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End

Name: End
Director: Artavazd Peleshian
Released: 1992
Duration: 10 min

Representation Score

1.8/10

Minimal

1992

Director

Artavazd Peleshian

Runtime

10 minutes

Average Rating

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New Showbiz Analysis

Artavazd Peleshian’s *End* is a work of pure cinematic formalism that prioritizes abstract imagery over traditional character-driven mechanics. By transitioning from human faces to landscapes and light, the film serves as a poetic meditation on existence rather than a social commentary. Because the film eschews narrative structure, it lacks the framework to address identity politics, ability to act, or social hierarchies. It does not engage with specific demographic groups or power dynamics, making it a neutral aesthetic experience. Ultimately, the film's diversity lies in its rejection of Western, hero-centric storytelling. It replaces individualistic protagonists with a fragmented, montage-based exploration of time and perception.

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Category Breakdown

Does End have LGBTQ+ representation?

Minimal

Since the film lacks dialogue, character development, or interpersonal relationships, it does not depict sexual orientation or gender identity.

How does End portray gender?

Minimal

The film includes glimpses of human faces but does not establish gendered roles or social dynamics. Without a plot, it does not reinforce traditional masculine or feminine archetypes.

How racially and ethnically diverse is End?

Fair

A montage of faces and landscapes suggests a universal human experience. While it avoids imposing a singular Western norm, it lacks intentional casting that reflects multiple aspects of diversity.

How does End represent religion and culture?

Fair

The film focuses on a secular, existentialist inquiry into the human condition. It avoids specific religious or nationalist institutions, concentrating instead on the cyclical nature of life.

Does End include disability representation?

Minimal

There are no depictions of neurodivergence or physical disabilities. The film focuses on macro landscapes and the micro textures of human faces.

Present on Screen

Rejects traditional Western narrative structures in favor of poetic montage.
Avoids imposing a singular, homogeneous Western norm through fragmented imagery.
Offers a non-dogmatic, secular inquiry into the human condition.

Limited or Absent

Lacks engagement with identity-based power dynamics or social ability to act.
Does not provide intentional representation of specific ethnic or social identities.
Fails to depict neurodivergence, physical disability, or specific gendered roles.

Official Synopsis

Peleshian transforms footage from a train ride into a metaphor for the shape of a life. Early images of faces on the train give way to landscape, a journey through a black tunnel, and a final emergence into pure white light.

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