Golden Apricot Daily - 2015, Day 1 & 2

Page 1

DAILY

DAY 1&2, SUNDAY/MONDAY, JULY 12/13

§ÎáñǽǦ 5-ñ¹ ï³ñ»¹³ñÓÁ

§¸áñ³ ϳ٠ٻñ ÍÝáÕÝ»ñÇ ë»é³Ï³Ý ݨñá½Ý»ñÁ¦

гñó³½ñáõÛó. ø»Ûë ê˳÷

Interview Kees Schaap

Torn Apart, Grown Apart

A History of Violence ´éÝáõÃÛ³Ý å³ïÙáõÃÛáõÝ

Truth and Reconciliation

GOLDEN APRICOT DAILY | DAY 1&2 | 12/13 JULY | 2015

2 Ă?ù³¡Ă‡Ăą/program ÑåþÉÇÍÇ 12 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³üåþÛï š³Ă‘ÉÇ×/ Moscow Cinema, Blue Hall 11:00

ÑåþÉÇÍÇ 13 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³üåþÛï š³Ă‘ÉÇ×/ Moscow Cinema, Blue Hall 10:00

Lang.: German, Subt.: English

Arg, 97’ / FC

Lang.: Spanish, Subt.: English 15:00 ; 4 /The Act of Killing / Joshua Oppenheimer Dnk/Nor/UK, 158’/ NA

Lang.: Indonesian, Subt.: English and Armenian

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³ùÙÇù š³Ă‘ÉÇ×/ Moscow Cinema, Red Hall

/Ixcanul

/Jayro Bustamante Gtm/Fra, 91’ / FC

Lang.: Kaqchikel, Subt.: English 12:00

/Zurich /Sacha Polak Nld/Bel/Deu, 89’ / FC

Lang.: Dutch/English/German, Subt.: English 14:00 / The Missing Picture /Rithy Phan Fra/Khm, 90’/ NA

Lang.: French, Subt.: English and Armenian

11:00 # ($ " $ ")/How to Cross (From Jiliz to Jiliz) ! " , ! " /Sona Kocharyan, Marine Kocharyan Arm, 15’/ AP

Lang.: Armenian, Subt.: English % /Somewhere Beautiful # $

% & ' /Albert Kodagolian USA/Arg, 75’/AP

Lang.: English/Spanish, Subt.: English and Armenian

16:00

' / * + ' Press Conference/Meeting with Ornella Muti 17:00 - /Don’t Tell Me the Boy Was Mad $ ( & ' /Robert GuÊdiguian Fra, 134’/OF

Lang.: French/German/Armenian, Subt.: English and Armenian

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ× 1/ Moscow Cinema, Small Hall 1

Rus, 30’/SC

Arm, 15’/AP

% /Chelleh 0 + & /Davood Khayyam

Lang.: Armenian, Subt.: English

Irn, 20’/SC

' 0 #, /Moskvich, My Love # $ 3 / Aram Shahbazyan

Arm, 64’/AP

Lang.: English, Subt.: Armenian

5 * 6 4 / Return or We Exist # " / Armen Khachatran Arm, 52’/AP

Lang.: Armenian, Subt.: English 8 9 /Family Album * +

- ) / Hovhannes Ishkhanyan Arm, 35’/AP

Lang.: Armenian/Russian, Subt.: English

Arg, 97’/FC

Lang.: Spanish, Subt.: English and Armenian

Che, 92’/FC

Lang.: German, Subt.: English and Armenian

0* /Avdo’s Car 0 % 1 /Dmitry Kesayants

17:30 ;0 /Swann in Love 2 & /Volker SchlĂśndorff

Ă?³Û³Íï³Ă? Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, VIP š³Ă‘ÉÇ×/ Hayastan Cinema, VIP Hall

Fra/Deu/Che, 93’ / DC

Lang.: French/German, Subt.: English

10:30

< 0 # /Not Here to be Loved 3 / StÊphane BrizÊ Fra, 93’/FNC

Lang.: French, Subt.: English and Armenian 22:00 0 = > ? 0 /A Pigeon Sat On a Branch Reflecting On Existence # & /Roy Andersson Swe/Nor/Fra/Deu, 100’/YP

Lang.: Swedish/English, Subt.: English and Armenian

Geo/Fra/Deu, 85’/DAB

Lang.: Georgian, Subt.: English and Armenian

Can, 72’ / DC

Lang.: no dialogues, Subt.: no subtitles 14:30 X /Nahapet * . /Henrik Malyan Arm, 91’ / WE

Lang.: Armenian, Subt.: English 16:30 < / Delivery 2 3 0 + /Frunze Dovlatyan Arm, 142’ / WE

Lang.: Armenian, Subt.: English

Ă?³Û³Íï³Ă? Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, Ă˜ÂťĂ? š³Ă‘ÉÇ×/ Hayastan Cinema, Big Hall

5 4 /Line of Credit # /Salome Alexi Only for Jury Geo/Fra/Deu, 85’/DAB

Lang.: Georgian, Subt.: English

19:00 < 9 " = /As We Were Dreaming # & 0 3 /Andreas Dresen Fra/Deu, 117’/GNC

Lang.: German, Subt.: English and Armenian

12:30 40 j /40 Days of Silence & - + /Saodat Ismailova Only for Jury Uzb/Tjk/Nld/Fra/Deu, 88’/DAB

Lang.: Tajik, Subt.: English

21:00 V q /Ben Zaken ! / Efrat Corem Isr, 92’/DAB

Lang.: Hebrew, Subt.: English and Armenian

Lang.: Serbian, Subt.: English 12:00, 20:00 V 4 /Cora Beluga . & ; /Enrique de Tomås Spa, 14’/SC

Lang.: Spanish, Subt.: English : */Fever - < 1= /Ira Ustelentseva Ukr, 16’/SC

Lang.: Ukrainian, Subt.: English #` 0 > /All For Sale 2 & > /Farhad Gholami

Arm/Fra/Rus, 87’/AP

Lang.: Armenian, Subt.: English 19:00 5 * 6 * 7 / Back to Gurun #& ( ' /Adrineh Gregorian Arm, 64’/AP

