Serge Avedikian: ‘I never rejected my homosexual experiences as a youngster, and never thought of them to be within the confines of normality or abnormality’

As I mentioned in my earlier post, Serge Avedikian - French Armenian director, actor, writer and producer - made an unforgettable mark on the history of world gay cinema by playing in a very different wartime love story - Nous étions un seul homme (We Were One Man), film by renown French director Philippe Vallois in 1979. [Read “Modern gay classic” French Armenian Serge Avedikian won Palme d'Or 2010 at Cannes]. Serge was recently in Yerevan to participate in Golden Apricot international film festival.

This exclusive interview was first published in October 2004 on the website of the former Armenian gay rights group in France - www.agla.info (no longer exists). Thanks to Micha Meroujean, head of then AGLA France, I can now post it, with accompanied pictures, on Unzipped: Gay Armenia.

This extract - from the original interview in French - was translated using Google Translate. I only slightly edited it.

*Philippe Vallois (left) and Serge Avedikian (right) with former AGLA France

*Philippe Vallois (left) and Serge Avedikian (right)

*Philippe Vallois

[Interview and photos by Didier K.]
***

Exclusive: Interview with Serge Avedikian

AGLA: You are the only actor of Armenian origin who played the role of a homosexual and, to my knowledge, you have never denied this role. What was your perception of homosexuals at the time when you shot "We Were One Man”?

SA: This is the first film I shot as an actor in 1979. I was a young stage actor and I had just done "Avignon", and Philippe Valois had seen pictures of me in an agency. He was not necessarily looking for a gay actor although there were many actors who were gay but not out but everybody knew them.

AGLA: Especially at that time, when homosexuality was not yet decriminalised in France; we had to wait until 1981.

SA: I didn't remember that. Moreover, at the time we were kidding by saying "the guy is from the building". It was sort of a password!

In fact, the director was seeking someone who could have a high sensitivity combined with a slightly wild side, and when we met, it worked instantly.

Philippe Valois did not hide at all that he was gay. He introduced me to his friends, when I went to his home.

I always felt comfortable with gay guys while not being gay myself. I didn’t hide from Philippe the fact that I had homosexual experiences as a youngster. I never rejected those experiences, and never thought of them to be within the confines of normality or abnormality.

I felt totally at ease and loved this project when I read the script, nothing shocked me. "We Were One Man" is not a gay or militant film per se. It is a film about an impossible love story between a “mentally deranged” boy who escaped from a psychiatric hospital and lives in the forest, having encounters with the prostitutes of the village, and a German soldier he captures and with whom he finally accepts his love.

With Philippe we had planned and agreed on intimate scene, but in the end, it was I who staged it in a certain way. Like it or not, it's so complicated to do an intimate scene.... I remember very well the scene when I am lying on the bed, on my belly, and I lifted my shirt to give myself to him, cheerfully showing my ass in a gesture quite natural but shy. Then we filmed the love scene between two of us, then the threesome.

AGLA: Did this role embarrass you in the Armenian community?

SA: If this role would have embarrassed me, I could not do it. In addition, the Armenian community has never talked about this movie. The film which made me known in the community was "The Red Sweater". Right after it "We Were One Man" was released... When the community media outlets were interviewing me about "The Sweater..." I was also speaking of "We Were One Man". And somehow they never asked me questions about it.

I told them: "You know, I made another movie you should go see?"

I must say that by that time there were only few newspapers, like Gamk and Haratch, and that's it. The community was very closed on itself.

I did not talk about it in the community, but my friends have seen and they all liked it.

This film has gone somehow unnoticed by the public, even though some curious minds went to see it thanks to the success of “The Read Sweater”.

AGLA: What is your perception of gay Armenians and do you think that these two words can add up (work together)?

SA: At the time when the film was released, when people were speaking of homosexuality they were speaking of it as of minority. I myself was already in a minority. Yes, I think being gay and Armenian makes a “double” minority, and in the end it could almost make up a majority ! (laughing)

The word "minority" or "marginality" never deranged me, but at the same time I would not like them to be perceived as negative or militant specificity.

