In 1970s Yerevan, Armen, a compassionate archivist at the National Archives, spends his days helping ordinary citizens uncover forgotten truths about their past. Haunted by the human consequences of the records he handles, he becomes increasingly troubled by the way history can preserve injustice as easily as it preserves memory. As Armen struggles to reconcile his desire for truth with his concern for the people affected by it, his personal life and growing relationship with a young woman named Anahit intertwine with a profound meditation on memory, identity, and the weight of history.
Tag: USSR
A homage to Krišjānis Barons and his life’s work – to collect and catalogue Latvian folksongs or dainas, thus creating the encyclopaedia of Latvian life, a poetic reflection of the knowledge of life accumulated over the centuries. The film is based on Krišjānis Barons’ life during late 1800s and early 1900s – his childhood and youth in Latvia, studies and work in St. Petersburg and other places in Russia, his relationship with his faithful wife Dārta, and the awakening of the Latvian national self-awareness.
The first film of Latvian cinema’s “new era”, that of the Riga School of Poetic Documentary Cinema. The story of a little girl in a white dress wandering the streets of Riga in search of the flowers she has seen in a shop window was originally conceived and shot as a short film, but its documentary character is so abundant and artistically valuable that this little film became a turning point in cinema history and the beginning of a new era.
With a playful associative montage, Parajanov offers an overview of portrait paintings by Hakob Hovnatanyan, the “Raphael of Tiflis.” Combining sights and sounds from both Hovnatanyan’s paintings and 19th century Tbilisi, Parajanov’s short documentary can be seen as a direct precursor to The Color of Pomegranates (1969).
Tengiz Abuladze’s black comic allegory – the first instance of a Soviet filmmaker directly confronting the legacy of Stalin’s purges – caused a sensation when it first aired on Georgian television. Unfolding over two timelines, the film combines absurdist parable with wrenching drama. When the corpse of the recently deceased mayor of a small town is repeatedly disinterred, its citizens must face up to the horrors of their buried past. Abuladze’s poetic film is a powerful act of cinematic testimony, combining religious symbolism with knowing references to the various ghosts of 20th-century totalitarianism.
Petro is a modest farmhand living in an impoverished village in some unspecified long-ago era. He wants to marry the lovely Pidorka, but her stern father won’t hear of it. The mischievous demon Basavriuk, offers a deal, enticing Petro into crime for the sake of fortune. Based on Nikolai Gogol’s short story “The Eve of Ivan Kupala” (“St John’s Eve”) and Ukrainian folk tales.
Two eccentrics who have ended up in jail due to their inability to conform build a fantastical flying machine to flee their grey reality. At once a bizarre comedy with bite about two outsiders in some indeterminate place at some indeterminate time, a plea for the power of dream and a concealed critique of the system.
For generations, shepherds from villages high up in the mountains have been travelling with their vast sheep herds, moving them to distant pastures where they spend the long winter. Each of the villagers has a story to tell, intimated through flawless concision, while the film’s effortlessly fluid epic narrative is interwoven with lyrical passages, together creating a timeless cinematic poem about the primary values in life.