10.15160/1826-803X/752
Nella società francese, a partire dallo sgretolamento del suo ruolo di potenza coloniale verso la fine degli anni Cinquanta del secolo scorso, si sono verificati significativi cambiamenti di paradigma. Una realtà, questa, che si è andata riflettendo gradualmente sullo schermo e nella narrativa di viaggio. A sua volta, tutto ciò ha portato verso un crescente interesse nei confronti del road movie, genere per definizione capace di sfidare binomi apparentemente duraturi come i confini, l’identità e lo spazio. Il viaggio stabilisce una distanza temporale e geografica, ma anche dei luoghi attraverso cui la società e il ruolo che ciascuno occupa al suo interno possono venire meglio rappresentati. Recenti produzioni come Lontano (Loin, 2001) di André Téchiné, Viaggio alla Mecca (Le grand voyage, 2004) di Ismaël Ferroukhi e Exils (2005) di Tony Gatlif, tutte incentrate su viaggi di partenza dalla Francia, esemplificano molto bene questo trend. Il presente contributo è dedicato all’analisi di Le voyage en Arménie (2006) di Robert Guédiguian, un’opera superficialmente affine nei temi e negli interessi agli esempi citati, ma che tuttavia si discosta notevolmente sotto diversi aspetti dai recenti road movie francesi.
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<I>Mobilising the East: Some Notes on Robert Guédiguian's</I> Le voyage en Arménie
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Aidan Power
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<I>Mobilising the East: Some Notes on Robert Guédiguian's</I> Le voyage en Arménie
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                                                AIDAN POWER



      Mobilising the East: Some Notes on Robert Guédiguian’s Le voyage en Arménie


The road, as Jack Kerouac wrote, is life. Evocative of mobility, encounter and freedom, both literal
and figurative, the open road ahead is latent with promises of possibility, renewal and rebirth. A
gateway to the future and an avenue from the past, the road and the metonymic connotations it
elicits provides a unique platform for destabilising fixities such as time and space, place and
belonging, identity and culture. An increasingly voluble number of arguments centered on the
European road movie (and in particular the French iteration of the genre) are founded upon
conceptualisations of the road as transnational signifier, as interstitial space, or as paradigmatic of
the unstable binaries betwixt nations and people, colonisers and colonised. That many focus on
French road movies is not surprising. France after all has a sustained history of colonial expansion,
of strained race relations, of philosophical enquiry and rich cinematic depth. Furthermore, as a wave
of filmmakers of mixed cultural background come to prominence in the manner of Tony Gatlif for
example over recent years, with films that openly call into question conceptions of belonging itself,
then it is only natural that critical and scholarly attention should follow. Gatlif’s Exils (2004), like
Le voyage en Arménie (Robert Guédiguian, 2006)1 which I will look at here, presents a journey
outward from France, undertaken by characters seeking to bridge gaps between their past, present
and future. These journeys allow for the creation of a liminal space between nations, one where, to
paraphrase Homi K. Bhabha the claims of people to be «representative provokes a crisis within the
process of signification and discursive address» 2 . It is here, on the road between nations, that
characters’ hyphenated identities deny them concrete notions of belonging while at the same time
enabling them to reformulate their own conceptions of themselves. This has been documented
elsewhere3 and in increasing detail, but what interests me here is what happens when such a film
seeks to reconcile this process of discovery with pre-existing characteristics of a genre that in the
words of Conn Holohan frequently privileges the white male, one where the «social structures that



