Hye Sharzhoom Armenian Action
Anahid Valencia
Staff Writer
The Armenian Studies Pro-gram partnered with the Fresno State CineCulture program on Friday, Oct. 24, for the screening of “Armenians in Film: 6 Short Films by Armenian Filmmakers.” A Q&A with directors followed the screening.
The event was sponsored by the Armenian Studies Program, the Armenian General Benevolent Union (AGBU) Greater Fresno Chapter and the New York-based AGBU Arts.
Prof. Barlow Der Mugrdechian of the Armenian Studies Pro-gram introduced the films to the audience, composed of Cine-Culture students and a large number of community members.
In common Armenian fashion when it comes to films, the pieces addressed tragedy, human complexity and family dynamics in solemn, sometimes humorous ways that utilized nature and raw expression. The films were: “The Land of Sun,” “Wooden Doll,” “Evie,” “Closer in Strife,” “Time Out” and “Oudenk.”
The first film, “The Land of Sun,” was directed by Ruby Mardirossian. The irony and juxtaposition begins in its title, because in the film, the setting of Shamshadin, Armenia, is often enveloped in fog. The sun is merely a metaphor.
There are scenes of serene nature and daily life in Armenia, which is eventually disrupted by war. But, as Martirossian said later in the Q & A, this was not part of the film’s original plan.
“When we started this film, we didn’t believe that the film was going to be about the situation [war],” she said. “We thought that we were making a movie about the beauty of nature and the beauty of the people there, the villagers.”
However, when the war disrupted this peace in the midst of the filming process, they followed its direction. In this way, “The Land of Sun” perfectly encapsulates life in Armenia: beautiful, historic and lively, but saddled with the responsibility of never-ending defense.
The next film, “Wooden Doll,” directed by Nune Apresyan, also echoes the sadness that comes from war. Here, it is represented through the eyes of a child and his father, whom the child does not recognize due to the father’s disfiguring war injuries.
The father is depicted as an ominous, mysterious figure who knocks on the child and mother’s door. To viewers, it becomes clear later when they embraced, that the man is the child’s father and the mother’s husband – a very poignant scene. “Wooden Doll” is a powerful depiction of the irreparable effects of war, and of the impact of war on the relationship between a father and a son, and a wife and a husband.
“Evie,” directed by Arpiné Stepanyan, is a film that is especially relatable to young people. A 19-year-old girl is faced with a battle between love and family when she falls in love with a non-Armenian man. Forced to date and live parts of her life in secrecy because of her family’s disapproval, the film alternates between hearty scenes of young love and tense scenes at the dinner table.
It is every young person’s decision to figure out how they will live their life and who will be involved in it, and Evie carefully and deeply “Armenianizes” this concept.
“Closer in Strife” the next film, was directed by Alec Nikghossian and is immediately striking in its composition. The film utilizes little dialogue but many visuals, the most notable being the hue of, almost heavenly, orange that cascades over a grandmother and her grandchild.
Taking place amidst the Port Explosion in Beirut, Lebanon in 2020, “Closer in Strife” illustrates the protection of innocence and, again, the terror of war. The two seem to rely on each other for comfort as havoc is wreaked all around them.
Lilit Babayan’s film, “Time Out,” followed “Closer in Strife.” Babayan’s piece examines the realizations that can come from loss. In this case, the realizations come from the main character, Artashes, who loses his job.
Having been a scholar all of his life, once he no longer leads a life in academics, Artashes realizes that while engulfed in his studies, he neglected the value of human beings and human connection. The rest of the film follows Artashes as he navigates through his new season of life, one that, for many, hits far too close to home.
“Oudenk” (Let’s Eat) closed out the short films. Directed by Minna Abalian, “Oudenk” is a tribute to family and the value of food, depicted here through a unique collage of photos and animations. Abalian said that, when her grandfather passed away in the middle of production, the project took a turn.
“It kind of became more a way for me to process my grief, but also celebrate my family and his legacy,” Abalian said.
Though the images portrayed in the film are of a family foreign to viewers, it is nearly impossible to not smile while watching “Oudenk,” because of the Armenian connection alone.
The more than seventeen-year cooperation between the Armenian Studies Program and CineCulture has developed into one that brings the best of Armenian film to Fresno State.