In Front of Us
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Emma (name is changed) is a judge at the Superior Court in California; Lala is a teacher and single mother from Ejmiatsin, a small town in the Republic of Armenia. By all accounts, their lives would have remained utterly separate if not for the grisly killing of Lala’s older sister and Europe’s first ethnic cleansing since the Yugoslav wars.
Between 2020 and 2023 the Republic of Azerbaijan, a wealthy petro-state allied with Turkey and Russia, undertook a series of successful offensives against neighbouring Armenia and the disputed, ethnic-Armenian populated region of Nagorno-Karabakh. In 2020, Azerbaijan attacked Nagorno-Karabakh and waged a 44-day war capturing much of the disputed region’s territory. In 2022, it attacked Armenia proper, occupying a wedge of territory within Armenia’s internationally recognized borders. The year after that, it began a 9-month siege against Nagorno-Karabakh which ended with the violent expulsion of all 100,000 of the region's residents.
The wars were brutal, with artillery, and drones, beheadings, ethnic cleansing, and genocidal utterings comparing a whole nation to “dogs” and insects. Some of the most terrible crimes committed were published on social media, of which the most infamous was the mutilation of the body of an Armenian woman, who was stripped naked, dismembered, and had curse words carved into her body. That woman, Gayane, was Lala’s older sister.
Since 2020, together with allies like Luis Moreno-Ocampo, the ICC’s first-ever prosecutor, Emma has been working to help the victims of Azerbaijan’s aggression. A descendant of survivors of the Armenian Genocide, and a child of Lebanon’s Civil War, Emma was compelled to act by the new horrors she witnessed, including the video of Gayane. She began to live a double life, presiding over hearings during the day as a judge, and volunteering to help build an international legal case at night — where Lala has become a star witness.
From the courtrooms in California to Armenia’s war-scarred borderlands, to the ICC in the Hague, and to the halls of Congress in Washington DC, our film follows Emma’s and Lala’s inexhaustible fight for some measure of justice. Not only a war/legal drama, the film is also a character study exploring how a judge comes to terms with the limits of law and how a school teacher gripped by personal tragedy gains the courage to challenge, face to face, some of the most powerful people in the world.
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Inna SahakyanDirector
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Vardan HovhannisyanProducer
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Project Type:Documentary
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Runtime:1 hour 20 minutes
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Completion Date:January 1, 2026
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Production Budget:606,230 USD
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Country of Origin:Armenia
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Country of Filming:United States, Armenia, Netherlands, United States
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Language:Armenian, English
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Shooting Format:Digital
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
For over fifteen years, Inna Sahakyan has directed and produced feature-length documentaries, doc series, and shorts that have been broadcast internationally. She focuses on uncovering untold and forgotten stories while exploring the nature of humanity through intimate and innovative filmmaking. Her feature-length debut, co-directed with Arman Yeritsyan, was the award-winning "The Last Tightrope Dancer in Armenia" (2010).
Recently, she completed "Mel," a story about a transgender weightlifter from Armenia. In 2022, her animated documentary about Armenian Genocide survivor and early Hollywood star Aurora Mardiganyan, "Aurora’s Sunrise," became a festival favorite and screened at over 80 festivals, winning several awards, including the Asia Pacific Screen Awards 2022 for Best Animated Film, Movies that Matter 2023 for Special Mention and Audience Award, Audience Favorites at IDFA 2022, Audience Awards at Animation is Film 2022 and FIFDH - International Film Festival and Forum on Human Rights in Geneva 2023 for Grand Prix, among others. Inna has also worked as a producer on several documentaries such as "One, Two, Three" and "Donkeymentary." While working on “In Front of Us,” Inna is also completing an uplifting documentary “Shakespeare Goes Armenian" about a Soviet-era retirement home in Armenia, where the daily strains of old age disappear as the residents stage Shakespeare.
I have lived in Armenia for almost my entire life, and I was in the country when Artsakh was ethnically cleansed, during the war of 2020, and for all of the military conflict in between. I personally know many people who were forced from their homes in 2023.
It was through my previous films that I came to know Emma, and I have secured consent from her for nearly total access. In our cooperation, Emma also grants me complete permission to use her archives and network, including Luis Moreno Ocampo, the former prosecutor of the ICC, among others. Due to my substantial experience in working as a documentary filmmaker in Armenia, I have secured their utmost confidence and trust. Our studio also has its own extensive and unique archive from Artsakh covering the conflict from the 1990s to the present, including frontline footage.
My previous film, “Aurora's Sunrise”, was about Aurora Mardiganian, a teenage survivor of the Armenian Genocide whose selfless actions saved the lives of countless others. I could barely believe that my daughter’s generation would see similar horrors in the 21st century. As an Armenian woman, and as a filmmaker, I feel compelled to make this film. For me, Emma embodies a contemporary version of Aurora—an unwavering advocate against injustice at every level. As a filmmaker, I aspire to align my mission with hers through this film, showcasing the impact one woman can make.
I have built a unique connection with Lala, the film’s other main protagonist. While she has been open to sharing her story for legal purposes, Lala has always refused to speak publicly in the media. Understanding the importance of this film and trusting my delicate approach to the subject, this is the first time she has allowed a camera crew into her and her family’s life. Emma, Lala, and I are all Armenian women. Beyond the typical director-subject dynamic, our relationship is marked by an intimacy born of shared values, historical trauma, and a commitment to addressing it.
Building on the success of my past film, which gave voice to an Armenian Genocide survivor and garnered international acclaim, I have a unique advantage when engaging with victims and witnesses of war crimes. Their confidence in me, a filmmaker with a proven track record of initiating dialogues on human rights, coupled with our shared Armenian identity, fosters trust and rapport.