Farewell, Home Sweet Home presents a series of humorous sketches—a poetic association of bizarre incidents and hilariously weird events—perfectly prescribed and assembled by Georgian director Otar Iosseliani. Reminiscent of the films of Jacques Tati or the late Buñuel, Farewell, Home Sweet Home (in French, "good-bye, cow floor," a phrase used by nineteenth-century sailors as they happily bade farewell to land) was the recent winner of France’s prestigious Louis Delluc Prize. Set in and around contemporary Paris, the film links several different stories with tracking shots of breathtaking beauty. In a suburban chateau, a lovable souse (played by Iosseliani himself) fools around with his electric train set while his wife, a high-powered businesswoman, entertains her society friends with a gigantic stork perched on her shoulder. Meanwhile, the couple’s teenage son sneaks away from home, joins a gang of petty thieves, and befriends a street person with a taste for grand cru wines. As the pieces of this cinematic puzzle slowly coalesce, the seemingly disparate narrative threads take on new meaning: reality is slowly left behind, like the sailors’ receding shoreline, while a sharp sense of class division reasserts itself in a melancholic coda.