{"id":8220,"date":"2022-05-02T08:44:13","date_gmt":"2022-05-02T06:44:13","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=8220"},"modified":"2022-05-02T08:44:13","modified_gmt":"2022-05-02T06:44:13","slug":"art-film-depicts-landlocked-nagorno-karabakh","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/art-film-depicts-landlocked-nagorno-karabakh\/","title":{"rendered":"Art Film Depicts the Landlocked Drama of Nagorno-Karabakh"},"content":{"rendered":"<figure id=\"attachment_8223\" aria-describedby=\"caption-attachment-8223\" style=\"width: 1400px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"size-full wp-image-8223\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/Gre\u0301goire-Colin-as-Alain-Delage-in-Nora-Martirosyans-Should-the-Wind-Drop-Si-le-vent-tombe-2021.jpg\" alt=\"\" width=\"1400\" height=\"901\" srcset=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/Gre\u0301goire-Colin-as-Alain-Delage-in-Nora-Martirosyans-Should-the-Wind-Drop-Si-le-vent-tombe-2021.jpg 1400w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/Gre\u0301goire-Colin-as-Alain-Delage-in-Nora-Martirosyans-Should-the-Wind-Drop-Si-le-vent-tombe-2021-600x386.jpg 600w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/Gre\u0301goire-Colin-as-Alain-Delage-in-Nora-Martirosyans-Should-the-Wind-Drop-Si-le-vent-tombe-2021-300x193.jpg 300w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/Gre\u0301goire-Colin-as-Alain-Delage-in-Nora-Martirosyans-Should-the-Wind-Drop-Si-le-vent-tombe-2021-1024x659.jpg 1024w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/Gre\u0301goire-Colin-as-Alain-Delage-in-Nora-Martirosyans-Should-the-Wind-Drop-Si-le-vent-tombe-2021-768x494.jpg 768w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/Gre\u0301goire-Colin-as-Alain-Delage-in-Nora-Martirosyans-Should-the-Wind-Drop-Si-le-vent-tombe-2021-1320x850.jpg 1320w\" sizes=\"(max-width: 1400px) 100vw, 1400px\" \/><figcaption id=\"caption-attachment-8223\" class=\"wp-caption-text\">Gre\u0301goire Colin as Alain Delage in Nora Martirosyan&#8217;s <em>Should the Wind Drop<\/em> \/ <em>Si le vent tombe<\/em>, 2020<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p><em>Should the Wind Drop<\/em> \/ <em>Si le vent tombe <\/em>(2020), directed by Nora Martirosyan<br \/>\nA coproduction of France\/Armenia\/Belgium \u2022 100 min \u2022 1.85 \u2022 color \u2022 5.1<br \/>\nIn French, Karabaghtsi, Armenian, English and Russian, English or French subtitles<\/p>\n<p>This film is available on VOD platforms with French subtitles; a version with English subtitles will become available shortly.<\/p>\n<p>&nbsp;<\/p>\n<h4>Taline Voskeritchian<\/h4>\n<p>&nbsp;<\/p>\n<p>Nora Martirosyan\u2019s <em>Should the Wind Drop<\/em> (<em>Si le vent tombe<\/em>, 2020) belongs with a handful of films set in Nagorno-Karabakh, the contested region in South Caucasus and the site of the first <em>perestroika<\/em> demonstrations, subsequent wars of various duration, and Armenian victories and defeats.\u00a0 But the film departs from the conventions that have straddled several such films.\u00a0 Chief among these conventions is the focus on the actual conflict between Armenia and Azerbaijan, and indirectly on the duty of the film to give voice to the cause of Karabakh self-determination, independence, and recognition by what used to be called the international community.\u00a0<\/p>\n<p>Add to these, a love-story of some sort, a few cute ethnic curiosities, and the obligatory mournfulness of the film score, and you have the formula for a film that can, ostensibly at least, appeal to Western audiences who know very little, and care less, about Karabakh. <em>Should the Wind Drop <\/em>consciously steers clear of these baits.<\/p>\n<p>Since the Armenian victories of the First Karabakh War, which ended with a ceasefire in 1994, Nagorno-Karabakh had been in a state of uneasy peace until September 2020, when the Azerbaijanis defeated the Armenians, regained territory lost in the war of the early 1990s, absorbing new lands and inflicting heavy losses in personnel on the Armenian side. Although <em>Should the Wind Drop<\/em> is set in that period of tenuous peace prior to September 2020, war is not far \u2014 in the areas around the Karabakh-Azerbaijan border, in the conversations and pronouncements of the local population, and in the difficulties of everyday life of Stepanakert, the capital.\u00a0 There, a French auditor of dogged professionalism and cool anxiety, Alain Delage (played by Gr\u00e9goire Colin) arrives one day to write a report about the feasibility of restarting the operations of the airport. The actual airport is not a particularly pleasant site, but its two wings, and their blue color, are a not-so-subtle metaphor for the aspirations of the population: A proper airport will make life in this landlocked republic, whose self-declared independence is not recognized by any UN-member country, more open to the world.\u00a0 It will make Karabakh more visible; it will give the country a future.