my son shall be armenian
my son shall be armenian is a documentary about six canadians of armenian descent who travel to present day syria and armenia in order to retrace the steps of their ancestors who died during the armenian genocide of 1915 .
fluent in french, english, and armenian, hagop goudsouzian is presently directing a video self - portrait in which he pursues his quest for identity, a theme that also inspired him to make my son shall be armenian .
with a 700 year history armenian minstrels still echo the soul of armenian culture .
exploring the question of armenian identity, my son shall be armenian follows filmmaker hagop goudsouzian, who travels with five montreal men and women of armenian descent to the land of his ancestors in search of survivors of the 1915 genocide. through interviews with elders and the touching accounts of his fellow travellers, goudsouzian has crafted a dignified and poignant film on the need to make peace with the past in order to turn toward the future .
in dedicating this film to his father and son, goudsouzian wishes to reconcile the future with the past, so that coming generations of armenians will not have to bear the burden of silence. as the film ends with the filmmaker walking in the snow beside his young son, one finds oneself wishing that the snows of mount ararat would once again be armenian so that justice would be served and that hagop goudsouzian’s son could happily cherish his armenian heritage .
exploring the question of armenian identity, my son shall be armenian follows filmmaker hagop goudsouzian, who travels with five montreal men and women of armenian descent to the land of his ancestors in search of survivors of the 1915 genocide. through interviews with elders and the touching accounts of his fellow travellers, goudsouzian has crafted a dignified and poignant film on the need to make peace with the past in order to turn toward the future. in french with english subtitles .
between 1915 and 1923, one and a half million armenians were massacred by the ottoman turks. since then, the armenian people have fought for official recognition of what was the first genocide of the 20th century. in an intimate exploration of what it means to be armenian, the film follows director hagop goudsouzian and five other canadians of armenian descent as they return to the land of their ancestors in search of survivors of the genocide. my son shall be armenian weaves heart - wrenching accounts by hundred - year - old eye - witnesses with the touching reactions of these new world pilgrims. the result is a dignified and poignant film about the need to make peace with the past in order to move on .
to be fulfilled one must understand and embrace one’s roots regardless of how painful that process may be. cultural memory can be a thing of beauty but it can also suffocate you. in this enthralling film we follow several canadians of armenian descent as they visit armenia to try and re - connect with its past, and then move on .
subject headings: genocide—aremenia—history. aremenia—history. armenian massacres, 1915 - 1923—personal narratives .
is the producer and director of over 250 mainstream television programs, 10 armenian films and three shorts .
hello, i just watched my son shall be armenian documentary. i am turkish. i dont have enough knowledge to decide whether the genocide happened or not. i want to talk about my feelings, i cried when the armenian grandmothers talked about their bad memories. they were like my grandmothers. even the houses of armenians, the decoration, their clothing is so similar that i felt like i am watching a documentary from home. i even picked some common words from turkish. i am not a murderer nor a bad person. i respect armenians. i understand their search of identity. i dont want people to have prejudices towards me when i say i am turkish or i dont want them to think that all turks are murderers. i had armenian friends, i really love them and most of all i understand them. although, since i am not representing all turks here, i think like garo, a reconciliation in the near future seems difficult. when hrant dink was murdered, i didnt know what to say to his younger daughter, which is a friend of mine from school. i felt ashamed. i am still ashamed... . but still somehow hopeful. by the way, i thought the white haired man was atom egoyan since the beginning. he said that he was born in egypt and moved to canada when he was little .
“in making this film, ” confides goudsouzian, “i wanted to go beyond the armenian identification with suffering, so that my son may grow up experiencing joy and pride in his origins. ” the filmmaker is accompanied on his journey by lousnak abdalian, gabriella djerrahian, martine batani, garo shamlian and patrick masbourian. each comes with his or her own history, hopes and fears. some are amazed to discover that the mythical country is suddenly very real and human. it is a cultural and emotional shock that crystallizes as they meet the genocide survivors, with their stories of suffering, resistance and shame, and their need to pass on the memory before they too are gone. the most touching reactions are those of the younger members of the group: lousnak abdalian glimpses her great - grandmother in the face of an elderly woman; patrick masbourian goes through a village cemetery vainly seeking his family name on the tombstones. he says, “if my generation – my sisters and i – do nothing, the memory will be completely lost. ”
this annual festival presents the local films produced in the year that just ended, plus a few premieres. the full schedule will be online february 9th eventually .
