Author: admin

GAIFF 2025 Documentaries

During the film festivals sometimes it happens that you plan to watch a specific film, but at the end of the festival you realize you missed it. I decided to make a list of documentaries to be screened during the GAIFF 2025 to help me later decide which films I don’t want to miss out. I’m sharing the list for the ones who are interested in documentaries particularly.

July 14

10:00 AM | House of Cinema, Grand Hall
- The Wolves Always Come at Night (dir. Gabrielle Brady) – 95 min
12:30 PM | House of Cinema, H. Malyan Hall
- Abo Zaabal 89 (dir. Bassam Mortada) – 83 min
5:00 PM | House of Cinema, H. Malyan Hall
- Abo Zaabal 89 (dir. Bassam Mortada) – 83 min
7:00 PM | House of Cinema, H. Malyan Hall
- Ojakh, On the Other Side of the Silence (dir. Diana Mkrtchyan) – 95 min
7:30 PM | House of Cinema, Grand Hall
- My Armenian Phantoms (dir. Tamara Stepanyan) – 75 min

July 15

5:00 PM | House of Cinema, H. Malyan Hall
- Armenians, The Hidden Grandmothers (dir. Alexandra Routhiau Mikaélia) – 53 min
6:00 PM | Kinomoscow, Blue Hall
- Light Memories (dir. Misha Vallejo Prut) – 80 min
8:00 PM | Kinomoscow, Blue Hall
- The Coin (dir. Emiliano Dante) – 79 min
9:00 PM | House of Cinema, H. Malyan Hall
- The Wolves Always Come at Night (dir. Gabrielle Brady) – 95 min

July 16

10:00 AM | House of Cinema, Grand Hall
- Fiume o morte! (dir. Igor Bezinović) – 112 min
1:00 PM | House of Cinema, Grand Hall
- Holy Electricity (dir. Tato Kotelishvili) – 95 min
5:30 PM | Kinomoscow, Blue Hall
- Pathologic (dir. Arsen Sarkisyan) – 40 min
6:00 PM | Kinomoscow, Blue Hall
- Fiume o morte! (dir. Igor Bezinović) – 112 min
7:30 PM | Kinomoscow, Blue Hall
- The Lilac Wind of Paradjanov (dir. Ali Khamraev) – 75 min
9:00 PM | House of Cinema, H. Malyan Hall
- Panting (dir. Gagik Ghazareh) – 102 min

July 17

10:00 AM | House of Cinema, Grand Hall
- Songs of Slow Burning Earth (dir. Olha Zhurba) – 95 min
10:00 AM | House of Cinema, H. Malyan Hall
- Put Your Soul On Your Hand and Walk (dir. Sepideh Farsi) – 110 min
12:30 PM | House of Cinema, Grand Hall
- The Coin (dir. Emiliano Dante) – 77 min
12:30 PM | House of Cinema, H. Malyan Hall
- The Lions by the River Tigris (dir. Zaradasht Ahmed) – 90 min
4:00 PM | House of Cinema, Grand Hall
- Gone is Nowhere (dir. Katinka Fogh Vindelev & Louise Gorm) – 43 min
6:00 PM | Kinomoscow, Blue Hall
- Songs of Slow Burning Earth (dir. Olha Zhurba) – 95 min
6:00 PM | Kinomoscow, Red Hall
- Pathologic (dir. Arsen Sarkisyan) – 40 min
8:00 PM | Kinomoscow, Blue Hall
- Waiting for Don Quixote (dir. Nariné Mkrtchyan, Arsen Azatyan) – 105 min

July 18

10:00 AM | House of Cinema, Grand Hall
- Tehran, An Unfinished History (dir. Saeed Nouri) – 100 min
10:00 AM | House of Cinema, Grand Hall
- At The Edge of the World (dir. Sophie Muselle, Guérin van de Vorst) – 120 min
1:00 PM | Kinomoscow, Blue Hall
- Light Memories (dir. Misha Vallejo Prut) – 80 min
12:30 PM | House of Cinema, Grand Hall
- Once Upon a Time in Gaza (dir. Tarzan Nasser, Arab Nasser) – 87 min
5:00 PM | House of Cinema, Grand Hall
- Once Upon a Time in Gaza (dir. Tarzan Nasser, Arab Nasser) – 87 min
5:00 PM | House of Cinema, H. Malyan Hall
- Put Your Soul On Your Hand and Walk (dir. Sepideh Farsi) – 110 min
7:00 PM | House of Cinema, Grand Hall
- Tehran, An Unfinished History (dir. Saeed Nouri) – 100 min
7:00 PM | House of Cinema, H. Malyan Hall
- The Lions by the River Tigris (dir. Zaradasht Ahmed) – 90 min
8:00 PM | Kinomoscow, Blue Hall
- At The Edge of the World (dir. Sophie Muselle, Guérin van de Vorst) – 120 min

July 19

3:30 PM | House of Cinema, H. Malyan Hall
- Gor – Fled from Nagorno-Karabakh (dir. Katja Fedulova) – 24 min
9:00 PM | House of Cinema, H. Malyan Hall
- Goyamart, Fight for Existence (dir. Arsen Yesayan) – 60 min
2:30 PM | House of Cinema, Grand Hall
- My Armenian Phantoms (dir. Tamara Stepanyan) – 75 min

The Wolves Always Come at Night (dir. Gabrielle Brady)
“The Wolves Always Come at Night” is a documentary that explores the challenging lives of patients residing in a nursing home for the severely ill and mentally disabled in Chechnya. The film intimately portrays their daily struggles and the harsh realities they face, offering a poignant look at their existence within the confines of the institution.

