Golden Apricot Daily - 2016, Day 1 & 2

Page 1

SUNDAY/MONDAY JULY 10/11 2016

DAILY

DAY

1&2

úð²ÂºðÂ

The Real East Æñ³Ï³Ý ²ñ¨»ÉùÁ βî²ðÚ²È ÎÚ²Üøª βî²ðÚ²È ºðÎðàôØ ì²ìºð²òìàôØ ¾ àðàÜàôØÀ ¿ç 3

âîºêÜì²Ì §ºêÀ¦ ²èºðºêàôØ ö²êîºðÆ Ðºî ºðºðàôÜ ê²ÐزÜÀ ¿ç 4

ÐáÙ³ÛáõÝ ¾ñß³¹Ç

EXPRESSIONIST PAINTINGS IN MOTION FACING THE FACTS p. 6

вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

Homayoun Ershadi

DOCUMENTING THE QUEST THE DEAL BEHIND THE IDEAL FRONTLINE DIARIES p. 7

GOLDEN APRICOT DAILY DAY 1&2 | 10/11 JULY | 2016

2 ĂŒð²œĂ†Ă°/ PROGRAM Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐŠ Ő…Ő? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, BLUE HALL 11:00 $= V / . ) '' Insight/dir. Aleksandr Kott

Rus, 90’ FC

Lang.: Russian Subt.: English and Armenian

13:00 / . ] % ) Dust Cloth/dir. Ahu Ă–ztĂźrk

Tur, 98’ FC

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

Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐ?Ő„ÔťŐ? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, RED HALL 20:00 } (/ . \ Zare/dir. Hamo Beknazaryan *Invitations Only

10.07

Arm, 69’ OF

, 1 MOSCOW CINEMA, SMALL HALL 1 Fra/Dza/Qat, 61’ DC Swe, 14’ DC

Lang.: Arabic Subt.: English and Armenian Lang.: Swedish Subt.: English and Armenian

Bra, 100’ DC

14:00

% & $ '() / . The Magic Mountain/dir. Anca Damian

Rom, 87’ DC

Lang.: Portuguese/English/ Indonesian/Italian Subt.: English and Armenian Lang.: French Subt.: English and Armenian

16:00

* +$( / . Roots/dir. Vahe Yan

Arm, 79’ FV

Lang.: Armenian Subt.: English

18:00

/ . Samir in the Dust/dir. Mohamed Ouzine !"#/ . , Tracks/dir. Gunnar Bergdahl, Annica Carlsson Bergdahl - + . * $( / . ! " Stony Paths/dir. Arnaud Khayadjanian 5 / . Aurora/dir. Gor Margaryan 7" * 9 $& ;( / . # $ Rhythm & Intervals/dir. Comes Chahbazian

12:00

Lang.: no dialogues Subt.: no subtitles

Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, Ő“ŐˆŐ”Ő? Ô´ÔąŐ€ÔźÔťŐƒ 1 MOSCOW CINEMA, SMALL HALL 1 10:00 % & $ '() / . The Magic Mountain/dir. Anca Damian

Rom, 87’ DC

Lang.: French Subt.: English and Armenian

12:00

€ + B $ +(= # * & / . ? ^ _ = The Man Who Saw Too Much/dir. Trisha Zi

Mex, 88’ DC

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

14:00

$ / . Curumim/dir. Marcos Prado

Bra, 100’ DC

16:00

€ + B $ +(= # * & / . ? ^ _ = The Man Who Saw Too Much/dir. Trisha Zi

Mex, 88’ DC

Lang.: Portuguese/English/ Indonesian/Italian Subt.: English and Armenian Lang.: Spanish/English Subt.: English and Armenian

CINEMA STAR

20:00

21:30

18:00

9" X( " + / . ' Under the Sun/dir. Vitaly Mansky

Rus/Lva/Deu/ Lang.: Korean Cze/Prk, 106’ YP Subt.: English and Armenian

20:00

*'(+/ . f % Hamlet/dir. Kenneth Branagh

UK/USA, 242’ Lang.: English SH Subt.: Armenian

K KINOPARK

20:30

* V$-/ . ? % $ The Commune/dir. Thomas Vinterberg $$ / . W q - Anna/dir. Jacques Toulemonde

Dnk, 112’ DNC Fra/Col, 96’ FNC

Lang.: Danish Subt.: English and Armenian Lang.: French/Spanish Subt.: English and Armenian

Geo, 108’ FC

Lang.: Georgian Subt.: English and Armenian

, K Â j MOSCOW CINEMA, BLUE HALL 10:00

$$ V" V $- / . & Anna’s Life/dir. Nino Basilia

12:30

‚ '"-/ . \ -@ * Things to Come/dir. Mia Hansen-Løve

15:00

& V"$ Q +* V $ Q +( ^ 9 % X X V $ x ( "Z/ . \ * A Story of People in War and Peace/dir. Vardan Hovhannisyan $= V / . ) '' Insight/dir. Aleksandr Kott