“regulations”, “schedule”, “as outlined in the procedural checklist”… when death - row convicts come to harry parlington (serge houde), director of the cantos prison, they can be assured that everything will go without a hitch. it’s a well - oiled execution machine, the only thing that can be unpredictable is the condemned’s behaviour .
filmmaker hagop goudsouzian dedicates the documentary to his father and son. goudsouzian was born in exile in egypt, as were his parents. the family arrived in canada in 1961 while hagop was still a boy. goudsouzian' s father died before armenia became a free country in 1993 and thus was never able to set foot on armenian soil (his mother was able to do this before she died) .
canadian docu follows five montreal residents of armenian descent on a pilgrimage to their homeland in search of survivors of the armenian genocide. the massacre of 1. 5 million armenians by the turks remains a footnote in the cinema. the same historical amnesia that first provoked pic, however, will probably limit it to educational and ethnic venues .
canadian docu follows five montreal residents of armenian descent on a pilgrimage to their homeland in search of survivors of the armenian genocide. while narrative and documentary treatments of the jewish holocaust abound, the massacre of 1. 5 million armenians by the turks, featured in atom egoyan’s mini - epic “ararat, ” remains a footnote in the cinema, cropping [ … ]
in this work by independent filmmaker hagop goudsouzian documented the trip he took with five other canadians of armenian descent to return to the land of their ancestors to find survivors of the 1915 genocide. originally intending to trek from the syrian desert to the euphrates, hagop found the authorities unwilling to grant his party travel visas. he then searched the armenian countryside to find survivors, and created a moving testament in the words of the centenatians themselves .
marsha skrypuch has written three novels set during the armenian genocide: the hunger (1999), nobody' s child (2003), aram' s choice (2006) and is currently writing the sequel to nobody' s child .
a group of six armenian - canadians travel to armenia to interview survivors of the 1915 genocide and their descendants, exploring issues of ethnic identity, genocide, and reconciliation along the way. a film by hagop goudsouzian. 2004. 52 min .
the documentary is a long one—81 minutes—and it loses steam about halfway through when the focus shifts to the political issue of nations officially recognizing the fact of the armenian genocide. while this is an important issue, it could have been dealt with much more effectively with stringent editing of footage .
canadian docu follows five montreal residents of armenian descent on a pilgrimage to their homeland in search of survivors of the armenian genocide. while narrative and documentary treatments of the jewish holocaust abound, the massacre of 1. 5 million armenians by the turks, featured in atom egoyan’s mini - epic “ararat, ” remains a footnote in the cinema, cropping up only in unexpected corners (in 2002’s washington heights - set “bought & sold” and in a rare 1919 hollywood silent film, “ravished armenia, ” excerpted here). the same historical amnesia that first provoked pic, however, will probably limit it to educational and ethnic venues .
why these old grandmas are not able to come to turkey if they would like to see their old town one more time? armenians are able to take 1 month visa. the movie promotes hatred in many scenes. check 64 min. guy says
we should do the same (referring massacre) we must arm ourselves to recover our land and balance thing. min 67 :
we shall recover the land we lost... . accomplish our duties until justice is done. : in 69 min 50 sec .
all i wanted before coming armenia was that acknowledgement. now i want the land (east side of turkey)... how it calls to me
...
it used to belong us. it' s not just fare. .
armenians used to leave in anatolia; their population wasn' t greater than turks. it doesn' t show that it was used belong armenians. even it was belong to armenians before. i will never be able to understand looking at the ararat and desiring the land, having a passion about doing massacre to current people who live there right now. youtube is full of videos of old turkish people who tells how their parents, brothers are killed in a very violence way by armenians in 1914. what i' ve felt when i' ve watched them, i' ve felt the same thing for old armenians too. but. . it seems many armenian people justifying this pain for taking the land back. this is an open invitation for a war. very conservative country, people are keeping their hatred, raising children with turkey phobia. of course there will not be reconciliation .
