“As a film director, my primary goal is to tell the story of my homeland, showcasing Armenia and Artsakh while advancing Armenian cinema on the global stage.” This philosophy has driven award-winning director and European Film Academy member Jivan Avetisyan to create over two dozen fiction and documentary films. His works reflect universal themes and values that resonate globally while also serving as a means to contribute to his homeland.
In an interview with Asbarez, Avetisyan discussed his upcoming feature film, “Revival,” which is currently in post-production and scheduled for release next year. He also announced the start of production on a new feature film, “Angels 2020,” and urged the Armenian community to support and participate in this significant project.
NANE AVAGYAN: Your recent films have centered on Artsakh, and they seem to complement each other in telling a continuous story. The focus of your new film “Revival” is once again Artsakh. How do you approach presenting Artsakh in your latest film, which today, albeit temporarily, is not ours?
JIVAN AVETISYAN: Thank you for your accurate wording. Yes, Artsakh is temporarily not ours, and I deeply regret that — even if only for a short time — it is not under our control. With Artsakh is distant from us, speaking, sharing, and educating others about Artsakh and the reasons behind this outcome is crucial. One reason might be that we didn’t talk enough about Artsakh. Over the past ten years, my team and I have tirelessly worked on three feature films about Artsakh, but I still feel it’s not enough — I haven’t done enough. Today, each of us has a responsibility to speak out about Artsakh and to present the reality systematically.
In “Revival,” unlike my previous films — “Tevanik,” “The Last Inhabitant,” and “Gate of Paradise” — we depict Artsakh not only in the context of victory, but also in the context of the defeat resulting from the 2020 war. This film highlights essential values, such as the issue of identity. Every Armenian, regardless of their connection to Artsakh, should feel a sense of belonging to it. The film tells the story of Murat Arakelyan, a young Armenian scientist who specializes in AI. His story could resonate with any of us. Murat returns to Artsakh to find himself, to reconnect with his roots, and to uncover what happened to his family and father during the war in the 90s — to understand who he truly is. In the film, various events and realities unfolding in Europe, Jerusalem, and Iceland are interwoven with the Artsakh war. We aimed to emphasize that, regardless of how distant or close you are to the war, if you turn a blind eye or view it as someone else’s war, you inevitably share the consequences of that conflict.
“Revival” also addresses the themes of silence and crime. I often tell my colleagues from around the world that silence is the greatest crime, and by joining the film “Revival,” they are, in a way, cleansing themselves of that crime. Because what happened to us in the fall of 2020 wasn’t just a crime against Armenians, it was a crime against humanity. Human beings were the target, because what happened went beyond an international conflict or a territorial dispute. It was a war waged by people and countries opposed to our very existence. During the war, I was in Artsakh with my family and relatives. I witnessed, documented, endured, and lost so much. I am deeply convinced that the 2020 conflict was one of the greatest crimes against humanity. “Revival” seeks to raise awareness about these issues, particularly the use of prohibited weapons in Artsakh, for which, to this day, no sanctions have been imposed on the perpetrators.
N.A.: It’s symbolic that you explore the essential issue of national identity through your main character, a young man from the Diaspora. As a nation, we need to clarify what defines our identity today. What are your thoughts on this?
J.A.: I can go from answering this question comprehensively to providing a specific example. Armenian blood flows in my veins. I speak Armenian, and I live with the memories of our history. To be specific: every Armenian should wake up each morning with the devotion to Ararat, and with the belief that Ararat is above everything.
Today, I might succeed in my work in Los Angeles or anywhere else in the world, but I must always keep Ararat in mind. Ararat embodies the aspirations, philosophy, and dreams of the Armenian people. In my view, an Armenian is someone who excels in their work while striving for the benefit of Armenia. Without this connection, our sense of identity is at risk. If we lose this essential part of ourselves, we become like leaves scattered by the wind, detached from our roots, and at risk of losing everything. Language, history, and living and working in our homeland are essential, but the strongest bond and most crucial aspect is our shared vision. Above all, we should direct our gaze toward Ararat and view our existence through that unifying lens.
N.A.: You frequently collaborate with renowned international actors in your films. What are the primary factors you consider when casting? Do you believe featuring such well-known actors can help increase global awareness and understanding of Armenian issues?
J.A.: I select actors based primarily on how well they fit the specific roles written in the script. My goal is to find the performers who can most authentically portray the characters, regardless of their fame. For example, in my recent film, “Revival,” I cast distinguished actors like Armand Assante, Maia Morgenstern, and Heino Ferch to play the roles of foreigners in the movie. While having globally renowned actors can help reach wider audiences, that is not the driving factor in my casting decisions.
What matters most to me is that each actor we worked with demonstrates a strong commitment to representing those narratives after learning about the history behind the film and what happened in Artsakh. Many have even agreed to adjust fees or schedules to participate, showing their dedication to the cause.
I feel that while people often understand and accept the truth of the Artsakh issue, government positions can be quite different. European actors and producers, whose own governments may not support filming in Artsakh, choose to act on their principles rather than conform to political agendas. Several actors and producers involved in our European co-productions have expressed a strong desire to address the Artsakh conflict and its unjust resolution. This war is ongoing because the imposed solution has left one side deeply dissatisfied, creating a volatile situation prone to future escalation. The international community frequently manipulates this conflict for political gain, using it as a tool. However, the artists and ordinary people who approach the issue with integrity and a genuine commitment to addressing it stand out. Their choice to support our films, despite the political and financial risks, reflects a deep dedication to truth and fairness — and that is the most rewarding aspect for me.