17:00 19:00

21:00

+ % ^ , & + Q +Q $ , _ V 9 &"$/ . | q = * The Prosecutor The Defender The Father and The Son/dir. Iglika Trionova $ * =$ $ . * & V $/ . }' | '[ Honeyless Moon/dir. Dmitri Izmestiev

Fra/Dza/Qat, 61’ DC Swe, 14’ DC

Lang.: Arabic Subt.: English and Armenian Lang.: Swedish Subt.: English and Armenian

Fra, 60’ AP

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

Deu, 13’ AP Bel, 52’ AP

Lang.: no dialogues Subt.: no subtitles Lang.: English/German/Armenian Subt.: English and Armenian

, 2 MOSCOW CINEMA, SMALL HALL 2 13:00

) =" + / . % Silent Heart/dir. Bille August

Dnk, 98’ DNC

Lang.: Danish Subt.: English and Armenian

15:00

$ ) & 5( & ? / . & '( , ' The Return of the Prodigal Son/dir. Narine Mkrtchyan, Arsen Azatyan B" "$ =/ . ) * % Labyrinth/dir. Mikayel Dovlatyan

Arm, 88’ 25

Lang.: Armenian Subt.: English

Arm/Fra, 90’ 25

Lang.: Armenian Subt.: French

19:00

% 5+ B =/ . $ ' '( A Merry Bus/dir. Albert Mkrtchyan

Arm, 113’ 25

Lang.: Armenian Subt.: English

21:00

K =Q( V" ! -( / . + % - Prospero’s Books/dir. Peter Greenaway

UK/Nld/Fra/ Ita/Jpn, 122’ SH

Lang.: English Subt.: Armenian

Irn/Cze, 100’ YP

Lang.: Persian Subt.: English and Armenian

UK/Ita, 138’ SH

Lang.: English Subt.: Armenian

17:00

18:30

11.07

/ . Samir in the Dust/dir. Mohamed Ouzine !"#/ . , Tracks/dir. Gunnar Bergdahl, Annica Carlsson Bergdahl $ / . Curumim/dir. Marcos Prado

10:00

11.07 Fra/Deu, 100’ Lang.: French/English/German FC Subt.: English and Armenian Arm, 69’ 25

Lang.: Armenian Subt.: English

Rus, 90’ FC

Lang.: Russian Subt.: English and Armenian

CINEMA STAR 18:00

20:00

$ = 5 $ - X - Z"/ . " A Very Ordinary Citizen/dir. Majid Barzegar 7 9 \ '"(+/ . ; < = Romeo and Juliet/dir. Franco ZeďŹƒrelli

K KINOPARK 18:30

K +( ^*/ . ? $ @ A War/dir. Tobias Lindholm

20:30

$# $ _"$/ . W - [ @ The Unknown Girl/dir. Jean-Pierre and Luc Dardenne

Dnk, 115’ DNC

Lang.: Danish Subt.: English and Armenian

Bel/Fra, 113’ CF

Lang.: French Subt.: English and Armenian

Bgr/Nld/Swe, Lang.: Bosnian/English/Swedish 105’ Subt.: English and Armenian FC Rus, 94’ YP

Lang.: Russian Subt.: English and Armenian

Fra, 60’ AP Rus, 18’ AP

Lang.: Turkish/French Subt.: English and Armenian Lang.: Russian Subt.: English and Armenian

, MOSCOW CINEMA, RED HALL 10:00

12:30

15:00

17:00

- + . * $( / . ! " Stony Paths/dir. Arnaud Khayadjanian ƒ 5"=+ / . ~* Bravoman/dir. Evelina Barsegian 28:94 (X $ „ * $ / . * % € = 28:94 Local Time/dir. David Safarian $ ) $Z ƒ()'"$"/ . @ | ‚ Autumn Without Berlin/dir. Lara Izagirre 9" X( " + / . ' Under the Sun/dir. Vitaly Mansky

19:30

+ !" / . ; f Fate/dir. Fred Kelemen

21:30

V& *B X (* / . ) All That Jam/dir. Alexander Andranikian

Arm/Deu/Nld, Lang.: Armenian/Russian/Italian 130’ AP Subt.: English and Armenian Esp, 100’ BNC

Lang.: Spanish Subt.: English and Armenian

Rus/Lva/Deu/ Lang.: Korean Czeц/Prk, Subt.: English and Armenian 106’ YP Deu, 80’ R Lang.: German Subt.: English and Armenian Rus, 92’ AP

Lang.: Russian Subt.: English and Armenian

j HENRIK MALYAN THEATRE OF CINEMA ARTISTS 18:30

$ Q _/ . @ $ * Roadway/dir. Lyubov Asmodey

19:00

5 x { ? $" -B $ $" " _ * / . \ % A Perfect Day for BananaďŹ sh/dir. Daniel Haroutunian

