Otar Ioseliani is an original artist, who is placed on a very special level in the history of the Georgian cinema. His creative work may be divided into the Georgian period and the French period, because beginning in the 50s in Georgia, he continued working in France since the 80’s. Otar has a particular style in finding the critical sides of everyday life and presenting them to the auditorium for thinking, recycling and making the decisions. Of course, many film critics in the Soviet Union (when Georgia was one of the Soviet republics) did not like most of his Georgian films, acclaiming them as negative works, which were not suitable to the Soviet reality, lifestyle, but if we make a deep analyze of them, we could discover that they were good examples of critical realism (not socialistic realism). The very first work of Otar Ioseliani is his short fiction film “The Watercolor” (1958), based on the motives of Alexander Grin’s short story. It was his student work – in the third year of study. He shot it in Russia and presented it to VGIK. It should be noted that the cameraman of this film was another student of the same film school Alexandre Rekhviashvili, a person who subsequently became a talented cameraman and film director. Certainly, this film had not any big serious meaning in terms of mastery, because in that time Ioseliani was only mastering the nuances of film directing, he learned, learned, learned. It was like a peculiar exercise for him – how to create a composition, how to shoot from various perspectives and how to transmit his opinions and senses to the filmgoers. His film directing style was not delicate yet and he often told about this – that in the art, there were such moments, which in many cases were different from reality. The plot of the film is very ironic – it is a picture of a poor family. The husband is an alcoholic, and the wife is a laundress. The husband usually spends his wife’s money on buying alcoholic beverages.