Mikhail Vartanov

Made in wartime and edited in candlelight, Mikhail Vartanov's rarely-seen masterpiece tells about his friendship with the genius Sergei Parajanov who was imprisoned by KGB "at the peak of his artistic power". Vartanov takes us back with the scenes from his censored 1969 film The Color of Armenian Land where Paradjanov is at work on his suppressed chef-d'oeuvre The Color of Pomegranates - widely regarded as one of the greatest films of all time - and contrasts it with the shocking request Parajanov sent him in unpublished 1974 letters from the Soviet prisons. Vartanov's camera documents Parajanov's striking last day at work in 1990 during the making of the unfinished Confession. A monumental wordless montage - the entire sixth reel - concludes Vartanov's acclaimed documentary, which, despite the prohibitive conditions it was created in, won the admiration of many of cinema's greatest artists, including Francis Ford Coppola and Martin Scorsese.

Made in wartime and edited in candlelight, Mikhail Vartanov's rarely-seen masterpiece tells about his friendship with the genius Sergei Parajanov who was imprisoned by KGB "at the peak of his artistic power". Vartanov takes us back with the scenes from his censored 1969 film The Color of Armenian Land where Paradjanov is at work on his suppressed chef-d'oeuvre The Color of Pomegranates - widely regarded as one of the greatest films of all time - and contrasts it with the shocking request Parajanov sent him in unpublished 1974 letters from the Soviet prisons. Vartanov's camera documents Parajanov's striking last day at work in 1990 during the making of the unfinished Confession. A monumental wordless montage - the entire sixth reel - concludes Vartanov's acclaimed documentary, which, despite the prohibitive conditions it was created in, won the admiration of many of cinema's greatest artists, including Francis Ford Coppola and Martin Scorsese.

Made in wartime and edited in candlelight, Mikhail Vartanov's rarely-seen masterpiece tells about his friendship with the genius Sergei Parajanov who was imprisoned by KGB "at the peak of his artistic power". Vartanov takes us back with the scenes from his censored 1969 film The Color of Armenian Land where Paradjanov is at work on his suppressed chef-d'oeuvre The Color of Pomegranates - widely regarded as one of the greatest films of all time - and contrasts it with the shocking request Parajanov sent him in unpublished 1974 letters from the Soviet prisons. Vartanov's camera documents Parajanov's striking last day at work in 1990 during the making of the unfinished Confession. A monumental wordless montage - the entire sixth reel - concludes Vartanov's acclaimed documentary, which, despite the prohibitive conditions it was created in, won the admiration of many of cinema's greatest artists, including Francis Ford Coppola and Martin Scorsese.

Made in wartime and edited in candlelight, Mikhail Vartanov's rarely-seen masterpiece tells about his friendship with the genius Sergei Parajanov who was imprisoned by KGB "at the peak of his artistic power". Vartanov takes us back with the scenes from his censored 1969 film The Color of Armenian Land where Paradjanov is at work on his suppressed chef-d'oeuvre The Color of Pomegranates - widely regarded as one of the greatest films of all time - and contrasts it with the shocking request Parajanov sent him in unpublished 1974 letters from the Soviet prisons. Vartanov's camera documents Parajanov's striking last day at work in 1990 during the making of the unfinished Confession. A monumental wordless montage - the entire sixth reel - concludes Vartanov's acclaimed documentary, which, despite the prohibitive conditions it was created in, won the admiration of many of cinema's greatest artists, including Francis Ford Coppola and Martin Scorsese.

Two neighbour families both claim ownership of a huge mulberry tree growing in the middle of their two houses.

The last collaboration of Artavazd Peleshian and cinematographer Mikhail Vartanov is a film-essay about Armenia's shepherds, about the contradiction and the harmony between man and nature, scored to Vivaldi's Four Seasons.

In his wordless debut film, Mikhail Vartanov presents the ancient and modern art of Armenia through the post-impressionist painter Martiros Saryan’s silent commentary of gestures. Biblical landscapes, the ruins of temples, frescos, cross-stones, contemporary sculptures of Tchakmakchian (Chakmakchyan), the first appearance on film of iconic modernist painter Minas and his paintings, as well as the world famous behind-the-scenes episodes of Sergei Parajanov’s landmark "The Color of Pomegranates (Sayat Nova)." The film had its first public screening at one of the world’s largest and prestigious cinematic events, the Busan International Film Festival, 43 years after it was made.

In his wordless debut film, Mikhail Vartanov presents the ancient and modern art of Armenia through the post-impressionist painter Martiros Saryan’s silent commentary of gestures. Biblical landscapes, the ruins of temples, frescos, cross-stones, contemporary sculptures of Tchakmakchian (Chakmakchyan), the first appearance on film of iconic modernist painter Minas and his paintings, as well as the world famous behind-the-scenes episodes of Sergei Parajanov’s landmark "The Color of Pomegranates (Sayat Nova)." The film had its first public screening at one of the world’s largest and prestigious cinematic events, the Busan International Film Festival, 43 years after it was made.

하얀 바탕 위에 석류가 놓이고, 칼이 놓이고 그 밑으로 핏빛 액체가 번져간다. 남자의 발이 탐스러운 포도를 짓이기면 글씨가 기록된 석판 위로 흥건한 과육이 흐른다.

In his wordless debut film, Mikhail Vartanov presents the ancient and modern art of Armenia through the post-impressionist painter Martiros Saryan’s silent commentary of gestures. Biblical landscapes, the ruins of temples, frescos, cross-stones, contemporary sculptures of Tchakmakchian (Chakmakchyan), the first appearance on film of iconic modernist painter Minas and his paintings, as well as the world famous behind-the-scenes episodes of Sergei Parajanov’s landmark "The Color of Pomegranates (Sayat Nova)." The film had its first public screening at one of the world’s largest and prestigious cinematic events, the Busan International Film Festival, 43 years after it was made.

In his wordless debut film, Mikhail Vartanov presents the ancient and modern art of Armenia through the post-impressionist painter Martiros Saryan’s silent commentary of gestures. Biblical landscapes, the ruins of temples, frescos, cross-stones, contemporary sculptures of Tchakmakchian (Chakmakchyan), the first appearance on film of iconic modernist painter Minas and his paintings, as well as the world famous behind-the-scenes episodes of Sergei Parajanov’s landmark "The Color of Pomegranates (Sayat Nova)." The film had its first public screening at one of the world’s largest and prestigious cinematic events, the Busan International Film Festival, 43 years after it was made.