Calender

In this movie, the main character, the photographer is analyzing his past relationship with his ex-wife by reviewing video recordings he’s made on a trip with her through Armenia to take pictures of churches for a calender. He appears to be looking for where exactly the relationship fell apart; when exactly did he lose his wife? From the beginning the relationship is tense with their consistent bickering, so it appears as though there’s no one event that made the relationship fall apart. There is one moment, however, in these tapes that forces the relationship to take a steep turn for the worse, and that’s when the photographer gets in an argument with the man who has been showing them around and telling them stories about the churches they go to see. Up until this point the photographer listened to all the stories and it was all well and good, but then the photographer asks if the driver is expecting to get paid extra for telling them these stories and the driver takes personal offense to the question. This moment highlights the divide between the photographer and his wife. To the driver and the photographer’s wife, these churches and stories mean much more than just pretty structures to look at or nice things to hear–these structures and stories bring them closer to understanding their heritage as Armenian people. To the photographer, these stories don’t really mean anything, they’re just things that cost him time and potentially money.

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