Rus, 19’ FV Arm, 120’ FV

Lang.: Russian Subt.: English Lang.: Armenian Subt.: English

j ‚ € K … j j‚  YEREVAN NIGHTS AT POGHOSYAN GARDENS JULY 11 21:00

7 9 \ '"(+/ . ; < = Romeo and Juliet/dir. Franco ZeďŹƒrelli

UK/Ita, 138’ SH

Lang.: English Subt.: Armenian

GOLDEN APRICOT DAILY ĂŠĂ™Ο³¡Ă‡ĂąĂ?ù` ĂšĂĄĂŤĂƒ ´ùåùĂ?, ²ùĂƒåþù ϳùšĂ‡Ă?Û³Ă? ²Ă&#x;Ă‹³ï³Ă?³½Ă™` Ă˜³ùÇĂ?Âť ĂœĂ›åþšåùá, Ă?Ă›åþ¡å žĂ™ù½³Ă‰ Ă?ÕÇĂ?ÂłĂ?Ă?ùª ĂŽ³ùĂ? ²íïÇÍÛ³Ă?, ²ùĂ?íÇ ´³Ă‹ĂŁĂ‡Ă?Û³Ă?, ĂœĂĄĂľĂ?Âť Ă?³ËíùšĂ›ÂłĂ? ĂˆåþͳĂ?Ă?³ùÇãª Ă˜ÂłĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă? êùΟ³¡ùÇãª Ă˜³ùÇĂ?Âť Ă”³ù³Ă‹ÂłĂ?Û³Ă?

Ă‚³ù¡Ă™ÂłĂ?ÇãĂ?ùª ²Ă?³ÑÇï ĂœùÍÇÍÛ³Ă?, Ÿ³ùåþÑÇ ê³ý³ùÛ³Ă? ¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă? Ă?Ê³Ă?Âł ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ? Îü³¡ùí³Ă? Âż §ĂœĂŽ Ă?åɚÇĂ?¡Œ êäĂ€-åþÙ

Editors: Joost Broeren & Artur Vardikyan Staff: Maricke Nieuwdorp, Hugo Emmerzael Contributors: Karen Avetisyan, Artsvi Bakhchinyan, Nune Hakhverdyan

Photographer: Mane Hovhannisyan Design: Gayane Grigoryan Backstage General Adviser: Peter van Bueren Printer: "NT Holding" Ltd.

GOLDEN APRICOT DAILY 2016 | 10/11 JULY | DAY 1&2

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3 ö³é³ïáÝÇ μ³óáõÙÁ

²Ûë ï³ñí³ §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ Íñ³·ñáõÙ Áݹ·ñÏí³Í í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÁ ÷áñÓáõÙ »Ý áõëáõÙݳëÇñ»É ³Ýѳï³Ï³Ý ÑáõßÁ ϳ٠í»ñ³åñáõÙÁ: г۳½·Ç é»ÅÇëáñÝ»ñÝ ëï»ÕÍ»É »Ý Ù³ñ¹Ï³ÛÇÝ ×³Ï³ï³·ñ»ñÇ ß³ñù, áñï»Õ ÑáõßÝ áõ ÑáõÛ½Á »ñμ»ÙÝ ¹³éÝáõÙ »Ý ³Ýï³Ý»ÉÇ μ»é, ÇëÏ »ñμ»ÙÝ ¿Éª ÃáõÛÉ ï³ÉÇë ³Ýѳï³Ï³Ý ³åñáõÙÝ»ñáõÙ ÙÇ ³ÙμáÕç ïÇ»½»ñù ï»ëÝ»É:

ì²ìºð²òìàôØ ¾ àðàÜàôØÀ

²í³Ý¹áõÛÃÇ Ñ³Ù³Ó³Ûݪ §àëÏ» ÍÇñ³ÝǦ μ³óÙ³Ý ³ñ³ñáÕáõÃÛáõÝÇó ³é³çª 13:30 ¼áñ³íáñ êáõñμ ²ëïí³Í³ÍÇÝ »Ï»Õ»óáõÙ ï»ÕÇ Ïáõݻݳ ÌÇñ³ÝûñÑÝ»ùÁ: îáÝ³Ï³Ý ÙÇçáó³éáõÙÝ»ñÁ Ïß³ñáõݳÏí»Ý 17:15ª Þ³éÉ ²½Ý³íáõñÇ Ññ³å³ñ³ÏáõÙ, áñï»Õ Ïï»Õ³¹ñí»Ý Ñ³Û ûå»ñ³ïáñ ²Éμ»ñï Ú³íáõñÛ³ÝÇ ¨ é»ÅÇëáñÝ»ñ ¾¹Ùáݹ ø»áë³Û³ÝÇ áõ ¸ÙÇïñÇ Î»ë³Û³ÝóÇ ³ëïÕ»ñÁ: гçáñ¹Çíª Î³ñÙÇñ ·áñ·Çó Ñ»ïá, ïáݳϳï³ñáõÃÛáõÝÁ Ïï»Õ³÷áËíÇ §ØáëÏí³¦ ÏÇÝáóïñáÝ. 19:00` ´³óÙ³Ý ³ñ³ñáÕáõÃÛáõÝ, 20:00ª μ³óÙ³Ý ýÇÉÙǪ гÙá ´»Ïݳ½³ñÛ³ÝÇ §¼³ñ»Ç¦ óáõó³¹ñáõÃÛáõÝ:

