Filmmaker Emily Mkrtichian

Mkrtichian Preserves Cultural Memory in ‘There Was and There Was Not’

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NEW YORK — Emily Mkrtichian’s important and timely documentary feature, “There Was There Was Not,” tells the recent and tragic history of Artsakh through the lives of four remarkable women whose attempts to bring progress to their communities abruptly end with they must flee because of the ethnic cleansing perpetrated by Azerbaijan.

Rather than show bombs and wartime violence, Mkrtichian delves deep into the lives of minesweeper Svetlana Haratunyan, aspiring politician Siranoush Sargsyan, feminist activist Gayané Hambardzumyan, and world-class judo competitor Sose Balasanyan. Four women different in age, background, and profession, but who all share one thing in common: an unshakable love for Artsakh.

The film recently had a one-week New York theatrical run at the DCTV Firehouse Cinema.

“There Was There Was Not” derives its much of its strength from the director’s inspired choice of protagonists. Mkrtichian lived in Artsakh and she wisely chose these women over time: “It happened organically, as I spent more and more time in Artsakh. I met Sveta, Gayané and Siranush through mutual friends. And Sose I met while teaching a filmmaking workshop at the TUMO center in Stepanakert. My students chose her as the subject of their short documentary, and I immediately knew that I wanted to spend more time with her.”

Mkrtichian has kept in close touch with the four women, and notes that three of them are now living in Yerevan, Armenia, while Siranush is currently pursuing a degree in Human Rights at NOVA University in Lisbon. Rather than shoot a follow up documentary on their lives today, Mkrtchian’s next project focuses on building what she calls a participatory archive of Artsakh: “a living record of memory, maps, and stories from those who were displaced.”

Mkrtchian grew up in Seattle, where the Armenian community was quite small. She studied creative writing and later completed a graduate program at Fordham University before deciding to join Birthright Armenia.

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She noted, “That was supposed to be a three-month stay. I took an internship with Bars Media Film and three months quickly turned into six years. I became immersed in nonfiction filmmaking, working full-time at Bars before branching out to make my own films.”

Mkrtichian experienced the 2020 war in Artsakh firsthand and spent the following years filming there. But as she explained, “Once the blockade began, it became impossible to return — so while I wasn’t there during the final exodus, much of my heart and community were.”

A still from “There Was and There Was Not”

After living mostly in Armenia for about a decade, Mkrtichian accepted a teaching position at the University of Utah in Salt Lake City, where she now lives with her partner and one-year-old son, Alik.

“There Was There Was Not “has received several international prizes and kudos all-around. Not surprisingly perhaps, the film was acquired by Watermelon Pictures, with Suncatcher supporting its North American theatrical release. It’s the only Arab-owned distribution company in the U.S., specializing in films from the SWANA region and which resist erasure in the public sphere.

“From our first conversation,” Mkrtichian said, “they immediately understood the heart of ‘There Was, There Was Not’ — why it mattered, and why it needed to reach a broader audience. It’s been a truly values-aligned partnership.”

Mkrtichian described the process of making the film as a personal odyssey: “It’s been a long journey — nearly ten years in the making — and one that has changed me profoundly. I released the film just a month or two before having my first child, which made the festival circuit an adventure.”

The most impactful moment for Mkrtchian however, may have been premiering the film at the Golden Apricot Film Festival in Armenia, where the film won both the FIPRESCI Prize (International Critics Award) and a Special Jury Mention.

“Sharing that screening with the four women in the film — and holding my two-month-old son in the audience — was unforgettable,” said the director. “I’ve been deeply moved by the response, both from Armenian audiences and international ones. The festival run reached a wide audience abroad, but I’m especially excited for the upcoming theatrical and digital release to bring the film home to our community.”

Mkrtichian stressed that at its core, it is a film about memory — how it lives in people, in stories, and in the land itself. “For me, it’s also a love letter to Artsakh and to the women who carry its spirit forward in their daily lives, even after losing everything material that once defined home,” she said. “I made this film as a way of preserving something that was at risk of disappearing, but also as an invitation for others to remember — to think about the places, people, and histories that shape them.”

In conclusion, the director’s message is universal: “I hope that audiences who watch the film feel a sense of connection, even if they’ve never heard of Artsakh before, and understand that these stories—of loss, love, and resilience—belong to all of us.”

 

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