Highly Overrated But Still Good

It really made me laugh, but for some moments I was tearing up because I could relate so much.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Atom Egoyan's "Ararat", my fourth film from the auteur is a very well-written, well-acted film detailing the Armenian Genocide from different perspectives. Raffi (David Alpay) is the son of art historian and expert on Arshille Gorky, Ani, played by Arsinee Khanjian. He is sleeping with his stepsister and is stopped by a Canadian customers officer David(Christopher Plummer) coming back from a trip to Turkey with a film can, although not wanting to show the contacts of the case. Edward Saroyan (Charles Aznavour) is making a film about the genocide. Plummer's son Martin (Bruce Greenwood) is playing the main role in Aznavour's films, which also features his lover Ali (Elias Koteas). Another man, Rouben (Eric Bognosian) acts as the middle man between Khanjian and Aznavour. The film features a great many of Egoyan's troupe of actors (wife Khanjian, Bruce Greenwood, Elias Koteas) and has a large number of themes from his other films (customs officers, incestual relationships, heritage), but conveys it poorly in comparison to his earlier films. In his earlier films, he focused on character's motivations and enigmatic plots. Now he seems to focus on religion and heritage, which I suppose is the kind of film he wants to make. I personally prefer his earlier puzzle films myself ("The Adjuster" and "Exotica" being prime examples).The acting is very good. Khanjian is good in every role she's done and you never think she got the role just because she's married to Egoyan. Bruce Greenwood and Elias Koteas (who played nemesis' in "Exotica") make great lovers. Christopher Plummer carries a strong presence and a contrast to the other characters in his role. Alpay conveys youth and innocence very well, as well as hiscestuous relationship with Celia (Maria-Josee Croze).Overall, a well-done film, but don't expect anything close to his earlier films. 7/10

I am not in any way Armenian or Turkish, nor do I have any relations with Armenians or Turks. However, I believe that this was an excellent movie and do not see the need for anger or offense to a movie. Yes, there may not be historical or political support or reference, and substantial evidence is not provided for every claim to truth in the movie. That becomes irrelevant though, once you consider that this movie may be based from an emotional standpoint and political and historical propaganda was not the purpose. It must also be taken into consideration that it is, in the end, a MOVIE, which is a form of media notorious for distorting facts and presenting biased opinions.

I wanted to see this movie because of 2 reasons-one, to learn more about the Armenian genocide and second, I've been told that Atom Egoyan is a very good director. Unfortunately i must say I've been disappointed in both cases. First of all even thou the movie is about the Armenian genocide, it's not focused on it but constantly shifting to some characters that don't contribute anything to the story(like the step sister and the custom officer)and half of the film just dealing with and developing this characters. And about Atom Egoyan's abilities as a director I've been disappointed the same, the acting is pretty bad, the music isn't good either.

"Ararat" (2002): Atom Egoyan is one of my favorite writer/directors ("The Sweet Hereafter", "Exotica"). He normally deals in fictional dramas loaded with slow, deep pain and understandings. "Ararat" is also in this style, but he attempts to blend accurate history with speculation with fiction. The common thread is the 1915 slaughter of Armenians by Turks. Egoyan seems to have a more direct connection to his material, with a greater need to educate us to a horrific episode. Because of this, the film moves between various moments in time, people, circumstances, and realities. Although interesting, I think he pulled what I call a "Wim Wenders" – i.e. took on at least 2 or 3 batches of thought probably better served in separate films. I may retract this statement as I walk around thinking it over (which I am always willing to do for Egoyan), but throughout the film I had a sense of too much Agenda getting in the way of Art – a difficult balancing act for any artist, and often wisely avoided. The old "Aesthetic Distance" bugaboo was lingering around every corner.