Beginning

Poetic essay about the beginning of life from labor pains and birth and about its symbolic meaning.

Monumental picture exploring the identity and fate of the Armenian nation.

Poetic film about the struggle of man's will and muscles against nature, about the rock-climbers who prevent landslides and eliminate their consequences.

The last collaboration of Artavazd Peleshian and cinematographer Mikhail Vartanov is a film-essay about Armenia's shepherds, about the contradiction and the harmony between man and nature, scored to Vivaldi's Four Seasons.

About Inhabitants, Peleshian said: "Many people were offended or insulted by We. After that experience, I was mad at mankind and decided to make a film about animals. Animals don't get upset, but at the same time, by focusing on them, I could say the same things as I was saying about people"

This is the subject of ongoing discovery of the beauty of the world, that man makes in his life and in his work, which is being developed as part of a big city, presented during a day's work. This film starts and ends with the rotating image of the sculpture of Rodin the Thinker; this famous sculpture has long since become the symbol of the unchanging expression of human thought.

A man paves his own way to his own soul through an intellectual quest, tragedies of nations and personal drama. The road moving through the cosmic distances is a flight into one's internal world. This flight and this drama are revealed in this philosophical film-poem.

The film tells about the most significant church holidays and religious rites.

Peleshian transforms footage from a train ride into a metaphor for the shape of a life. Early images of faces on the train give way to landscape, a journey through a black tunnel, and a final emergence into pure white light.

While it was long thought that his filmography had concluded with the film Life in 1993, Pelechian has now returned with a new film, simply titled La Nature, through which he once again observes the delicate cohabitation of human communities with their environment. Gathered from the internet, most of the images that compose the film are fragile, amateur-shot traces from within nature and its tremors that regularly rock these communities. Volcanic eruptions, earthquakes, and tsunamis form the film’s visual fabric, and are set against images of grandiose natural landscapes. A visual elegy, the film resolutely acknowledges the superiority of nature, with its unrelenting force, capable of transcending all human ambition. With this, the filmmaker seems to remind us that humankind will not emerge victorious from the ecological havoc that it has created.