The film is about the civil war in the Zangezur (Syunik) province of Armenia in the early 1920s. The last Dashnak battalions headed by Sparapet Nzhdeh still opposed both the incursion of Red Army and the local Bolshevik partisans.
Atanes Ghambaryan, resident of Armenian border village, after the captivity during the World War II, turns up abroad in Turkey and dreams of returning to his homeland. During one of night patrols, border guard Armen who is in love with Ghambaryan's daughter Seda, recognizes him on the other side of...
A poor but honest fisherman Pepo opposes a cunning trader Zimzimov, who tries to rob him by trickery refusing to pay a lost bill. Pepo choses prison to paying-off his honour.
Immediately prior to the Russian Revolution, a young shepherd Seydo and his girlfriend Zare struggle for their right to a happy love in a Yazidi Kurdish village in Russian Armenia.
Namus (Armenian: Նամուս, meaning "honor") is a 1925 silent film by Hamo Beknazarian, based on Alexander Shirvanzade's 1885 novel of the same name, which denounces the despotic rites and customs of Caucasian families. It is widely recognized as the first Armenian feature film.
About a bankrupt millionaire who dreams of becoming related to the Morgan family. The action takes place after the revolution, in Paris, among Armenian immigrants.
The prince falls in love with an ordinary girl and marries her. Later, when enemies capture the prince, it's his young wife who gets him out of trouble.
The first banned film of Armenian cinema. The further screening of the film was forbidden in Soviet Armenia because of the scenes in a brothel. The People's Commissariat of Education banned the screening of the film in Armenia, citing the fact that the events depicted in the film are...
Village man Hambo, trying to set up his son Gikor, gives him in service of well-to-do merchant Bazaz Artem. Gikor couldn't find neither cordiality, nor kindness in merchant's house and misses his home. Some envy small bailiff but nobody see his sufferings.
One of the few Armenian fictions of the 1940s, this parable about the aftermath of World War II reveals the director's deeply humanistic vision, who finds the epic and the universal in minor and private subjects.