§²íñáñ³¦

ä³ï³ë˳ÝÝ»ñ áñáÝáÕ Ñ³ÛáõÑÇ Ü³ñ»Ý ¨ ÃñùáõÑÇ Ø³Û³Ý (§î³Ý ÙÛáõë ÏáÕÙÁ¦, ܳñ» ØÏñïãÛ³Ý, ²ØÜ) ³ÝÓݳå»ë Ñ»ï³ùñùñí³Í »Ý ·ïÝ»É ³ÝóÛ³ÉÇ Ñ»ïù»ñÁ Ý»ñϳÛáõÙ: ¸³ Ýñ³Ýó å»ïù ¿ ÇÝùÝáõÃÛáõÝÁ ѳëϳݳÉáõ ¨ ë»÷³Ï³Ý ѳݷëïáõÃÛ³Ý Ñ³Ù³ñ: Üñ³Ýù ÙdzëÇÝ ³Ûó»ÉáõÙ »Ý г۳ëï³Ý ¨ Âáõñùdzª »ñμ»ÙÝ Ñ³Ý¹Çå»Éáí ³ï»ÉáõÃÛ³Ý, Ñáõß»ñÇ Ù»ñÅáõÙÇ Ï³Ù Ñ³Ï³é³ÏÁª ³ÝÏ»ÕÍ ½ñáõó»Éáí å³ï³Ñ³Ï³Ý ³Ýóáñ¹Ý»ñÇ Ñ»ï: àñáÝÙ³Ý ïáݳÛÝáõÃÛáõÝÁ ß³ñáõݳÏáõÙ ¿ ýñ³ÝëÇ³Ï³Ý §ø³ñù³ñáï ׳Ù÷³Ý»ñ¦ ýÇÉÙÇ Ñ»ÕÇÝ³Ï ²éÝá ʳ۳ç³ÝÛ³ÝÁ, áí ׳Ù÷áñ¹áõÙ ¿ ÙÇ ÝϳñÇ å³ïÙáõÃÛ³Ý Ñ»ïù»ñáí ¨ å³ïñ³ëï ¿ Éë»É μáÉáñ Ñݳñ³íáñ áõ »Ýó¹ñÛ³É ³Ï³Ý³ï»ëÝ»ñÇÝ: ØÇ μ³Å³Ï ûÛÇ ßáõñç ³Ýßï³å ½ñáõÛóÝ»ñ »Ý ï»ÕÇ áõÝ»ÝáõÙ, ²Ý³ïáÉdzÛáõÙ ³åñáÕ Ñ³Û»ñÇ Ýáñ å³ïÙáõÃÛáõÝÝ»ñ »Ý μ³ó³Ñ³ÛïíáõÙ (ϳ٠ã»Ý μ³ó³Ñ³ÛïíáõÙ), μ³Ûó ³Û¹ ëå³ëáõÙÇ éÇÃÙÁ ß³ï ɳí ÷á˳ÝóáõÙ ¿ áñáÝÙ³Ý ¿áõÃÛáõÝÁ: Æ í»ñçá, »Ã» ÷ÝïñáõÙ »ë, áõñ»ÙÝ ³ñ¹»Ý ÷áËíáõÙ »ë û° ¹áõ, û° ùá ½ñáõó³ÏÇóÝ»ñÁ: ¶»ñÙ³ÝdzÛáõÙ ³åñáÕ é»ÅÇëáñ ¶áé سñ-

