Ararat (2002) 1080p

Movie Poster
Ararat (2002) 1080p - Movie Poster
Drama | War
Frame Rate:
24 fps
English 2.0  
Run Time:
115 min
IMDB Rating:
6.2 / 10 
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Directors: Atom Egoyan [Director] ,

Movie Description:
People tell stories. In Toronto, an art historian lectures on Arshile Gorky (1904 -1948), an Armenian painter who lived through the Armenian Genocide in the Ottoman Empire. A director invites the historian to help him include Gorky's story in a film about the genocide and Turkish assault on the town of Van. The historian's family is under stress: her son is in love with his step-sister, who blames the historian for the death of her father. The daughter wants to revisit her father's death and change that story. An aging customs agent tells his son about his long interview with the historian's son, who has returned from Turkey with canisters of film. All the stories connect.


  • Ararat (2002) 1080p - Movie Scene 1
  • Ararat (2002) 1080p - Movie Scene 2
  • Ararat (2002) 1080p - Movie Scene 1

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A film within a film, IMO, Egoyan's best work.

I have seen other film by Atom Egoyan. I respect him as an artist.

This film, Ararat, is lovingly made and very sensitive to a horrid subject. I found the acting very good, especially that by Christopher Plummer and David Alpay. I am shocked to see how limited the release was in the U.S. 6 screens, in the whole country? This film deserves far better treatment.

I am also dismayed by the official IMDb blurb "Interrogated by a customs officer, a young man recounts how his life was changed during the making of a film about the Armenian genocide claims." Very good until the last word, "claims." Political correctness has no such place here. The only country in the world which continues to deny the Armenian Holocaust is Turkey.

A hopeless hodgepodge

I don't have a dog in the historic fight here, but expected to learn something I didn't know from the film. As a history buff, I had high hopes of insight into the historic context of the time, the actions taken by the two sides, how they viewed the situation, and/or why they did what they did.

Instead, the opportunity was squandered on a long, drawn out, absolutely boring melodrama involving some obscure family conflict, a gratuitous if titillating sex scene, some bizarre injection of homosexuality and atheism creating stress in an aging character with nothing at all to do with the history, and a lot of drippy and pointless personal drama. The only history to be seen consisted of one dimensional Turks and Armenians shooting each other, especially the former shooting and raping civilians of the latter.

The actual historical actors were like cartoon characters. One might, for example, have liked to know that the American doctor was doing in the middle of Turkey. Or why the Turk commander felt he needed to do what he did. Instead, the historic conflict is treated with all the depth of a Road Runner cartoon, while the main focus is on some kid and his girlfriend going through an emotional life crisis. Either, done well, might have been interesting. Both mashed together and done poorly are like a cherry pie with asparagus filling.

Boring, unenlightening, and patched together, it was as if someone had taken some cheap footage of war from a century ago and randomly spliced in parts of various soap operas. What a waste of an opportunity.

This movie just sucked. I don't usually express my opinion that way, but frankly it just sucked. I can understand why either side with a political axe to grind might feel compelled to love or hate the film, but having none I found it almost unwatchably boring.

Egoyan on Spielberg territory

I am sorry to say that this movie disappointed me sorely. Atom Egoyan made his name with quiet movies with a lot of intimacy. In this case there is an over abundance of characters who ALL have their own story to tell and their own onions to fry. The noble cause of the movie, remembering the genocide of Armenians in the Ottoman Empire during World War I, suffers from a unnecessarily convoluted script that does not really work and too many secondary stories who make Ararat at times descend into the Soap Opera genre.

Egoyan departed here from the style of his earlier movies and moved into an epic mode of storytelling which reminds me of Steven Spielberg blockbusters who always remain on the surface of issues and address people's emotions rather than their intelligence. Probably this happened because he wanted to reach a wider audience who is ignorant of the historic facts recounted in the movie. But then, why the many disorienting shifts in time, why the focusing on individual memories, why the inclusion into the narrative of terroristic acts against Turkish officials half a century after the genocide? If you do not know the historical facts, it really rather confuses than helps. I suspect that the director lacked the necessary emotional distance from the issue to tell about these tragic happenings without being hampered by personal distress. In this sense Ararat is a chance missed.
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