Lang.: English, Subt.: Armenian . # ] / Film Sound 3 % , # & /Cesar Gananian, Alexandre Moura Bra, 9’/AP

Lang.: no dialogues, Subt.: no subtitles

Irn, 16’/SC

# 4 Q 0/Getting Fat in a Healthy Way (= ' # /Kevork Aslanyan

USA, 59’/WE

Lang.: Persian, Subt.: English

Bgr, 22’/AP

Lang.: English, Subt.: Armenian

Q # /Femoral Neck Might Be Serious ' 0 ) /SergeiDakhin

Lang.: Bulgarian, Subt.: English and Armenian

7 = /The River Ran Red * . $ / Michael Hagopian

15:30 /The Creation of Meaning 7 3 & % 3 + / Simone Rapisarda Casanova Can/Ita, 90’/DC

5 4 /Line of Credit # /Salome Alexi

* / Transatlantic 2 0 -6 7 /Felix Dufour-Laperrière

14:00

Lang.: Italian, Subt.: English and Armenian

17:00

13:00

Prt, 104’/DC

Lang.: Portuguese, Subt.: English

Fra/Deu, 110’/R

20:00

' # = # /While They Were Flying to the Moon + "/Borisa Simovic Srb, 21’/SC

@ #/Fish Tail 4 .

, 5 6 / Joaquim Pinto, Nuno Leonel

Lang.: French, Subt.: English and Armenian

11:00 7 * /A German Youth 4 -( $ /Jean-Gabriel Periot

12:00

Arm, 33’/T

22:00 ! " /Dora or The Sexual Neuroses of Our Parents /Stina Werenfels

Lang.: English/Arabic, Subt.: English

: /The Priest’s Promise * . ' /Henrik Margaryan

Lang.: Armenian, Subt.: English

/The Fire /Juan Schnitman

Lang.: Persian, Subt.: English

15:30

Lang.: Indonesian, Subt.: English and Armenian

20:00

; 0 /A Syrian Love Story

/Sean McAllister UK, 80’/DC

12:00

Arm, 32’/T

Lang.: French, Subt.: English and Armenian

# ($ " $ ")/How to Cross (From Jiliz to Jiliz) ! " , ! " /Sona Kocharyan, Marine Kocharyan

Lang.: Russian, Subt.: English

Dnk/Fin/Idn/Nor/UK, 99’ NA

/Caprice /Emmanuel Mouret

17:00

5 * 6 * 7 / Back to Gurun #& ( ' /Adrineh Gregorian

Lang.: Armenian, Subt.: English

Fra, 100’ / FNC 14:00

Q 0 Q / The End of Epoch : + /Sophia Chernesheva

Ă?³Û³Íï³Ă? Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ×/ Hayastan Cinema, Small Hall

Lang.: Armenian, Subt.: English

/The Look of Silence /Joshua Oppenheimer

18:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ× 2/ Moscow Cinema, Small Hall 2 10:00, 18:00

10:00

Pol, 30’/AP

Che, 92’/ FC

/The Fire

/Juan Schnitman

10:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ× 1/ Moscow Cinema, Small Hall 1

. 00 4 /Shepherd’s Song ) / Vahram Mkhitaryan

! " /Dora or The Sexual Neuroses of Our Parents /Stina Werenfels

13:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³ùÙÇù š³Ă‘ÉÇ×/ Moscow Cinema, Red Hall

Rus, 12’/SC

Lang.: Russian, Subt.: English

êÇĂ?Ù³ ĂŤĂƒ³ù/ Cinema Star

17:30 Homo Politicus/Homo Politicus * 8 /HacÄą Orman

19:00

21:00 X Q 4 9 > 0 * /The Man in the Orange Jacket * . % 7 /Aik Karapetian Lva/Est, 71’/AP

Lang.: Latvian/Russian, Subt.: English and Armenian 8 9 / Family Album * +

- ) /Hovhannes Ishkhanyan

Tur, 20’/WE

Arm, 35’/AP

Lang.: German, Subt.: English and Armenian

Lang.: Armenian/Russian, Subt.: English

' * / Our Atlantis # / Arthur Sukiasyan Arm/Fra/Tur, 83’/WE

\ "/Map of Salvation # $ 3 / Aram Shahbazyan

Lang.: Armenian/Turkish, Subt.: English and Armenian

Arm, 94’/WE

Lang.: Armenian

ºù¨³Ă?Û³Ă? ¡Ă‡Ă&#x;ùĂ?ù äåÕåÍÛ³Ă? ³Û¡Ă‡Ă?ùåþĂ™/ Yerevan Nights at Poghosyan Gardens

20:00 7 * /A German Youth 4 -( $ /Jean-Gabriel Periot

21:00

21:00

' * /Tangerines ? 3 < @ /Zaza Urushadze

/Ararat # ' /Atom Egoyan

Fra/Deu/Che, 93’/DC

Est/Geo, 90’/YP

Lang.: French/German, Subt.: English and Armenian

Lang.: Estonian/Russian/Georgian, Subt.: English and Armenian

Lang.: English/Armenian/French/ German/ Turkish, Subt.: English and Armenian

Can/Dra, 115’/WE

GOLDEN APRICOT DAILY ĂŠĂ™Ο³¡Ă‡ĂąĂ?ù` ĂšĂĄĂŤĂƒ ´ùåùĂ?, ²ùĂƒåþù ϳùšĂ‡Ă?Û³Ă?

Editors: Joost Broeren & Artur Vardikyan

²Ă&#x;Ă‹³ï³Ă?³½Ă™` Ă˜³ùÇÍĂ?Âł œùĂ›Ă­Ă‰ÂťĂ?š, Ă˜³ùÇĂ?Âť ĂœĂ›åþšåùá

Staff: Mariska Graveland, Maricke Nieuwdorp

Ă?ÕÇĂ?ÂłĂ?Ă?ù` êÇù³Ă?åþÛĂ&#x; œ³Ă‰ĂŤĂŻĂ›ÂłĂ?, Ă˜³ùdz ÂåÚÙ³çÛ³Ă?, ĂŽ³ùĂ? ²íïÇÍÛ³Ă?

