Aram, an ex-soldier from the Armenian cause, has come to France to close an arms deal under secret service surveillance. Held responsible and banished by his faher for his brother's ... See full summary »
Aurora Mardiganian, a young and beautiful Armenian girl, lives with her parents in the Turkish city of Harpoot. Her father, a prosperous merchant, was preparing to send her to the West to ... See full summary »
Anna Q. Nilsson
"Aghet - A Genocide" - On the Armenian Genocide by the Young Turk government of the Ottoman Empire during World War I. It is based on eyewitness reports by European and American personnel ... See full summary »
The iconic "1915 Armenian Genocide" was originally produced in 1980 (digitally restored and re-released in 2010) is based on the eyewitness accounts of four survivors whose compelling story... See full summary »
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.
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
Ararat (2002) premiered as part of the 'Official Selection' at the 55th Cannes International Film Festival in 2002, but it was not 'In Competition' for any awards. Atom Egoyan's prior feature [Felicia's Journey (1999)] and his subsequent feature [Where the Truth Lies (2005)], artistically less ambitious films, were both screened 'In Competition' at Cannes. The reasons for "Ararat" not being part of the 'Official Competition' in 2002 are still ambiguous: Some claim there was political pressure on the festival by Turkey, while Egoyan said he himself decided not to enter Ararat (2002) into the competition: "This film is dealing with a period of history that has never been represented before on film. The idea of subjecting that to the additional pressures of a jury - given all the pressures that are on this film already - seemed to be unnecessary." See more »
Ali, actor playing Jevdet Bey:
[to Edward Saroyan]
I think the Turks had a real reason to believe that the Armenians were a threat to their security. I mean, their eastern border was threatened by Russia and, I mean, if they believed that the Armenians were gonna betray them, so this was their war. Populations get moved around all the time.
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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 »
(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 »
a giant multi-colored tapestry
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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