1
  Le Voyage en Arménie (2006), directed by: Robert Guédiguian; produced by (in alphabetical order): Martin Adoyan
(co-producer), Robert Guédiguian (producer), Taguhi Karapetyan (co-producer); written by (in alphabetical order):
Ariane Ascaride, Marie Desplechin, Robert Guédiguian; starring (in credits order): Ariane Ascaride (Anna), Gérard
Meylan (Yervanth), Chorik Grigorian (Schaké), Romen Avinian (Manouk), Simon Abkarian (Sarkis Arabian), Jalil
Lespert (Simon), Marcel Bluwal (Barsam); original music by: Arto Tunçboyaciyan; cinematography by: Pierre Milon;
editing by: Bernard Sasia; distributed by: Diaphana Films; release date: 28 June 2006 (France); running time: 125
minutes; country: French and Armenian.
2
  BHABHA (1994, 208).
3
  See ELEFTHERIOTIS (2010); LOSHITKY (2010).
Annali Online di Ferrara - Lettere                                                              A. Power
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confer this privilege are seldom subject to any sustained critique»4. An inherent danger in readings
centred on identity is that when tangling with wider questions pertaining to nationality and/or
postcolonial identity, one can gloss over the divisions evident within postcolonial communities
themselves. In particular here, I am referring to class, wealth and access – less immediately
identifiable traits than race or nationality in many instances perhaps, but factors that nonetheless
sharply divide migrant communities as they do elsewhere. To do so, I will focus on Guédiguian’s
Le voyage en Arménie, a film that on the surface is paradigmatic of recent French road movies in its
themes and concerns, yet when subjected to closer analysis can actually be read more effectively as
a meditation on class and assumption, one where old world assumption and access propels the
central protagonist more than any actual awakening of diasporic sentiment.

Accessing Mobility


The road movie certainly provides French society with an avenue through which the legacy of its
colonial past can be unravelled, but within these questions lies scope for further analysis still. This
is, after all, the genre and nation that gave us Jean-Luc Godard’s Weekend (1967), a film granted
narrative agency by a juddering disregard for the mores of late modern capitalism. Weekend’s
critique is achieved in large part by its recurring evisceration of vehicles on French roads. Tellingly,
when Godard signaled the end of cinema and with it bourgeois consumption in Weekend, he gave
chilling effect to his vision by eradicating the safety features offered by the car. In a world notable
for ever growing levels of consumption, where the ease of undertaking journeys was facilitated by
advances in road networks and vehicles, cars «increasingly become places of contemporary
dwellingness» the increased comfort of which could offset «long journey times and interminable
delays»5. As Kristen Ross notes furthermore in Fast Cars, Clean Bodies: Decolonization and the
Reordering of French Culture, the rise of the automobile was instrumental in the reordering of
French life in the twentieth century. She writes: «by the time the spatial organization of the city and
its surroundings assured the reproduction of a way of life structured by the car, new, albeit
degraded, myths had come to replace old ones of spatial liberty associated with speed, horsepower,
and the open road»6. Films, like French culture in general, became increasingly centered on the
motif of the car itself, Ross suggests, to the point that the ability to master automobility became
synonymous with progress and mobility in the late twentieth century. Godard’s targeting of the car
then was well chosen. Redolent of capitalist exchange as exemplified by the extraordinary success


4
  HOLOHAN (2011, 23).
5
  URRY (2007, 24).
6
  ROSS (1995, 54).
Annali Online di Ferrara - Lettere                                                                      A. Power
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of Fordist models of consumption from the early twentieth century onward, the car, in addition to
the roads it navigates, symbolises prosperity, freedom and status. Furthermore, it demarcates
socially, being a highly visible indicator of wealth and individual achievement. In so doing, the
connotations of car ownership and models speak to broader issues of status, above all perhaps, the
ultimate arbiter of social separation: mobility. In this vein we may take note of the arguments put
forth by Zygmunt Bauman, for whom the ability to move freely and access new environs is the
defining characteristic of postmodernity, one that sharply polarises the relationship between those
who can move and the many more denied such rights. For Bauman, «mobility climbs to the rank of
the uppermost among the coveted values – and the freedom to move, perpetually a scarce and
unequally distributed commodity, fast becomes the main stratifying factor of our late-modern or
postmodern times»7. Mobility enables us to engage with the ordering of life, a process that allows
us a cogent formula to test personal considerations against the parameters enforced by social
frameworks. Mobility, whether it is understood in terms of movement from one geographical place
to another or in relation to the sort of upward mobility that comes with the successful navigation of
social circumstances, is perhaps never more salient than when it is impeded. Just as the failure of
investment banks to circulate toxic stock triggered global crises in financial markets, for example,
the inability of non-nationals (a marvelously stupid term that fails to account for there being more
than one than nation, but one that is useful here insofar as it highlights the discrepancies inherent in
cross-border relations) to navigate border checkpoints signifies on a macro scale. Access and
integration, circulation and exchange: all of which point to larger questions about (post)modernity
at large. That domestic policies such as border control for example have long been severed from
feasible economic strategies in a globally driven market is but a crude fact by now, one brought
home by the economic crisis that has shaken Europe to the core and outlined in some detail by
Jürgen Habermas in The Postnational Constellation. Highlighting the futile gesture at the heart of
once durable conceptions of nationhood, Habermas traces the impact of economic flows and
migration patterns arguing that:

