During March 2022, the Word—not only allegorically, but in the most literal sense—finds itself outstretched like the Vitruvian man strung from the corners of our Armenian-Russian-Ukrainian semiotic triangle.

A peephole view into the kaleidoscopic distortions of other people’s lives where human interaction is set in ways foreign to you and distant from you yet in your city where the “hero” is your friend. A true, but not a real story from the ninth floor, in building 9a, in the Ninth District, the door without the peephole.

The “Top Ten of Rabiz” was a series of albums produced by a group of young men trying to reproduce the scattered reality of the 1990s through the language of music and an experimental format that was never really “rabiz.”

This year, more than 60 percent of submissions to the Golden Apricot Film Festival (GAIFF) feature women directors, while the global average of female directors is a dismal 7 percent. GAIFF has organically found itself in a situation many European film festivals and international organizations dream of being in, writes Karen Avetisyan.