End

Verj

Armenia

1994

10 Min

Black and White

Armenian

Currently 4.0/5 Stars.
1
2
3
4
5

|

End is a series of shots inside a speeding train, the passengers of which are of diverse age groups, ethnicities and emotional statuses. The train itself feels like a microcosm of the whole world, each of whose inhabitants is moving towards an individual destination but the totality of them going in the same direction. End is perhaps the kind of vision that Damiel (Bruno Ganz) saw in the train in Berlin in Wings of Desire (1987), considering the voyeuristic nature of the camerawork in this film. There are also a few outdoor shots, of mountains (again) and of the sun, that punctuate End. If LifeÕs ending shot seemed to seal PeleshianÕs faith in humanity, the closing shot of End brings back the lifelong dialectic between cynicism and optimism that has so consistently characterized PeleshianÕs work. We see the train, after a very long passage through the darkness of the tunnels, suddenly plunging into blinding light. Before it is revealed to us what lies beyond, the end credits roll. Is it a man-made apocalypse foreseen by Earth of People? Is it the Great Armenian Earthquake? Or is it the ultimate redemption for humanity that Life suggests? Looking back at Peleshian’s body of work, it is probably the latter. —http://unspokencinema.blogspot.com/2009/08/films-of-artavazd-peleshian.html

Director

Artavazd Peleshian

Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren’s is not avant-garde nor tries to explore the absurd, is not really art for the art’s sake like Stan Brakhage’s but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is “one of the few authentic geniuses in the world of cinema”. Renowned Master of the Armenian SSR arts title (1979).

He is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get “candid camera” shots of people engaging in mundane… read more

Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren’s is not avant-garde nor tries to explore the absurd, is not really art for the art’s sake like Stan Brakhage’s but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is “one of the few authentic geniuses in the world of cinema”. Renowned Master of the Armenian SSR arts title (1979).

He is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get “candid camera” shots of people engaging in mundane tasks.

His films are on the border between documentary and feature, rather reminding of the work of such avant-garde filmmakers as Bruce Connor than of any kind of conventional documentaries. Most of his films are short, the longest being 60 minutes and the shortest 6 minutes long. His films feature no dialogue; however, music and sound effects play nearly as important a role in his films as the visual images in contributing towards the artistic whole. Nearly all of his films were shot in black and white.

Already his student films he made while he was studying at VGIK were awarded several prizes. As for now, 12 films by Peleshyan are known to exist. The Beginning (Skizbe) (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on one frame, then advancing only for a second or two until again pausing on another, resulting in a stuttering visual effect. Other important films by him are We (Menq) (1967, a poetically told history of Armenia and its people and Inhabitant (Obitateli) (1970), a reflection on the relationship between wildlife and humans. Artavazd Peleshian’s most brilliant film is The Seasons of the Year (1975), exquisitely lensed by cinematographer Mikhail Vartanov, is an outstanding look at the contradiction and harmony between the humans and nature. http://www.parajanov.com/seasons.html. It was the last collobaration of Peleshian and Vartanov, Armenia’s two most important documentary auteurs; they first worked together on The Autumn Pastoral (1971).

Peleshyan is also the author of a range of theoretical works, such as his 1988 book Moyo kino (My Cinema).

Being from a country far away from internationally significant cinema circles, Peleshyan’s efforts were never been properly recognized by world cinema until very recently. After the fall of Soviet Union, he has been able to make two more short films, Life (1993) and The End (1994). He is now living in Moscow. His most recent film was edited at the ZKM | Karlsruhe Film Institute in 2005-2006 and has not yet been released. —Wikipedia

read less