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Tigran, the head of "kolkhoz", is working without strain, reckoning with the responsiveness and support of neighboring collective farms. To punish Tigran's dependency, his lover Anush, the head of Jeyranik collective farm, the first boycots him refusing to help. After being fired during the review meeting, Tigran recognizes his failure and goes for work in construction of local hydro-power station.
Tigran, the head of "kolkhoz", is working without strain, reckoning with the responsiveness and support of neighboring collective farms. To punish Tigran's dependency, his lover Anush, the head of Jeyranik collective farm, the first boycots him refusing to help. After being fired during the review meeting, Tigran recognizes his failure and goes for work in construction of local hydro-power station.
The film's central thesis explicitly promotes Soviet collective farming and socialist economic ideology, portraying communal effort and state-directed agricultural policy as the definitive path to prosperity and progress.
This 1949 Soviet Armenian film utilizes traditional casting appropriate for its cultural and historical context, featuring Armenian actors in all roles without any indication of modern diversity-driven casting. The narrative frames traditional identities and cultural norms in a neutral to positive light, without incorporating explicit critiques or themes related to contemporary diversity, equity, and inclusion.
The film, typical of its Soviet era, portrays traditional Christian beliefs and practices as outdated obstacles to the collective, progressive ideals of the new society, aligning with the state's anti-religious stance.
The film 'The Girl of Ararat Valley' does not feature any identifiable LGBTQ+ characters or themes. Its narrative centers on class conflict and a heterosexual love story in 1920s Soviet Armenia, resulting in no specific portrayal of queer identity.
The movie does not contain any action or adventure elements.
This 1950 Soviet-Armenian drama film does not appear to be an adaptation of a prior work with established characters or a historical biopic. The characters originate with the film itself, thus no gender swaps from pre-existing canon are identified.
This 1950 Soviet Armenian musical comedy features original characters within its cultural context. There is no evidence of it being an adaptation of source material or a biopic where characters with established racial identities were portrayed by actors of a different race.
Combines user and critic ratings from four sources