In 1915 a genocide happened in the Ottoman Empire and about 1.5 million Armenians were systematically murdered by the government of the Young Turks. This is a movie about the life of a ... See full summary »
At the onset of WWI the Turkish Government embarks on a campaign of social engineering the likes of which had never been seen or imagined. From 1915 to 1923 the area known as Turkey was ... See full summary »
Aurora Mardiganian, a young and beautiful Armenian girl, lives with her parents in the Turkish city of Havpoul. Her father, a prosperous merchant, was preparing to send her to the West to ... See full summary »
Anna Q. Nilsson
Internationally known director Carla Garapedian follows the rock band System of a Down as they tour Europe and the US pointing out the horrors of modern genocide that began in Armenia in 1915 up though Darfur today.
A US Senator's son (Jaime Kennedy) who attempts to forget the break up of his fiancée, is forced to vacation in Turkey by his best friends. A para-sailing trip mishap lands him in a small ... See full summary »
People tell stories. In Toronto, an art historian lectures on Arshile Gorky (1904 -1948), an Armenian painter who lived through the Armenian Genocide in the Ottoman Empire. 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. All the stories connect. Written by
The Italian release of this film was intended to be on April 24th 2003. However, its showing was unexpectedly banned by Italian authorities a day before the planned release, with the authorities explaining that the film's distributor had failed to submit in time the application to obtain the required censorship certificate. See more »
Your father died for something he believed in.
I wish I had some idea of what that was.
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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 »
Written by Gord Downie (as Gordon Downie) and Atom Egoyan
Performed by Gord Downie (as Gordon Downie)
From the album "Coke Machine Glow"
Courtesy of Wiener Art Records - copyright 2000
Copyright 2000 - Wiener Art (SOCAN)/Egoyan Ego Film Arts (SOCAN) See more »
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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