this documentary does a good job of making the rich history armenia relevant to canadians. it' s interesting to watch these six canadians' emotional reactions as they step on armenian soil for the first time. one of them brings along a small box that contains his grandfather' s ashes. his grandfather' s lifelong dream was to visit armenia .
in partnership with tvontario–tfo, he has produced and directed a number of television series, including dossiers xxx, a documentary series in which science and technology are presented from a teenage perspective. goudsouzian also created and directed the series un autre son de cloche, produced to coincide with the international year of the family. in each episode of this series, skits written and played by children aged 9 to 12 address various social and family issues based on the children’s perceptions and experience. goudsouzian’s interest in young viewers led to the creation of another project, nouvelles nouvelles, a children’s magazine that won the children’s broadcast institute award of merit in 1991 .
la lune viendra d’elle - même (marie - jan seille) 15 [ aimée (isabelle leblanc) is losing her struggle with aids and her boyfriend (the artist formerly know as jean leloup) has abandoned her, but she still has her friend francine (france castel) accompanying her until the end. here’s another film with a heavy subject it isn’t able to transcend. writer - director marie - jan seille spells things out too squarely and her attempts at symbolism fall flat. castel breathes compassion, but leblanc is insufferable in her long, slow, boring agony and the movie offers no greater insights than “dying’s a bitch, eh. ” thanks for the heads - up, now can i have my 2 hours back? ]
this is a simple but effective premise, allowing garneau to discuss all of the great questions of our era through his characters. the philosophy of war, of course, but also how violence relates to sex and religion, the way publicists empty words to make people want things they don’t need, etc. the dialogue can be heavy and very “written”, but it’s made more organic by the inspired performances of patrick huard and dan bigras. huard has proven many times now that he’s got real acting chops, so the surprise here is that bigras is able to relatively hold his own opposite him. good stuff .
l’amour en pen / de mémoire de chats (manon barbeau) 70 [ manon barbeau’s latest documentaries both display acute sensitivity, discovering truth and beauty in unlikely places. “l’amour en pen”, which has prisoners talking about the great love of their life, is surprisingly moving, maybe because it’s so rare to see men (convicts or not) open up and be vulnerable. “de mémoire de chats” explores montreal’s countless back streets, taking in quiet beauty and sad decay, clothespins and heroin needles, gardens and dumpsters… barbeau finds lyricism in the urban jungle, getting off the main roads and into the heart of the city. ]
i understand this film was made in 2004 and if there is any doubt whatsover that armenians went thru the genocide by the turks beginning in 1915 this should expel any of it, especially whe u hear the first hand experiences as told by the few present survivors of the genocide. i agree comletely with the comments of previous person that by the turkish government denying the existance of it makes things very bad when there so many first hand experiences to this day. let us hope and pray that some turkish government will eventually accept their predesecors atrocities and move on to a more harmonious relationship with armenia. amen god' s will be done .
eyewitness accounts of turkish atrocities and armenian endurance remembered by feisty female centenarians resonate with particular force when filtered through the reactions of a motley group of expatriates of differing ages, backgrounds and knowledge of their heritage. loosely structured docu’s original destination, the skeleton - strewn deportation trail on which hundreds of thousands perished, is closed to the filmmaker and his followers by the syrian government. strongest emotional impact, though, comes from the frustration felt by natives and emigrants alike over failure of other nations to officially recognize and condemn the genocide .
to the director, you
diaspora
cause these desperate armenians to live in huger just like north korean people. your lobby in the usa, canada, france etc. uses this
genocide
bullshit to provoke armenians, prevent them from establishing good relations with turkey. if you love your roots and country so much, why don' t you all go back and re - establish big armenia instead of visiting them once in a life like a zoo. speaking these sophistries from thousands of km' s away, from prosperous canada, is easier i think. besides that, unfortunately, during war times innocent people die too. in wwi my village was ruined and many innocent people were dead. this is not a ground for weeping i suppose. finally the number 1. 5 million is so exaggerated and has no scientific - historcal sources .