        State borders are certainly not comparable with fortifications – despite neurotic surveillance by
        national defense forces. The example of traditional foreign trade policies is enough to show that
        national borders actually function as internally operated “floodgates”, meant to regulate the
        currents so that only the desired influxes (or outflows) are permitted8.

        Therefore, while markets necessitate the unfettered flow of money, borders though salient
barriers to the mobility of many, particularly the economically disenfranchised, signify the
aspirational nature of nationhood in the face of globalization practices and the resultant matrix of

7
    BAUMAN (1998, 2).
8
    HABERMAS (2001, 67).
Annali Online di Ferrara - Lettere                                                               A. Power
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interdependency these practices bestow. One’s ability to emulate money and cross borders
unimpeded then, testifies also to status and prosperity insofar as certain passports are acceptable
where others are not, a dividing line that frequently owes much to historical colonial and trade
imbalances. In film studies as in other fields, mobility is frequently equated to social signification,
identity and migration insofar as the ordering process will in turn be replicated onscreen in the
aesthetic and productive choices made by filmmakers. Far from merely replicating these processes,
however, cinema can of course circumvent them or, as in the case of travel cinema highlight their
salience in our everyday lives. Mobility, in the words of Tim Cresswell and Deborah Dixon, can be
thought of as «an element in the play of power and meaning within social and cultural networks of
signification», one that can be used in film «as a strategic device that forces us to rethink
conventional ideas about the spatiality of social life»9. Furthermore, as Yosefa Loshitzky writes:
«cinema clearly utilizes issues related to ethno-religious diasporas, racism, and migrant culture in
order to reflect, negotiate, and construct a new image of the ‘Old World’»10. In the coming section I
will explore these criterion to take a closer look at Le voyage en Arménie in relation to the road
movie canon, firstly with reference to Exils and latterly I will attempt to locate the narrative within
broader historical cinematic terms.

Setting Out

        The 1990s saw a great increase of Western European films with or about travelling women.
        Many of these characters come from Eastern European countries in search of love and bread.
        Still very few are the middle-aged Western women who travel on their own11.