When you're part of a specificity, you live in the society by hiding it and that is actually the case for many people, or you live openly and therefore you place yourself in the provocation to the establishment. And that's really not interesting.

In the case of gay Armenians, this becomes a combination of provocations and that could be a double disadvantage in the community.

And I do not see the problem of being gay and Armenian, openly, here, now, in France and claim it as such.

AGLA: We do not believe we are still at the beginning of understanding or acceptance of homosexuality in Armenia. Local gays cannot wait to live their lives, they have few options: hide or leave!

SA: Before us, long ago, Charles Aznavour sang "Like they say …" (Comme ils disent) during his tour in Yerevan. At least I hope he did. And I believe that people who heard it received this song with great emotion even if they were Soviet apparatchiks. Same kind of example, when I screened "We Were One Man" in the Cinematheque of Yerevan, the cinema hall was full, and this is for a film that was never shown on French television.
[Unzipped: Gay Armenia: WOW! I didn’t know that the film was screened in Yerevan !!]

Published in October 2004 on www.agla.info
Interview and photos by Didier K.

Parajanov: imprisonment and prison art, British Film Institute, London

Pictures from an intimate exhibit at the British Film Institute, part of Parajanovian Festival in London, March 2010 (from my archives). They detail his imprisonment and prison art.

Parajanovian London: Yuri Mechitov photo exhibit at the National Theatre (+ Mat Collishaw at BFI)

Highly recommend this exhibit at the National Theatre in London of rare or unseen photos by Yuri Mechitov, who was a close friend of Parajanov. Photos were taken by Mechitov during their 11-year friendship.

When I entered the foyer where the exhibit was located, this intimate photo of Mechitov and Parajanov (1st photo, below) grabbed my attention, and I started taking pictures. Then someone from behind said: "Why not taking pictures with the photographer himself?" I turned around and saw Yuri Mechitov. It was such a pleasant surprise and was great meeting him in person, so I took his photo (as per below). He was holding his recently published book: "Sergey Parajanov. Chronicle of the Dialogue."

*Parajanov with Yuri Mgoyan

*Parajanov with Tarkovsky

***

Also worth checking an installation (multimedia) by contemporary British artist Mat Collishaw, inspired by Parajanov, at the British Film Institute (BFI), which is literally next door to the National Theatre on the South Bank.

Parajanov at London Lesbian & Gay Film Festival

Must see!

Sergei Paradjanov: The Rebel + Ashik Kerib

A special screening to celebrate the distinctive voice of rebellious auteur Sergei Paradjanov.

This fascinating documentary is not a straightforward portrait of Paradjanov's life, but rather a fluid celebration of his talent and creativity. Focusing on the collages he produced during his years in prison, and featuring interviews with the director himself, Cazals' film demonstrates the scope of Paradjanov's artistic vision, lovingly commemorating this rebel of art cinema.

Director: Patrick Cazals
Country: France
Running time: 52min
Year: 2003

-Screening with-

Ashik Kerib
Paradjanov's final film is the story of a handsome lute player forbidden from marrying his true love, and sent away for 1001 nights to earn enough riches to satisfy her father. Inspired by Azerbaijan Folklore and packed with lush imagery, Ashik Kerib is a fitting swansong from a master. As with most of Paradjanov's films, there is no obvious homosexual content, although many critics have read Ashik's nomadic trek as a metaphor for the director's own banishment at the hands of the government, adding a fascinating personal layer to the film. MB

Director: Sergei Paradjanov, Dodo Abashidze
Cast: Yuri Mgoyan, Sofiko Chiaureli, Veronica Metonidze
Country: USSR
Running time: 76min
Year: 1988

Screening:
Wed 24 March | 18:10 | NFT3

In March, BFI Southbank celebrates the work of Sergei Paradjanov with a film season and symposium as well as a new commission for the BFI Gallery by acclaimed visual artist Mat Collishaw, whose new installation poetically conveys the spirit of Paradjanov's artistic endeavor. The exhibition continues until 9 May 2010. For further information please visit bfi.org.uk/gallery or bfi.org.uk/whatson.

