前苏联乌克兰杜甫仁科制片厂1960年出品（imdb时间有误，根据老帕年表调整），帕拉让诺夫等导演拍摄，讲述关于乌克兰传统手工艺术的纪录片

THE FIRST LAD is one of five films Paradjanov made during his early sojourn at Ukraine’s Kiev Studios under the influence of his mentor Alexander Dovzhenko. The director let his imagination run riot, paying lip service to social realism but delivering a bizarre musical story of love rivalry on a collective farm so lush and over-the-top that it borders on parody.

A coal mine in the Donbas region is infiltrated by a haywire cult that invites members to sacrifice a finger to the "sacred ax"--but two rugged miners fight back when a sweet village girl falls into the fold.

Sergei Parajanov's 89 minute color feature also known as "Ukrainskaya rapsodiya" about 2 lovers separated during World War II.

Made in wartime and edited in candlelight, Mikhail Vartanov's rarely-seen masterpiece tells about his friendship with the genius Sergei Parajanov who was imprisoned by KGB "at the peak of his artistic power". Vartanov takes us back with the scenes from his censored 1969 film The Color of Armenian Land where Paradjanov is at work on his suppressed chef-d'oeuvre The Color of Pomegranates - widely regarded as one of the greatest films of all time - and contrasts it with the shocking request Parajanov sent him in unpublished 1974 letters from the Soviet prisons. Vartanov's camera documents Parajanov's striking last day at work in 1990 during the making of the unfinished Confession - the original camera negative of which survives in Parajanov: The Last Spring (1992) - as Parajanov comments on this cherished autobiographical work. A monumental wordless montage - the entire sixth reel - concludes Vartanov's acclaimed documentary, his final film, and his most important work, which, despite the prohibitive conditions it was created in, won the admiration of cinema's greatest artists.

I am Sergei Parajanov! shot a few months after Parajanov's death. Features archive photographs, his collages, the clips from Sayat-Nova (1968), Ashik Kerib (1988), the making of The Legend of the Surami Fortress (1984) and a few views of the house he lived.

Arabeskebi Pirosmanis temaze (Arabesques on the Pirosmani Theme)
(1985), 25mins
A short mediation on the work of Georgian painter Niko Pirosmaniszvili (1862-1918).
Sergei Paradjanov was born in Tblisi, Georgia (former Soviet Union) in 1924. In 1964 he was able to direct 'Shadows of our Forgotten Ancestors'; a boldly conceived and astonishingly photographed blend of enchanting mythology, hypnotic religious iconography, and pagan magic introducing the world to a new idiosyncratic cinema talent.
In 1968 he created one of many masterpieces; "Sayat Nova" which was promptly banned by Soviet authorities. It was renamed (and re-edited without his approval) and entitled "The Color of Pomegranates". For religious sympathies and lack of conformity to the strict socialist realism of the former Soviet union Paradjanov was arrested in December of 1973 and sentenced to five years imprisonment - residing in various hard-labor camps.
An important group of world-famous filmmakers, artists and activists (including notables such as Federico Fellini, Tonino Guerra, Francesco Rosi, Poet Louis Aragon, Mikhail Vartanov, Giulietta Masina, Marcello Mastroianni and Bernardo Bertolucci) persistently protested Paradjanov was eventually released after 4 years. His activity remained monitored and he was limited by the Soviet authorities but 15 years after "Sayat Nova" he created "The Legend of the Suram Fortress"; a folk tale and adapted from the novella by Daniel Chongadze. Once again the cinema world was peering inside viewing vividly poetic and poignant imagery.
In 1986 Parajanov made yet another multi-award winning film, Ashug-Karibi (1988), based on a tale by Mikhail Lermontov, and he dedicated the film to his friend Andrei Tarkovsky. His stay in prison had crushed his health, and he passed away in July of 1990 of cancer, leaving the world a rich and unforgettable blend of unique and meaningful cinema but his legendary films live on and his picture adorns a postage stamp in Armenia.

Exploring the art of Armenian portraitist Hakob Hovnatanyan, Parajanov revives the culture of Tbilisi of the 19th century.

Parajanov's diploma film for the VGIK, based on the Moldavian fairy tale by Emilian Bukov.
A young shepherd is given a magical instrument from a giant.

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

A film version of a well-known Georgian folk-tale. A young boy has to be immured into the walls of a fortress in order to stop it from crumbling to pieces.

Wandering minstrel Ashik Kerib falls in love with a rich merchant's daughter, but is spurned by her father and forced to roam the world for a thousand and one nights. Now presumed dead by those he loves, he performs for the poor and unfortunate on his journeys through the wilderness. Parajanov's visually ravishing 'tableaux vivants' tell Lermontov's romantic tale while Turkish and Azerbaijani folk songs transport us into its mystical landscapes.

1965 film by Sergei Parajanov

The life of the revered 18th-century Armenian poet and musician Sayat-Nova. Portraying events in the life of the artist from childhood up to his death, the movie addresses in particular his relationships with women, including his muse. The production tells Sayat-Nova's dramatic story by using both his poems and largely still camerawork, creating a work hailed as revolutionary by Mikhail Vartanov.