c’est pas moi… c’est l’autre! (alain zaloum) 25 [ vincent papineau, a “petty thief trying to make an honest living” (!), finds himself in hot water after stealing than losing 230 grands from the marseille mob. then through a contrived case of mistaken identities, he finds himself posing as a montreal policeman and he decides to use his new status to scam up some cash. roy dupuis, in a rare comedic performance, is amusing as the crook / cop, but the rest of the cast doesn’t fare as well. as dupuis’ partner, lucie laurier is at a loss trying to make sense of her character’s constant mood changes, luck mervil is bamboozled into a homeboy role and the french actors playing the bad guys couldn’t be more annoying and less funny if they tried. ]
mon fils sera arménien (hagop goudsouzian) 73 [ this powerful nfb documentary depicts filmmaker hagop goudsouzian’s journey back to armenia, on the traces of the 1, 5 million of his ancestors who were massacred or forced into exile by the turkish between 1915 and 1923. this isn’t as well known as it should because many countries still won’t recognize this genocide. goudsouzian takes with him a group of montrealers of armenian descent (including tv personality patrick masbourian) to the land of their forebears in search of the survivors of the genocide, whose number diminishes each year. they are all over 90 years old today, but they still feel the pain of fleeing turkish assassins as kids and so do we listening to them. ]
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cm... . volume xii number 13... . march 3, 2006
hagop goudsouzian (director). hagop goudsouzian & georgette duchaîne (writers). yves bisaillon (producer). montreal, pq: national film board of canada, 2005. 81 min. , vhs or dvd, $ 99. 95. order number: c9104 055 .
goudsouzian gathers together five others like himself: montrealers whose roots are in armenia and who lost family during the genocide. the six speak french, but the film has english subtitles and the narration is in english
the heart of historical armenia is mount ararat, where noah' s ark is fabled to have landed after the flood, but mount ararat is now in turkish hands and has been since 1921. the travellers have the bittersweet opportunity to see mount ararat with their own eyes, albeit beyond the barbed wire that separates present day armenia from turkey .
in 1915, the new young turk government which had overthrown the sultan instituted a
new turkey
policy of persecution directed against people who were not of turkish origin. the armenians were the largest non - turkish ethnic group, and between 1915 and 1923, one and a half million armenians were exterminated. this cold fact is well known and easily forgotten, but what this documentary does is bring the genocide back to life. the travellers walk in the footsteps of the deportees .
the film of their journey is interspersed with archival photographs of the genocide itself. at one point, they go to deir ez zor, in the heart of the syrian desert, where thousands of armenians perished. a church stands there now. goudsouzian kneels down and scrapes the surface of the soil around the wall of the church and he discovers bones. to his horror, he realizes that he is standing on a mass grave. perhaps he is standing on the bones of his own great - grandparents. another time, he scoops up sand and intermixed with the bones is a plain brass wedding ring and a bullet. the immediacy of the genocide is palpable, even after all these years .
the six canadians then journey to what is now armenia. it is not on the same soil as historical armenia, and the people there have named the villages after the old ones from which that they had been deported. the canadians search for survivors. this isn' t an easy task because most of the survivors have died long ago. they do manage to find several who are in their 90s and even two who are 100 years old, and they recount what happened to their parents and siblings as if it had happened yesterday .
interspersed with the survivors' first person accounts are clips of archival photographs and also footage from a hollywood silent movie that was made based on the accounts of one survivor who escaped to the united states during the genocide. the narrator asks, if this silent movie was being shown in north america between 1915 and 1923, why did the west not intervene? good question .
this documentary is most suited to high school students and older elementary students. while the genocide is dealt with compassionately and without unnecessary graphic detail, it wouldn' t capture the attention of younger students. however, teachers might preview the documentary and show selected portions to any grade level .
copyright © the manitoba library association. reproduction for personal use is permitted only if this copyright notice is maintained. any other reproduction is prohibited without permission .
“manners of dying” was made on a limited budget, but the visual grittiness is appropriate, the no - frills direction mirroring the cold and clinical way parlington and his crew go about their business. the only “gimmick” here is how the film goes through prisoner kevin barlow (roy dupuis) ’s last meal, last night and execution through lethal injection once, then it starts over with things happening in various different manners, “run lola run” - style. barlow is alternately afraid, sad, resigned, kicking and screaming, philosophical, irreverent…
the film doesn’t really add anything to what we’ve seen in “dead man walking”, “the green mile” and “dancer in the dark”, beside the fact that all the possible ways of facing death are experienced through a single man. the concept is stretched a bit too thin (they should have stopped at 4 - 5 “manners” instead of going up to 7), but it remains intriguing and it makes for a great acting showcase for roy dupuis .
this adaptation of michel garneau’s 1989 play was made for tv (it will air on radio - canada later in the year), but it’s smarter and ballsier than most of the movies that hit multiplexes. not unlike the stage - to - screen translations of david mamet’s “glengarry glen ross” and eric bogosian’s “talk radio”, micheline lanctôt’s film manages to make a very talkative piece feel dynamic enough .