        My selection of Le voyage en Arménie for analysis here is not arbitrary, even though it is
somewhat atypical of recent trends in French cinema. Voyage is a curious mixture of hyphenated
transnational film and generic Western adventure narrative. On the one hand it conforms to
conceptions of the postcolonial travel narrative (as the journey depicted encompasses a plane
journey its source of enquiry is not limited to the road exclusively and so perhaps travel film is an
equally applicable term to road movie), yet on the other it seems unable to divorce itself from
colonial expansions eastward as seen in myriad Hollywood adventure films. Directed by the
Franco-Armenian director Robert Guédiguian, Voyage charts the journey of Anna (played by the
director’s wife Ariane Ascaride), a Marseilles based cardiologist who is forced to follow her ill
father to Armenia, the land of his birth. This journey is in direct opposition to the trend identified by
Ewa Mazierska and Laura Rascaroli at the beginning of this section as it depicts the return journey
of a socially successful expatriate woman to Eastern Europe. It is a return journey, but in showing
9
  CRESSWELL – DIXON (2002, 4).
10
   LOSHITKY (2010, 14).
11
   MAZIERSKA – RASCAROLI (2006, 179).
Annali Online di Ferrara - Lettere                                                              A. Power
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how successful its Diasporic Armenian character has become the film arguably risks patronising the
native Armenians she encounters. In unraveling the mystery of her father’s whereabouts, Anna
nominally grows to develop a closer understanding of Armenia itself and in doing so, engages
meaningfully for the first time with her Armenian ancestry, even if it will become clear that this
engagement will be conducted through a strongly Francophone gaze.
        Leading a contented and successful life in Marseille, Anna undertakes a journey to her
ancestral homeland under duress and with much reluctance. Her career and family are in France;
she is a well regarded cardiologist whose profession and middle-class lifestyle speak to the success
of the second generation migrant, one whose parents paved the way for her integration into Western
European society. Unlike Zano (Romain Duris) and Naima (Lubna Azabal) in Gatlif’s Exils, Anna’s
is not a postcolonial heritage per se, as Armenia was never beholden to France. She does not cling
to a dual identity, indeed it is clear from the opening scenes in the film that for her, Armenian
heritage is almost anachronistic to her way of life for it can only muddy her conception of herself as
a successful French woman. Yet, in other ways Voyage is emblematic of accented films that chart
transnational voyages of discovery. As in Exils we follow a second-generation migrant who is
prompted to visit the land of her forefathers for the first time by the absence of a parent. This
journey will force her to reconsider her heritage and will awaken her to the paradox that as she
moves closer to her Armenian background she will simultaneously slip between nationalities,
feeling less French, yet not entirely Armenian as she does so. Nevertheless, it is difficult to escape
the conclusion that Guédiguian has overplayed his hand and instead has succeeded mainly in
differentiating between Anna and her fellow Armenians by resorting to semantically loaded
representations.
        Anna’s life differs markedly from Zano and Naima insofar as she has negotiated the social
ladder with considerable aplomb. She lives in a beautiful house overlooking the sea, drives a
Mercedes jeep and oversees a successful practice. We first encounter her examining her father
Barsam (Marcel Bluwal) who, lying on his back, naked from the waist up awaits her appraisal of his
condition. When Anna refers to him by name, he remonstrates with her for not calling him “papa”.
The notion of patriarchy is particularly salient in the film, given that Anna’s late mother is Italian –
a far more accessible country for a French national – and thus any link she has with Armenia is
through her father. He articulates this dissonance by later telling her: «you have a mother tongue.
No-one talks about a father tongue». Armenia then, is quite literally a fatherland for Anna and the
bewilderment she displays toward her father will be directed at his homeland in his absence.
Annali Online di Ferrara - Lettere                                                             A. Power
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Male Terrain?

Just as Anna’s trip to Armenia is propelled by an absent father, her narrative also ties in with a
recurrent tenet of the road movie itself, identified by Timothy Corrigan as a fixation with «the
Oedipal centerpiece of classical narrative»12. To journey outward is to leave a home, to rupture even
temporarily the family. This is achieved here by Barsam’s disappearance, even if he of course is
ultimately returning home himself. This rupture between France and Armenia and where constitutes
home is to the fore in the film, yet despite the presence of a director with Armenian heritage, the
onscreen results are questionable. Instead of reconciling herself with her father’s culture, Anna
accedes to a version that she deems amenable. The strength of her characterisation serves as a
counterpart to «a genre traditionally focused, almost exclusively, on men and the absence of
women»13, yet while we could take comfort from such a character it is clear Voyage compensates
for this by placing her within a tradition of male adventurers, so that her journey owes more to
exoticised conceptions of a mythical east than it does to any real efforts to renegotiate the distance
between Marseille and Yerevan.
        While Corrigan’s summation of the road movie as a predominantly male genre holds true with
relation to the history of American cinema, Ewa Mazierska and Laura Rascaroli note that instances
of female travelers in European road movies, while not abundant, are not completely uncommon
either 14 . Prominent examples such as Viaggio in Italia (Roberto Rossellini, 1954), L’avventura
(Michelangelo Antonioni, 1960) and Smultronstället (Ingmar Bergman, 1957) all engage with
female mobility in a European context. Notably, all three instances portray middle-class women for
whom money is not a primary consideration, or at any rate does not seem to be a major factor in
their journeys, suggesting that «female mobility in Western Europe was, for a long time, mainly a
question of class» 15 . Anna’s comfortable lifestyle is accentuated early in the film and is
immediately set in opposition to that of her father, an effect that is achieved by illustrating her
mobility in strongly coded terms. Navigating her sleek car through the streets of Marseilles, she
moves from her opulent home replete with a yacht-filled marina in the background to her father’s
house near the docks. The camera tracks her movement from left to right or from west to east as
relayed on a map as she arrives at Barsam’s house, where the sea is still visible but in place of
yachts stand cranes and dilapidated buildings. Further accentuating the discrepancy between
daughter and father is the seeming lack of electricity in the house. Anna tries in vain to turn on the
lights, but has to rely on daylight to illuminate the room. Her opening of a door enables sunlight to