Length: 95 min
Screenings:
- July 14, 10:00 AM at House of Cinema, Grand Hall
- July 15, 9:00 PM at House of Cinema, H. Malyan Hal

My Armenian Phantoms (dir. Tamara Stepanyan)
Filmmaker’s nostalgic journey through Armenian cinema, reflecting on her late father’s acting career and her own artistic path, blending personal memories with a celebration of the country’s cinematic heritage.

Length: 75 min
Screenings:
- July 14, 7:30 PM at House of Cinema, Grand Hall
- July 19, 2:30 PM at House of Cinema, Grand Hall

Holy Electricity (dir. Tato Kotelishvili)
Tato Kotelishvili’s “Holy Electricity” delves into the intricate relationship between people and power in Georgia. The film explores the socio-economic impact of electricity, showcasing how its availability or absence shapes the daily lives, aspirations, and struggles of various communities across the country.

Length: 95 min
Screenings:
- July 14, 8:30 PM at Kinomoscow, Blue Hall
- July 16, 1:00 PM at House of Cinema, Grand Hall

Abo Zaabal 89 (dir. Bassam Mortada)
“Abo Zaabal 89” chronicles the lives of individuals incarcerated in Egypt’s notorious Abo Zaabal Prison. The documentary provides a rare and unsettling glimpse into the prison’s harsh conditions and the experiences of its inmates, highlighting themes of human rights and the justice system.

Length: 83 min
Screenings:
- July 14, 12:30 PM at House of Cinema, H. Malyan Hall
- July 14, 5:00 PM at House of Cinema, H. Malyan Hall

Ojakh, On the Other Side of the Silence (dir. Diana Mkrtchyan)

Length: 95 min
Screening:
- July 14, 7:00 PM at House of Cinema, H. Malyan Hall

Light Memories (dir. Misha Vallejo Prut)
“Light Memories” is a documentary that explores the fading art of film photography in the digital age. The film captures the essence of this traditional craft and the passion of those who still practice it, reflecting on memory, time, and the tangible nature of photographic prints.

Length: 80 min
Screenings:
- July 15, 6:00 PM at Kinomoscow, Blue Hall
- July 18, 1:00 PM at Kinomoscow, Blue Hall

The Coin (dir. Emiliano Dante)
“The Coin” is a compelling documentary that tells the story of an Italian man’s desperate struggle with gambling addiction. The film intricately portrays the devastating impact of this addiction on his life and relationships, as he attempts to confront his inner demons and seek recovery.

Length: 79 min (77 min for July 17 screening)
Screenings:
- July 15, 8:00 PM at Kinomoscow, Blue Hall
- July 17, 12:30 PM at House of Cinema, Grand Hall

Armenians, The Hidden Grandmothers (dir. Alexandra Routhiau Mikaélia)
The director Alexandra Routhiau Mikaélian, French of Armenian origin, made a promise to her grandfather to find the members of their family in Turkey based on a simple name, Shahimé, this sister he was never able to meet.

Length: 53 min
Screening:
- July 15, 5:00 PM at House of Cinema, H. Malyan Hall

Fiume o morte! (dir. Igor Bezinović)
In 1919, outraged by the outcome of the Paris Peace Conference, which proposed handing the city of Fiume (now Rijeka, Croatia) to Yugoslavia, Italian poet, aristocrat, and army officer Gabriele D’Annunzio occupied the city. The ensuing 16-month occupation stands as one of history’s most peculiar experiments in governance.

Length: 112 min
Screenings:
- July 16, 10:00 AM at House of Cinema, Grand Hall
- July 16, 6:00 PM at Kinomoscow, Blue Hall

Pathologic (dir. Arsen Sarkisyan)
Time after time, the three of them wake up in a homeless world. Each of them goes their own way, but he always comes to the same place. Is there a way out?

Length: 40 min
Screenings:
- July 16, 5:30 PM at Kinomoscow, Blue Hall
- July 17, 6:00 PM at Kinomoscow, Red Hall

The Lilac Wind of Paradjanov (dir. Ali Khamraev)
Filmmaker Ali Khamraev, accompanied by cinematographer Yuri Klimenko delved into the archives and travelled to Armenia and Georgia to honour Sergei Parajanov: one of cinema’s greats, whose vision and defiance of convention transcended borders. “Dear Sergei Parajanov. This film is for you.”

Length: 75 min
Screening:
- July 16, 7:30 PM at Kinomoscow, Blue Hall

Panting (dir. Gagik Ghazareh)
On September 27, 2020, with open support from the Republic of Turkey and the Russian Federation, Azerbaijani forces launched a large-scale military offensive against the Republic of Artsakh (Nagorno-Karabakh Autonomous Region). Thousands of citizens of the Republic of Armenia volunteered to defend the right of 150,000 residents of the Republic of Artsakh to live in their Armenian homeland. This film was created following the ceasefire agreement of November 9, 2020, documenting the defense of a newly established section of the Armenian state border during two shifts by a volunteer platoon.

Length: 102 min
Screening:
- July 16, 9:00 PM at House of Cinema, H. Malyan Hall

Songs of Slow Burning Earth (dir. Olha Zhurba)
Reflective observations of Ukraine in wartime are interwoven with eye-witness accounts to contemplate the ultimate tragedy: the normalization of war. A co-production between Ukraine, Denmark, Sweden and France, it had its world premiere at the 81st edition of the Venice Film Festival.

Length: 95 min
Screenings:
- July 17, 10:00 AM at House of Cinema, Grand Hall
- July 17, 6:00 PM at Kinomoscow, Blue Hall

Gone is Nowhere (dir. Katinka Fogh Vindelev & Louise Gorm)
The music film work explores the innate inner dissonance of generational trauma in a documentary and performative treatment of the movement, elongation and fragmentation of escape. Based on the Armenian Genocide and Danish humanitarian Karen Jeppe’s extensive work to rescue thousands of captured Armenian refugees, mainly women and children in the early 20th century, the horrors of the past are revealed in flashes. ‘Gone is Nowhere’ emphasizes how the complex and elongated nature of refuge, in the face of the cyclical dynamics of human experience, can never be confined to one time, but will continue to affect present and future generations.

