Sergei Parajanov made films the Soviet system didn't know how to categorize. "The Color of Pomegranates" — his 1969 masterpiece — has no conventional plot. It moves through symbols: pomegranates, carpets, birds, sacred objects, ritual. Each image carries weight that language doesn't translate. Soviet authorities suppressed it, arrested him twice, sent him to labor camps. He came out and kept working. The films survived everything they threw at them.The front image is a hand — large, red, pressing against the face. His eyes look through it. That tension is the whole story: the man who could only be fully seen when someone tried to block him. The back is the film itself — his bearded face in red, a pomegranate, a film strip, figures in purple, "ՓԱՐԱՋԱՆՈՎ" in white across the top. Not a portrait. A frame. The design works the way his films did: meaning assembled from pieces that don't explain themselves.