Yeğya Akgün, a young actor from Istanbul, was the perfect choice to interpret Varoujan’s poetry
Finding the narrator’s voice for “Taniel”
Poetry and narration voices of ‘Taniel’ explained
An emotive swirling cyclone of notes: Garo Berberian talks about Tigran Hamasyan and how music from Luys I Luso is the perfect sensory companion for “Taniel”
Garo Berberian on why Michael Nyman’s music was one of his choices for the soundtrack of Taniel film
Yeğya Akgün on being the voice of Taniel Varoujan reading his poetry for the short film Taniel.
The film’s director Garo Berberian discusses his rationale in picking the soundtrack, featuring music by Philip Glass, Michael Nyman and Tigran Hamasyan amongst others.
՛I had to become Varoujan, feel like Varoujan’ – Tigran Gaboyan talks about his experience of playing the poet and expressing his emotions in silence
Meet ‘You, Lalage’, one of Varoujan’s most sensual and emotionally charged poems.
Read Indelible, a poem by English writer Ben Hodgson, which is used in the film
A Georgian in Armenia: Mariam Dvalishvili recounts the story of returning to Armenia for yet another film – Taniel.
Photographer Tatev Vardanyan handpicks some of her favourite images from her first day of shooting in Gyumri
The film’s lead actress, the talented Shoghakat Mlké-Galstian talks to us about Araxi – love of Varoujan’s life; what does it mean to be a great artist’s wife and feminist readings of his works
April 24th, Taniel Varoujan, a magnificent poet, aged 31, was arrested at his home in Constantinople, never to return.
We are recounting some happy memories about Varoujan, to celebrate his birthday
The film’s producer, Narè Leone Ter-Gabrielyan talks about how she got involved in the film about a poet she admires so much for his love of life and freedom.
A story of a love affair with Varoujan’s poetry, sparked by one of his idyllic poems.
Garo Berberian, the film’s director, explains why he decided to use the Western Armenian spelling of Varoujan’s name after a visit to his hometown.
Garo explains why he wanted to make this film, which needed to show the textural fabric of the individual that is lost in facts and stats and arguments about what word you should call the murder of a race.