A photographer and his wife take photographs of Armenian churches for use in a calendar. Their driver, a local resident, expounds on the history of the churches while the wife translates. ... See full summary »
A photographer and his wife take photographs of Armenian churches for use in a calendar. Their driver, a local resident, expounds on the history of the churches while the wife translates. The photographer becomes jealous of his wife's bonding with the driver. In a series of flash-forwards, the photographer stages identical dinners with several women, who pretend to talk on the phone while he writes. His wife, now estranged from him, leaves repeated messages on his answering machine, asking why he never contacts her. Yet another thought-provoking look into strange, intertwined relationships from the always enigmatic Egoyan. Written by
Marty Cassady <firstname.lastname@example.org>
Before you sit to watch this movie, please make sure that you are enough open-minded to see a movie that is there not to entertain, but to express feelings, and that you have patience to see it through even if after first half of it you feel bored to death. Because, at one point, I felt that I was watching a movie with almost no plot, and with numerous repetitions of similar scenes that I could not comprehend.
But then things began to unfold, I began to pick up symbols and feel emotions plugged into characters. There is no guarantee that all I understood was exactly what the director wanted me to, but I guess that is how art should be.
Let me just mention some of my ideas that shouldn't spoil the movie for you. (1) The girls Photographer meets are all very beautiful, and also seem to form a sort of calendar. (2) Note that they ask for a phone exactly at the moment when he pours the last drop of wine into the glasses. I feel that this is the moment when purely physical relationship ceases to satisfy. (3) Translator and Driver entering the churches, and the Photographer staying outside, reflect perfectly different relations to life that they have, and the reason why the distance between them grows. (4) The sheep scene at the beginning seems endless and making no sense, but the same scene at the end hurts the most, because by that time you can also feel Driver's hand on yours.
I watched many "art" movies that were praised by critics, and in which I felt there was nothing to feel or understand. This is not one of them, so please don't give it low votes just because you couldn't relate to it (or even worse, if you were not able to see it through)!
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