Sevda Sultanova
Taghiyev: The legend of oil in cinematic interpretation
First of all, I would like to congratulate the film's art director,…
“Ahed’s Knee”: The clash of art and politics
Israeli director Nadav Lapid’s film Ahed’s Knee (a co-production of Israel, France,…
Gender, equality, and free speech: A look at Mammadyarov’s controversial remarks
Some women believe that gender equality arises when they behave like men…
4 years after 44 days
Sevda Sultanova talks about the development of cinematography in Armenia, starting from…
Narratives at war: Unpacking Jivan Avetisyan’s dual commitment to art and nationalism
The Karabakh war is one of the main themes in the work…
A banal feminist approach and unnecessary drama
Happening, a screen adaptation of the novel of the same name by…
A triumph of shameless feminism
Julia Ducournau's Titane, the winner of the Palme d'Or at Cannes last…
Non-independent cinema of an independent country
When we say "independent cinema", the first thought that comes to mind…
The screen language of homosexuality
There is this scene in Pasolini's Medea (1969): Medea watches Jason's sleeping…
Srebrenica massacre or European “peacekeeping”: the Netherlands
In 2002, the Netherlands Institute for War Documentation published a report on…
Israel’s cinematic repentance
From what angle Israeli cinema depicts the conflict with the Arab countries,…
Garegin Nzhdeh as a monument to racism and hatred
The feature film Garegin Nzhdeh is an exoneration of the Armenians for…
Images of Jesus: LGBT, marijuana, communism
You would be hard-pressed to find another prophet whose image gets recreated…
