently political. There’s no such thing as an apolitical artist; anyone who claims otherwise is simply not being honest. Politics inevitably touches every individual. In any creative space, artists inevitably produce political work, whether they are challenging or supporting the status quo. Today, the restrictive laws of the current regime are designed to encourage filmmakers to create content that praises the "greatness" of modern-day Georgia, turning it into a political act in itself.