“les guerriers” tellingly opens with stock images of rams locking horns. we then meet paul (patrick huard) and gilles (dan bigras), who are conducting their own alpha male ritual. their publicity agency has just landed a huge contract, finding a new slogan to promote the canadian armed forces. but how can you top something as wonderfully delusional as the old “si la vie vous intéresse” campaign? for ten days straight, the two men will relentlessly brainstorm, fuelled on expensive scotch and cigars, struggling to think of a way to convince kids that training to become a mindless killing machine is reasonable .
after the extraordinary year for local cinema that was 2003, with les invasions barbares celebrated from cannes to the oscars, 2004 was a return to the usual. crappy mainstream movies, pretentious art films, some great non - fiction work and a few entertaining and smart genre flicks .
le petit jésus (andré - line beauparlant) 70 [ in her follow - up to “trois princesses pour roland”, art director turned documentary filmmaker andré - line beauparlant once again turns her camera towards her relatives to try and make sense of some of their most difficult memories. in this case, she interviews her parents, siblings and friends of the family about how her handicapped little brother sébastien (now deceased) affected their lives. this “story of a miracle that never happened” is filled with sadness, naturally, but there’s also anger at why this happened to them even though they were practicing catholics who fervently prayed and went to church. heartbreaking stuff. ]
make money. salut, bonsoir! (martin frigon, christian fournier) 61 [ this touching documentary depicts the harsh reality of corporations who set up in small towns, rack up millions while working the people nearly to death, then pack up and leave without saying thanks. co - directors martin frigon and christian m. fournier give a voice to the angry, bitter former workers of the noranda mine as they watch their native murdochville crumble apart while most of them suffer of pulmonary diseases. ]
la planque (alexandre chartrand & thierry gendron) 60 [ after stealing millions of dollars of heroin from their boss, two thugs nervously wait in a disaffected factory for their contact to show up. this ballsy huis clos shows that you don’t need a big budget, elaborate technique or a shooting permit (!) to make an effective movie. using a couple of dv cameras, natural lighting and only general scene outlines, co - directors thierry gendron and alexandre chartrand follow actors martin desgagné and pierre - antoine lasnier in long uninterrupted takes, allowing much tension to build up. the film is understandably a little rough around the edges, but it really works. ]
le dernier tunnel (érik canuel) 49 [ here’s further proof that we can make brainless and violent flicks as well as hollywood, and on the cheap, too. this by - the - numbers heist flick is populated by walking clichés: the career criminal who won’t quit, the decrepit old pro, the hard - ass moneylender, the eager new kid, the wild card, the long - suffering girlfriend, the ball - busting parole officer… this is a b - movie all the way, but the cast (led by michel côté and jean lapointe) is solid and director érik canuel’s got a way with pop - up visuals. if you’re gonna watch trash, might as well make it local. ]
vendus (éric tessier) 34 [ less than 4 months after the release of his scarily effective “sur le seuil”, éric tessier follows it up with an underwhelming crime comedy. double - crosses, violence played for laughs and wacky twists abound in this sub - coen movie about a prostitute trying to blackmail the loser husband of a rich real estate agent. tessier’s direction is dynamic and véronique bannon is like sex on a stick, but dv blown up to 35mm still looks horrible and “vendus” is a mild diversion at best. ]
jack paradise, les nuits de montréal (gilles noël) 17 [ roy dupuis has got charisma to spare, but he can still not manage to involve us in the by - the - numbers story of jack paradise, a french canadian pianist who enters the often black and english montreal underworld from the 1930s to the ‘60s. this is a particularly poorly written film, with idiotic dialogue, one - note characters and a plot that’s little more than a loose string of clichés. the jazz music is cool enough, but the filmmakers lack the budget or the resourcefulness to truly recreate the period setting – the nightclub scenes always feel half - empty and lifeless, much like the movie. ]
