Artavazd Peleshyan
1938 (88 лет)We Are Our Mountains
Henrik Malyan
Sos Sargsyan, Khoren Abramyan
Calm of the mountain village is disturbed by the investigation on stray sheep. Four shephards, living in Armenian highlands, cut a stray sheep for a dinner. Revaz, their neighbour and owner of the sheep, soon appears. Shephards even manage to agree on "ransom" but novice police lieutenant interferes with the deal trying to start an official investigation.
We Are, Our Mountains
Մեր դարը
Artavazd Peleshyan
A man paves his own way to his own soul through an intellectual quest, tragedies of nations and personal drama. The road moving through the cosmic distances is a flight into one's internal world. This flight and this drama are revealed in this philosophical film-poem.
Our Century
Обитатели
Artavazd Peleshyan
Inhabitants depicts animals in panic: the film is mostly filled with shots of mass migrations and stampedes (some, surprisingly, filmed from a helicopter). The title equalizes the species of the earth. Artavazd Peleshian merely alludes to the presence of human beings—a few silhouettes that seem to be the cause of these vast, anxious movements of animal fear. In many ways, this film is an ode to the animal world that moves toward formal abstraction, with clouds of silver birds pulverizing light. Peleshian said, “It’s hard to give a verbal synopsis of these films. Such films exist only on the screen, you have to see them.”
Inhabitants
La Nature
Artavazd Peleshyan
While it was long thought that his filmography had concluded with the film Life in 1993, Peleshian has now returned with a new film, simply titled La Nature, through which he once again observes the delicate cohabitation of human communities with their environment. Gathered from the internet, most of the images that compose the film are fragile, amateur-shot traces from within nature and its tremors that regularly rock these communities. Volcanic eruptions, earthquakes, and tsunamis form the film’s visual fabric, and are set against images of grandiose natural landscapes. A visual elegy, the film resolutely acknowledges the superiority of nature, with its unrelenting force, capable of transcending all human ambition. With this, the filmmaker seems to remind us that humankind will not emerge victorious from the ecological havoc that it has created.
Nature
Земля людей
Artavazd Peleshyan
This is the subject of ongoing discovery of the beauty of the world, that man makes in his life and in his work, which is being developed as part of a big city, presented during a day's work. This film starts and ends with the rotating image of the sculpture of Rodin the Thinker; this famous sculpture has long since become the symbol of the unchanging expression of human thought.
The Land of the People