Length: 43 min
Screening:
- July 17, 4:00 PM at House of Cinema, Grand Hall

Waiting for Don Quixote (dir. Nariné Mkrtchyan, Arsen Azatyan)
This is a philosophical essay – a reflection on the present of post-war Armenia, where reality and imagination have blended into each other, where the people are desperately seeking “saviors”. In this situation, the creative embodiment of Don Quixote, who appears in this film, proves that there is a very thin border between reality and imagination, and all one needs to do is believe.

Length: 105 min
Screening:
- July 17, 8:00 PM at Kinomoscow, Blue Hall

Tehran, An Unfinished History (dir. Saeed Nouri)
Tehran, An Unfinished History uncovers a lost century of Tehran’s transformation through rarely seen footage from Iran’s national film archives. Revealing a city of striking contrasts—cosmopolitan flair alongside deep social divides—the film shows how pre-revolutionary Iranian cinema captured a world now vanished. Featuring 150 archival clips, it offers a rare and poignant glimpse into a forgotten cinematic and urban past, reconstructing a nation’s history through the sociopolitical shifts of its capital.

Length: 100 min
Screenings:
- July 18, 10:00 AM at House of Cinema, Grand Hall
- July 18, 7:00 PM at House of Cinema, Grand Hall

Once Upon a Time in Gaza (dir. Tarzan Nasser, Arab Nasser)
As Hamas tightens control over Gaza, Yahia seeks vengeance for his friend Ossama’s brutal murder. His encounter with the killer alters everything.

Length: 87 min
Screenings:
- July 18, 12:30 PM at House of Cinema, Grand Hall
- July 18, 5:00 PM at House of Cinema, Grand Hall

Put Your Soul On Your Hand and Walk (dir. Sepideh Farsi)
An intimate window into life in Gaza amidst Israeli bombardment, captured through video calls with photojournalist Fatima Hassouna. (ACID Cannes 2025)

Length: 110 min
Screenings:
- July 17, 10:00 AM at House of Cinema, H. Malyan Hall
- July 18, 5:00 PM at House of Cinema, H. Malyan Hall

The Lions by the River Tigris (dir. Zaradasht Ahmed)
Zaradasht Ahmed’s “The Lions by the River Tigris” captures the ongoing struggle for healing and cultural preservation in Mosul, a city devastated by conflict. The film follows three men – a fisherman protecting a cherished marble gate, an antique collector salvaging remnants of the city’s past, and a musician inspiring a new generation, as they work to reclaim the city’s identity and art. It’s a poignant testament to human dignity and the fight for freedom of expression in the face of destruction.

Length: 90 min
Screenings:
- July 17, 12:30 PM at House of Cinema, H. Malyan Hall
- July 18, 7:00 PM at House of Cinema, H. Malyan Hall

Gor – Fled from Nagorno-Karabakh (dir. Katja Fedulova)
Thirteen-year-old Gor and his family fled to Armenia from Nagorno-Karabakh. They had to leave their home overnight, with only a few belongings, likely for good. Like many others, they fled from the Azerbaijani army. Their entire previous life was left behind as the parents locked the door of their house.
When Gor turned ten, his father taught him how to drive. Cars have been Gor’s passion ever since. However, Gor’s biggest dream is to become a hairdresser. He likes cool hairstyles. The escape of the large family was only possible with two cars, but who would drive the second car? For Gor, it was quickly clear that he must now take responsibility. Everyone knew it wouldn’t be an easy journey. Many people were fleeing Nagorno-Karabakh and there were traffic jams lasting for hours. The journey, which normally takes three hours, took 55 hours without a break. Gor made it and the family is now in Armenia. As a reward Gor is now being trained by a celebrity hairdresser in Yerevan.

Length: 24 min
Screening:
- July 19, 3:30 PM at House of Cinema, H. Malyan Hall

Goyamart, Fight for Existence (dir. Arsen Yesayan)

Length: 60 min
Screening:
- July 19, 9:00 PM at House of Cinema, H. Malyan Hall

Full program of Golden Apricot 2025 can be found here: https://gaiff.am/

Tickets can be purchased from here: https://ticketon.am/en/festivals

OTHER

My 4 Artworks – Mixed Media Assemblage

While being an educator, researcher and filmmaker, I use my free time to try myself as a mixed media assemblage artist with luminous elements.

The idea came during my research – I explore the topic of the aesthetics of materiality in cinema, and playing with materials in frames of these artworks helps me to explore the essence of materials and their hidden nature. So far, I have published the videos on my social media accounts, but soon I’ll start to exhibit my works to the public.

@segimagicus
It only appears when the lights go out. What title does it deserve? #fyp #ModernArt #glow #GiveItATitle #artinstallation #immersiveart #darkroomvibes #visualart #arttok #aesthetic
♬ original sound – Seg Kirakossian

@segimagicus
My new art installation… it’s not an animation, watch till the end #luminiscente #art #fyp
♬ Celestial Harp – Carlos Carty

@segimagicus
Another artwork I made with glass, salt crystal and wood. What do you see in it? 🌌 #uvart #dark #handcraft
♬ original sound – Seg Kirakossian

@segimagicus
I created this artwork with a stone, glass and phosphoric paints 🎨. Suggest your titles for this 😏#art #fyp
♬ original sound – Seg Kirakossian

EcoDocu 2024 – Memories from Barcelona

Over the past decade, I have had the privilege of leading a series of documentary filmmaking trainings aimed at empowering youth workers, educators, and leaders to use film as a tool for social change. These trainings, known as the Docu series, have taken place across different countries, equipping participants with storytelling skills to advocate for human rights, fight hate speech, and promote environmental sustainability. Today, I want to introduce you to one of these transformative experiences – EcoDocu 2024, a training course that took place exactly one year ago in Barcelona, where participants created five short documentary films about environmental issues.

filming during the EcoDocu project in Barcelona 2024 — Margarida, Karim and Arpi during the filming

Under the warm skies of Barcelona, from February 11 to 20, 2024, a vibrant group of youth workers, educators, and leaders gathered for an experience that would reshape their perspectives on environmental advocacy. EcoDocu was more than just a training course; it was an opportunity to blend creativity with purpose, storytelling with activism, and media with sustainability.

