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In 1987–1988, Elena Karusaar worked as a still photographer on Sergei Paradzhanov’s film “Ashik-Kerib”. “Ashik-Kerib” is the last completed film of Sergei Paradzhanov, created with the support of director and acclaimed actor David Abashidze. For the film’s co-director, it became his last work as well; like Paradzhanov, Abashidze passed away in 1990.
The film is dedicated to one of the greatest figures of world cinema — Andrei Tarkovsky, whose death Paradzhanov experienced as a deeply personal loss. Tarkovsky remained for him a model of honesty and selfless devotion to the art of filmmaking.
Կինոռեժիսոր Սերգեյ Փարաջանովը և դերասան Ռամազ Չխիկվաձեն․ <<Աշուղ-Ղարիբ>> ֆիլմի նկարահանման ժամանակ, 1988թ․
ՌՈՍՖՈՏՈ
Կինոռեժիսոր Սերգեյ Փարաջանովը <<Աշուղ-Ղարիբ>> ֆիլմի նկարահանման ժամանակ
Կինոռեժիսոր Սերգեյ Փարաջանովը և օպերատոր Ալբերտ Յավուրյանը․ <<Աշուղ-Ղարիբ>> ֆիլմի նկարահանման ժամանակ, 1988թ․
Կինոռեժիսոր Սերգեյ Փարաջանովը և դերասան Յուրի Մգոյանը․ <<Աշուղ-Ղարիբ>> ֆիլմի նկարահանման ժամանակ, 1988թ․
The shooting of “Ashik-Kerib” took place in 1987–1988 at the Georgia-Film studio. The film premiered on July 3, 1988, at the Munich Film Festival, followed by screenings at festivals in New York, Istanbul, and Venice. It was only in May 1989 that the film received a distribution certificate for release in Soviet theaters.
In 1988, a representative of the Cannes Film Festival visited Moscow. Having heard of Paradzhanov and his new work, he intended to include the film in the festival’s competition program, but Ashik-Kerib was not yet completed at the time. The other two dozen Soviet films presented to the Cannes selection committee failed to draw his interest.
At the first European Film Awards ceremony (November 1988, West Berlin), “Ashik-Kerib” was nominated in the category Best Director and received a Special Prize for Artistic Design. The jury of the Venice Film Festival appealed to the American Academy of Motion Picture Arts and Sciences to nominate the film for an Academy Award.
<<Աշուղ-Ղարիբ>> ֆիլմից տեսարան, 1988թ․
Դերասան Յուրի Մգոյանի դիմանկարը․ <<Աշուղ-Ղարիբ>> ֆիլմի նկարահանման ժամանակ, 1988թ․
As in his earlier works, Paradzhanov characterizes the figures of “Ashik-Kerib” through costume, headwear, jewelry, makeup, and the mise-en-scène. Each scene, framed frontally before a still camera, becomes its own visual tableau, much like the Persian miniatures that inspired the film’s stylistic approach. In “Ashik-Kerib” the director does not restrain his expressive means; he sometimes appears deliberately excessive in shaping each character and setting. The film remains one of the summits of Paradzhanov’s visual poetics in cinema.
According to several film critics, “Ashik-Kerib” represents the culmination of the unique visionary style that Paradzhanov first began to develop in “Shadows of Forgotten Ancestors” (1965). Initially drawing on two works by Mikhail Lermontov — the poem “The Demon” and the Turkish tale “Ashik-Kerib” — Paradzhanov ultimately turned to the latter.The story of a wandering poet in search of fortune is rendered by Paradzhanov with a touch of irony and a more naive tone compared to his earlier films. Yet, drawing on the rich textures of medieval Turkish, Persian, and Azerbaijani cultures, inventing new combinations of faces, colors, textiles, gestures, ornaments, and folk music, the filmmaker created a fully realized cinematic parable with a joyful ending, one that reveals the spirit and mythology of the Muslim East and expresses the emotional essence of his art.
Last updated on 11.11.2025
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