Contributors: Karen Avetisyan, Artsvi Bakhchinyan, Siranush Galstyan, Maria Toqmajyan

êùΟ³¡ùÇãĂ?ùª Ă˜³ùÇĂ?Âť Ă”³ù³Ă‹ÂłĂ?Û³Ă?, èÇÙ³ ²Ă•ÂťĂ?Û³Ă? ¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă?

Design: Gayane Grigoryan

œÉ˳íåù ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ?

General Coaching Adviser: Peter van Bueren

Îü³¡ùí³Ă? Âż §ĂœĂĄĂ›Ă›ÂłĂ? γü³Ă?ÂŚ êäĂ€-åþÙ

Printer: "Noyyan Tapan" Ltd.

GOLDEN APRICOT DAILY | DAY 1&2 | 12/13 JULY | 2015

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GOLDEN APRICOT DAILY | DAY 1&2 | 12/13 JULY | 2015

4 ·ñ³ËáëáõÃÛáõÝÝ»ñ

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GOLDEN APRICOT DAILY | DAY 1&2 | 12/13 JULY | 2015

interview 5

Kees Schaap Could a Turkish or Armenian filmmaker have made Blood Brothers? No, because both sides think you should not listen to the other. This was less sensitive for me as an outsider. But along the way, I started to understand of this big trauma - even I had underestimated the pain and suffering of the Armenians.