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"Should the wind drop - Trailer ENG SUB\" src=\"https:\/\/player.vimeo.com\/video\/637424185?h=fb264d8a23&amp;dnt=1&amp;app_id=122963\" width=\"750\" height=\"422\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>\nAlain himself is a rather standoffish type, who stiffens when his host at the airport welcomes him with a big hug. He is not particularly likeable; he is here to do a job and often seems oblivious to the local officials\u2019 impassioned pleas.\u00a0 He is a stranger to everything that he encounters \u2014 from that hug to the black-haired boy he sees crossing the airport runway, to the town\u2019s annual festivities of <em>vartavar<\/em> \u2014 a tradition of people drenching each other with water. The airport officials\u2019 aspirations are to make Nagorno-Karabakh and its problems visible to him, to persuade him, coax him if they can.<\/p>\n<p>These aspirations, too, are the ones that propel the film\u2019s director herself: to make Karabakh visible, palpable, real. The way Nora Martirosyan goes about doing so is through a series of rejections which are quite radical, both in relation to the content of the film and also the practices of such films that come out of a historical injustice \u2014 a political situation where the cards are stacked against the victims:\u00a0 <em>Should the Wind Drop<\/em> does not involve a love story; the structure is not dramatic; the film has no place for the ethnic-as-exotic; war lurks at the film\u2019s edges only.<\/p>\n<p>The most important departure is that the two narrative threads \u2014 of Alain trying to do his professional work, and of the boy Edgar (played with remarkable skill by Hayk Bakhryan) trying to do his work \u2014 do not intersect, dashing viewer assumptions, but also setting our visual attention free.\u00a0 Our \u201chero\u201d is no hero; and Edgar is really no victim although the harshness of his situation is beyond doubt.<\/p>\n<p>In terms of technique, Martirosyan relies on long shots, uses close-ups sparingly, makes distance an organizing principle, refuses the aid of melody and instead employs composed sound for moments of tension. Taken as a whole, the film\u2019s content, form, and technique poke at narrative flow, question its centrality, and, most important, open a space for another kind of telling.\u00a0<\/p>\n<p>Paradoxically, although Martirosyan\u2019s telling is more episodic, it is at the same time more panoramic; characters are often diminished not so much by their flaws or their recklessness but by their native geography, by the circumstances of war as is the case, for instance, with Armen (played by the great Armenian parodist and performance artist Vardan Petrosyan).<\/p>\n<figure id=\"attachment_8232\" aria-describedby=\"caption-attachment-8232\" style=\"width: 1400px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"wp-image-8232\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/04\/region-Nagorno-Karabakh-Azerbaijan.gif\" alt=\"\" width=\"1400\" height=\"1043\" \/><figcaption id=\"caption-attachment-8232\" class=\"wp-caption-text\">The contested region of Nagorno-Karabakh finds itself bordered by hostile Azerbaijan (map courtesy Britannica).<\/figcaption><\/figure>\n<p>\nKarabakh is contested land but also a wounded Garden of Eden whose mysterious beauty we know is laced by violence, though there is little violence in the film. No violence, and no sex \u2014 absences which allow for neither pathos nor excitation.\u00a0<\/p>\n<p><em>Should the Wind Drop<\/em> is a film about approach, not destination. Martirosyan, a native of Armenia, was trained as a painter there and now lives and works as a film and video artist in France. Her approach \u2014 in both senses of the word \u2014 is painterly and relies on perspectives that shift, as is the case in the long and dizzying scene of Alain\u2019s arrival by car to Stepanakert, the tiny vehicle snaking through the awe-inspiring mountains; or toward the end of the film in night scenes along the border areas, or in the shouts of Edgar who is trying to recover a loss. For sure, the film has its share of scenes of camaraderie \u2014 of men joking and drinking, and homesteading; of women manning the clothing store, or putting food on the table, or standing at the hospital\u2019s balcony and showing the newborn infant to the father below on the street.\u00a0 But absent from these scenes is the kind of intimacy associated with human contact and touch \u2014 the turn of a face, the hint of a smile, the extension of a hand, things that would seal the foreigner\u2019s fate in this far-off land.\u00a0<\/p>\n<p>It\u2019s easy to interpret this absence as the filmmaker\u2019s distance from her material, or even an aesthetic coldness. But it may be more generative to think that with this kind of withholding, Martirosyan is showing the dignified, stoic discipline which those embattled by war and loss know well and practice even better. Nowhere is this technique as effective as it is in the impossible meeting of Alain and Edgar, or of their paths not crossing each other around a climactic moment. It does not happen, Martirosyan seems to be saying, because in real life, in places where the earth is scorched with war, where hearts are hardened by loss, such things usually don\u2019t happen. And yet, for all the distance and the panoramic intentions of the film, one of the most memorable images is that of Edgar\u2019s face turning \u2014 to Alain? to us? \u2014 in a mixture of sorrow, pleading, and precautious wisdom. (The viewer cannot but be reminded of that other great turn of a boy\u2019s face in Francois Truffaut\u2019s <em>Les 400 Coups<\/em>.)