dans l’œil du chat (ruby barichello) 13 [ after an exceptional year where quebec filmmakers showed they could make pictures both smart and entertaining, here’s a throwback to the days of desperately pretentious films that appeal to nobody. simon (jean - nicolas verreault) lost his girlfriend pauline (julie le breton) to a trip around the world from which she never came back. months later he is still obsessed with her, even though he’s now dating her friend gégé (isabel richer), with whom he only connects through lame movie sex. the movie is about clearing up the mystery of pauline’s disappearance somewhere abroad, but in pure student film fashion it all takes place in a single apartment through endless phone calls, e - mails and faxes. verreault is brooding throughout, generally half - naked and drunk, as if he were (badly) channelling martin sheen in the opening of “apocalypse now”. colorful characters (notably pierre lebeau as the landlord) pop in occasionally, otherwise it’s moping and more moping. ominous shots of pauline’s orphaned cat walking around the apartment make one hope that some “cat people” - style nonsense will shake things up, but no luck. “dans l’oeil du chat” is reasonably well crafted, but it strives for heavy meaningfulness with no concern of drawing the audience in. ]
comment devenir un trou de cul et enfin plaire aux femmes (roger boire) 11 [ louis, a needy loser with the worst taste in clothes, has just been dumped again. his ex wants them to remain friends, but he’s had enough of being the “nice guy” and decides to become an asshole instead, since this is what women want. the whole movie revolves around such misogynistic ideas. they’re not necessarily wrong, but they’re definitely unhealthy. embarrassing sex scenes and godawful musical numbers fill out this unpleasant picture, which is even more amateurish than a simon boisvert film. ]
the worst of the worst elvis gratton xxx: la vengeance d’elvis wong (pierre falardeau) 6 [ pierre falardeau has never been known for his subtlety, but here he reaches a new low in moronic farce. two decades after his creation, elvis gratton is more pathetic and less funny than ever. the boorish “p’tit gars de brossard” is now the head of a giant media conglomerate, concerned only with profits and promoting canadian unity. this allows falardeau to hurl bile at politicians, journalists and intellectuals but, even if you agree with his opinions, they’re too crudely thrown into this cinematic cesspool to register as more than the whining of a frustrated old man. ]
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urltoken
du réalisateur hagop goudsouzian. documentaire. lousnak est un des cinq personnages qui retournent en arménie, chacun avec leurs propre quête. from the director hagop goudsouzian. documentary. lousnak is one of the 5 people who return to armenia, each of them with a unique quest .
dle yaman - isabel bayrakdarian and the minassian duduk quartet (4. 2004 )
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it is an adobe structure built in the early 1900s by the man who discovered the famous mineral springs that give desert hot springs its name .
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hagop goudsouzian is originally from egypt and currently lives in ontario. he has a wealth of experience in film and video production .
on the famous goom' s market of yerevan, free on some dvds and blu - rays .
goudsouzian is now developing a feature length documentary. to sponsor hagop' s new projects, use
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so much of a people' s identity stems from the songs they sing, the music they play and the spirit of their dance .
production: a national film board of canada production. produced by yves bisaillon. directed by hagop goudsouzian. written by goudsouzian, georgette duchaine .
crew: camera (color, dv), alberto feio; editor, andre corriveau. reviewed at montreal film festival (documentaries of the world), sept. 1, 2004. french dialogue. running time: 81 min .
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after five decades of armed struggle, colombia signed a peace treaty between the farc rebels and the government .
the third season of
sound tracker
begins with sami yaffa’s exploring music' s influence on colombia .
the lula washington dance theatre offer dance classes and structure for local young people while also educating them about black history and current events through dance .
drawing on vivid stories and original research, yascha mounk identifies three key drivers of voters’ discontent: stagnating living standards, fears of multiethnic democracy and the rise of social media .
marlise munoz was 33 years old and 14 weeks pregnant when she suffered a pulmonary embolism and was pronounced brain - dead .
los angeles has the potential to become a sanctuary for other endangered species – even those who are not native to southern california .