From the first day, participants, coming from the European Union and the Eastern Partnership countries found themselves immersed in a transformative learning environment. Many arrived with no prior connection to documentary filmmaking or the arts as the selection criteria was to be youth workers, youth leaders or educators. Yet, by the end of the training, they had gained not only technical skills but also the confidence to capture compelling narratives that could spark change.

Lights, Camera, Action – Learning Through Practice

EcoDocu embraced C3 Filmmaking, an approach that combines creativity, critical thinking and collaboration. Participants engaged in hands-on workshops, where they learned how to handle a camera, use a stabilizer, adjust focus, and master the art of transitions and secondary scenes. They explored media recycling, discovering innovative ways to repurpose existing footage to tell new stories.

One of the most impactful sessions focused on media advocacy, empowering participants to use film as a tool for environmental education. They reflected on the Sustainable Development Goals (SDGs) and brainstormed ways to integrate them into their future work with young people. More than just technical training, EcoDocu encouraged participants to pay attention to everyday actions and how these small, seemingly insignificant choices shape the bigger picture of sustainability.

From Storytelling to Action

As the days progressed, participants gained insight into the power of storytelling—how the right framing, the right cut, and the right music can elevate a simple moment into a meaningful statement. They discussed copyright rules, learned the basics of editing, and experimented with free tools that made professional-quality filmmaking accessible to all.

For many, this training was not just about filmmaking but about seeing the world through a new lens – both literally and figuratively. As one participant said, “I started to understand how to use a camera not just to record, but to capture the essence of a moment.” The knowledge they gained was not meant to stay in Barcelona; it was meant to be carried forward—to their communities, to their youth groups, to the stories still waiting to be told.

Title: You can Sea me
Authors: Anastasiia Sereda, Diogo Miguel Oliveira Martins, Olesia Kovalyk, Nara Hovhanisyan, Elina Petrosyan
How pollution affects the daily lives of fishermen…

Leftovers: Food for Thought
Authors: Arpi Chobanyan, Margarida Ribeiro Cosme, Karim Soliman
Change your habits. Prevent food waste in your home

The “Green” Choice (Greenwashing)
Authors: José Pedro Vieira Martins, Claudia Valeria Barrantes Sotomayor, Petra Duchanová, Kateryna Korsun
Do your research, choose wisely

Deforestation

Authors: Nazarii Patratii, Prajun Nakarmi, Silas, Angeliki Korda

Barcelona, a Tale of a Sustainable city
Authors: Antonis Konstantakis, Giorgos Pentaris, Lusine Hovhannisyan, Ofelia Ghazanchyan, Sofia Carvalho

The short documentary films created during EcoDocu 2024 may not claim to be the most powerful in a conventional sense, but they certainly helped participants rethink their habits in a more sustainable way. Moreover, these films became tools to promote an ecological mindset in their communities, sparking discussions and encouraging more responsible approaches to everyday life.

A Growing Movement

EcoDocu is part of a larger initiative that has been shaping the landscape of documentary filmmaking training for nearly a decade. Since 2015, I have been leading documentary film trainings across Europe, fostering a community of youth workers and educators passionate about using film as a tool for social change. Past training courses include:

MovieDoc (2017, Dilijan, Armenia): Promotion of Human Rights Education. Organized by the “Foreign Students of Luxembourg” Union, financed by the Luxembourgish Erasmus+ National Agency – SNJ.
DocuSpeech Against Hate Speech First TC (2018, Luxembourg, Luxembourg): Organized and hosted by Formation et Sensibilisation Luxembourg ASBL, financed by Luxembourgish Erasmus+ National Agency – Anefore.
DocuSpeech Against Hate Speech First TC (2019, Yerevan, Armenia): Organized by Formation et Sensibilisation Luxembourg ASBL, financed by Luxembourgish Erasmus+ National Agency – Anefore, hosted by Doctor Cinema NGO.
DocuSpeech for Human Rights Education (2019, Yerevan, Armenia): Organized by Frie Filmere NGO, financed by Norwegian Erasmus+ National Agency Aktiv Ungdom, hosted by Doctor Cinema NGO.
EcoDocu (2024, Barcelona, Spain): Organized and hosted by Associació Formació i Sensibilització Barcelona, financed by Spanish Erasmus+ National Agency INJUVE.

What’s Next? Be Part of the Story

I am sure that the future training courses in the Docu series will continue to empower youth leaders to use documentary filmmaking as a tool for education and activism. Are you ready to be part of this movement? Follow our upcoming announcements and join the next edition of the Documentary Filmmaking Training Series. Let’s turn stories into action and action into change!

Keep filming!

Seg Kirakossian

With some of the participants of the EcoDocu project and my co-trainer Arman Azizyan

#EcoDocu #MediaAdvocacy #DocumentaryForChange #EnvironmentalEducation

Disclaimer: This project is funded by the Erasmus+ Programme of the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.

EDUCATION / Photography

Stronger Composition: Juxtaposition

Think about placing a sleek modern chair next to an intricately carved antique one in a photograph. The stark contrast between their styles and materials immediately grabs your attention and sparks curiosity. That’s the Rule of Juxtaposition at work – a compositional technique in photography that highlights the contrast between two opposing elements, whether in size, texture, color, or concept. This contrast not only draws attention but also creates a deeper narrative within the image.