*source: 24th BFI London & Gay Film Festival 17-31 March 2010

**More about Parajanov festival in London - see my earlier post here

Armenian gay icon Parajanov festival in London (February - May 2010)

He is one of my all time favourite film directors. For me, he is an Armenian gay icon. And not only for me... for many LGBT Armenians, Georgians, Ukrainians, Russians.... world-wide.

It's with great pleasure, I'd like to let you know that for the first time, a large scale Parajanov festival will be staged in London (+ Bristol) over February-May 2010.

Paradjanov won countless awards, including the British Academy Award for his film Shadows of Forgotten Ancestors. He is highly acclaimed worldwide, yet his work remains virtually unknown in the UK. The Paradjanov Festival will be an important event in the cultural scenes of London and Bristol, being the first complete showcase of Paradjanov’s films and art. The film programme will be enriched with a photographic exhibition; a contemporary art installation; a symposium; a workshop for kids and adults; a concert; meetings and talks. The events will take place at the British Film Institute (BFI Southbank), the National Theatre (NT), Ciné Lumière, Pushkin House, St. Yeghiche Armenian Church, Arnolfini (Bristol), The Bristol Gallery and will be introduced by distinguished guests that have had first-hand experience of working with Paradjanov.

The Paradjanov Festival is curated in conjunction with the BFI Southbank.

For more information, visit Parajanov (or as they put it, Paradjanov) festival website.


British Film Institute (BFI) Southbank

There will be a retrospective of Parajanov’s films at BFI Southbank (1-17 March 2010).

BFI Southbank will host a season of Sergei Paradjanov’s films that will include his acclaimed features, short films and a number of documentaries about his life and work by renowned filmmakers from Russia, Ukraine, France and Germany. Some of the screenings will be followed by Q&A sessions with friends, collaborators and experts.

Contemporary artist Mat Collishaw exhibition: “To coincide with our wider celebrations of the work of Paradjanov at BFI Southbank taking place this month, Collishaw has created a mesmerising new exhibition for the Gallery inspired by the work of the Armenian director.” (26 Feb - 9 May 2010)

Also, a symposium on Parajanov’s legacy (6 March 2010) and workshop of “creating artwork à la Paradjanov” (13 March 2010) will be organised.

National Theatre

Sergei Paradjanov through the lens of Yuri Mechitov
22 February – 28 March

To Yuri Mechitov, Paradjanov was not only one of the world’s greatest filmmakers but also a close friend, an inspiring teacher and, quite simply, an extraordinary man. This exhibition is composed of rarely seen photographs taken by Mechitov during their 11-year friendship.

The moments captured by Mechitov’s camera reveal a kaleidoscope of amusing situations, contrasting moods, remarkable filmmaking occasions and expressive backdrops. Yuri Mechitov has exhibited all over the world and has recently published Sergei Paradjanov: Chronicle of the Dialogue. This is the first showing of his work in the UK.

Pushkin House

A presentation of Mechitov’s album will be at Pushkin House on 26 Feb.

Roman Balayan (5 March 2010): "An Armenian filmmaker, who made most of his films at the legendary Dovzhenko Film Studios. Roman Balayan considers himself a student of Sergei Paradjanov. Although different in his aesthetic approach, he undoubtedly shares with Paradjanov a belief in cinema as a form of art, which is amply demonstrated in the films he has created over a period of some four decades."

Guard Me, My Talisman
1986, 74 min
Starring: Oleg Yankovsky, Tatyana Drubich, Aleksandr Abdulov and Aleksandr Zbruev. Set against the backdrop of the Pushkin autumn festival in Boldino, the film tells the story of a love triangle between Aleksei, his wife and Dmitri. As their passions get out of control, Aleksei, inspired by the occasion, decides to put an end to it all in the manner of his favourite poet. The film will be introduced by the director and a Q&A session will follow the screening.

Using the occasion, Cine Lumier in London will showcase few films by Roman Balayan on 9-10 March 2010.

There will be a Parajanov’s film retrospective and photo exhibition in April in Bristol too.

St Yeghishe Armenian church in London

Glad to see Parajanov related events to be supported by the Armenian church in London, as reported by festival’s website.

