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Ararat (2002)

 -  Drama | War  -  4 September 2002 (France)
6.6
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Ratings: 6.6/10 from 8,199 users   Metascore: 62/100
Reviews: 180 user | 75 critic | 25 from Metacritic.com

Interrogated by a customs officer, a young man recounts how his life was changed during the making of a film about the Armenian genocide.

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Title: Ararat (2002)

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Cast

Cast overview, first billed only:
...
...
...
David
...
Ani
Setta Keshishian ...
Dinner Guest / Wailing Mother
...
Shant Srabian ...
Dinner Guest #3 / Doctor #1
...
Celia
...
Ali / Jevdet Bay
Brent Carver ...
Philip
...
Tony
Christie MacFadyen ...
Janet
Dawn Roach ...
Customs Officer
...
Lousnak Abdalian ...
Gorky's Mother
Edit

Storyline

People tell stories. In Toronto, an art historian lectures on Arshile Gorky (1904?-1948), an Armenian painter who lived through the genocide in Turkey in 1915. A director invites the historian to help him include Gorky's story in a film about the genocide and Turkish assault on the town of Van. The historian's family is under stress: her son is in love with his step-sister, who blames the historian for the death of her father. The daughter wants to revisit her father's death and change that story. An aging customs agent tells his son about his long interview with the historian's son, who has returned from Turkey with canisters of film. Parents and children. All the stories connect. Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Taglines:

In a world full of denial, how do you determine who's telling the truth? See more »

Genres:

Drama | War

Motion Picture Rating (MPAA)

Rated R for violence, sexuality/nudity and language | See all certifications »
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Details

Official Sites:

| |  »

Country:

|

Language:

| | | |

Release Date:

4 September 2002 (France)  »

Also Known As:

Ararát  »

Filming Locations:

 »

Box Office

Opening Weekend:

$211,130 (USA) (15 November 2002)

Gross:

$1,554,566 (USA) (24 January 2003)
 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

|

Color:

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Director and screenwriter Atom Egoyan(born Atom Yeghoyan) is a Canadian citizen of Armenian descent. Other prominent Armenians of significance in film history include Sergei Parajanov, Henri Verneuil(born Ashot Malakian), Charles Aznavour(born Chahnour Varinag Aznavourian), Cher, Haig Manoogian, Rouben Mamoulian, Robert Guédiguian, Eric Bogosian, Richard C. Sarafian, Francis Veber, Albert Hughes and Allen Hughes, Anna Melikyan, Aram Avakian and many more. See more »

Quotes

David: There's no way of confirming that a single word that you've told me is true.
See more »

Crazy Credits

Closing disclaimers: 1) The historical events in this film have been substantiated by holocaust scholars, national archives, and eyewitness accounts, including that of Clarence Ussher. 2) To this day, Turkey continues to deny the Armenian Genocide of 1915. See more »

Connections

References Shoot the Pianist (1960) See more »

Soundtracks

P.L.U.C.K.
(Politically Lying, Unholy, Cowardly Killers)
Performed by System of a Down
Written by Daron Malakian (as Malakian) / Serj Tankian (as Tankian) / Shavo Odadjian (as Odajian) / John Dolmayan (as Dolmayan)
DDevil Music (ASCAP)/ System of Down (ASCAP)/ Sony/ ATV Tunes LLC,
All rights on behalf of DDevil Music, System of A Down & Sony/ ATV Tunes LLC
Administered by SONY/ ATV Music Publishing, 8 Music Square West, Nashville, TN 37202
All rights reserved. Used by Permission
See more »

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User Reviews

 
a giant multi-colored tapestry
24 January 2005 | by (United States) – See all my reviews

A film within a film within a film that plays out through a myriad of interconnected stories sewn into a giant multi-colored tapestry. The so called "Armenian holocaust" is the fabric from which director Egoyan spins his narrative, and this event so heavily laden with emotional baggage, becomes almost impossible to approach with intellectual objectivity. The lines between fact and fiction are constantly blurred as in a scene where the protagonist walks onto a movie set about the "holocaust" and one of the characters scolds her, not as an actor, but as a very real character from that time. At times this constant commingling loses focus, but Egoyan's heartfelt attempt to bring back the dead through his art imitating art approach, succeeds surprisingly well. Although the "holocaust" is shown graphically, Egoyan is aware that we connect most deeply with that to which we can all relate, and this is shown right from the start as an artist attempts to transfer his childhood memories of murdered loved ones to a painter's canvas; the details of a mothers dress . . . the skin of a mothers hand . . . her fingers knitting a quilt. The vivid colors and simple reality of that hand are so compelling they can reach out across decades of despair to caress the forehead, reduce fever, and impart a sense of belonging - a reason for being. From this inauspicious beginning, Egoyan is able to arrive at a much greater truth: the inherent need for human beings to believe in something - whether or not that belief is grounded in reality or can be proved scientifically. Finally, ARATAT concludes with a simple truth that is just as powerful: the immeasurable but often neglected joy at being able to look upon our loved ones and to hold them in an embrace of life.


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