²Ûë ï³ñÇ ÷³é³ïáÝÁ Ý»ñϳ۳óÝáõÙ ¿ »ñÏáõ Íñ³·Çñª ÝíÇñí³Í гÛáó »Õ»éÝÇ 100ñ¹ ï³ñ»ÉÇóÇÝ: ºÃ» §²ÛÉ¨ë »ñμ»ùÁ¦ Ï»ÝïñáݳÝáõÙ ¿ ³ÛÉ ó»Õ³ëå³ÝáõÃÛáõÝÝ»ñÇ íñ³ (ï»ëª ¿ç 3), ³å³ §Ø»Ýù ϳÝùÁ¦ ѻﳽáïáõÙ ¿ Ñ»Ýó ѳÛáó áÕμ»ñ·áõÃÛ³Ý Ñ»ï ϳåí³Í ËݹÇñÝ»ñÁ: §²ñÛáõݳÏÇó »Õμ³ÛñÝ»ñ¦ μ³½Ù³ë»ñdzÝáó Ñ»éáõëï³ýÇÉÙáõÙ Ñáɳݹ³óÇ é»ÅÇëáñ ø»Ûë ê˳÷Á ¹Çï³ñÏáõÙ ¿ ѳñóÁ ·ñ»Ã» μáÉáñ ³ÝÏÛáõÝÝ»ñÇó: üÇÉÙÁ í³í»ñ³·ñáõÙ ¿ Ñáɳݹ³óÇ Ãáõñù Éñ³·ñáÕ êÇÝ³Ý æ³ÝÇ ¨ ²ñ³ гÉÇãÇǪ ѳÛÏ³Ï³Ý ³ñÙ³ïÝ»ñáí Ñáɳݹ³óÇ ¹»ñ³ë³ÝÇ ×³Ù÷áñ¹áõÃÛáõÝÁ, ¨ û ÇÝãå»ë »Ý Ýñ³Ýù ½ñáõóáõÙ ³½·³Ï³ÝÝ»ñÇ, å³ïÙ³μ³ÝÝ»ñÇ ¨ íϳݻñÇ Ñ»ï, Ëáñ³ÝáõÙ ³ñËÇí³ÛÇÝ ÝÛáõûñÇ Ù»ç ¨ áõÕ¨áñíáõÙ ¿³Ï³Ý í³Ûñ»ñ: ²ÛëåÇëáí Çñ»Ýù áõ½áõÙ »Ý ·ïÝ»É ×ßÙ³ñïáõÃÛáõÝÁ 1915 Ãí³Ï³ÝÇ Ù³ëÇÝ: ƱÝãÝ ¿ ³Û¹ù³Ý ³é³ÝÓݳѳïáõÏ ¹³ñÓÝáõÙ êÇݳÝÇ áõ ²ñ³ÛÇ ÙÇáõÃÛáõÝÁ: ²ñ³Ý Ç٠ѳݹÇå³Í ³ÛÝ »½³ÏÇ Ñ³Û»ñÇó ¿, áí ·ñ»Ã» áãÇÝã ã·Çï»ñ гÛáó ó»Õ³ëå³ÝáõÃÛ³Ý Ù³ëÇÝ: ²Ûë ³éáõÙáí ݳ ÉÇáíÇÝ Ñ³Ù³å³ï³ë˳ÝáõÙ ¿ñ ýÇÉÙÇ Ùï³ÑÕ³óÙ³ÝÁ: ºë Ýñ³Ý ÃáõÛÉ ã»Ù ïí»É ϳñ¹³É áñ¨¿ å³ïÙ³Ï³Ý ï»Õ»ÏáõÃÛáõÝ, áñå»ë½Ç Ù»Ýù ϳñáճݳÝù áñë³É Ýñ³ ½·³óÙáõÝùÝ»ñÁ, »ñμ ݳ Çñ ѳٳñ Ïμ³ó³Ñ³ÛïÇ Çñ ÅáÕáíñ¹Ç ¹³éÁ å³ïÙáõÃÛáõÝÁ: ²ñ¹ÛáõÝùÁ ÑáÛ³Ï³å ¿ñª ³é³çÇÝ ÇëÏ ¹ñí³·áõ٠ݳ ³ñ¹»Ý ѳí³ùáõÙ ¿ ÙÇ ù³ÝÇ áõë³ÝáÕÝ»ñÇ, áñå»ë½Ç Ý»ñϳ۳óÝ»Ý ò»Õ³ëå³ÝáõÃÛ³ÝÁ ÝíÇñí³Í ÙÇ »ñ³Åßï³Ï³Ý ëï»Õͳ·áñÍáõÃÛáõÝ: ê³ Çñ³Ï³Ý ½·³óÙáõÝù³ÛÇÝ ÷áñÓáõÃÛáõÝ ¿ñ Ýñ³ ѳٳñ: êÇݳÝÁ, áí ɳí³ï»ÕÛ³Ï ¿ñ ûٳÛÇÝ áõ ÁݹáõÝáõÙ ¿ñ ò»Õ³ëå³ÝáõÃÛ³Ý »Õ»ÉáõÃÛáõÝÁ, ϳñÍáõÙ ¿ñ, áñ ýÇÉÙÇ Ýϳñ³Ñ³ÝáõÙÝ»ñÝ ³Û¹ù³Ý Ù»Í ½·³óÙáõÝù³ÛÇÝ ³½¹»óáõÃÛáõÝ ã»Ý ÃáÕÝÇ Çñ íñ³: ¸ñ³ ѳٳñ ¿É »ë Ëݹñ»É ¿Ç, áñ ݳ Ñݳñ³íáñÇÝë ß³ï ϳñ¹³ Ãáõñù³Ï³Ý ù³ñá½ãáõÃÛáõÝ: ºí ݳ ³Ï³Ù³ ëÏë»É ¿ñ ϳëϳͻɪ ³ñ¹Ûá±ù ѳۻñÇ å³ïÙ³ÍÝ»ñÁ ×ßÙ³ñÇï »Ý: ²Ûë ϳëϳÍÝ ³ÝÙÇç³å»ë ɳñí³ÍáõÃÛáõÝ ¿ñ ëï»ÕÍ»É Ýñ³Ýó ÷áËѳñ³μ»ñáõÃÛáõÝÝ»ñáõÙ: ºÕ³Ý ݳ¨ ³ÛÝåÇëÇ ½³ñ·³óáõÙÝ»ñ, áñáÝù »ë ã¿Ç ϳñáÕ Ï³Ý˳ï»ë»É: úñÇݳϪ û ÇÝã ³½¹»óáõÃÛáõÝ ÏÃáÕÝ»ÇÝ Ñ³ë³ñ³Ï Ù³ñ¹Ï³Ýó ÏÛ³ÝùÇ å³ïÙáõÃÛáõÝÝ»ñÁ êÇݳÝÇ íñ³: ܳ ³Ûó»É»ó ³ÛÝ μݳϳí³ÛñÁ, áñï»ÕÇó ë»ñáõÙ ¿ñ Çñ ÁÝï³ÝÇùÁ, áñï»Õ ÙÇ³Å³Ù³Ý³Ï Ñ³½³ñ³íáñ ¹Ç»ñ ¿ÇÝ Ý»ïí»É º÷ñ³ï: гí³Ý³μ³ñ Ýñ³ å³å»ñÝ áõ ï³ï»ñÁ ³Ï³Ý³ï»ë ¿ÇÝ »Õ»É ³Û¹ ³Ù»ÝÇÝ, ¨ ³Û¹ ѳݷ³Ù³ÝùÁ ß³ï ¿ñ Ñáõ½»É Ýñ³Ý: àõß³·ñ³í ¿, áñ ³Ûë ýÇÉٳ߳ñÇ Ùï³ÑÕ³óáõÙÁ ͳ·áõÙáí Ãáõñù êÇݳÝÇÝÝ ¿ñ: ÆëÏ ÇÝãá±õ Ñ»Ýó ÇÝùÁ ãáõ½»ó³í é»ÅÇëáñÁ ÉÇÝ»É: Ü³Ë Ý³ ѻﳽáïáÕ ¿, ¨ á㪠é»ÅÇëáñ: ´³óÇ ¹ñ³ÝÇóª ݳ áõ½áõÙ ¿ñ, áñ ýÇÉٳ߳ñáõÙ »ñÏáõ Ñ»ñáëÝ»ñÇ ï»ë³Ï»ïÝ»ñÝ ¿É ѳí³ë³ñ³ã³÷ ϳñ¨áñ ÉÇÝ»ÇÝ: ÆëÏ »Ã» ¹áõ ÇÝù¹ »ë ýÇÉÙÇ é»ÅÇëáñÁ, ù»½ ãÇ Ñ³çáÕíÇ Ñ³ëÝ»É ³Ûë Ýå³ï³ÏÇÝ: ÆÝãå»±ë ¿ÇÝ Çñ»Ýó ½·áõÙ ²ñ³Ý áõ êÇݳÝÁ Ýϳñ³Ñ³ÝáõÙÝ»ñÇ Å³Ù³Ý³Ï: Üñ³Ýó ѳٳñ Çñáù ¹Åí³ñ ¿ñ: гëϳݳÉÇ å³ï׳éÝ»ñáí ϳñ ɳñí³ÍáõÃÛáõÝ, ¨ Ýñ³Ýù »ñÏáõëÝ ¿É ·Çï»ÇÝ, áñ ëïÇåí³Í »Ý Çñ»Ýó ½·³óÙáõÝùÝ»ñÁ óáõó³¹ñ»É ï»ë³ËóÇÏÇ ³éç¨: ºë Ýϳï»óÇ, áñ »ñÏáõëÝ ¿É Å³Ù³Ý³Ï ³é Å³Ù³Ý³Ï ÇÝùݳÙ÷á÷ ¿ÇÝ ¹³éÝáõÙ ª ³ë»ë áõ½áõÙ ¿ÇÝ ³½³ïí»É ¹ÇÙ³óÇÝÇ ½·³óÙáõÝù³ÛÇÝ ×ÝßáõÙÇó: ´³Ûó¨³ÛÝå»ë Ýϳñ³Ñ³ÝáõÙÝ»ñÇ Å³Ù³Ý³Ï Ýñ³Ýó μ³ó³Ñ³ÛïáõÙÝ»ñÇ ÁÝóóùÁ ÙÇßï μ³ó ¿ñ ¨ áõß³¹ñáõÃÛ³Ý Ï»ÝïñáÝáõÙ: ²Ù»Ý³·»Õ»óÇÏ å³ÑÝ ³ÛÝ ¿, áñ ³Ûë ýÇÉٳ߳ñÇÝ Ù³ëݳÏó»Éáõ ÑÇÙÝ³Ï³Ý ¹ñ¹³å³ï׳éÁ »ñÏáõëÇ Ñ³Ù³ñ ¿É »Õ»É ¿ ѳßï»óáõÙ ³å³Ñáí»ÉÁ: Üñ³Ýù áõ½áõÙ ¿ÇÝ ³ÝÏ³Ë ³Ù»Ý ÇÝãÇóª ß³ñáõÝ³Ï»É ÙÝ³É ÁÝÏ»ñÝ»ñ: ºí μ³ñ»μ³Ëï³μ³ñ ¹³ Ýñ³Ýó ѳçáÕí»ó: Þ³ï ïå³íáñÇã ¿ í»ñçÇÝ ï»ë³ñ³ÝÁ, áñï»Õ ¹áõù ѳݹÇåáõÙ »ù гÛáó ó»Õ³ëå³ÝáõÃÛáõÝÁ í»ñ³åñ³Í ÙÇ Ù³ñ¹áõª Ýñ³ »ñ¨³ÝÛ³Ý ï³ÝÁ: Îå³ïÙ»±ù Ó»ñ ½·³óÙáõÝùÝ»ñÇ áõ ïå³íáñáõÃÛáõÝÝ»ñÇ Ù³ëÇÝ: ø³ÝÇ áñ Ù»Ýù ½·³óÇÝù, áñ г۳ëï³ÝáõÙ ³åñáÕ ï³ñ»ó Ù³ñ¹ÇÏ ß³ï ³í»ÉÇ μ³ó »Ý ¨ ¹ñ³-