·³ñÛ³ÝÝ Çñ §²íñáñ³¦ ϳñ׳ٻïñ³Å ýÇÉÙÁ ϳéáõó»É ¿ áñå»ë ß³ñÅáõÙ, ÁÝóóùª ÓÛáõݳͳÍÏ êÇμÇñáí, áñÇ ÙÇçáí ëɳÝáõÙ ¿ Óݳ·Ý³óÇ í³ñáñ¹Á: ÈëíáõÙ »Ý éáõë³Ï³Ý ù³ñá½ã³Ï³Ý é»åáñï³ÅÝ»ñÇó ѳïí³ÍÝ»ñ, áñï»Õ ˳ݹ³í³é Ó³ÛÝáí ѳÛï³ñ³ñíáõÙ ¿ å³ï»ñ³½Ù³Ï³Ý áõ ù³Õ³ù³Ï³Ý ѳÕóݳÏÝ»ñÇ Ù³ëÇÝ: ´³Ûó Çñ³Ï³ÝáõÃÛáõÝÁ ß³ñáõݳÏáõÙ ¿ ÙÝ³É ÝáõÛÝù³Ý ë³éó³Ï³É³Í, áñù³Ý »Õ»É ¿ ݳËÏÇÝáõÙ ¨ áñù³Ý ÏÉÇÝÇ Ñ³çáñ¹ ϳ¹ñ»ñáõÙ: ²Ûë ýÇÉÙÁ ÙÇ ÁÝóóù ¿, áñÁ ÏÇñ³é³Ï³Ý Ýå³ï³Ï ãáõÝÇ, ³ÛëÇÝùݪ ãáõÝÇ Ý߳ݳϻï: öá˳ñ»ÝÁ ³é³ç³ñÏáõÙ ¿ ¿ù½Çëï»ÝóÇ³É Ñ³Û³óùáí Ý³Û»É ÙÇç³í³ÛñÇÝ: ´»É·Ç³ÛáõÙ ³åñáÕ é»ÅÇëáñ ÎáÙë Þ³Ñμ³½Û³ÝÁ §èÇÃÙ ¨ ÁݹÙÇçáõÙÝ»ñ¦ ýÇÉÙáõÙ å³ïÙáõÙ ¿ Ñ³Û »ñ³ÅßïÇ Ñ³ëï³ïÙ³Ý ÷áñÓ»ñÇ Ù³ëÇÝ: ³íçáõóϳѳñ ꨳÏÁ ÷ÝïñáõÙ ¿ Çñ ï»ÕÁ Ýáñ »ñÏñáõÙ ¨ Çñ ӻ鳷ÇñÁª ³ñí»ëïáõÙ: ÆëÏ Ñ³Û³ëï³ÝóÇ ²Éμ»ñï ê³ñ·ëÛ³ÝÇ §ÆÙ ³ß˳ñÑÁ¦ ýÇÉÙÇ Ñ»ñáëáõÑÇ ¶áѳñÇÏÁ, áõݻݳÉáí ÉëáÕáõÃÛ³Ý ËݹÇñÝ»ñ ¨ ³åñ»Éáí Ó³ÛݳÛÇÝ í³ÏáõáõÙáõÙ, ÷áñÓáõÙ ¿ ·ïÝ»É ÇÝùݳñï³Ñ³ÛïÙ³Ý áõÕÇÝ»ñ ¨ Çñ ÏÛ³ÝùÝ ÇÙ³ëï³ÉÇ áõ ·áõÝ»Õ ¹³ñÓÝ»É:

лñáëÝ»ñÁ ï³ñμ»ñ »Ý, μ³Ûó áñáÝáõÙÁ Ýñ³Ýó ¹³ñÓÝáõÙ ¿ ³í»ÉÇ ³Ùáõñ ¨ ѳëï³ï³Ï³Ù: ºí ÇѳñÏ», Ñáõë³¹ñáõÙ ¿: Æ í»ñçá áñáÝáõÙ »ë, »ñμ ·ïÝ»Éáõ ÑáõÛë áõÝ»ë: гϳé³Ï ¹»åùáõÙ ÇÙ³ëï ãáõÝÇ Ó»éݳñÏ»É áñáÝáÕ³Ï³Ý ³ñß³íÝ»ñ: ´áõÉÕ³ñ³Ï³Ý §´³ÉϳÝÛ³Ý ¹³ßݳÙáõñ¦ ýÇÉÙÇ (é»ÅÇëáñ ¶¨áñ· ²ëɳÝÛ³Ý) Ñ»ñáëÝ áõÝÇ ³ß˳ï³Ýùª ¹³ßݳÙáõñÝ»ñ ¿ í»ñ³Ýáñá·áõÙ, ¨ áõÝÇ »ñ³½³Ýùª áõ½áõÙ ¿ Ù»Í Ýí³·³ËÙμÇ ¹ÇñÇÅáñ ¹³éݳÉ: ²ÛÝ, ÇÝã ãëï³óí»ó Çñ³Ï³Ý³óÝ»É, ä»ï»ñÇÝ ãÇ ×ÝßáõÙ áõ ãÇ Ýí³ëï³óÝáõÙ: ܳ ·Çï», û ÇÝãå»ë ѳí³ë³ñ³Ïßé»É »ñ³½³ÝùÝ»ñÝ áõ å³Ñå³Ý»É ³Ù»ÝûñÛ³ (Ñ³×³Ë áã ѳ׻ÉÇ) ³ß˳ï³Ýù ϳï³ñ»Éáõ ѳ×áõÛùÁ: Æñ ÑáõÛëÁ ãÇ Ïáñóñ»É ݳ¨ å³ïϳé»ÉÇ ï³ñÇùÇ ÙdzÛÝ³Ï ÏÇÝÁ, áí ¶³ñ»·ÇÝ ä³åáÛ³ÝÇ §êËïáñ³ß»Ý¦ (г۳ëï³Ý) ýÇÉÙáõÙ Çñ ·ÛáõÕÇ Ñ»ï ÏÛ³ÝùÇ í»ñçÇÝ ûñ»ñÝ ¿ ³åñáõÙ: È»Ý³Ý êËïáñ³ß»ÝÇ ÙÇ³Ï μݳÏÇãÝ ¿, áí áã ÙÇ å³ñ³·³ÛáõÙ ãÇ áõ½áõÙ Ñ»é³Ý³É ³Ù³Û³ó³Í μݳϳí³ÛñÇó: ܳ ·ï»É ¿ Çñ ï»ÕÝ ³Ûë ÙáÉáñ³ÏÇ íñ³ ¨ áñù³Ý ϳñáÕ ¿ª ÷áñÓáõÙ ¿ ³ÛÝ ß»Ý å³Ñ»É: Üñ³ ³éç¨áõÙ ÙdzÛÝ ³ÝóÛ³ÉÝ ¿: ÜÐ

