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Sergei Paradjanov, the great Soviet filmmaker of Armenian origin who was born and grew up in Tbilisi, Georgia, studied film in Moscow and worked for many years in Ukraine, talks on camera to Fotos Lamprinos about his life, his films, and events in the USSR under Gorbachev’s Perestroika, a few short months before he died and while the state of his health was already deteriorating. The film includes rare footage of the massacre of Georgian civilians by the Soviet Army in April 1989 and unpublished material from the Ukrainian prison in which Paradjanov served his sentence.
By the 14th century, the Byzantine Empire was, if not on the verge of actual collapse, at least seriously decadent and clearly on its last legs. The hungry wolves of Europe were preparing to dine on its corpse, and as a result the Byzantine army and its allies were constantly engaged in battles and skirmishes. In this story, a widow lives in the 14th-century Byzantine village of Doxobus with her son Xenos. She forms a relationship with a village elder, and when she gives birth to the elder’s son, her son from her previous marriage is sent to live in a monastery.
The film is dedicated to the centennial of cinema and, through a pastiche of excerpts from Balkan silent films, pays tribute to a cinema that has been almost completely forgotten. Old photographs and a modern- day train trip through the Balkans highlight the coincidences, the similarities, and the affinities that link Balkan filmmakers. A film about all the things that unite the neighbouring countries of the peninsula, which, perhaps, are many more than the things that divide them.
A sudden visit from the past comes to disrupt the world of a couple. For a moment, they find themselves trapped in a triangle, where they must cooperate, choose, and be chosen.