The concert at St Yeghiche church commemorating the Maestro’s life and work will reveal the distinctive spirit of Caucasian music, enriched by the visual accompaniment of Paradjanov’s photographs and films extracts. The concert is organised with the blessing of HG Bishop Nathan Hovhannisian.

However, Bishop Nathan Hovhannisian is retiring (there will be a farewell concert in his honour on 24 January 2010), and as of today, there is no indication of above event on church’s website.

Btw, today is Parajanov’s birthday. Happy bday, Parajanov!! x

*I made this pictures outside the museum of Parajanov in Yerevan, Armenia

The Fall of Communism as Seen in Gay Pornography

This film was made in 1998 by William Jones and is currently shown at 53rd Venice Biennale.

Description
Every image in The Fall of Communism as Seen in Gay Pornography comes from gay erotic videos produced in Eastern Europe since the introduction of capitalism. The video provides a glimpse of young men responding to the pressures of an unfamiliar world, one in which money, power and sex are now connected.

To see The Fall of Communism as Seen in Gay Pornography, click here.

*Directed, written, narrated, and edited by William E. Jones

Music by Jean-Pierre Bedoyan

Sound mix by Craig Smith

Almodovar

Spotted this in a bookstore, while glancing at a new issue of Hercules men fashion magazine.

Jude Law and Simon Abkarian in Sally Potter’s new ‘gender-bending’ film Rage

Sally Potter’s new film Rage debuts at the Berlin Film Festival this weekend.

Look at this photo below. Yes, this is Jude Law who plays the role of a cross-dressing supermodel Minx in Rage. Incredible transformation!


Film director Sally Potter writes on her blog:

Jude, whose beauty has sometimes been held against him as an actor, made the courageous decision to accept the role of Minx - a “celebrity super-model” and took on a kind of hyper-beauty for this persona… a 'female' beauty which gradually unravels as the story unfolds.

Strangely, the more he became a 'she', coiffed and made-up, the more naked was his performance. There was great strength in his willingness to make himself vulnerable. It was an extraordinary part of the shoot.

AP provides more details about this film which involves a young blogger Michelangelo, and fashion designer played by one of my favourite actors Simon Abkarian (French Armenian actor who stars in Atom Egoyan’s Ararat; Robert Guediguian’s Le Voyage en Arménie; Sally Potter’s Yes; Casino Royale; also voice acting as Father in the original French version of the excellent animated film Persepolis):


The film is set over seven days in which a young blogger Michelangelo shoots behind-the-scenes interviews on his mobile phone at a New York fashion house while Merlin, a designer of Middle-Eastern origin, played by Simon Abkarian, prepares to show his latest collection.

But when a model dies on the runway and a murder investigation begins, Michelangelo's mobile phone footage becomes evidence.

*source of photos - Sally Potter's blog; IMDB

Armenia marks 85th bday of Parajanov

Public Radio of Armenia reports:

Renowned Armenian film director of the 20th century, People’s Artist of Armenia and Ukraine Sergey Parajanov would turn 85 today. On this occasion his relatives and art lovers visited the Komitas Pantheon to pay tribute to the memory of the great aesthete.

The whole life of the famous and wonderful director was an amusing and tragic, attractive and sometimes very dangerous game, especially in a Soviet country. His first important film was the “Shadows of forgotten ancestors” shot in 1964.

One of Parajanov’s masterpieces is the film “The color of pomegranate” telling about Sayat Nova. Both films were, however, criticized during Soviet times. “Being the king of clowns, he never became the clown of the kings.” These words are perhaps the most characteristic of Parajanov.

According to Director of Parajanov’s home-museum Zaven sargsyan, his greatest value was that he was trying to have no controversies with his own conscience, say what he thinks and what he considers to be right.

In 1973 the Soviet government sentenced Parajanov to five years of imprisonment, accusing him of homosexuality. Many artists, writers, directors from different sides of the world reacted to his imprisonment. Despite that, only in four years Parajanov was set free due to mediation of Louis Aragon, a world-known French writer.

For many years he was prohibited from shooting films. Only in 80s he was allowed to shoot the “Legend of the Surinam Tower” and “Ashug Gharib.”

