I Remember You

  • May 9, 2015 / 19:00
  • May 10, 2015 / 16:00

Director: Ali Hamroyev
USSR, Uzbekistan, 1985, 92’, color

Cast: Vyacheslav Bogachyov, Zinaida Sharko, Liliya Gritsenko, Gulya Tashbayeva, Davlyat Khamraev
Russian with Turkish subtitles

I Remember You is an autobiographical meditation on the past. Its story is simple: the protagonist, at the request of his seriously ill mother, leaves Samarkand and heads on a voyage across Russia in search of the grave of his father, who died during the war. This poetic odyssey, which also proves to be a journey into subconscious memory, is rendered in images of extraordinary intensity and beauty. The beautiful Gulya Tashbayeva, the director's wife and principal performer in several of his films, gives a haunting performance.

White, White Storks

White, White Storks

Bo Ba Bu

Bo Ba Bu

The Seventh Bullet

The Seventh Bullet

Man Follows Bırds

Man Follows Bırds

The Bodyguard

The Bodyguard

I Remember You

I Remember You

From the Age of Reason to the “Tortoise Trainer”

From the Age of Reason to the “Tortoise Trainer”

A Salon exhibition held in the Grand Palais in Paris on May 1, 1906 showcased an Ottoman painting. This was Osman Hamdi Bey’s famous “Tortoise Trainer”. 

Giacometti: Early Works

Giacometti: Early Works

Organized in collaboration with the Giacometti Foundation, Paris, the exhibition explores Giacometti’s prolific life, most of which the artist led in his studio in Montparnasse, through the works of his early period as well his late work, including one unfinished piece. Devoted to Giacometti’s early works, the first part of the exhibition demonstrates the influence of Giovanni Giacometti, the father of the artist and a Swiss Post-Impressionist painter himself, on Giacometti’s output during these years and his role in his son’s development. 

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.