Interviews with international historians introduce different perspectives. These scenes are carefully threaded through the key emotional moments. How did you work on that? This historical line, from the rise of Turkish nationalism through the Armenian genocide to its aftermath, forms the backbone of the six episodes. We used this historical knowledge to try to figure out what could happen at every location: Should we meet some locals? Do we need an expert’s historical perspective? Or will the moments between Ara and Sinan be most important? The combination works because we used history to back up and frame their personal stories. The challenge was to find story developments through which the audience would naturally become interested in the history through the experiences Ara and Sinan have.

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This year the festival presents two programs commemorating the Armenian Genocide centennial. While Never Again focuses on other genocides (see page 7), We Exist investigates issues surrounding the Armenian Genocide itself. In his television series Blood Brothers, Dutch director Kees Schaap puts almost every aspect on the table. The film is a documentary road trip, showing how Sinan Can, a Dutch-Turkish journalist, and Ara Halici, a Dutch musical actor with Armenian roots, confront their own family members, talk to historians and witnesses, delve into archival sources and travel to significant locations. In this way they try to find out the truth about what happened around 1915. What made the combination of Sinan and Ara so special? Ara’s theatre-life was very happy-go-lucky. In fact, he was one of the few Armenians I met who had hardly any knowledge of the genocide. This was perfect for us, and I would not let him read any historical information before we started filming, so we could record his emotions as he discovered the painful history of his people. The effect was remarkable: in the very first episode he already brings together some students to perform a musical piece about the genocide. It was a real emotional rollarcoaster for him. Sinan, who knew a lot about the subject and acknowledged the genocide, thought he wouldn’t be that emotionally involved. So I asked him to read a lot of Turkish propaganda. Involuntarily, he began to wonder whether the Armenians were really telling the truth. Almost instantly, this created tension between them. Certainly there were developments that I could not have predicted. The effects that personal stories would have on Sinan, for example. He visited the area his family was originally from, the same region where thousands of corpses once lay rotting in the river Euphrates. His grandparents must have lived through this, which touched him immensely. Remarkably, the initiative for the series came from the Turkish Sinan. Why did he not direct it himself? He’s a researcher and a TV journalist, first and foremost. Also, he wanted to show this search in a way that made both perspectives equally important. The main characters had to change in front of the camera, to confront other people as well as each other, and deal with their own inner conflicts. You can’t do all that when you’re also directing.

How did Sinan and Ara feel during filming? It was really tough on them. Understandably, there were tensions along the way, and they both knew they had to show their emotions on camera. I noticed that both of them regularly withdrew a little bit, to get away from each other’s emotions for a while. But during shooting their search was always very open and focused. The beauty of it was that for both men, the motivation to participate in the series was reconciliation. They wanted to keep thinking of the other as a friend. Luckily enough, they succeeded. The final scene, in which you meet a survivor of the Armenian genocide in his Yerevan home, is very special. How did you experience that recording? As we felt that the elderly in Armenia are somewhat more open to the idea of reconciliation, we hoped that we could find a survivor who might be willing to shake hands. How naive we were! We found Papi Movzes and his wife, and we sat with them in their garden, talking for a long time. Because Sinan and I don’t speak Armenian, we did not realize at the time how much resistance Movzes actually had to the idea. He absolutely was not going to forgive anything. He understood very well what it means to forgive a Turk as an Armenian in front of a television camera. Things almost took a wrong turn when I noticed that his wife was starting to hyperventilate. My first reaction was: we have to leave, one of them might have a heart attack - which would have meant Movzes would have died because of a Turk after all. But it was great that he made reconciliation possible in the end. It came from his heart. He thought that future generations should not have to suffer any more. That was so beautiful! How was Blood Brothers received by the audience, and especially the large Turkish diaspora in the Netherlands? When we finished filming, we approached the Dutch intelligence service, and they told us to expect the worst. But remarkably, when the series was broadcast nothing happened - there were no threats or demonstrations, no bricks thrown through our windows. There were some angry reactions. but mostly there was a dialogue - something we really embraced. After watching the series, even the most nationalist Turks recognized that Sinan really was open to both points of view, and that Turks are not simply dismissed as bad people in the series. I hope Armenian television will broadcast Blood Brothers at some point, because it also offers new insights to Armenians. Of course, one can only start to think about forgiveness when people have recognized the genocide, that’s clear. But if you also get to know the stories of good Turks then maybe, as an Armenian, you can heal a little too. MN The 6-part series Blood Brothers will be screened in blocks of two episodes each on Wednesday, Thursday and Saturday.

