It is lonely and quiet at night on the Black Sea, which is illuminated by the moonlight, and rolls menacingly in front of the cafe "Wet Sand". Blue and yellow neon inscriptions, and one illuminated room, penetrate the darkness. While Amnon, the café owner, looks out into the sea, the next scene brings us into the house of an elderly gentleman in a bathrobe. In the musical background, we listen to Swans' song "Our Live Lies", while the dim light of the lamp illuminates the face of the old man in front of whom there is a glass of red wine, and fish and bread in the plate: New Testament symbols. The man is called Eliko and writes a letter, wraps it around the bottle as a label and wraps it as a gift with a decorative ribbon. Then a mysterious knock is heard and everything exudes an atmosphere of mystical danger.

The film slowly introduces us to the plot through the landscape which raises feelings of expectation, while at the same time hinting at sadness. It is a picture of a small place by the sea after the departure of noisy tourists: abandoned hungry dogs that they once fed, wood and plastic debris on the sand, puddles of country roads, once magnificent and bright houses that have faded under the sun in the meantime. It all reminds us of things that fade away and decay if you don't take care of them. 

The internal struggles of the protagonists develop and open up in a very interesting manner. Amnon has been watching rural men drink beer and play board games for more than twenty years, and he probably has as much to endure as his derogatory remarks, giving him strong traits of sadness and loneliness. However, not only was Amnon considered a freak by the rural community, but his waitress, Fleshka, was not spared derogatory comments. An unusual young beauty hopes to sell the house and walk away following the principle written on the back of her jacket: “Follow your fucking dreams.” In a small isolated community, where everyone supposedly knows each other very well, the majority considers encroaching on traditional values and any difference, however small as a thorn in the heel. The village is ruthless to the living and the dead. The characters of the locals act as a community of specific people. 

The drama grows with the arrival of the granddaughter of the deceased Eliko, Moe, from the capital Tbilisi, who comes at the invitation of Amnon. We learn that her mother kept secret her grandfather's existence and the first encounter at the bus stop awakens a hunch into the special relationship Amnon and the late Eliko had. Moe will "shake" the village. This young city woman, with short hair and in jeans, fashionable, straightforward, and not at all shy, will not hesitate to oppose the villagers. Regardless of the resistance, she will bury her grandfather.

In this dark picture of a traditional society that is not limited to Georgia only, we are won over by beautiful lines of light and hope. One of them is the lovely relationship between Amnon and Moe that deepens when a young woman discovers and accepts the fact of a secret love that has existed between her grandfather and Anmon for more than two decades. Moreover, even after all the unexpected twists, for the first time she discovers true unconditional love.

Wet Sand opens up many topics: from love and sexual issues to the issues of free choice of the individual, but its greatest strength is the struggle with identity issues. The film shows how true feelings can become a powerful weapon against conformism and a message that in the future there is hope for freedom to live. This film by Georgian director Elene Naveriani is a hymn to freedom of life and love, a cathartic melodrama in the Georgian atmosphere of melancholy and solitude where genres of drama and mystery mix. It represents a subtle struggle for individual freedom, and has a powerful message of hope for a better tomorrow.