Ararat

2002
12
1 Std. 55 Min.

IMDb-BEWERTUNG

6,3/10

14.873

IHRE BEWERTUNG

trailer wiedergeben1:34

3 Videos

53 Fotos

Drama War

Bei der Befragung durch einen Zollbeamten erzählt ein junger Mann, wie sich sein Leben während der Dreharbeiten zu einem Film über den armenischen Genozid verändert hat.Bei der Befragung durch einen Zollbeamten erzählt ein junger Mann, wie sich sein Leben während der Dreharbeiten zu einem Film über den armenischen Genozid verändert hat.Bei der Befragung durch einen Zollbeamten erzählt ein junger Mann, wie sich sein Leben während der Dreharbeiten zu einem Film über den armenischen Genozid verändert hat.

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

6,3/10

14.873

IHRE BEWERTUNG

Siehe Produktionsinformationen bei IMDbPro

Auszeichnungen
- 12 Gewinne & 13 Nominierungen insgesamt

Videos3

Fotos53

+ 47

Mehr wie diese

7,5

Mayrig - Heimat in der Fremde

6,7

6,3

4,5

7,0

7,4

3,6

6,6

6,6

6,4

6,7

5,9

Handlung

Ändern

WUSSTEST DU SCHON:

Ändern

Wissenswertes
Ararat (2002) premiered as part of the 'Official Selection' at the 55th Cannes International Film Festival in 2002, but it was not 'In Competition' for any awards. Atom Egoyan's prior feature [Felicia, mein Engel (1999)] and his subsequent feature [Wahre Lügen (2005)], artistically less ambitious films, were both screened 'In Competition' at Cannes. The reasons for "Ararat" not being part of the 'Official Competition' in 2002 are still ambiguous: Some claim there was political pressure on the festival by Turkey, while Egoyan said he himself decided not to enter Ararat (2002) into the competition: "This film is dealing with a period of history that has never been represented before on film. The idea of subjecting that to the additional pressures of a jury - given all the pressures that are on this film already - seemed to be unnecessary."

Zitate
Raffi: But he thinks Turkey was at war with Armenia. Doesn't it bother you that he doesn't get the history?
Edward Saroyan: No, not really.
Raffi: I mean why didn't you explain to him that we were citizens, we were Turkish citizens. We had a right to be protected.
Edward Saroyan: Are you driving him home?
Raffi: Yeah.
Edward Saroyan: Huh. Take this.
[hands him dollar bills]
Edward Saroyan: Buy him a bottle of champagne. Let him think that he has done something special.
Raffi: Something special? I'm sorry, Mr Saroyan, I don't think I understand.
Edward Saroyan: Young man, do you know what still causes so much pain? It's not the people we lost, or the land. It's to know that we could be so hated. Who are these people, who could hate us so much? How can they still deny their hatred? And so hate us... hate us even more?

Crazy Credits
Closing disclaimers: 1) The historical events in this film have been substantiated by holocaust scholars, national archives, and eyewitness accounts, including that of Clarence Ussher. 2) To this day, Turkey continues to deny the Armenian Genocide of 1915.

Verbindungen
Featured in The Making of 'Ararat' (2003)

Soundtracks
Mystery
Written by Gord Downie (as Gordon Downie) and Atom Egoyan
Performed by Gord Downie (as Gordon Downie)
From the album "Coke Machine Glow"
Courtesy of Wiener Art Records - copyright 2000
Copyright 2000 - Wiener Art (SOCAN)/Egoyan Ego Film Arts (SOCAN)

Benutzerrezensionen216

Rezension

Ausgewählte Rezension

Underrated

I really liked this movie. I've read review's by Berardinelli, Ebert, NYTimes, and Wash Post, and they are unduly critical, possibly based on the director's capabilities. However, I feel that the characters and the story interweaved masterfully, and that the relationship of Christopher Plummer and his gay son are an interesting parallel with the intolerance of the Turk's (majority Muslim's) and the Armenian's (minority Christian's); Also, the way that Raffi carried his hatred second-hand and that hatred got even more trumped up with the Elias Koteas current-day character was effective in showing how these clashes can sustain over generations upon generations.

Another superb aspect of the film was how the cinematic production within the movie acted as the segway between the current and past events because the actors are also characters in the "main" movie; that's a structural piece of "real" cinematic mastery.