I am Sergei Parajanov! shot a few months after Parajanov's death. Features archive photographs, his collages, the clips from Sayat-Nova (1968), Ashik Kerib (1988), the making of The Legend of the Surami Fortress (1984) and a few views of the house he lived.

I am Sergei Parajanov! shot a few months after Parajanov's death. Features archive photographs, his collages, the clips from Sayat-Nova (1968), Ashik Kerib (1988), the making of The Legend of the Surami Fortress (1984) and a few views of the house he lived.

The film shows the unique world of artist Sergei Parajanov, whose brilliant images in films and collages aroused the suspicion of Soviet authorities.

The film shows the unique world of artist Sergei Parajanov, whose brilliant images in films and collages aroused the suspicion of Soviet authorities.

The author of the film decides to leave the country where she lives, in connection with the outbreak of the dramatic events, and return home to Armenia in search of a worthy example and solutions on how to live on. Paradjanov’s house becomes a place of inspiration and a point of no return to toxic reality. Through the life and work of Paradjanov, clarifying and interpreting the theme of human freedom in non-free conditions, where freedom is limited both by the borders of the totalitarian state and by the barbed wire of the camp fence.

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regarded as one of the greatest films of all time - and contrasts it with the shocking request Parajanov sent him in unpublished 1974 letters from the Soviet prisons.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 - the original camera negative of which survives in Parajanov: The Last Spring (1992) - as Parajanov comments on this cherished autobiographical work. A monumental wordless montage - the entire sixth reel - concludes Vartanov's acclaimed documentary, his final film, and his most important work, which, despite the prohibitive conditions it was created in, won the admiration of cinema's greatest artists.

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 - the original camera negative of which survives in Parajanov: The Last Spring (1992) - as Parajanov comments on this cherished autobiographical work. A monumental wordless montage - the entire sixth reel - concludes Vartanov's acclaimed documentary, his final film, and his most important work, which, despite the prohibitive conditions it was created in, won the admiration of cinema's greatest artists.

A webcam dialogue between Berlin and Isfahan: Faraz Fesharaki documents conversations with his family over 10 years. This debut film blends recordings, text and VHS memories into a warm, melancholy intergenerational portrait. Intimacy is also work.

A webcam dialogue between Berlin and Isfahan: Faraz Fesharaki documents conversations with his family over 10 years. This debut film blends recordings, text and VHS memories into a warm, melancholy intergenerational portrait. Intimacy is also work.

This glasnost-era documentary, which incorporates footage from films from the 1920s through the 1980s, looks at the history of women in Russian cinema through the eyes of Russian women directors, actors, and scriptwriters. The film’s title refers to a WWII slogan about women doing the work of absent men in the fields and at home.