Probably, besides the film language suggested by Griffith
and Eisenstein, the world cinema has not discovered anything
revolutionary new until (Paradjanov's) Color of Pomegranates.
In our land, the government manufactures the fate of the artist. It
honors and awards one, for nothing, and it dishonors and imprisons the
other -- a wise government, it desires to turn both into obedient
slaves. (July, 1990)
