Major film festivals don’t only showcase films for local and international cinephiles, they also create opportunities for unknown stories, names and voices to be heard. Sona Karapoghosyan writes about how the Cannes Film Festival is trying to tell the stories of everyone, not only ones from the West.
Garegin Papoyan’s film “Bon Voyage” manages to recreate a Kafkaesque world in the form of the Stepanakert Airport, where people follow a seemingly unreasonable system, and continue to do their work with incredible persistence, without questioning its meaning.
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.
Mher Mkrtchyan has made a marked and oppositional political film, which, however, is too superficial and collapses under the incredible transparency of its agenda, writes film critic Sona Karapoghosyan.
Director Nora Martirosyan’s film “Should the Wind Drop” reveals the frustrating situation surrounding the airport as a starting point to delve into the history, problems and spirit of Artsakh.
“Songs of Solomon” promises to tell the story of young Komitas but ends up disappointing as the direction drastically changes, turning into another tragic film about the Armenian Genocide and Komitas simply a faded symbol emphasizing a lost culture and history.
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