GOLDEN APRICOT DAILY | DAY 1&2 | 12/13 JULY | 2015

6

reviews

A History of Violence Don’t Tell Me the Boy Was Mad (Robert Guédiguian, France, 2015), 12-7 17:00, 19-7 18:00, Moscow Cinema, Red Hall On December 29, 1980 Spanish journalist José Antonio Gurriarán entered a phone booth to call his wife. They were going to see the new Woody Allen film together, and Gurriarán wanted to check whether he’d got the time right. As soon as he put the phone down, an explosion at the nearby Swissair and TWA headquarters knocked him off of his feet. In the hospital Gurriarán learned that Armenians were responsible for this terrorist attack. Why would anyone do this? The question wouldn’t leave his head, so he went in search of the leaders of the Armenian Secret Army for the Liberation of Armenia to get some answers. All of this is described in detail in his book La bomba, one of the inspirations for Robert Guédiguian’s new film Don’t Tell Me the Boy Was Mad (the original French title Une histoire de fou, meaning “a crazy story”, is far less enigmatic). The film opens in Berlin on March 15, 1921, when Talaat Pasha, one of the masterminds of the 1915 events, gets shot in the head by Genocide survivor Soghomon Tehlirian, before jumping to events

in the late 70’s. Like Gurriarán, French-Armenian director Guédiguian attempts to trace and explore the roots of this history of violence, doing so in a systematic and leisurely manner, like a professor reading a lecture on Armenians in the 20th century. This isn’t Guédiguian’s first time reflecting on the history of his people. Most notably there was 2006’s Trip to Armenia, in which actress Ariane Ascaride (the director’s wife) portrayed a French-Armenian woman embarking on a journey to Armenia in search of her father. And in Army of Crime (2009),

Guédiguian told the story of World War II resistance fighter Missak Manouchian, an Armenian Genocide survivor played by French-Armenian actor Simon Abkarian. The same actor is also present in Don’t Tell Me the Boy Was Mad. He plays Hovannes, the father of an Armenian family, descendants of Genocide survivors. Hovannes is trying to lead a peaceful life in Marseille, providing for his family as a shopkeeper. But his son Aram (Syrus Shahidi) believes an Armenian can’t sleep soundly while Turkey continues to deny the genocide and hasn’t returned the historically Armenian lands to their rightful owners. He and a group of friends decide that the only way to bring this issue to international attention is by force. A plot against the Turkish ambassador is executed, but the innocent young man Gilles (Gregoire Leprince-Ringuet) also gets injured, losing the ability to walk. Whereas before the incident Gilles couldn’t even find Armenia on the map, now he wants to understand the motives of the people who ruined his life. While Aram flees to Beirut, Gilles forms a close bond with the boy’s father Hovannes and his wife Anoush (Ariane Ascaride). But what will happen when the perprtrator and the victim will come face to face again? AV

Torn Apart, Grown Apart A Syrian Love Story (Sean McAllister, UK/ France/Lebanon/Syria, 2015), 13-7 10:00, 17-7 20:00, Moscow Cinema, Small Hall 1 The impossibilities of love are explored in many films, but rarely in such a compelling way as in A Syrian Love Story. This riveting documentary wanders along the life path of Syrian couple Amer and Raghda, who met in prison. “I saw her through a hole in the door”, Amer recalls. “She was covered in blood and had a swollen face.” The couple starts a family but are torn apart when the politically active Raghda is imprisoned again, leaving Amer and his two sons behind, desperately longing to see her. However, their reunion is not what they’d imagined. Raghda suffers from her traumatic experiences in prison. “Sometimes she’s crazy and nervous”, Amer confesses to British director Sean McAllister, by then a close friend through filming the couple for years. McAllister started shooting in Syria in 2009, 18 months before the Arab Spring began. He went on a cheerful media tour – Syria was to be the next tourist hot spot – but eventually pointed his camera at Amer and Raghda instead, following this remarkably frank couple closely for several turbulent years. At one point McAllister himself is picked up by Syrian security forces and held for five days, finally coming face to face with the brutality of the Syrian regime. When incriminating video material of Raghda is confiscated, the family has to flea the country, first to Lebanon and on to France, far away from the revolution. But activist Raghda feels aimless there: she can’t be as special in France as she was in Syria, and considers it treason to have abandoned the home country she passionately wants to change. As Amer sighs: “She can’t be Che Guevara and a mother at the same time.” First they were torn apart, now they have grown apart and tragically find themselves in a chilled marriage. The war is now between them. MG

Coexisting with the Sea

Carnal Appetite Dora, or the Sexual Neuroses of Our Parents (Stina Werenfels, Switzerland/ Germany, 2015), 12-7 11:00, 13-7, 22:00, Moscow Cinema, Blue Hall The issues of pregnancy among mentally disabled persons don’t have an easy answer. In her second feature, Swiss director Stina Werenfels takes an honest and subtle approach to this delicate subject, breaking the taboo that still exists around the carnal appetite of mentally disabled persons. More importantly, she delivers a fine collection of sensuous images reflecting the inner world of Dora, an attractive 18-year-old with learning difficulties who discovers

