First of all, I would like to congratulate the film's art director, Sabuhi Atababayev. Sabuhi is talented, professional, intellectual, an excellent teacher, and deeply passionate about his work.
Israeli director Nadav Lapid’s film Ahed’s Knee (a co-production of Israel, France, and Germany), which competed in the main selection of the 2021 Cannes Film Festival, does not align with the classical concept of political cinema in the realm of artistic cinematography.
Director Emin Afandiyev explores the impact of war through the lens of familial dramas, delving into its repercussions on relationships between loved ones.
Some women believe that gender equality arises when they behave like men and mimic their manners.
Sevda Sultanova talks about the development of cinematography in Armenia, starting from the 1990s after the collapse of the USSR and up to the present day, organizations and initiatives aimed at supporting the film industry in the country, as well as the prospects and challenges faced by filmmakers and film studios in Armenia.
The Karabakh war is one of the main themes in the work of 42-year-old Armenian film director Jivan Avetisyan, who was born in Gyumri and grew up in Khankendi. He is considered a serious and significant figure in Armenian cinema.
Justine Triet's feature film Anatomy of a Fall winning the Palme d'Or at Cannes last year seems to continue the trend that has taken hold at prestigious film festivals in recent years. It is not just that major awards are being given to female directors, deservedly or not.
Happening, a screen adaptation of the novel of the same name by last year’s Nobel Laureate French writer Annie Ernaux, the 2021 winner of the Golden Lion at the Venice International Film Festival, is a physiological film that is all naked naturalism and flesh.
Julia Ducournau's Titane, the winner of the Palme d'Or at Cannes last year, is another victory of shameless feminism over the art of cinema. Titane is not a piece of film art, but another opportunistic product that serves the interests of modern Western liberalism.
When we say "independent cinema", the first thought that comes to mind in Azerbaijan is that if a director's film is funded by a government agency, specifically the Ministry of Culture, it cannot be considered independent. Is that really so? We will return to this question later.
There is this scene in Pasolini's Medea (1969): Medea watches Jason's sleeping body. The camera slowly slides down Jason's bare chest. The viewer sees the man's naked body through Medea's eyes. However, there is a contrast between the lustful, passionate energy conveyed by the camera and Medea's ruthful, impassive gaze: this is the director's point of view, not Medea's…
In 2002, the Netherlands Institute for War Documentation published a report on the circumstances and causes of the Srebrenica massacre. According to the authors of the report, sending the Dutch to Bosnia was a misguided decision. The Dutch government resigned in April 2002 amid heated debate over the report.
From what angle Israeli cinema depicts the conflict with the Arab countries, how and at what level it builds communication with the Arabs does not only show the Israelis’ attitude to the conflict. This is perhaps an indication that Israeli society has not lost its sense of justice, its ability to look critically at itself and its past, an indication of its openness to discussion.
The feature film Garegin Nzhdeh is an exoneration of the Armenians for the Khojaly genocide, the terror of Ganja and Barda, and their urge to kill every single Turk in the world.
You would be hard-pressed to find another prophet whose image gets recreated in the fine arts as much as that of Jesus Christ. European art boasts dozens of tableaux depicting various episodes of Jesus’s life, from his birth to his last days.