Mother Anush (1984)

Narra la historia de Milo Malakian (Jean Reno), el jefe de una banda armenia tan virtuoso como violento, considerado como un padrino en la Costa Azul. Al mismo tiempo que prepara un golpe enorme que será también el último antes de retirarse, constata que su único hijo, Anton (Gaspard Ulliel), se aparta de él. El joven, enamorado de una enfermera (Vahina Giocante), aspira a otra existencia, pero deberá asumir las consecuencias ya que es con la sangre que se traza el Primer Círculo. Una lucha violenta opone el patriarca a su hijo y, para liberarse, Anton deberá también escapar de un policía (Sami Bouajila), que intenta desmantelar la banda.

Stavros es un joven griego cuya única obsesión es llegar a los Estados Unidos de América. El primer paso será ir a Constantinopla para conseguir las 110 libras turcas que necesita para comprar el pasaje, toda una fortuna para un chico como él.

A pedigree bull-calf becomes boe of contention between the heads of two competitive collective farms, two brothers-in-law.

Artur is an Armenian guy who dreams about a career in filmmaking, but his grandfather wants him to take over the family wine business. When a bad review from an Estonian critic threatens to ruin the family business, Artur has to go to Tallinn to set things straight. There he meets the feisty Ingrid and things take an unexpected turn.

Drunkard Garsevan is supposed to bring wine for testing to specialist Poghosyan. On the road he drinks the wine and is picked up by two young men who think that he is a victim of road accident.

From the man who brought you "Yevaylen" and "Nayev" comes a hilarious peek into the Armenian condition and the necessity of laughter in life. Vahe’s third hysterically funny and engaging monologue tackles diverse topics such as family, marriage, surveys, concentrating on the Armenian American identity and finally the importance of laughter. Along with personal stories and meditations on the Armenian condition, Vahe tries to find an answer to the question “Are the Armenians truly happy, or – as an Irish newspaper claims – are we the saddest nation on the planet?” Vahe performed Dagaveen for over four months at Rococo in Pasadena, California, and has taken the show on the road to various cities in the U.S., Canada and Europe to packed audiences.

Ooremn, Berberian’s sixth and the latest monologue after Yevaylen, Nayev, Dagaveen, Sagayn and Yete is a witty and hilariously funny take on the many aspects that bring absurdity to our existence. The sharpest of Berberian’s monologues, Oormen takes jabs at all the facets of self deception in relation to love, marriage, religion, being Armenian and much more. Recorded live at the Glen Arden Club in Glendale, California.

Berberian is a master of finding the comedy in personal, social, and cultural topics– in this case, he finds the humor in anxiety. Yete is Berberian’s fifth monologue after Yevayln, Nayev, Dagaveen, and Sagayn. Following 20 sold out shows in Los Angeles, his Sagayn tour took him to Yerevan, Beirut, Istanbul, Paris, Sydney, Cyprus, Geneva and a dozen other cities. Four years have passed since Sagayn and Berberian is thrilled about his new monologue. “I love writing, painting and directing, but being alone on that stage is a completely different sensation. I feel empowered, because there’s nothing more difficult than getting up on a stage and trying to make people laugh for an hour and a half. If you fail, you can’t blame anyone else for your failure and you’ll be crushed, but if you succeed, you feel exhilarated,” says Berberian.

Robert Sternvall, a German journalist, returns to Artsakh in 2016 to cover the war which has been reignited after a 22-year ceasefire. In the result of his journalistic investigation, Robert meets Sophia, a young opera singer, who happens to be the daughter of missing photojournalist Edgar Martirosyan, whom Robert abandoned in captivity during the fall of the village of Talish in 1992. Robert and Sophia’s frequent rendezvouses ignite a passionate romance...

Garod means longing in Armenian. Longing for a land that lost its people. Longing for the homeland. Longing for a time that is eternally lost. “Garod” is a story of longing. It is about the lives and the musical stories of two Armenian musicians - a father and his son, Onnik Dinkjian and Ara Dinkjian. It tells the story of the remaking of a musical tradition and life in diaspora, passes through different geographies and countries following the traces of a musical tradition. In this documentary, Garod means not only longing for loss but also remaking of a musical tradition and the life itself.

A feature documentary presented and directed by former Royal Marines Commando Emile Ghessen. The documentary tells the story of the 2020 war between Armenia and Azerbaijan over the disputed region of Nagorno Karabakh. In the fall of 2020, Armenia and Azerbaijan fought a brutal bloody war. Azerbaijan won, decisively. The feature documentary 45 Days: The Fight for a Nation tells the story of this conflict, from the Armenian perspective, focusing on the human cost of war and its impact on the large Armenian diaspora.

Մանրունք (Manrunq) means trifles or small inconveniences. This story is aboutt a new building finishing construction in Soviet Armenia by an architect and the troubles which begin once people are settled inside the building.