12
   CORRIGAN (1994, 145).
13
   Ibid. 143.
14
   MAZIERSKA – RASCAROLI (2006, 178).
15
   Ibid.
Annali Online di Ferrara - Lettere                                                                  A. Power
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stream into the room, revealing in the process a tree standing in the balcony outside. This visage in
turn elicits an incongruous strain of non-diegetic traditional Armenian music. Devoid of electricity
and full of mementos of the old country, the house, like the nation it signifies is set in opposition to
the progressive, electrified, West. The tree and the music attest to nature and mystery respectively,
thus signifying to the viewer the kind of adventure that lies in wait. In journeying to Armenia, Anna
appropriates her father’s culture for herself. Prior to leaving she inverts the parent/child relationship
by announcing plaintively to her husband that: «I’m responsible, he’s my father». True, we are
granted access to Armenia, yet such access is tempered by its reliance on Anna as a guide; we see
what she sees, encounter the unknown as she does and any attendant knowledge we may gain of the
nation is linked directly to the figure of the French cardiologist. Virtually every scene of the film is
granted agency by Anna’s presence, at no point do we see Armenia exist on its own terms. Even
when she is not in shot we witness her point of view. Furthermore, Guédiguian’s use of familiar,
even formulaic stylistic techniques in his direction of the film, techniques that include visual
metaphors, map-inspired graphics and heavy-handed symbolism readily attests to tired modes of
discerning East/West dialectics and undercuts the possibility of any genuinely balanced negotiation
between cultures taking place.

Pacifying the East

While Anna’s sex and affluence link her with L’avventura’s Claudia (Monica Vitti) or Viaggio in
Italia’s Katherine Joyce (Ingrid Bergman), the depiction of her flight to Yerevan visually calls to
mind an altogether different set of films, namely the Indiana Jones franchise. Eliding on a visual
depiction of the flight, Guédiguian instead elects to represent the journey with an Indiana Jones like
animation of a plane moving across a map. An exceptionally literal representation of cartography,
the plane moves from West to East, charting the terrain that divides them. On the one hand this
cinematic construct helps orientate the viewer, guiding her into unfamiliar terrain and serving to
map the “unknown” and familiarise it to Western audiences. Indeed, the animation serves if nothing
else to focus the mind of the viewer by highlighting the geographical remoteness of Armenia itself.
Located to the east of Lebanon, Syria and the Black Sea and bordering Iran to the south, the map
reinforces the distance from Yerevan to Marseille. In Western European terms it is remote, yet
hardly obscure. Mazierska and Rascaroli attribute Armenia’s isolation in part to its turbulent past
and to «its history of many military invasions and attempts at colonisation»16. They continue:

         During Soviet rule, Armenia was doubly marginalised: both within the Soviet Union and within
         Europe. Before the fall of the Berlin Wall virtually all political, economic and cultural

16
     Ibid. 217.
Annali Online di Ferrara - Lettere                                                                    A. Power
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        exchanges between Armenia and the outside world were mediated by Moscow. Not
        surprisingly, many Europeans are not even aware that this country belongs to their continent17.