<\/p>\n<p>It\u2019s as if in this scene, Edgar tears the surface of the film, and asks us to look at him, at this boy who is the bringer of water, the quencher of thirsts. There are other, smaller scenes like this one, which seem to come to us with the force of big emotion, but which recede as fast as they arrived. Their brevity is their strength.<\/p>\n<p>The hold of Nagorno-Karabakh on the Armenian imagination \u2014 historical, cultural, and political \u2014 is as enduring as it is pervasive. <em>Should the Wind Drop<\/em> displays a gallery of characters, all local, all natives of Nagorno-Karabakh, but often it steers clear of turning character and narrative into a vehicle for transmitting information about the enclave\u2019s history or its just cause. It is the land which takes on almost all these duties \u2014 the land, which talks, as it were. Martirosyan\u2019s polyglot film (in five languages) gives the Karabakh dialect more than lip service, so to speak.\u00a0 The land is all-powerful, all seeing in whose shadow people are made small but not insignificant.<\/p>\n<p>Such an approach risks turning the land into something mythic, eternal, bigger than human desires and sorrows, even bigger than the airport they want to re-open, bigger than the war even. This kind of aestheticization may offer an alternative perspective, one based on painterly principles, but at times it neutralizes the vitality \u2014 the sorrow, loss, brief joys \u2014 of the human beings who inhabit the land, who guard the borders. Actually, Martirosyan peoples the film with an array of characters we won\u2019t easily forget \u2014 from Seiran, Alain\u2019s guide, to Armen, to the soldiers who accompany Alain to the border areas, even the woman who cleans the airport\u2019s floors, an anonymous presence whose face we do not see but whose floors shine. About all of them, we know next to nothing because the land is all encompassing. Perhaps the ferocious beauty of Nagorno-Karabakh as it is depicted in the film comes at the expense of characters who ask for more depth, more development.<\/p>\n<p>Among these characters, the boy Edgar is the most memorable creation \u2014 he is an all-pervasive presence who brackets the film. But Martirosyan does not romanticize him, nor does she burden him with more injuries than he carries, injuries that would make him more appealing to non-Armenian viewers. He has enough, she seems to be saying. The two narrative threads \u2014 of Edgar and Alain \u2014 never explicitly entwine, and the two characters\u2019 distance from each other only intensifies the silence beneath the surface of the film.\u00a0 This distance also carries figurative meaning that spans across the entire film.\u00a0<\/p>\n<p>With<em> Should the Wind Drop, <\/em>Martirosyan steps into experiment, asks a question:\u00a0 How to represent the near-magical, scorched land of Nagorno-Karabakh \u2014 or any other place ravaged by war \u2014 without the crutches of sentimentality, melodrama, even drama? It\u2019s a significant question, and one that she begins to answer here.\u00a0 The land is her point of departure and return, the land whose illusory peace the 2020 war shattered, whose expanse it tore into two, whose population it displaced and turned into refugees. But also, the land as a repository of pitfalls for the filmmaker, the viewer, and in the end, for those who live with it \u2014 not only for its acquisition and loss, but also for its flames, which the film reveals with such vivid torrent.<\/p>\n<p>In the wake of the 2020 war, <em>Should the Wind Drop <\/em>is now, ironically, a document, a chronicle of another time. The new realities on the ground await the arrival of the one who comes to survey, to restore, to make the invisible visible after so much has been lost in land, human lives and hopes to the winds and fires of war. Edgar\u2019s turn to the screen is even more wrenching today in his \u2014 and the film\u2019s \u2014 search for answers.\u00a0<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Taline Voskeritchian reviews the latest film from Nora Martirosyan about the tiny country fought over by Armenia and Azerbaijan.<\/p>\n","protected":false},"author":216,"featured_media":8223,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[17,18,51],"tags":[267,299,362,1205,1338,1784],"coauthors":[2157],"class_list":["post-8220","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-film-review","category-tmr-weekly","tag-armenia","tag-azerbaijan","tag-borders","tag-nagorno-karabakh","tag-peace","tag-war","entry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v27.3) - 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