Հուլիսի 18-ին ⏱️ 19.00-ին՝ ամենախենթ մանկական հինգշաբթիներից մեկը Play Space-ում 🎉 Փոքրիկներին սպասում է հետաքրքիր շոու հսկայական փուչիկով և զվարճալի խաղերով: ✔️ Ուրախ և բարձր տրամադրությունը 🎉 ✔️ Վառ հիշողություններն ✨ ✔️ Ու լայն ժպիտները 😁 ԵՐԱՇԽԱՎՈՐՎԱԾ ԵՆ ❗ ✅ Մուտքը ԱԶԱՏ Է ✅ Սպասում ենք բոլոր փոքրիկներին #rossiamallի 4-րդ հարկում՝ #playspace մանկական կենտրոնում 🤩 #երեխա#փոքրիկ#մանկական#խաղեր#շոու#ժամանց
Another fantastic still from Paradjanov’s 1968 Colour of Pomegranates outtakes. This man’s pictorial imagination and aesthetic sensibility were absolutely boundless. Had Paradjanov worked in fashion, I’m sure he’d overshadow all the Gaultiers, Balenciagas, Versacis and Westwoods out there. The absolute tragedy is that neither Armenians nor Georgians nor Ukrainians for that matter fully realized this filmmaker’s calibre and only allowed him to make just four feature films in the period of his artistic maturity (though I really like the early films as well). Why do Armenians feel the compulsion to suffocate their best talents (don’t get me started on the examples) is still beyond me... #armeniancinema#sovietcinema#sergeyparadjanov#paradjanov#colourofpomegranates#poeticcinema#avantgardecinema
At the Temple of Cinema, we learned about Armenian filmmaker/artist Sergei Paradjanov. The installation is in a former Soviet era cinema which is also now a shopping mall. Outtakes from his 1969 film The Color of Pomegranetes were quite beautiful.
The opening of the installation of the outtakes from Sergey Paradjanov’s Colour of Pomegranates at the disused Rossia cinema was unquestionably one of the most striking and important cultural events held in Armenia so far this year. Hours of miraculously surviving reels never used in the final film, were recently digitized at Fixafilm studios in Poland and then beautifully curated by film historian Daniel Bird. The show, organised in collaboration with Armenia’s national cinema center is a true milestone for the cause of Armenian film heritage preservation. First shown at the Rotterdam Film Festival, the installation was brought to Yerevan and (amazingly) the organisers managed to get permission to show it at the staircase-corridor of the famous 1974 brutalist cinema, which has been closed to the public since the late 90s. The show consists of about 20 low-lying monitors upon which the various takes beguilingly slide like medieval miniatures come alive. Besides the chance to see some of the incredibly opulent scenes that ended up on the cutting floor, this archival exhibition gives unique insight into Paradjanov’s intellectual and creative process. It is fascinating to see how takes start and end, with actors slipping in and out of their masks (roles somehow seems inappropriate in this case). I think the very sensitive way that this show was put together would have made Paradjanov himself extremely satisfied. And the chance to see the magnificent, cathedral-like corridor of Rossia is a coup in its own right. There is no other building like it and this show proved once more that it has to be preserved at all cost. #paradjanov#colourofpomegranates#yerevanexhibitions#danielbird#filmexhibition#goldenapricot2019#armeniancinema#sovietcinema