Artavazd Pelechian
Artavazd Pelechian studied cinema at the Cinematic Institute of Moscow in the 1960s. It was not until later in his career that his films were recognized abroad, thanks to French filmmaker Jean-Luc Godard who became his first and most ardent supporter. Today considered as one of the most important filmmakers of our time, he received the Scam Prize for Television for his whole work in 2000. Inventor of an experimental "un-editing" technique, Pelechian threw aside the conventional rules of cinematography with his own contrapuntal editing. Through this unique editing process, Pelechian creates an original circular type of film radically renewing the art of cinema.
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On the train from Moscow to Yerevan, Pelechian films men and women of different ages and ethnicities. All caught up in this journey, together in spite of themselves, any figure is diluted in its contemplation and turns to abstraction. A hymn to travel where the action is punctuated by the sound of the wagons on the rails.
We
The "we" that serves as the title of the film refers to the Armenian people and the genocide they suffered. Pelechian uses images that he shot himself, edited with archival footage. A film that underlines a fierce will to share, to recognize, and to achieve universal peace.
Our Century
This film without commentary, composed mostly of archival footage, offers a discussion on the meaning of the conquest of space by man and our modern means of transportation, allowing us to question the meaning of the human endeavor more widely.
The Seasons
A film-essay about Armenia’s shepherds, about the contradiction and the harmony between man and nature, scored to Vivaldi’s _Four Seasons_.
End
On the train from Moscow to Yerevan, Pelechian films men and women of different ages and ethnicities. All caught up in this journey, together in spite of themselves, any figure is diluted in its contemplation and turns to abstraction. A hymn to travel where the action is punctuated by the sound of the wagons on the rails.
We
The "we" that serves as the title of the film refers to the Armenian people and the genocide they suffered. Pelechian uses images that he shot himself, edited with archival footage. A film that underlines a fierce will to share, to recognize, and to achieve universal peace.
Our Century
This film without commentary, composed mostly of archival footage, offers a discussion on the meaning of the conquest of space by man and our modern means of transportation, allowing us to question the meaning of the human endeavor more widely.
The Seasons
A film-essay about Armenia’s shepherds, about the contradiction and the harmony between man and nature, scored to Vivaldi’s _Four Seasons_.
