Sergei Parajanov

The life of the revered 18th-century Armenian poet and musician Sayat-Nova. Portraying events in the life of the artist from childhood up to his death, the movie addresses in particular his relationships with women, including his muse. The production tells Sayat-Nova's dramatic story by using both his poems and largely still camerawork, creating a work hailed as revolutionary by Mikhail Vartanov.

This documentary is not a straightforward portrait of Armenian film director Sergei Paradjanov's life, but rather a fluid celebration of his talent and creativity. Focusing on the collages he produced during his years in prison, and featuring interviews with the director himself, Cazals' film demonstrates the scope of Paradjanov's artistic vision, lovingly commemorating this rebel of art cinema.

In the Carpathian Mountains of 19th-century Ukraine, love, hate, life and death among the Hutsul people are as they’ve been since time began. Ivan is drawn to Marichka, the beautiful young daughter of the man who killed his father. But fate tragically decrees that the two lovers will remain apart.

Three short films by Sergei Parajanov, Hakob Hovnatanyan (1967), Kyiv Frescoes (1966) and Arabesques on the Theme of Pirosmani (1986). Scanned and restored from the original camera negatives in 4K by Fixafilm. Produced in association with National Cinema Centre of Armenia (NCCA), Dovzhenko Centre and Georgian Film. Scans for Hakob Hovnatanyan and Arabesques on the Theme of Pirosmani financed by Kino Klassika.

Parajanov's collage of all the footage that remained from his film "Kyiv Frescoes," which was halted by the Soviet authorities who demanded that all the negatives be destroyed.

Set in a new mining town in the Donets Coal Basin, it centres on a clash between the young miners, the political establishment, and a religious cult lead by a devious Pentecostal evangelist infiltrated into the community who tries to make the workers fall under his influence.

Documentary showcasing popular and folk songs performed by the Ukrainian State Choir.

Made in wartime and edited in candlelight, Vartanov's rarely-seen masterpiece tells about his friendship with the genius Parajanov who was imprisoned by KGB "at the height of his fame ". Vartanov resurrects the riveting scenes from his banned 1969 film The Color of Armenian Land, where Paradjanov concocts the chef-d'oeuvre The Color of Pomegranates - widely regarded as one of the greatest films of all time - then reveals the shocking request Parajanov sent him in unpublished 1974 letters from Ukrainian prisons. Vartanov's camera documents Parajanov's staggering last day at work in 1990 during the making of the unfinished Confession - which survives in The Last Spring - as Parajanov comments on this cherished autobiographical film. The foremost achievement of The Last Spring, emphasized by critics, is Vartanov's exquisite wordless montage that "evoked the very soul" of Parajanov and earned the praise of many of cinema's greatest masters, such as Martin Scorsese and Francis Ford Coppola.