The Color of Pomegranates is a widely renowned Avant-Garde film shot in 1969 soviet Armenia. It is as inspired by the Armenian illuminated manuscripts, the artistic reflection of Armenian culture and world history, as it is by the life of Sayat-Nova (our protagonist). Armenian illuminated manuscripts (the illumination refers to the use of gold and silver pigments) is known for its grand colours, ornamentation, and originality of art style in greater Armenia. Within the Armenian kingdom of Cilicia (southwest of greater Armenia), manuscripts are simpler and more stylized, reflecting the miniaturists’ interests in the early European renaissance. Within the film, both schools of stylization can be felt. Yes, Parajanov is true to his inspiration, he managed to create a film where each frame is an illustration.

Through the myths and the vibe-biography of the late Sayat-Nova, something very modern (or even futuristic) prevails. The aesthetic ideas behind this film is time-defying, it surprises the audience with never-before seen ways of framing objects and lines, ways of minimising the background, ways of storytelling, of extending the lifespan of myths. The tableau vivant (flat-cinematography) hints towards Greek theatre, sparse objects carefully posed towards the viewers eyes. Perhaps it is the honesty of abstaining from a naturalistic style of shooting or imitating real life that is the most avant-garde quality, or maybe it is the intentional choice of this film being a cross between written word, theatre, painting, and film. Either way, the beauty of myth lives on in the form of this ground-breaking work.