During the last years of his life Parajanov was shooting the autobiographic film “Confession,” which remained uncompleted and was later used for Michael Vardanov’s documentary titled “Parajanov’s last spring.” Parajanov died of cancer in July 1990 in Yerevan. 2009 is a jubilee year for the great artist.

Minister of Culture Hasmik Poghosyan assures that the occasion will be used to present the greatest Armenian director to the world.

*image from Namakani film; /emphasis mine/

Sergei Grigoryants remembers Sergei Parajanov

One of the most famous Soviet (and current Putin's Russia) dissidents of Armenian origin Sergei Grigoryants remembers his friend, world famous film director and artist of Armenian origin Sergei Parajanov (yet another dissident).



*video in Russian, via Gay.ru (plus some Russian language links on Parajanov, also spelled Paradjanov)

Remembering Magician...

*image from Namakani film

To the bright memory of Sergei Parajanov...

This film was made at Hayk studio in Yerevan (Armenia) in 1995; written and directed by Andrei Ayrapetov (for his Diploma work). It contains rare footage of Parajanov just months before his death...



From Wikipedia:

Sergei Parajanov is considered by many to be one of the most original and critically-acclaimed filmmakers of the 20th century. He was born to Armenian parents Iosif Paradjanyan and Siranush Bejanyan, in Tbilisi, Georgia.

He died of cancer in Yerevan, Armenia, on July 20, 1990, aged 66, leaving his final masterpiece The Confession unfinished. It survives in its original negative as Paradjanov: The Last Spring, assembled by his close friend Mikhail Vartanov in 1992. He left behind a book of memoirs, also titled "The Confession".

Such luminaries as Federico Fellini, Tonino Guerra, Francesco Rosi, Alberto Moravia, Giulietta Masina, Marcello Mastroianni and Bernardo Bertolucci were among those who publicly mourned his passing.
***

From interview with Ron Holloway, director of documentary Parajanov, A Requiem (1994), 2 years before his death:

- You've been planning your new film, Confession, for a long time.

I owe Armenia a cinematographic confession, a sort of personal bible. It's about my mother, my father, my childhood, my isolation in prison, my vision of dreams. And the tragedy of a cemetery being torn up to allow for a cultural park in honour of (Sergei) Kirov. The cemetery must give way to honour the Communist Kirov. The Soviet patriot arrives, and the ghosts are cast out. They don't know where to go, so they seek shelter with me, their living heir. But I can't take them in. I'm obliged to report to the local police that they are spending the night with me. I, who have no electricity, who is not an insurance agent. They know no evil. Their generation, back then, was kinder. They only want to stay with me. And I must die before their eyes to prove I love them.

It's my duty to my people. I am an Armenian from Georgia. I've made films in the Ukraine. I've suffered behind bars in Georgia and the Ukraine. Sometimes I wake up at night, and I imagine I am being attacked by lice. You may enter prison clean, but they swarm all over you. Within two hours you are covered with lice.
***
Back in 2004, in relation to the article Remembering the Magician... published in ArmeniaNow, Micha Meroujean (AGLA France) wrote the following comment:

I liked the article about Paradjanov. There is one thing is inexact and partial. The author of the article mentions that he was imprisoned for " ..incitement to suicide and homosexuality". It is true that the Soviet regime was using the anti-gay law of the penal code to intimidate non-conformist and dissident intellectuals. But in case with Paradjanov one thing is true that he was homosexual. And he never denied it. In Moscow there was published a book of Pardjanov called "Confession" with some of his letters to his friends and wife from prison detention. In a letter to the film-director Roman Balayan he compares his destiny with the one of Oscar Wilde. They were both married, they both loved men passionately and they were both imprisoned for their homosexuality. This part of Paradjanov's life is often ommited by his fans and biographers. But time will come when Armenia will love the "gay" magician, too. If today's Armenia is having difficulties with accepting its "homosexual" citizens ... doesn't mean that they didn't exist, they don't exist or they won't exist. The time will come ... I believe in it. And Armenia will regret the period when it was so badly deaf and myope to the destiny of its gay and lesbian citizens.