Village of Women


Tamara Stepanyan

Tamara Stepanyan Village of Women, Film Still, 2019

The Museum of Impossible Forms is pleased to announce a twinned series of events exploring Migrant Screen Cultures lead by Anat Pick and Minou Norouzi.‍ Anat and Minou will each host a reading circle and present films relating to their respective research in cinema studies.

The reading circles are restricted to registered participants.
The screenings don’t require registration.

The series forms part of the research project “Revolutionary Patience: Migrant Perspectives on Doing Politics with the Documentary” funded by Kone Foundation. ‍


Tamara Stepanyan: Village of Women
Film screening + Q&A with the filmmaker
Saturday 11 December 2021 from 17:00 - 19:00

Village of Women (France/Armenia, 2019), 83 min‍
Director: Tamara Stepanyan ‍
Film screening + Q&A filmmaker‍

There is a village without men, in the mountains of Armenia. In Lichk, for nine months every year, fathers and husbands leave their families and depart for Russia in search of work. They will not return before winter, while their wives cultivate the land, raise livestock and bring up children. The only possible contacts are a few short telephone calls. Filmed throughout the four seasons, Tamara Stepanyan creates an intimate portrait of absence, female solidarity and the need to gather.  ‍


Tamara Stepanyan was born in Armenia. During the breakdown of the Soviet Union in the early '90s, she moved to Lebanon, later taking up studies at The National Film School in Denmark under the supervision of Arne Bro. Living and working in France since 2010 Stepanyan has completed two feature documentaries: Those from the Shore (2017) and Village of Women (2019). Her films have screened at prestigious film festivals Locarno, Busan, La Rochelle, Boston, Leipzig, and Amiens. Awards include Best Documentary at Busan International Film Festival, Best Director at Boston, Best Film at Amiens in France. Stepanyan also teaches film in Paris.‍

Minou Norouzi is a filmmaker, writer, curator. Her research is focused on cinematic language and aesthetic productions that communicate the ineffable and challenge normative, totalising accounts of history and knowledge production. Her project, “Revolutionary Patience: Migrant Perspectives On Doing Politics With Documentary” is a study of diasporic cinemas, critically reviewing empathy as a form of political engagement in visual cultures.

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