Cracking Up The Fire (Juan Schnitman, Argentina, 2015), 12-7 13:00, 13-7 20:00, Moscow Cinema, Blue Hall What should have been a happy, exciting moment in the relationship of thirtysomethings Lucía and Marcelo ends up becoming a huge bottleneck in their love life. It all starts on the day they’re signing the contract to buy a house. But the appointment gets postponed to the next day. For the outside world, it might be just one lousy day. But when one of Lucía’s coworkers jokes to her: “Now you have an extra day

her sexual desires after she stops taking the medication which numbs her. She soon falls into the hands of a questionable man who’s under the spell of Dora’s unrestrained sensuality. When she becomes pregnant, Dora’s parents are in shock, not in the least because of the animalistic enthusiasm and openness with which Dora embraces sex. Is she exploited or is she making her own choice? Dora’s self-determination is at stake, threatened by her mother’s hypocrisy, who longs for a second, "normal" child herself. The sexual neuroses of the parents simmer in the background. The mother starts off as a cheerful woman, but she gets more and more uncomfortable and weary when her daughter’s sexual encounters become serious. In a poignant dialogue with her exhausted husband she confesses that she would have aborted Dora if she could turn back

time. She is longing for a moment without pain, for a new child of her own, instead of the baby in Dora’s belly. Her disgusted husband turns his back on her: “Nothing is as ugly as a jealous mother.” Based on a theatre play by Swiss-born Lukas Bärfuss, Dora, or the Sexual Neuroses of our Parents gives free rein to some vibrant performances, especially by Victoria Schulz as wide-eyed Dora who gets caught up in self-disgust, resulting in a shocking scene of automutilation. Some earlier scenes are filmed from her subjective perspective, not yet blurred by the adults’ condemning view: she cheerfully blows soap bubbles, is engrossed in eating ice cream, crosses a busy street and finally breaks free from her mother. She is still a child, it seems, but Werenfels treats her like any teenager taking her first steps into adulthood. MG

to think it over”, those words turn out to be truer than she thought. The seemingly small cracks in the relationship turn into big holes fairly quickly, as sadness, frustration and explosive anger come to the surface. Argentinian director Juan Schnitman follows Lucía and Marcelo for the next 24 hours, until their next appointment at the bank. The dynamic shots Schnitman uses, mainly in medium closeup, and the fact that he doesn’t add anything to the soundtrack, make the experience simultaneously intimate and realistic – like having a sneak peak into someone’s very personal life. Actors Pilar Gamboa (Lucía) and Juan Barberini (Marcelo) are completely believable as a couple, with Gamboa especially showing a natural way of portraying even the most

violently emotional outbursts. Relationship drama’s can sometimes be self-indulgent, but this one instead raises moments of recognition, curiosity and perhaps even a tinge of introspection. MN

Fish Tail (Joaquim Pinto & Nuno Leonel, Portugal, 2015), 13-7 12:00, 15-7 16:00, Moscow Cinema, Small Hall 1 On the Portuguese Azores archipelago, there is a town called Rabo de Peixe, or “fish tail”. This is where Portuguese filmmakers Joaquim Pinto and Nuno Leonel made their documentary, which was first commissioned by Portuguese television and filmed between 1998 and 2002. The idea was to create a portrait of the traditional fisherman’s life, which was gradually dying out. But the network ordered the directors to leave out anything which might make the fishermen look bad. Fourteen years later, Pinto and Leonel have created a new version, taking more liberties therefore telling their tale with more ease. The documentary shows day-to-day reality, focussing on life on the island of San Miguel, at the foot of the volcanic mount Pico. It shows people’s serene and peaceful coexistence with the sea. Sublime and noble like the mountains that surround them, these people seem to carry on an daily struggle of life and death to overcome the tremendously potent element lying in front of them – the sea. Throughout the film, the sea becomes a more and more active character. It gives life here its special rhythm, out of synch with our classical perception of time. Here, people live in nature’s eternal, cyclical flow. The filmmakers observe this unhurried reality like outsiders, but do not hesitate to intervene, finding poetic images even with their minimalistic toolkit. As a result, their footage, taken from real people’s lives, becomes vividly human. MT

GOLDEN APRICOT DAILY | DAY 1&2 | 12/13 JULY | 2015

news and reviews 7

Truth! And Reconciliation? It could be said that each of the festival’s two genocide programs embodies half of this year’s festival poster. We Exist represents the exclamation mark, boldly staking a claim for recognition. On the other hand, the title Never Again should probably be read with a question mark: if this program of films about other genocides around the world makes anything clear, it’s that events like these have happened again and again throughout history.

While many of the historical and more recent tragedies dealt with in these films have long been in the public eye, from the Holocaust and WWII to the atrocities committed by the Khmer Rouge in Cambodia in the 1970s, two remarkable films by American director Joshua Opppenheimer lay bare a genocide that for too long has remained invisible. The one-two punch of The Act of Killing and The Look of Silence deals with mass killings in Indonesia during a military coup. In 1965 and 1966, hundreds of thousands of people were killed in little over a year. The perpetrators have never been brought to justice, because they have remained in power up to this day, justifying and papering over their misdeeds. Oppenheimer’s films attempt to break this taboo by each showing one side of the same coin. In The Act of Killing, "history’s winners" literally get to tell their stories, as Oppenheimer invites perpetrators of mass killings to replay their actions in various styles, from a Hollywood thriller to a chilling

To this day, several Armenian shorts from the 50’s and 60’s are considered part of the “golden

musical. They show no remorse, instead focusing on making it all look good. But in small moments expertly captured by Oppenheimer’s camera, you can see them masking their own disgust. The Look of Silence more explicitly pulls at that thread. In this second film, made after the completion of the first but before its release, Oppenheimer allows a victim of the genocide to confront his tormentors. Adi Rukun could be called a descendant of the genocide: he was born in 1967, and conceived as a replacement of sorts for his brother Ramli, who was killed in the genocide. The relationship Oppenheimer had built with the perpetrators through the making of The Act of Killing

foundation” of Armenian cinema. Among these are Henrik Margaryan’s The Priest’s Promise (1964) and the satirical comedy Avdo’s Car (Dmitri Kesayants, 1966), shot by Levon Atoyants. Margaryan’s The Priest’s Promise, the first Armenian film ever to be included in the short film program at Cannes, tells the story of a young priest who urges a hunter only to kill if he makes a cross before shooting his prey.

