The second year of London’s Armenian film festival reflects country in flux as legacy of recent conflict with Azerbaijan hangs over attempts to strengthen ties with the west

There is a point during Tamara Stepanyan’s My Armenian Phantoms when the documentary cuts to the final scene of the 1980 Soviet film, A Piece of Sky, in which the orphaned lead character, joyfully rides a horse and cart through the town that had long shunned him and the sex worker he married as social outcasts.

A flock of birds are then framed gliding through the pristine blue sky above. It’s a sequence depicting the desire to overcome the forces that seek to limit and constrain which lay at the heart of the director Henrik Malyan’s new wave critique.

The second year of London’s Armenian film festival reflects country in flux as legacy of recent conflict with Azerbaijan hangs over attempts to strengthen ties with the west

There is a point during Tamara Stepanyan’s My Armenian Phantoms when the documentary cuts to the final scene of the 1980 Soviet film, A Piece of Sky, in which the orphaned lead character, joyfully rides a horse and cart through the town that had long shunned him and the sex worker he married as social outcasts.

A flock of birds are then framed gliding through the pristine blue sky above. It’s a sequence depicting the desire to overcome the forces that seek to limit and constrain which lay at the heart of the director Henrik Malyan’s new wave critique.

The second year of London’s Armenian film festival reflects country in flux as legacy of recent conflict with Azerbaijan hangs over attempts to strengthen ties with the west

There is a point during Tamara Stepanyan’s My Armenian Phantoms when the documentary cuts to the final scene of the 1980 Soviet film, A Piece of Sky, in which the orphaned lead character, joyfully rides a horse and cart through the town that had long shunned him and the sex worker he married as social outcasts.

A flock of birds are then framed gliding through the pristine blue sky above. It’s a sequence depicting the desire to overcome the forces that seek to limit and constrain which lay at the heart of the director Henrik Malyan’s new wave critique.