ä³ï»ñ³½ÙÇ ¨ ˳ճÕáõÃÛ³Ý ûñ»ñÇó

²Ûë ÏÇÝá³ëùáõ٠ѳٳ¹ñí³Í »Ý ²ñó³ËÛ³Ý ³½³ï³Ù³ñïÇ ûñ»ñÇÝ ëï»ÕÍí³Í 鳽ٳ׳ϳï³ÛÇÝ ûå»ñ³ïáñǪ é»ÅÇëáñ ÐáíѳÝÝÇëÛ³ÝÇ ï»ë³ûñ³·ÇñÁ ¨ ï³ëÝ»ñÏáõ ï³ñÇ ³Ýó Ýñ³ Ñ»ñáëÝ»ñÇ Ñ»ï ½ñáõÛóÝ»ñÇ Ýϳñ³Ñ³ÝáõÙÝ»ñÁ£ Ø»ñûñÛ³ ϳ¹ñ»ñÁ óáõÛó »Ý ï³ÉÇë, áñ å³ï»ñ³½ÙÇ í»ñù»ñÁ ï³Ï³íÇÝ ã»Ý ëådzó»É Çñ»Ýó ѳÛñ»Ý³ëÇñ³Ï³Ý å³ñïùÁ ϳï³ñáÕ Ñ³ë³ñ³Ï ѳÛáñ¹ÇÝ»ñÇó ß³ï»ñÇ Ñá·áõÙ£ »¨ ß³ñáõݳÏíáõÙ ¿ ÏÛ³ÝùÁª ˳ճÕáõÃÛáõÝÁ Ýñ³Ýó ûèáõÃÛáõÝ ãÇ μ»ñ»É. ѳÛñ»ÝÇùÇÝ ³ñÛáõÝ ïí³Í Ù³ñ¹ÇÏ ³Ûëûñ ³åñáõÙ »Ý Çß˳ÝáõÃÛáõÝÝ»ñÇ ÏáÕÙÇó ·ñ»Ã» ³Ýï»ëí³Í (û¨ ¹ñ³ áõÕÕ³ÏÇ ³ÏݳñÏÁ ýÇÉÙáõÙ ãϳ): â·Çï»ë ÙÇïáõÙݳμ³ñ, û å³ïٳϳÝáñ»Ý, ÐáíѳÝÝÇëÛ³ÝÇ ï»ë³¹³ßïáõ٠ѳÛïÝí»É »Ý ٻͳٳë³Ùμ å³ï»ñ³½ÙÇó Ñ»ïá Çñ»Ýó í»ñ³·ï³Í, ųٳݳÏÇó ßáõï Í»ñ³ó³Í, §í»ñç³ó³Í¦ ׳ϳﳷñ»ñ (Ù»ÏÁ ѳÛïÝí»É ¿ ϳɳݳ-

í³ÛñáõÙ, ÙÛáõëÁª Ñá·»μáõųñ³ÝáõÙ, »ññáñ¹Á ѳßٳݹ³Ù ¿, ãáññáñ¹Ç ÁÝï³Ý»Ï³Ý ûç³ËÝ ¿ ù³Ý¹í»É)£ ì³í»ñ³·ñáõÃÛáõÝÝ ³Ù»Ý³³ÝáÕáù Çñ³å³ïáõ٠ϳ¹ñ»ñÇ Ñ»ñáëÝ»ñÇ Ëáëùáõ½ñáõÛóÇ áõ ³ñ³ñùÝ»ñÇ ÙÇçáóáí ÷áñÓáõÙ ¿ ¹ÇïáÕÇÝ Ñ³ëóÝ»É Ñ³Ï³å³ï»ñ³½Ù³Ï³Ý ¨ ѳÛñ»Ý³ëÇñ³Ï³Ý áõÕ»ñÓÝ»ñ£ §ä³ï»ñ³½ÙÁ ã³ñÇù ¿, »Ã» ³·ñ»ëáñÇ å³ï»ñ³½Ù ¿, ÇëÏ »Ã» ѳÛñ»Ý³ë»ñÇ å³ï»ñ³½Ù ¿, ÑáÕÁ å³ßïå³Ý»Éáõª å»ïù ¿ ·Ý³É ¹ñ³Ý¦,– ³ëáõÙ ¿ ýÇÉÙÇ Ñ»ñáëÝ»ñÇó Ù»ÏÁ£ üÇÉÙÁ Ù»½ÝÇó ³Ý¹³ñÓ Ñ»é³ó³ÍÝ»ñÇ á·»ÏáãáõÙ ¿, ÇÝãå»ë ݳ¨ª ½·áÝáõÃÛáõÝÁ áã ÙÇ í³ÛñÏÛ³Ý ãÏáñóÝ»Éáõ Ïáã, ÇÝãÇ Ï³ñÇùÁ Ù»ñ ÅáÕáíáõñ¹Á, Ù»ñ ѳÝñáõÃÛáõÝÁ áõ Ù»ñ Çß˳ÝáõÃÛáõÝÝ»ñÁ ã³÷³½³Ýó ß³ï áõÝ»Ý. íϳݪ å³ï»ñ³½ÙÇ ¨ ˳ճÕáõÃÛ³Ý Ù»ñ í»ñçÇÝ ¹³éÁ ÷áñÓáõÃÛáõÝÝ ³Ýó³Í ³åñÇÉÁ: ²´