allowed him to stage confrontations in which Adi very calmly and deliberately asks them to recognize the tragedy that was inflicted on him and millions of his countrymen. But for Adi, these confrontations are not about revenge, as the perpetrators fear, but about finding a way of living together in harmony. After the truth must come reconciliation. JB The Act of Killing (Joshua Oppenheimer, Denmark, 2012), 12-7 15:00, Moscow Cinema, Blue Hall The Look of Silence (Joshua Oppenheimer, Denmark, 2014), 13-7 16:00, Moscow Cinema, Blue Hall

A German Youth (Jean-Gabriel Périot, France/Germany/Switzerland, 2015), 12-7 11:00, 13-7 20:00, Moscow Cinema, Small Hall 1

Swann in Love (Volker Schlöndorff, 1984, France/Germany), 13-7 17:30, 19-7 13:30, Moscow Cinema, Red Hall After winning an Academy Award for his film The Tin Drum in 1979, prominent New German Cinema filmmaker Volker Schlöndorff switched over to European and American big-budget movies featuring international stars. The first result was Swann in Love, released in 1984. Based on the first book in Marcel Proust’s classic French novel series In Search of Lost Time, the film is screening at GAIFF to honor Italian actress Ornella Muti, who plays courtesan Odette de Crecy. Rich, elegant and educated bachelor Charles Swann’s passionate feelings towards Odette turn out to be a fatal love. As played by Muti, the courtesan may possess an angelic beauty comparable to a Botticelli model, but Swann’s elite circles do not

appreciate his choice. Their eventual marriage inevitably leads to his social isolation. Yet he continues to cherish his love for Odette as the most sacred thing he has ever had in life. Schlöndorff succeeded in credibly recreating the fashionable and irreverent milieu of 1890’s Paris’s elite society. Swann in Love isn’t heavy on action; the story mostly unfolds through the dialogues and the gradual revealing of their relationships. If Schlöndorff isn’t always able to communicate the funny side of Proust’s novel, another classic feature of his literature is indeed translated succesfully into the language of cinema: sexuality. For Muti, mostly famous at the time for playing modern Italian women, the role of a courtesan in this classical film was yet another opportunity to showcase her sexual allure, but also to express her gift with the nuances of psychological drama. The character stands up as one of the best in her career. AB A press conference/meeting with Ornella Muti will be held 12-7 14:00, Moscow Cinema, Red Hall.

12-7, various locations. The traditional Apricot Blessing (13:00, St. Anna Church) will constitute the first official act of the 2015 festival. The festivities will then move to Charles Aznavour Square for the unveiling of a Star for famed Armenian director Henrik Malyan at 16:00. But the real party is in the evening, after the screening of the opening film at 17:00 (see opposite page). The red carpet at the State Academic Opera and Ballet Theater of Armenia will be open from 19:30, with the opening ceremony following at 20:00. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 18:50.

Master Class with Rob Nilsson 13-7 15:00, Moscow Cinema, Small Theatre. Armenia’s favorite American director Rob Nilsson is bringing his latest film Bridge to a Border to Yerevan and is giving the first master class of the year. An interview with Nilsson will be published in Tuesday’s daily.

French Film Day

The passionate hunter is faced with a tough choice, and finally opts for priesthood. Avdo’s Car, which tells the satirical story of the first car owner in 1920’s Yerevan, could have been a significant event in the history of Armenian cinema, but was instead destroyed by censors. In the end, the director was able to recover some footage and edit a short film from what was originally going to be a featurelength movie. Neverteless, Levon Atoyants’s interesting camerawork and fine compositions shine through. SG

Fathers and Sons

In Love, Jealous and Lost

Festival guests beware: the opening day of the festival coincides with Armenia’s annual Water Day, when everyone is allowed to throw water on unsuspecting passersby. Try to keep your tuxedo’s dry at the opening festivities!

Opening Festivities

Two Tributes The festival is celebrating the anniversaries of two distinguished Armenian filmmakers: director Henrik Margaryan is 90 and cinematographer Levon Atoyants is 85.

Water Day

In 2010 German director Andres Veiel had the idea to make a documentary about the Red Army Faction (RFA), the radical leftist terrorist group that was active in Germany at the end of the 1960’s. But during preproduction the filmmaker stumbled on an irresolvable issue: the people he would have wanted to interview were long dead, and their relatives and friends refused to talk to him. In the end the director made a fiction film about the subject: If Not Us, Then Who?. Five years later documentary director JeanGabriel Périot has managed to find a solution to Veiel’s problem in making his first film A German Youth: he did away with interviews altogether, and instead relies on archival footage. Considering the fact that RFA leaders have left countless reels of film behind, all Periot had to do was find an intelligent and effective use for them. His main tool therefore is editing, which is done so masterfully that except for a few scenes there is no need for narration. One can almost see Godard peeking around the corners of this documentary collage, and feel the spirit of Michelangelo Antonioni’s Zabriski Point – not surprising considering the period the film is depicting. A German Youth shows how the eternal struggle between sons and fathers once again caused a social and political outburst in the 60’s, and a new rebellion was born. The “fathers” in this case are the people in power, covered in the gloomy shadows of the Nazi past. The “sons”, on the other hand, are a stratum of people who despise the ruling anticommunist, bourgeois system so much that they just have to rebel. KA

The festival program New French Cinema opens with a double bill of French romance on Monday: the opening film of the program Caprice (18:00, Moscow Cinema, Blue Hall) is followed by Not Here to Be Loved (20:00, Moscow Cinema, Red Hall) by Stéphane Brizé, whose latest film The Measure of a Man is screening in GAIFF’s Feature Competition.

Meet the Jury 13-7 21:00, Silky Way (Aygedzor 53). This year’s jury members will be officially presented at an informal meeting before dinner. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 20:30.

Yerevan Nights

13-7 21:00, Poghosyan Gardens. The year’s first open air screening will feature Ararat by the festival’s Honorary Chairman Atom Egoyan.

Midnight Wrap-up 24:00, The Club. Film gurus and GAIFF guests are invited for a daily wrap-up meeting over drinks.

GOLDEN APRICOT DAILY | DAY 1&2 | 12/13 JULY | 2015

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12TH YEREVAN INTERNATIONAL FILM FESTIVAL 12-19 JULY, 2015

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