The Rule of Juxtaposition leverages the human brain’s natural tendency to compare and make sense of differences. By carefully placing contrasting elements side by side, photographers can create visually compelling and thought-provoking images.

Why It Works

Visual Contrast:

Juxtaposition enhances the differences between objects, making them more noticeable. For instance, placing a vibrant red apple against a monochrome background makes the apple’s color more vivid. This visual tension draws the viewer’s eye and keeps their attention focused on the image.

Evolutionary and Psychological Perspective

Our brain’s sensitivity to contrast has roots in evolutionary biology. From a survival standpoint, the ability to detect differences—such as spotting a predator hiding in shadows or distinguishing ripe fruit from unripe—was critical. This innate ability to recognize contrasts continues to influence how we perceive and respond to visual stimuli today.

Psychologically, juxtaposition creates cognitive dissonance—a state where the brain must reconcile opposing elements. This dissonance stimulates curiosity and engages deeper thought, as the viewer tries to understand the relationship between the contrasting elements. Studies in neuroaesthetics suggest that images combining opposites activate regions of the brain associated with reward and novelty processing, enhancing the emotional and intellectual impact of the image.

Storytelling

Juxtaposition goes beyond aesthetics to convey meaning and emotion. A photograph of an old bicycle leaning against a shiny sports car, for example, contrasts nostalgia with modernity, creating a narrative about changing times. Such contrasts allow photographers to communicate complex ideas and evoke strong emotional responses in a single frame.

Cultural and Artistic Influences

Juxtaposition has been a powerful tool across centuries of art and photography:

Michelangelo’s “Creation of Adam” (Sistine Chapel Ceiling): The juxtaposition of divine and human forms, with God’s dynamic energy contrasted against Adam’s languid pose, emphasizes the connection and distinction between the two.
Pieter Bruegel the Elder’s “The Harvesters”: The contrast between laborers working the fields and villagers relaxing under a tree highlights the duality of toil and leisure in rural life.
Salvador Dalí’s “The Persistence of Memory”: The juxtaposition of melting clocks and a stark, barren landscape creates a surreal exploration of time and decay.

Modern photography continues to utilize juxtaposition to craft striking visuals. A photograph of a vibrant flower growing through cracked concrete, for example, symbolizes resilience and contrasts life with desolation.

In Picture SKRC 4.1, the juxtaposition of sleek glass architecture and weathered stone walls creates a dynamic interplay between modernity and tradition. Conversely, Picture SKRC 4.2 lacks such contrasts, resulting in a less engaging and impactful composition.

Photography

Stronger Composition: Golden Triangles

Think about cutting a sandwich diagonally into two triangles – it feels different than just cutting it straight across, right? That’s how the Golden Triangles Rule works in photography. It’s all about creating energy and balance by dividing your picture into triangles. Imagine drawing a diagonal line from one corner of your photo to the opposite corner, just like slicing that sandwich. Then, draw two more lines from the other corners that meet the diagonal at right angles. These lines create triangles in your photo, and the goal is to place important lines or shapes, like a sloping hill, a leaning tree, or the edge of a roof, along these diagonal lines. Key objects, like a person or animal, can stand out more when placed where the lines meet.

The Golden Triangles Rule is a photography technique that adds movement and flow to your pictures by encouraging you to align elements with diagonal lines. Unlike the calm and orderly nature of symmetry, this rule gives your photo a dynamic and adventurous feel.

Why It Works

Movement and Energy:

Triangles naturally make an image feel more dynamic. The combination of their sharp angles and directional energy creates visual tension, adding excitement and drama to your photo.

Cognitive Efficiency:

Triangles help structure your photo in a way that’s easy for the brain to process. The diagonal lines guide the viewer’s attention across the image, leading them to explore different areas rather than focusing on just one spot.

Aesthetic Pleasure:

Triangles bring a professional and artistic touch to photos. The intersecting lines of the Golden Triangles add depth and layers, making an image look visually appealing while maintaining a sense of balance.

Cultural and Artistic Influences

Triangular compositions have been used in art and photography for centuries to create striking and dynamic visuals. Examples from the fine arts can be Raphael’s “The Holy Family with a Lamb” and Caravaggio’s “The Supper at Emmaus“.

In modern photography, triangular divisions are often used to add a contemporary, dynamic touch to landscapes and portraits, creating drama and focus through careful alignment with the Golden Triangles grid.

In Pictures SKRC 6.1.2 you can see how a building’s slant angle fits neatly within the Golden Triangles, creating a balanced yet dynamic photo.

SCIENCE / Formal / NEWS / Research

Visible Evidence Conference in Australia

Le programme officiel de la 30e édition de Visible Evidence, la principale conférence scientifique internationale sur le cinéma documentaire, a été publié. J’ai l’honneur d’annoncer que je présenterai cette année une communication contribuant au discours sur l’esthétique du cinéma documentaire.

Cette édition marquante de Visible Evidence est organisée par l’École des médias, du cinéma et du journalisme de l’Université Monash (Melbourne, Australie) en coopération avec le Musée national australien de la culture de l’écran ACMI, du 17 au 20 décembre 2024. La conférence, réputée pour son approche transdisciplinaire, attire des participants du monde entier, notamment des universitaires et des chercheurs d’institutions de premier plan telles que l’Université de Cambridge, l’Université de Harvard, l’Université de São Paulo, l’Université de York, l’Université d’Édimbourg, l’Université de Sydney, l’UCLA, l’Université d’Amsterdam, l’Université d’études étrangères de Tokyo et bien d’autres encore. Ce rassemblement explorera un large éventail de sujets, notamment l’impact des nouvelles technologies, les considérations éthiques, les techniques innovantes et les implications sociétales plus larges de la réalisation de films documentaires.