a community science program is helping both researchers and citizens understand how vibrant of a nature sanctuary los angeles really is .
designing cities that consider both animal and human habitats requires time and money but most of all, it requires a desire to imagine a city where we can enjoy reconnecting with the natural world .
while the government struggles to reunite families who have been separated at the border under president trump’s “zero tolerance” policy, one detained honduran woman has been organizing mothers behind bars to help find their children .
robert reich, former secretary of labor and one of the most beloved and influential voices in progressive politics today, contends that america has trapped itself in a cycle that has left us more divided than ever .
the world - touring rock star and musician sami yaffa explores the music of our little blue planet floating in space .
this week, the laura flanders show discusses how families are torn apart at the border and through our prison system .
forecasts are dire for louisiana to experience the second - highest sea level rise in the world. how is the region adapting ?
this documentary captures breathtaking views of nature and the mind - bending insight of the world’s greatest evolutionary scientists, down - to - earth farmers and hawaiian wisdom keepers .
author, activist and progressive commentator sally kohn helps us understand how hate develops and what we can do to stop it from growing and consuming us .
american dreamers
follows the journey of a group of five undocumented youth and an ally who risk their freedom by publicly coming out as undocumented and walking 3, 000 miles across america' s heartland to organize for immigrant rights .
in manila, a performance artist, a pole dancer, a rap battle champion, a visual artist and a painter explore the multiple facets of a city now in the grip of a new government engaged in a brutal drug war .
explore the wisdom of the people who sustainably live off the land, as this poignant documentary goes on a global journey to europe, north america and hawaii .
watch wednesday, march 18, 2015 at 7: 30pm on wmht tv .
join the space gallery in portland, me for a free screening of' brimstone glory' followed by a discussion with their artist - in - residence, justin favela.
my son shall be armenian ( original french title : mon fils sera arménien ) is a 2004 canadian documentary by hagop goudsouzian , who travels to armenia and syria with five other members of montreal 's armenian community who lost relatives in the armenian genocide , to speak with survivors . in syria , goudsouzian films in deir ez-zor , where thousands of armenians were said to have been killed . in one scene , he scrapes the soil around a church and discovers the remains of what appears to be a mass grave , scooping up bones , a wedding ring and a bullet . in armenia , goudsouzian visits villages that had been renamed for former settlements , finding elders who recount what had occurred to their parents and siblings . my son shall be armenian incorporates archival photographs and footage from a hollywood silent movie based on the accounts of one survivor who escaped to the united states during the genocide . participants in the film include canadian tv host patrick masbourian . my son shall be armenian was produced in french by the national film board of canada . 
my son shall be armenian (original french title: mon fils sera arménien) is a 2004 canadian documentary by hagop goudsouzian, who travels to armenia and syria with five other members of montreal's armenian community who lost relatives in the armenian genocide, to speak with survivors. in syria, goudsouzian films in deir ez-zor, where thousands of armenians were said to have been killed. in one scene, he scrapes the soil around a church and discovers the remains of what appears to be a mass grave, scooping up bones, a wedding ring and a bullet. in armenia, goudsouzian visits villages that had been renamed for former settlements, finding elders who recount what had occurred to their parents and siblings. my son shall be armenian incorporates archival photographs and footage from a hollywood silent movie based on the accounts of one survivor who escaped to the united states during the genocide. participants in the film include canadian tv host patrick masbourian. my son shall be armenian was produced in french by the national film board of canada.
my son shall be armenian (original french title: mon fils sera arménien) is a 2004 canadian documentary by hagop goudsouzian, who travels to armenia and syria with five other members of montreal's armenian community who lost relatives in the armenian genocide, to speak with survivors. in syria, goudsouzian films in deir ez-zor, where thousands of armenians were said to have been killed. in one scene, he scrapes the soil around a church and discovers the remains of what appears to be a mass grave, scooping up bones, a wedding ring and a bullet. in armenia, goudsouzian visits villages that had been renamed for former settlements, finding elders who recount what had occurred to their parents and siblings. my son shall be armenian incorporates archival photographs and footage from a hollywood silent movie based on the accounts of one survivor who escaped to the united states during the genocide. participants in the film include canadian tv host patrick masbourian. my son shall be armenian was produced in french by the national film board of canada.