1915

This was definitely not the 1915 movie I expected! It did challenge me on what I expected from a 1915 movie.

I found the movie quite arty but well-made. It took me a while to understand the metaphors throughout the movie but that's what I liked about it. It was not as straightforward as many Hollywood movies. It makes you think and reflect about your own feelings about the Armenian Genocide. The movie delved into the topic of denial in a metaphorical way and brings to the audience's attention that the Armenians in the diaspora are still somewhat lost due to this denial of the Armenian Genocide.

A great, challenging movie with great actors and real feeling.The characters were meant to be the current generation of Armenians. The 2 leads where very convincing in their roles. They showed a great depth in characters.

Definitely recommend watching it. Great movie for a debate!

This movie is pretty politicized but more importantly it will not satisfy Armenians who thirst for information about 1915. It will not satisfy those who don't know much about the issue or history. It will definitely not satisfy any Turks, Kurds, Circassians, Assyrians, or anyone else involved in the 30-years of historical events.

It's basically a movie trying to profit by confusing the issue about a dark chapter in history and monetizing this sacred issue for Armenians.

The way that the film turns a play into a sort of historical event with unprofessional actors and ridiculous scenarios is just upsetting and a disgusting way of looking at a very SERIOUS issue.

Sam Page is probably the worst actor in the movie. It's just sort of strange and amateurish the whole way it's put together. It tries to dramatize it by watering it down and politicize something that should be seriously studied and remembered. Also I was a bit disturbed and felt weirded out with the way the movie describes as "a crime was invented" like as if extermination or mass murder is something new or like colonialism or conquest or extermination never happened before. The crime cannot be forgotten just because someone wants it to be but it surely wasn't invented in 1915.

I mean the movie has a line like "maybe the play should have a happy endings" and "you are destroying the Armenian people." Like it's hammering you over the head with its obvious message by saying how naive the audience is.

Never Again.

1915, 1917, 1922, 1933, 1949, 1961, 1975, 1994. Dates. Numbers. The act of naming: a date and nothing more. This dates sum up a number of 993,000,000 million people murdered, slaughtered, and killed, thrashed, beaten, slayed, executed. -For what? - We may ask – Why? – we all inquire with both, disgrace and sorrow. An all we overhear when we ask, when we think of it, when we try to swallow all of this, when we even consider asking, is silence, stillness, muteness. These dates, these marks of history, are inviting, welcoming us to speak. These inscriptions, in which lives, stories, deaths, lies, moments, times, instants, people, are hidden and where we storage every inch of history in dates, so that we may allow ourselves to dismiss them from our memories; something marks a date, and that 'something' is that which we attempt so hard to let go, but will haunt us every time we mark a mark again, it will take us back to it, with all the disgrace and humiliation that encompasses, every moment in the history of men. Because, every script comes or happens for the first and last time, every time.

Those dates are something that we do not yet really know how to identify, regulate, recognize, distinguish… we have not yet found a way to name them, and we circumspect them with a number, around a number, along a cipher, a code, an encryption. Nevertheless, that dates tell us that they should endure from here on unforgettable: an ineffaceable event in the shared archive of a universal calendar, a worldwide experience of time, a schedule for humanity's memoirs. But they also cry to us, telling and recalling us that we are unable to reconcile with history, that we cannot make amends with time, we are incapable of mooring those deaths, they tell us that they haunted by its own time, a time that is much less its own than impossibly inherited in the unsituatable experience of their moment. Shall we try to write what happened in those dates in past tense? Or is present tense more suitable to announce us what enclosures those marks? Is the past already gone, removed, erased, or is the past happening every time we consign ourselves to oblivion? Is present tense, is the word "now", a word that opens, unlocks, and answers; a tense as faltering as it is urgent, a tense that inaugurates the event of writing and marking, as once an unfulfillable anticipation of what is to come, what is ahead of or in the work, and an all too precipitate (therefore "improper") decision about the past as, to choose from now on, the "proper" tense?

This is what makes the film 1915 a way to resurrect old ghosts, merging past experiences with present ones. 1915 is a way to let a date happen, once and for all, as the way it should have happened long ago: it is way to allow 1915, as a date, as a calendar script, to escape its own fate. A way to let it happen. A way to assume a date. A way to assume the deaths. Assume that we allow those dates to happen. And it lets us know that when we forget, we kill the deaths again, we take the knives of our guilt and with remorse we stab them to their graves once and twice, repeatedly. Although I believe that knowing what happened and how it happened, isn't an emergency exit from guilt, at least it make us conscious that we are facing, and we will eternally face our impossibility to mourn, to grief them. And that even if we'd like to held one minute of silence for every victim of these crimes, we wouldn't have enough time, because we would have to be silent for 189 years. We have not enough time to mourn, we have not enough time to narrate each of the stories of the ones that were killed, we cannot even tell each name, write each name, know each name. 1915, as a movie, as a date, as an event, as a moment, as a genocide, externalizes us that there are gaps that we are unable, and we are powerless to fill; the gap—which makes as much as it breaks—is therefore where 1915, 1917, 1922, 1933, 1949, 1961, 1975, 1994 starts, and re-starts time and does it once more.

A mass of confusion for this viewer. The story seems to bounce around between - the horrible 1915 genocide of Armenians, a haunted theatre, a love triangle, political protesters, arguing actors, a frustrated director, police, how to sell tickets for a one night performance, a possible murder plot, and an actress that can channel the dead.

I got lost in this story. I was hoping for some insight into the 1915 massacre innocent people but nothing like that happens. The entire story is more about Simon's ego than bringing to the public knowledge a horror that happened 100 years ago.

A very odd movie.

I downloaded the movie in HD through the official website, expecting a historical drama about the Armenian genocide. Instead, what I watched was a a thrilling psychological movie with a message and intended for a wide audience, be it Turk, Armenian or other. It was beautiful to watch a movie that could break boundaries and make you think deep.

I agree it's not for everybody, everyone can have their own perception but I understand the importance of such movies. The Armenian genocide of 1915 affected real people and their ancestors, the movie talks about real experience in a contemporary world. watch it. I also recommend the soundtrack, it was beautiful and I found out that Serj Tankian was the musical director. The music played a good role in putting me in the vibe and I felt something very strong at the end of it all.