        By utilising an onscreen map, Voyage seeks to make Armenia knowable to French audiences,
yet it is inescapable that in so doing it speaks also to a consumption of terrain, a mapping that
renders it relatable in the context of France and not in and of itself. Ella Shohat for example, notes
that in exploratory adventures including «the Indiana Jones series, the camera relays the hero’s
dynamic movement across a passive, static space, gradually stripping the land of its ‘enigma’» and
here Voyage postulates a similar effect 18. This suspicion is lent credence by Anna’s subsequent
experiences in Yerevan where she partakes in a series of Indiana Jones-like adventures before
fleeing the attentions of nefarious locals and escaping to the countryside.
        Whilst in Yerevan, Anna encounters Manouk (Romen Avinian) an elderly local man who acts
as her chauffeur and Schaké (Chorik Grigorian) a manicurist and exotic dancer who attracts the
attention of local criminals. Like Anna, Manouk and the criminals drive Mercedes vehicles, but in
both cases the vehicles embody alternative and calculated modes of signification. Manouk’s firstly
is an ancient car, a dilapidated Soviet-era vehicle far removed from the chic model that we see
Anna driving through the streets of Marseille. The car is quite literally falling apart and at different
intervals Manouk pulls in to retrieve hubcaps and a bumper that fall onto the street. This is not at all
insignificant. As Michael Atkinson has noted: «the structure of the car, designed both to conform to
our bodies’ shortcomings and powerfully extend them has become how we regard the world»19, a
reality that serves to underline the discrepancy between Anna’s Mercedes and Manouk’s ailing
vehicle. Manouk is absent-minded and unreliable, yet Anna plays the part of the benevolent
employer and avails of his services, remaining at a spatial remove by sitting in the backseat as he
drives. His mobility is subordinate to that of Anna’s: he drives her across Yerevan in search of her
father, stopping and starting the car at her behest. His unscheduled stops to retrieve pieces of the
vehicle symbolises the stunted development of a country that Anna, the Western hero must
navigate. On one such trip she encounters Schaké being bundled into a large Mercedes jeep (one not
unlike her own) by armed men. In both cases, the cars are symbols of status (the men are dressed
smartly in dark suits), yet the contrasting means of achieving such status palpably demonstrates a
perceived ethical and political chasm between the respective countries. The jeep is fitted with
blacked out windows – attesting to a desire on the part of the owner to camouflage its interior and
the illicit practices it expedites. While Manouk cowers behind his car and Schaké helplessly
screams for aid, Anna fearlessly takes action in a manner that her fellow doctor Henry Jones Junior

17
   Ibid.
18
   SHOHAT (1991, 52).
19
   ATKINSON (1994, 16).
Annali Online di Ferrara - Lettere                                                              A. Power
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would be proud of, shooting and wounding the men with a pistol before taking off with Schaké in
their jeep. Pulling over in a side street, Anna orders Schaké out of the car, leaving the front doors of
the vehicle open as they flee. In the background a handful of somewhat puzzled locals look at the
vehicle that is now exposed, de-commissioned and relinquished of its sinister visage by the heroic
visitor.

Parallel Journeys


Where Anna’s journey is noteworthy for the positive impact she has on the lives of those she meets
and grants agency to, it is true also that her own trip is facilitated by a Franco-Armenian of Turkish
descent in Sarkis Arabian (Simon Abkarian). A direct counterpoint to Anna insofar as he travels
regularly from Marseille to Yerevan, Sarkis fulfills a doubling function that Dimitris Eleftheriotis
identifies as a recurring motif in Exils. On their journey from Paris to Algeria, Zano and Naima
routinely encounter migrants venturing in the opposite direction. As Eleftheriotis notes, «Gatlif’s
use of relational movement places different types of contemporary mobility in comparative frames
of reference»20. One such encounter occurs when the couple spends the night with two young Arab
siblings who are seeking to evade police detection. The following morning, as Zano and Naima
walk past a patrol car unmolested, the siblings, desperate to avoid getting caught, cling to the
underside of a lorry that drives past. The relationship between the four characters «maps out the
difference between two kinds of mobility: the north-bound trajectory of the migrant workers and the
opposite direction of the travelers, the soul searching, self-discovery purpose of one journey and the
anxious desire to study and work that provides the motivation for the other»21. Zano and Naima’s
access to dual citizenship and resultant mobility is due to their parents making the same journey as
the siblings and as such a level of mutual empathy exists between the four. They are fellow
travellers even if historical circumstances mean that for two of them the act of crossing borders is
equated to criminal activity. Anna instead, is openly hostile toward her double Sarkis whose family
resides in France. Again his status is equated to the vehicle he owns when he boasts to Anna that
one has «to work hard to get a car like this», all the more so because he has a chauffeur of his own
to drive it. It is unclear, however, what kind of work Sarkis actually does and we gradually learn
that the armed men that Anna confronts are part of his criminal enterprise, while the jeep she
requisitions belongs to him. Tellingly, she is set in opposition to Sarkis from their first journey
together when she does little to disguise her contempt for his wealth. When Sarkis protests that
Armenia is unstable, having just recently been emancipated from Soviet rule, Anna decries his

