Andriesh

A short diploma film based on a fairy tale by Yemelian Bukov and directed by Sergei Parajanov. The film was made in 1952, since that moment it was considered to be lost, but finally it was found in VGIK in 2025.

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.

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.

A film version of a well-known Georgian folk-tale. A young boy has to be immured into the walls of a fortress in order to stop it from crumbling to pieces.

A documentary portrait of prominent Ukrainian stage and screen actress Natalya Ushviy that contains numerous excerpts from her feature films.

Wandering minstrel Ashik Kerib falls in love with a rich merchant's daughter, but is spurned by her father and forced to roam the world for a thousand and one nights. Now presumed dead by those he loves, he performs for the poor and unfortunate on his journeys through the wilderness.

Exploring the art of Armenian portraitist Hakob Hovnatanyan, Parajanov revives the culture of Tbilisi of the 19th century.

A convict is forced to hide within a model of a hammer and sickle. Here a tragic romance ensues between the convict and woman worker; which is spoilt by the woman's jealous young son. The convict is then forced to undergo a tragic bid for freedom which ends with the beauty of swans contrasted with the imprisoned convicts and the hopeful but ultimately tragic wait by the woman for her lover.

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.

This show is a vibrant tribute to the cult filmmaker Sergei Parajanov. Blending hip-hop, contemporary dance and Armenian traditions, the stage becomes a veritable living tableau where electronic music and traditional instruments, theatre and cinema intertwine to bring to life the baroque and poetic world of the film Sayat-Nova (The Colour of Pomegranates).

World War II separates lovers Oksana and Anton. The young man is taken prisoner by the Germans, while his beloved abandons her studies at the conservatory to become a frontline nurse. Despite all the hardships, their paths cross again.

Short film from Sergei Parajanov, a personal view of the director on the spectacular heritage of Niko Pirosmani (1862–1918), a Georgian primitivist painter.

A documentary about traditional Ukrainian arts and crafts and folk applied art, shot by Sergei Parajanov on commission from the Kyiv Television Studio. Ukrainian masters of pottery, carving, embroidery, painting, and other arts and crafts demonstrate their work in documentary and specially filmed scenes.

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.

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.