Le thème de la conférence de cette année, « Décentrer le documentaire : Nouvelles visions et perspectives », vise à interroger les cadres traditionnels de la production et de la critique documentaires, en remettant en question les centres de pouvoir, de vision et de perspective existants. Cette communication s’inscrit dans l’un des principaux objectifs de la conférence : décoloniser les études documentaires en amplifiant la diversité des voix et des perspectives. En particulier, mon étude est fondée sur une analyse des films documentaires arméniens et luxembourgeois – des entités cinématographiques qui restent sous-représentées dans la littérature académique sur le cinéma documentaire.

Ma contribution à la conférence

Je représenterai l’Université du Luxembourg en présentant une communication intitulée « Redéfinir les normes esthétiques traditionnelles dans le cinéma documentaire par l’expérimentation et l’innovation dans la structure narrative et les techniques de narration ».

Cette communication vise à engager un dialogue sur la nécessité de réévaluer les principes conventionnels utilisés dans l’évaluation de l’esthétique documentaire, en particulier lorsqu’il s’agit du nouveau mode possible de réalisation de films documentaires – le documentaire interactif. Ce dernier remet en question les principes traditionnels des six modes de documentaire établis par Bill Nichols. L’expérience que j’ai menée pour cet article est motivée par les progrès rapides des technologies audiovisuelles et de l’intelligence artificielle, qui offrent de nouvelles possibilités d’engagement du spectateur et de structures narratives dynamiques.

Dans le cadre de cet article, je souhaite en particulier trouver des réponses aux questions suivantes :
Le film peut-il être considéré comme un documentaire si des technologies de trucage sont utilisées ?
Un documentaire peut-il s’adapter en temps réel à l’état émotionnel du spectateur ?
Que se passerait-il si un documentaire pouvait changer en fonction de la contribution collective du public dans différents lieux géographiques ?
Est-il possible qu’un documentaire évolue en permanence, même après sa diffusion, sous l’influence d’événements réels en cours ?
Comment l’interactivité peut-elle aller au-delà de l’engagement individuel et devenir une forme d’intervention sociale ou d’activisme ?
Un documentaire peut-il être co-créé par ses sujets et ses spectateurs, brouillant ainsi les frontières entre le cinéaste, le sujet et le public ?

Ma participation à cette conférence est l’occasion d’échanger avec des universitaires, de favoriser les collaborations académiques et de contribuer au discours actuel sur l’évolution des études sur le cinéma documentaire.

Remerciements

J’exprime ma sincère gratitude à l’École doctorale en sciences humaines et sociales (DSHSS) de l’Université du Luxembourg pour le soutien financier qui m’a permis de participer à cette conférence. Ce soutien financier a été essentiel pour ma participation et la présentation de mes recherches à cet événement international de premier plan. L’Université du Luxembourg, qui accueille 1 000 doctorants et 7 000 étudiants, se consacre à l’avancement d’un large éventail de recherches universitaires, notamment au sein de l’Institut d’études romanes, des médias et des arts, de l’École doctorale en sciences humaines et sociales et de la Faculté des sciences humaines, de l’éducation et des sciences sociales.

Je suis également très reconnaissante à mon directeur de thèse à l’Université du Luxembourg, le Dr Gian Maria Tore, dont les conseils critiques ont été essentiels pour affiner et renforcer mon travail.

Siranush Galstyan, qui m’a supervisée pendant mon premier programme de doctorat à l’Institut national du théâtre et du cinéma d’Erevan (2013-2016). Son mentorat au cours des premières étapes de mes études doctorales a été d’une valeur inestimable.

À propos de Visible Evidence

Fondé il y a 30 ans par l’éminent chercheur américain Michael Renov (Université de Californie du Sud) aux côtés de Jane Gaines, Bill Nichols et Brian Winsto, Visible Evidence est devenu une pierre angulaire des études mondiales sur le cinéma documentaire. Grâce à ses conférences annuelles et à ses publications, Visible Evidence continue d’être la pierre angulaire des études sur le cinéma documentaire dans le monde. Grâce à ses conférences annuelles et à ses publications, Visible Evidence continue à promouvoir une approche transdisciplinaire, en comblant les lacunes entre les cadres théoriques et les aspects pratiques de la réalisation de films documentaires. Visible Evidence a débuté sous la forme d’une conférence à l’université de Duke en 1993. Les éditions suivantes ont eu lieu sur cinq continents, plus récemment à New York City, USA (2011), Canberra, Australie (2012), Stockholm, Suède (2013), New Delhi, Inde (2014), Toronto, Canada (2015), Bozeman, USA (2016), Buenos Aires, Argentine (2017), Bloomington, Indiana, USA (2018), Gdansk, Pologne (2022), Université d’Udine, Italie (2023).

J’ai le privilège de contribuer aux discussions de cette année et de participer à un événement qui promet d’éclairer de nouvelles voies dans l’étude de l’esthétique documentaire.

Seg Kirakossian
Chercheur doctorant à l’Université du Luxembourg

SCIENCE

Upcoming Scientific Conferences

Tenth International Conference on Communication & Media Studies
Université Paris 1 Panthéon-Sorbonne (Paris, France). September 2025
Paper presentation: Empiric Research Framework for the Assessment of the Impact of Material Constraints on Aesthetic Value of Documentary Films: A Concept Paper on an Empirical Research Methodology

Visible Evidence XXX – Decentring Documentary: New Visions and Perspectives
Monash University (Melbourne, Australia). December 17 – 20, 2024
Paper presentation: Redefining Traditional Aesthetic Norms in Documentary Cinema Through Experimentation and Innovation in Narrative Structure and Storytelling Techniques

Film Critic

Is traditional observational documentary still wanted?

