Atom Egoyan's Calendar was shot through a series of lockdown long takes, cutting between shots of Armenian churches and apartments of the Armenian-Canadian who were hired to picture them. The film evolves around Canada "present day" and the Armenian shoot, in recollection.
The desire to comprehend events which led to his wife to be romantically attracted to the driver necessitates him to replay recordings of his trips in an attempt to unravel the truth behind the affair. The technicalities involved with the assignment traps Atom until it makes him indifferent to the actual historic structures explained by the guide. This detachment permits his wife, for whom the trip is a spiritual revelation, to drift away from him.
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A theme of desire for homing stands out in the series of dinners by the photographers of with women of Middle Eastern ancestry. Towards the end of each engagement, his date excuses herself to make a telephone call, a point in which she is portrayed transforming from a calm and polite English-speaking companion to a passionately engaged lady talking to an unrecognized individual in Middle Eastern language.
Additionally, intermingled with the dates with different women of diverse origin, the photographs perform some sought of interviews in a quest to find a woman who will act as a replacement for his wife. The film also explains the role of technology in preservation of beautiful, monumental images of the past, but it also threatens to alienate us from the spiritual essence of the history. This is evident in the manner in which the photography is more concerned and immersed in the job at hand till Atom does not connect with the historical structures selected and built according to specific religious aspects.
