The massacre was so monumental, the attempt to wipe out an entire culture and ethnicity so savage, that a new word had to be invented to describe it. The word was “genocide,” and while it would be applied many times over the course of the 20th century, it was created to describe the murder of 1.6 million Armenians by the Ottoman Empire (now Turkey) during the first World War. It is difficult to acknowledge that “The Promise,” a love story set during this period is particularly timely, released the week of the annual observance of the annual day of remembrence and the week of a troubling referendum extending the powers of the current leader.

Writer/director Terry George, served time in prison during the time of The Troubles in Northern Ireland and has devoted his life to telling stories of courage in times of the direst periods of unrest and slaughter, including the Oscar-nominated “Hotel Rwanda” and “In the Name of the Father.” With “The Promise,” he tells an epic story of love and loss in wartime, with Oscar Isaac, channelling Yuri Azhivago as soulful Mikael Pogosian, a young Armenian medical student, Christian Bale as determined American journalist Chris Myers, and Charlotte LeBon (“The Walk”), lovely and stirring as Ana, an Armenian artist and governess and the woman they both love.

As it begins, Mikael has agreed to marry a girl in his village in exchange for a dowry that will pay for medical school in Constantinople (Istanbul), where he stays with his uncle’s family, including Ana, governance to his young cousins. In these early scenes, both in the village and the city, George immerses us in an ambiance of sophistication, culture, tolerance, and prosperity. Christians and Muslims, Turks and Armenians, mostly treat each other with respect and easy comfort, even affection.

But that changes quickly as World War I begins. The Ottoman Empire joins the Germans and begins ethnic cleansing, arresting and deporting the intellectuals, forcing able-bodied men into military service or slave labor, throwing everyone else out of their homes and sometimes outright murder. Mikael’s medical exemption from military service is revoked. He is sent to a labor camp but escapes and returns home to find everyone he knows in danger. Although he is by now very much in love with Ana, he goes through with the promised marriage. Meanwhile, Chris is trying to get the story out to the rest of the world and Ana is trying to protect and help her people. All three are swept up in the tumultuous events as people around them show cruelty they could never have imagined possible.

As devastating as the historic events of the film are, the most powerful moments for today’s audiences are the ones that evoke our current conflicts. The treatment of refugees, including an extraordinary rescue effort from France, is in sharp contrast to news footage of today’s refugees, stuck for years, even decades, in perilous limbo before they can find new home, underscored by a reference to the temporary destination for the Armenians evicted from their villages — Aleppo.

Parents should know that this film concerns war and genocide, with extended peril and violence and some graphic and disturbing images. Characters are injured and killed, including an execution, and there are very sad deaths. There is some strong language.

Family discussion: What does this story tell us about today’s treatment of refugees? About how quickly a country can shift its policies on diversity and inclusion? Is survival a form of revenge?

If you like this, try: “Nahapet,” “Ararat,” and “Map of Salvation”