Technological Exploration of Documentary Cinema: Contrasting “Youth (Spring)” and “Knit’s Island”

Introduction and Personal Experience

During film festivals, attendees often find themselves rushing from one screening to another, hoping to catch the most spectacular films of the year. Amidst such rushes, I watched two movies at the 2024 Luxembourg Film Festival that captured my attention as examples of exceptional cinematic experiences. I was not sure if I was enjoying the fact that I’m watching these films or not. At times, I questioned why one should watch them, yet I found myself unable to leave the hall – something compelled me to watch until the end. In the final sequences of both films, I realised that my perception of reality had shifted during each screening, and this is what makes them interesting. These experiences prompted me to reflect also about if the old-school observational style in long takes is still up to date next to the new-age technologies, and this is what we’re going to discuss in this article.

2. Simple structure and complex ideation behind the “Youth (Spring)”

The poetic observational documentary “Youth (Spring)” by Chinese filmmaker Wang Bing was shot between 2014 and 2029, the runtime is 212 minutes, and it simply shows the daily life of young people working in an industrial region of clothes production. The simpler is the syntax of the visual narrative, the more complex is the idea behind it.

Through observational shooting and simply editing the long shots without too much intervention, the director clearly reaches his goal – to make the audience become a part of these people. The area of factories that don’t correspond to the modern standards of privacy, business ethics, healthy lifestyle and many other important for us stuff transforms into a laboratory of life. In other words, though young people are coming here to earn money to build their future, they also share each other’s life and wisdom, they play, flirt, create or terminate relationships. In other words, they come here to collect money, but they also collect some skills, knowledge, dreams, and people for the rest of their lives. This transformation is invisible – one can never understand when it started or happened, just the feeling stays in the unconscious level. Probably this is the reason why in the announcements of the LuxFilmFest Wang Bing is presented as China’s poet of observation.

There is another contradictory element in “Youth (Spring)” and it’s about the dreams of the young generation. One of the girls tells his co-worker that they can’t get into a relationship as her family expects her to marry a boy from a rich family to help their economic predicaments. This kind of talk that appears in different parts of the film seems to be just simple and honest conversations, nothing more. But in fact, those create an emotional windmill inside the viewer. Particularly, the viewer, on the level of the brain and heart, starts to perceive different information and becomes confused – are these people happy, is there any chance their dreams will come true, what’s the aim of their life? Subsequently, these thoughts and feelings slide onto another level – what’s the difference between the life of those protagonists and ours, the viewers, by and large․․․ Are we, the viewers happy, what were our dreams and what happened with those, what’s the aim of our lives.

3. Technological Exploration: Contrasting “Youth (Spring)” and “Knit’s Island”

Reaching this emotional impact through simple real-life filming techniques is the point where the documentary “Youth (Spring)” contradicts another documentary presented at the LuxFilmFest. The directors of both films aim to document human souls by visualising (materialising) their feelings. This can be considered one of the most essential missions of documentary cinema. Both films managed to reach this level by totally different artistic and technical means.

In “Youth (Spring)”, which is a co-production between France, Luxembourg and Netherlands, the characters appear in front of the camera physically, which can create a need to “act themselves”, in other words- to make efforts to look natural. In another documentary included in the festival program, “Knit’s Island” made by Ekiem Barbier, Guilhem Causse, Quentin L’Helgouac’h, the protagonists seem to be more secure in showing their honest thoughts and feelings, emotions, and beliefs as physically they’re invisible, also because they don’t see a camera. In a game environment – a virtual world where almost all the film is made, they’re allowed to do whatever they feel like, so they will not be punished for anything they do.

From the above-mentioned point of view, this French film-experiment has an important role in documentary film history to showcase an additional method of reaching honesty and open talks in front of the screen without having a feeling that someone is filming you. It’s interesting that the same team of French filmmakers – Ekiem Barbier, Guilhem Causse and Quentin L’Helgouac’h in 2018 made a 34-minute documentary called “Marlowe Drive” that is entirely shot within the game GTA V using the camera angles in Director’s mode. This can be one of the reasons how the film crew acts so professionally in a virtual environment. Another important thing to explain it is that the crew spent 963 hours in the DayZ game environment where the story is developing.

Even though the presence of the camera in front of protagonists we call a contradictory point in these 2 films, but both films are valuable for exactly what they gained – in “Knit’s Island” the point of view and judgments are not hidden and human characters are transparent. In “Youth (Spring)” the viewer needs to rethink if there’s something hidden behind those simple actions of characters.

In both films, the protagonists of stories are the generalised characters. In one case it’s the young person working in Zhili – one of the textile industry centers in China, and the other is the human of civilised world trying to actualise their imagination of possible ideal life in the virtual world. And both are static characters – the aim of the films is not to show the change of protagonists during the film but to make the audience feel their environment and reality.

While we spoke about the technical realisation of the “Knit’s Island” movie, it’s important also to mention the specific way of filming “Youth (Spring)”. During the same Q&A session that followed the LuxFilmFest screening of the film, Wang Bing informed that he made the film with a tiny camera and the sound is taken from the camera only. This is an important factor for the documentary, and it aims to reach the level of what we were discussing about the film “Knit’s Island” – to minimalise the feeling that someone is following you in order to retell your story and show your actions to others.

4. Societal Interconnected Narratives and Characterization

Both films are about people who try to live their lives in the way they want. The difference is that in the case of “Youth (Spring)” young protagonists have some hopes about their future and they work to collect money for those aspirations. The protagonists of “Knit’s Island” are more adults and they have no hope of changing anything in their real life in the future to the better side, therefore they’re settling into the virtual reality that they can form in the way they want. They can even be considered continuation of one another – young people, who have dreams, usually end up adapting to what they have and finding (escaping) ways to survive the reality they haven’t dreamt about.

5. Ethical Considerations in Documentary Filmmaking

In both films we can see ethical considerations that generally should be important for any documentarian. In the film “Knit’s Island” we can see how the filming group by meeting new people asks permission to record and use the recording (particularly the real voices of players) for their documentary film. In the film “Youth (Spring)”, we can see the presence of the observational camera in the lives of the characters, capturing both personal and business insights of the people around. This means that the camera didn’t try to hide which is admirable from the ethical point of view.