N.A.: The decision of renowned actors to participate in your films speaks volumes about their trust in you as a director, which is a significant accomplishment. A notable aspect of your work is your focus on involving young Armenian actors. This provides them with an invaluable opportunity to showcase their talents to the international community, collaborate with foreign peers, and gain new opportunities.
J.A.: Indeed, Armenian actors are exceptionally talented, but they need platforms like this to shine. I appreciate your recognition of our role in providing such a platform. These international collaborations and the resulting exposure have been instrumental in showcasing Armenian talent worldwide, contributing to the broader recognition and appreciation of our actors and the Armenian film industry. While I don’t wish to sound immodest, our circle of supporters has significantly expanded over the years. This growth is not just due to my efforts, but is a result of my team’s unwavering dedication and hard work.
N.A.: What genre does your movie “Revival” fall into?
J.A.: The film is quite innovative. It focuses on a young Armenian engineer, Murat Arakelian, who specializes in artificial intelligence. He develops a program called “ORCHID” (Organizer of Chaotic Input Data). We collaborated with leading experts in the field to build a solid foundation for our Armenian AI, grounded in scientific principles. While the film isn’t strictly science fiction, it incorporates genre elements, particularly through its use of augmented reality to represent AI.
The narrative follows the evolution of AI developed by Arakelian through nine stages, from basic functions like seeing and understanding to more advanced capacities such as realizing, sympathizing, and caring. “ORCHID” embarks on a path of self-evolution that surpasses its initial programming. As it progresses, the AI begins to determine differences between media reports and reality, especially concerning violations of UN conventions and international laws during wartime, including the use of prohibited weapons and attacks on hospitals and ambulances. We’ve integrated documentary footage captured by me and my colleagues during the 2020 Artsakh war.
N.A.: How close is the film to completion?
J.A.: We’ve completed filming in Armenia and Europe and are now in post-production. It’s been encouraging to have support at every stage, allowing us to progress smoothly. “Revival” has come to life thanks to the generosity of hundreds of supporters, including many from the Diaspora across America, Europe, Canada, Australia and Russia. I’d like to particularly acknowledge our executive producers from the U.S. — Adrineh Mirzayan, Artur Chalikyan, and Garo Madenlian. They provided not only crucial financial backing but also significant contributions alongside our team. “Revival” demonstrates how individuals from various professions, united by a common dream, vision, and philosophy, can support an Armenian team in creating impactful and meaningful art. This collaborative spirit has been key to the success of all our films. Through this project, we aimed to foster a pan-Armenian movement, inviting those who wish to support Armenian cinema and advocate for Artsakh Armenians to join us. The unity we’ve experienced is a testament to the strength of our collective effort, for which we are deeply grateful.
N.A.: With your new film “Angels 2020,” you’ve once again showcased your dedication to continuous creation. What’s the story behind this new film? Who are these angels?
J.A.: My team and I have been working on several projects, including “Revival,” an eight-part series about Diana Abgar, and “Angels 2020.” We aim to enhance Armenia’s global image and tell the world about Artsakh and Armenia.
As an eyewitness to the 2020 Artsakh war, I spent 38 days documenting the war crimes committed against the Armenian population. During this time, I met several individuals who came to the battlefield with a mission to save lives, and their bravery deeply inspired me. The film portrays the true story of doctors and medical workers who, despite the dire conditions, performed extraordinary acts of heroism and saved numerous lives. “Angels 2020” also highlights the stories of thousands of people, including soldiers, based on real accounts from these doctors.
We started working on the film in 2021, interviewing doctors and healthcare professionals from Armenia, the Diaspora, and Artsakh who were involved in the 44-day war. These dedicated individuals, who worked relentlessly behind the scenes, are the real angels. Without their heroism, the number of victims would have been far greater than the five thousand reported, and the number of disabled individuals would have exceeded ten thousand. Each of these doctors served as an angel during the war, which inspired the film’s title.
While every doctor deserves their own story, we’ve focused on a few central figures to represent their collective heroism. The film will also include photos and videos taken by doctors, showcasing the intense reality of wartime surgeries amidst the bombardment of hospitals.
N.A.: Can you share any details about the production timeline for “Angels 2020”? Are you still in the planning stages, or has filming begun? How can the Armenian-American community contribute to the film’s production?
J.A.: We’ve completed the script and plan to begin filming next year. We’re currently meeting with producers from various European countries to explore co-productions and negotiate with actors from Armenia, the Diaspora, and beyond. We’re also reaching out to foundations and investors for financial support. Our fundraising page is live on ReArmenia.
We invite those who share our vision and wish to contribute to revealing the true face of the Artsakh war to support us. We encourage everyone to participate in our fundraising campaign and help bring this significant film to life. It’s vital to address and share the story of Artsakh through cinema. I also want to highlight the importance of Armenian cinema as a powerful medium for representing our country and as a significant cultural force. I’m very happy to see Armenian cinematography evolving and proud to contribute to its growth.
I hold onto the dream that, one day, I will return to my ancestral village of Khachmach in Artsakh, sit in my grandfather’s garden, and enjoy the familiar scents and sounds of my childhood, with the horizon free of Turks. Though the journey back is long and passes through the foothills of Ararat, I am committed to this path with my art and my team. However, we cannot do it alone. We need Armenians with a strong vision and philosophy. I believe that day will come. For now, we ask for your support.