20
     ELEFTHERIOTIS (2010, 125).
21
     Ibid. 130.
Annali Online di Ferrara - Lettere                                                              A. Power
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attitude and informs him that she herself was a «militant communist» for twenty years. This claim
jars with the lifestyle she enjoys in Marseille and frames her attitude to monetary circulation and
status in Yerevan. As Sarkis points out, Anna never had to live under communist rule and so her
political convictions are based on aspiration and not experience while her disdain for Sarkis’ vocal
endorsement of free market capitalism exposes the variance in standards she expects of herself and
of the Armenians she encounters. Yet he too travels between nations. His children, like Anna’s
daughter are being brought up in France, presumably as French citizens. That he instead is making
the inverse voyage and is evidently a success in capitalist terms seemingly works against him for
though he has money like Anna, Sarkis’ flaunting of it evidently strikes her as nouveau riche.
Sarkis’ response: «I’d have been a communist too if I’d been rich enough» exposes Anna’s double
standards for what they are and subsequently calls her motives into question.
        Where Exils uses the doubling process to highlight the inequalities of monetary circulation, as
well as the legacy of colonial subjugation, Voyage instead tacitly suggests that Armenian economic
life is somehow tainted in and of itself. This doubling can be seen too in the figure of Simon (Jalil
Lespert), a French born Franco-Armenian doctor who, it is implied, must compromise his ideals to
work in Armenia. When asked about where he receives funding he is vague and his judgment is
called to question when he shows Anna the local nightlife. Possessing the trappings of a modern
city such as casinos, nightclubs and hotels, Yerevan is briefly depicted as offering familiar and
homogenised attractions for Western tourists in addition to its more traditional landmarks. Anna,
however, is not readily enchanted by what she sees, particularly when Simon takes her to a strip
club, a misjudgment that earns her ire and tacitly suggests that he too is impure when set against her
standards. Yerevan, replete with big city attractions and vices, fails to entice Anna and it is only
when she relocates to the countryside (in a bid to avoid the attentions of the criminals she shot at)
that she begins to gain a greater appreciation for Armenian life. Here she partakes in pastoral
activities such as traditional dancing and outdoor dinners while reinstating her status as a forceful
adventurer by giving her hosts a demonstration of her skills with a rifle. Having first rescued
Schaké and articulated her disapproval of her second career as an exotic dancer, Anna now oversees
her redemption, manifest in a burgeoning relationship with a young farmer. She ingratiates herself
to the locals before finally locating and reconciling with her father.
        This rustic, less developed Armenia demonstrably appeals to Anna. It is an environment that
does not threaten her (literally with the absence of armed street gangs) or undermine her status as a
distinguished French visitor. It allows her to conduct negotiations over her identity on her own
terms enabling her to access a palatable conception of her heritage should she so desire.
Furthermore, the resolution of her relationship with Barsam (coupled with her indulgence of
Annali Online di Ferrara - Lettere                                                               A. Power
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Manouk) tie in with the comparative comfort she comes to feel amongst the older generation of
natives whose views on Armenian life do not threaten her nascent sense of nostalgia nor her
predetermined viewpoints in relation to the region. Her reconciliation with Barsam occurs as he sits
symbolically in the middle of a road that is reclaimed by nature, the overgrowth of weeds
protruding up to her knees as she walks. He too it transpires is coming to the end of the road and he
resolves to forsake treatment for his illness in order to spend his last days in Armenia.

