Director Atom Egoyan

Production year 2002

Length 115min.

Country Canada/France


A film in a film, this is a contemporary story of the making of a historical epic about the Armenian genocide of 1915 - 1918. The story line follows how making the film transforms the life of an 18-year old man hired as a driver on the set.


Freedom of Expression Award | National Board of Review, USA, 2002

Best Costume, Best Music, Best Motion Picture, Best Supporting Role, Best Actress, Genie Award | Genie Awards, Canada, 2003

Best Actress, Best Direction, Best Film | Durban IFF, SAR, 2003

PFS Award | Political Film Society, USA, 2003

WGC Award | Writers Guild of Canada, Canada, 2003

Grand Prix - Golden Apricot | Golden Apricot Yerevan IFF, Armenia, 2004


Atom Egoyan
Atom Egoyan



Atom Egoyan, Robert Lantos


Atom Egoyan

Director of Photography

Paul Sarossy

Production designer

Phillip Barker

Music by

Michael Danna


Steve Munro


Susan Shipton


David Alpay, Charles Aznavour, Arsinée Khanjian, Eric Bogosian, Brent Carver, Marie-Josée Croze, Bruce Greenwood, Elias Koteas, Christopher Plummer

Production company(ies)

Alliance Atlantis Communications , Serendipity Point Films

Atom Egoyan

Born 1960, Cairo, Egypt. Atom Egoyan occupies a distinct position within Canadian filmmaking - that of auteur. His unequivocal authorial vision and inimitable style are sustained throughout a body of work that includes 10 feature films. Raised in Victoria, B.C., Egoyan moved to Toronto at 18 to study international relations at the University of Toronto. While studying, two formative encounters fused to inform his life work - fluency with his ethnic heritage and the cinema. Egoyan produced several short films at the Hart House Film Board while furthering his knowledge of Armenian history and politics. His films relentlessly highlight the act of looking from both structural and thematic perspectives, fully exploiting possible implications from knowledge to voyeurism, to comprehension and insight. At the same time, the oft-used Canadian filmic tropes of identity and its uncertainty, image and technology, and communication or the lack thereof compete for equal thematic screen time. Key Egoyan sensibilities emerge in Next of Kin and continue throughout Family Viewing, Speaking Parts and The Adjuster. The films of the mid-1990s offer a more profound exploration of contemporary anxieties. Calendar wrestles with belonging and identity from here to Armenia and back again. With Exotica, perhaps an apt title for all of Egoyan’s enterprise, original trauma (Armenia’s genocide) shifts into the more familiar terrain of terrifying psychic dispossession. The adaptations of The Sweet Hereafter and Felicia’s Journey (novels by Russell Banks and William Trevor, respectively) effortlessly mesh with Egoyan’s preoccupations, as both stories' claustrophobic worlds turn on the themes of loss and violation. With Ararat, Egoyan widens the standard intimacy of his palette to produce the first film to wrestle with the Armenian genocide of 1915. Egoyan has won five major prizes at the Cannes IFF (including the Grand Prix), two American Academy Award nominations, and numerous other honours. His films have won over 25 Genie Awards, including three Best Film awards, from the Academy of Canadian Film and Television.


Lust of a Eunuch (1977, short), Howard in Particular (1979, short), After Grad with Dad (1980, short), Pip Show (1981, short), Open House (1982, short), Next of Kin (1984), Men: A Passion Playground (1985, short), In This Corner (1985, TV), Family Viewing (1987), Cupid’s Quiver (1987, TV), The Final Twist (1987, TV), Looking for Nothing (1988, TV), There Was a Little Girl (1988, TV), The Wall (1989, TV), Speaking Parts (1989), The Adjuster (1991), Montréal vu par... Six variations sur une theme (Montreal Sextet, 1992, segment En passant), Gross Misconduct (1993, TV), Calendar (1993), Exotica (1994), A Portrait of Arshile (1995, short), Bach Cello Suite #4: Sarabande (Yo-Yo Ma Inspired by Bach, 1997, TV), The Sweet Hereafter (1997), Felicia's Journey (1999), The Line (2000, short), Krapp’s Last Tape (2000, short), Diaspora (2001, short), Ararat (2002), Where the Truth Lies (2005), Citadel (2006), To Each His Own Cinema (2007, segment Artaud Double Bill), Adoration (2008), Chloe (2009), Mundo Invisível (2012, segment Yerevan), Devil's Knot (2013).

FILMS 2013