³ÛÇ »ñ»Ë³Ý»ñÇ ÙÇáõÃÛ³ÝÁ, áñï»Õ Ýñ³Ý å³ßïáݳå»ë Ïݳ˳å³ïñ³ëï»Ý ¹³éÝ³É Ç¹»³É³Ï³Ý ѳë³ñ³ÏáõÃÛ³Ý ÙÇ Ù³ëÁ, áñï»Õ ß³ï ³ß˳ï»ÉÝ áõ ÇÝù¹ ùá ÏÛ³ÝùÇ Ñ³Ù³ñ å³ï³ë˳ݳïíáõÃÛáõÝ Ïñ»ÉÁ ϳñ»õáñ »Ý ѳٳñíáõÙ: ܳ ³åñ»Éáõ ¿ ³ñ¨Ç ѳí»ñÅ ßáÕ»ñǪ »ñÏñÇ ³é³çÝáñ¹ ÎÇÙ ÆÉ êáÝ·Ç ËáñÑñ¹³ÝÇßÇ ï³Ï: èáõë í³í»ñ³·ñáÕ ìÇï³ÉÇ Ø³ÝëÏÇÝ ÙÇ Ï»ñå ѳçáÕ»É ¿ Ýϳñ³Ñ³ÝáõÙÝ»ñÇ ÃáõÛɳïíáõÃÛáõÝ ëï³Ý³É »ñÏñáõÙ, áñï»Õ ÇßËáõÙ ¿ ù³ñá½ãáõÃÛáõÝ: ´³Ûó ËÇëï ë³Ñٳݳ÷³ÏáõÙÝ»ñÝ ³ÝËáõë³÷»ÉÇ ¿ÇÝ, ³ÛÝ Ù»Ï ï³ñí³ ÁÝóóùáõÙ, »ñμ ݳ Çñ³Ï³-

ݳóÝáõÙ ¿ñ Ýϳñ³Ñ³ÝáõÙÝ»ñÁ, ϳé³í³ñáõÃÛáõÝÁ μ³½»Ç å»ë ³ã³Éáõñç ÑëÏáõÙ ¿ñ Ýñ³Ý: ØÇÝã ýÇÉÙÇ ³é³çÇÝ ï»ë³ñ³ÝÝ»ñÁ óáõÛó »Ý ï³ÉÇë Ãí³óÛ³É Ï³ï³ñÛ³É ³ß˳ñÑ, Ñ»ï½Ñ»ï» Ç Ñ³Ûï »Ý ·³ÉÇë áñáß ï³ñûñÇÝ³Ï ÝñμáõÃÛáõÝÝ»ñ: úñÇÝ³Ï ÙÇ ³ÝͳÝáà ٳñ¹ ¿ ѳÝϳñÍ Ñ³ÛïÝíáõ٠ϳ¹ñáõÙ »ñç³ÝÇÏ ÁÝï³ÝÇùÇ ÁÝÃñÇùÇ Å³Ù³Ý³Ï áõ óáõóáõÙÝ»ñ ï³ÉÇë, û ÇÝãå»ë ³ñÓ³·³Ýù»Ý áõï»ÉÇùÇÝ ¨ û ÇÝã ³ë»Ý ³Ýóϳóñ³Í ûñí³ Ù³ëÇÝ: ¸³Ý¹³Õ, μ³Ûó íëï³Ñ³μ³ñ å³ñ½ ¿ ¹³éÝáõÙ ª ³Û¹ Ù³ñ¹Ý áõ½áõÙ ¿ ѳÙá½í»É, áñ ÁÝï³ÝÇùÁ ϳï³ñÛ³É Ñ³Ûñ»Ý³ëÇñáõÃÛáõÝ Ïóáõó³¹ñÇ: Æ í»ñçá