Conclusion

Any analysis of transnational French travel cinema must first make allowances for the interstitial
relationship between the national and the transnational, a relationship described by Hamid Naficy in
his exposition of «accented» cinema as being «simultaneously local and global»22. For Naficy, such
accented films comment upon Diaspora and transnationalism by «expressing, allegorizing,
commenting upon, and critiquing the home and host societies and cultures and the deterritorialized
conditions of the filmmakers»23. Outward movements of this kind have led to multicultural societies
such as France, yet the yearning for “home”, though constantly re-imagined, as seen in the work of
Bhabha, Naficy and Bauman, remains a salient feature of postmodernity, particularly for those who
are split between two homes and separate modes of belonging. By focusing on movement, the road
movie provides a moving platform to articulate how this longing might manifest itself. In putting
physical distance between protagonists and their homes, travelling loosens also the securities,
familiarities and restrictions imposed by familiar environments, allowing opportunities to explore
questions of identity. In the case of Exils, a sense of restlessness lingers over the closing credits as
Naima and Zano struggle to reconcile the realities of their ancestral homes with their own hopes
and expectations. Like in Voyage, we see only a brief glimpse of France, Gatlif instead electing to
privilege the journey. A key difference instead, is how France is depicted in those respective
opening scenes. Where Anna lives prosperously by the sea in Marseille, Zano and Naima reside in a
nondescript banlieue towerblock, which stands in for Paris and France as a whole. Their naked
bodies almost implore us to divest them with meaning; they are quite literally stripped bare. Unlike
Anna, they do not have a determined sense of self when they set out. Nor have they reconciled their
misgivings by the film’s end. Instead, their journey to Algeria will flesh out the contradictions of
their postcolonial background through the places they encounter and their interactions with others,
yet «despite their flirtation with nomadic identities their relation with actual marginalized people is
affected and over-determined by social and economic historically-grounded structures of power»24.

22
   NAFICY (2001, 4).
23
   Ibid. 5.
24
   CAPUSSOTTI – ELLENA (2010, 235).
Annali Online di Ferrara - Lettere                                                                 A. Power
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The tragedy of Naima and Zano’s journey is that they struggle to adapt to either France or Algeria,
«I feel like a foreigner from everywhere» the former opines having reached Algiers. In Voyage
instead, Anna succeeds in remaining proudly French and accessing a form of Armenian heritage
that is amenable to her. Her mobility has enabled her to bestride the nation and expose the flaws in
others whose existence echoes hers. Ania Loomba notes that «we cannot appreciate the specific
nature of diverse hybridities if we do not attend to the nuances of each of the cultures that come
together or clash during the colonial encounter»25, yet in Voyage, it is clear that a particular kind of
Armenian culture is being privileged. This is not postcolonial in the true sense of the word because
Armenia was never colonised by France. Instead, the imbalance owes more to economic
discrepancies prevalent in late capitalism. The Armenia that Anna grows to accept by the film’s
conclusion is a rural one, notable for ancient religious sites, folk music and ceremonial dance, one
that does not try to emulate other modern European nations, but is subsumed instead by the ghosts
of the Armenian Genocide. While we witness many aspects of contemporary Armenia, the film’s
narrative agency is granted by Anna, however much her missing father may be her motivation for
travelling. This, in part is a singular difficulty of the genre, one that Eleftheriotis articulates when he
writes that «while the bodies of the travelers are over-invested with mobility and are vital in
mediating and authenticating the travelling experience, those of the locals are expendable,
meaningful only in relation to a movement that eludes them»26. Due to her near omnipresence in the
film, it is inevitable that all of Armenia will be mediated through Anna, all characters rendered
static when set against the irresistible impetus she provides. By journey’s end, Armenia is left in her
wake, its traditions, complexities and politics relative only in the context of how its departing hero
elects to conceive of them.


Aidan Power
Universität Bremen
Institut für Kunstwissenschaft und Kunstpädagogik
Raum B3890
Fachbereich 9
Enrique-Schmidt Str.
7 28359 Bremen
power@uni-bremen.de




25
     LOOMBA (1998, 151).
26
     ELEFTHERIOTIS (2010, 123).
Annali Online di Ferrara - Lettere                                                       A. Power
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Annali Online di Ferrara - Lettere                                                      A. Power
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