The same thing can also be misleading from the point of view of credibility. It’s difficult to believe that the film is a true documentary while the protagonists are so open in front of the camera which is in the center of actions. Only after knowing that the film was made within 5 years – from 2014 to 2019 – it becomes clear that this is not a pseudօ-documentary. The long-term shooting technique can achieve such a result as people get used to the presence of the camera.

6. Film Length and Emotional Effect

The length of the films can be considered as another aspect of ethical implications as it has a direct influence on the emotions of the viewer and also it’s about asking one of the most valuable resources nowadays – the time. In the case of “Youth (Spring)” during the film it’s not very clear why it’s 212 minutes and gives an impression of a loop or a static action. On the other hand, we’re speaking about a poetic documentary which means we can’t discuss it in the same way as we can’t say that the poems of Dante Alighieri or Homer could be shorter. Only at the end of the movie “Youth (Spring)” we can understand the influence of the long and repetitive work-related sequences. After 3 hours of watching and becoming a part of the working environment, the home village environment of one of the workers seems to be uncomfortable both for the protagonists and the viewer. In other words, this freedom feels like a deadlock of uncertainty and lack of possibilities, while the workplace was also had the same feeling of deadlock for young workers but in a happier mood.

Continuing the topic of the length and the emotional influence, here it’s worthy to note that the film “Knit’s Island” reached to the same level of sub-conscious impact in 2 times less length – 96 minutes. Particularly, after watching on a 2D screen the film shot in virtual reality, at the end the few shots from the outdoor real-world environment appear strange to our brains. So, at the end of the film, we can experience what gamers feel when they switch off their game – they’re back to a stranger world that is not as comfortable and welcoming as the virtual one.

7. Conclusion: Reflections on Documentary Cinema’s Evolution

In conclusion, the juxtaposition of “Youth (Spring)” and “Knit’s Island” within the 15th edition of the Luxembourg Film Festival provides audiences with a valuable opportunity to appreciate the diverse and creative richness within documentary cinema. These films, along with others featured in the festival, serve as a reminder that despite the emergence of new creative approaches facilitated by technological advancements in documenting human emotions and thoughts, traditional documentary methods remain highly relevant. The unique storytelling methods employed by both documentaries underscore the versatility of the documentary in conveying powerful narratives. While “Youth (Spring)” immerses viewers in the daily lives of young individuals working in an industrial region, prompting reconsiderations about societal norms and personal aspirations, “Knit’s Island” leverages virtual reality as a canvas for exploring the unfiltered thoughts and emotions of its characters, offering an alternative yet equally compelling perspective. The festival’s curation encourages audiences to embrace the diversity of cinematic expression, fostering a deeper appreciation for the profound impact that documentary films can have on our understanding of the world and ourselves in the middle of evolving cinematic landscapes.

Seg Kirakossian

PhD researcher in Documentary film aesthetics at the University of Luxembourg

EDUCATION / Photography

Stronger Composition: Pyramid

The concept of the Pyramid composition in photography, also known as Triangular composition or the rule of thirds applied diagonally,

The use of triangular or pyramid-like compositions can be traced back to classical art. Painters and artists often arranged elements in triangular formations to achieve balance and harmony in their works. Examples are Sandro Botticelli’s “The Birth of Venus” (c. 1484–1486), Raphael’s “The School of Athens” (1509–1511), Rembrandt van Rijn’s “The Anatomy Lesson of Dr. Nicolaes Tulp” (1632), Michelangelo Buonarroti’s sculpture “Pieta” (1498–1499).

The photos published on this page are a matter of copyright.
Photo credits to: Seg Kirakossian

EDUCATION / Photography

Stronger Composition: Frame Within the Frame

The “Frame Within the Frame” is a compositional technique in photography where the photographer uses elements within the scene to create a frame around the main subject.

Before looking for framing elements, identify the main subject of your photograph. It could be a person, an object, or a scene that you want to highlight and draw attention to. Then look for elements within the environment that can naturally frame or surround your subject. This could include archways, doorways, windows, tree branches, or any other structural or natural elements that form a visual border around the subject. The frame acts as a visual guide, leading the viewer’s eyes towards the central subject.

The type of frame within the frame you choose can influence the mood of your photograph. For example, an arched doorway might add a touch of elegance, while tree branches might create a more natural and rustic feel.

Picture SKRC 4.1, Frame Within the Frame

The photos published on this page are a matter of copyright.
Photo credits to: Seg Kirakossian

Author: admin

GAIFF 2025 Documentaries

My 4 Artworks – Mixed Media Assemblage

While being an educator, researcher and filmmaker, I use my free time to try myself as a mixed media assemblage artist with luminous elements.

EcoDocu 2024 – Memories from Barcelona

Lights, Camera, Action – Learning Through Practice

From Storytelling to Action

A Growing Movement

What’s Next? Be Part of the Story

Stronger Composition: Juxtaposition

Why It Works

Visual Contrast:

Evolutionary and Psychological Perspective

Storytelling

Cultural and Artistic Influences

Stronger Composition: Golden Triangles

Why It Works

Movement and Energy:

Cognitive Efficiency:

Aesthetic Pleasure:

Cultural and Artistic Influences

Visible Evidence Conference in Australia

Upcoming Scientific Conferences

Is traditional observational documentary still wanted?

Technological Exploration of Documentary Cinema: Contrasting “Youth (Spring)” and “Knit’s Island”

Stronger Composition: Pyramid

Stronger Composition: Frame Within the Frame

The “Frame Within the Frame” is a compositional technique in photography where the photographer uses elements within the scene to create a frame around the main subject.

Follow me on Facebook

Follow me on Instagram