To begin, Calendar (1993) filmed by Atom Egoyan is a story of a photographer and his wife traveling around Armenia taking pictures of different churches for a calendar. This gives to the audience a lovely look at a foreign country but also creates a dimension of spirituality and timelessness. As suggested by Egoyan in a later interview about the film “For the Armenian people, churches have a strong significance because they suggest timelessness…. They are icons.” This can be seen in the film with the repeated times that he is with women in the restaurant, after the separation with his wife, and the same events tend to happen that is that they converse, drink some wine and later she stands to leave the table in order to use a phone and speaks in a foreign language. This seems to be a consistence here just as the churches are for the Armenians. This leads to the viewer to acknowledge that a sense of looking for one’s self or rather understanding where they come from is an important element. The photographer being of Armenian descent seems more occupied with his work instead of enjoying the scenery with his wife and the locals. His wife seems to be more in tune with the people there for she ends up leaving her husband because of their driver. Overall it was an excellent film that touched upon serious topics.
Imaginary Images: An Examination of Atom Egoyan’s Films,Peter Harcourt,Film Quarterly Vol. 48, No. 3 (Spring, 1995), pp. 11, University of California Press.<http://www.jstor.org/stable/1213290>