§Ø³ñ¹Ï³ÛÇÝ å³ïÙáõÃÛáõÝ å³ï»ñ³½ÙÇ ¨ ˳ճÕáõÃÛ³Ý ûñ»ñÇó¦ (ì³ñ¹³Ý ÐáíѳÝÝÇëÛ³Ý, г۳ëï³Ý, 2007), §Ð³Û ÏÇÝá. Ýáñ ųٳݳÏÝ»ñ¦, 11.07, 15:00, §ØáëÏí³¦ Ï/à γåáõÛï ¹³ÑÉÇ× ì³ñ¹³Ý ÐáíѳÝÝÇëÛ³ÝÇ §Ø³ñ¹Ï³ÛÇÝ å³ïÙáõÃÛáõÝ å³ï»ñ³½ÙÇ ¨ ˳ճÕáõÃÛ³Ý ûñ»ñÇó¦ ÷³ëï³·ñáõÃÛáõÝÁ (2007Ã.) ѳÛÇ ³ÝóÛ³ÉÇÝ ¨ Ý»ñϳÛÇÝ Ã»ñ¨ë ³Ù»ÝÇó ѳٳÑáõÝã ÏÇÝá»ñÏÝ ¿, áñáí ¿É Ïμ³óíÇ Ð³Û³ëï³ÝÇ ³ÝϳËáõÃÛ³Ý 25-³ÙÛ³ÏÇÝ ÝíÇñí³Í §Ð³Û ÏÇÝá. Ýáñ ųٳݳÏÝ»ñ¦ Íñ³·ÇñÁ£

²é³çÇÝ í³ñå»ï³ó ¹³ëÁ гçáñ¹ ûñÁª ÑáõÉÇëÇ 11-Çݪ 15:00, дÀØ Ï»ÝïñáÝáõÙ (Ø»ÉÇù-²¹³ÙÛ³Ý ÷. 2/1) Ïϳ۳ݳ 13-ñ¹ §àëÏ» ÍÇñ³ÝǦ ³é³çÇÝ í³ñå»ïáõÃÛ³Ý ¹³ëÁ, áñÁ Ïí³ñÇ üñ»¹ λɻٻÝÁ: ì»ñçÇÝë, áñå»ë é»ÅÇëáñ, ï³ñμ»ñ ï³ñÇÝ»ñÇÝ ³ñųݳó»É ¿ îáñáÝïáÛÇ, èáï»ñ¹³ÙÇ ¨ ³ÛÉ ÏÇÝá÷³é³ïáÝ»ñÇ üÆäðºêêÆ Ùñó³Ý³ÏÝ»ñÇÝ: àñå»ë ûå»ñ³ïáñª Ýϳñ³Ñ³Ý»É ¿ ßáõñç 12 ÏÇÝáÝϳñ, áñáÝóÇó ³Ù»Ý³Ñ³ÛïÝÇÝ Ã»ñ¨ë é»ÅÇëáñ ´»É³ î³ñÇ §ÂáõñÇÝÛ³Ý ÓÇݦ ¿: λɻٻÝÇ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝÝ»ñÇ Íñ³·ÇñÁ Ïμ³óíÇ ÝáõÛÝ ûñÁª §Ö³Ï³ï³·Çñ¦ (1994) ýÇÉÙáí (19:30, §ØáëÏí³¦ Ï/à γñÙÇñ ¹³ÑÉÇ×):

²ÝϳËáõÃÛ³Ý ¨ μ³ëÏ³Ï³Ý ÏÇÝáÝ ÜáõÛÝ ûñÁª ÝáõÛÝ Å³ÙÇÝ ï»ÕÇ Ïáõݻݳ Ùdzݷ³ÙÇó »ñÏáõ ³ñï³ÙñóáõóÛÇÝ Íñ³·ñÇ μ³óáõÙ: 15:00 §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³åáõÛï ¹³ÑÉÇ×áõÙ ì³ñ¹³Ý ÐáíѳÝÝÇëÛ³ÝÇ §Ø³ñ¹Ï³ÛÇÝ å³ïÙáõÃÛáõÝ ¨ ˳ճÕáõÃÛ³Ý ûñ»ñÇó¦ ýÇÉÙáí ÏÙ»ÏݳñÏÇ §Ð³Û ÏÇÝá. Ýáñ ųٳݳÏÝ»ñ¦ Íñ³·ÇñÁª ÝíÇñí³Í г۳ëï³ÝÇ ³ÝϳËáõÃÛ³Ý 25-³ÙÛ³ÏÇÝ: ÆëÏ ÙÇ ù³ÝÇ Ù»ïñ ³ÛÝ ÏáÕÙ ª γñÙÇñ ¹³ÑÉÇ×áõÙ, ȳñ³ Æë³·Çé»Ç §²ßáõÝ ³é³Ýó ´»éÉÇÝǦ ÏÇÝáÝϳñáí Ù»ÏݳñÏ ÏïñíÇ Æëå³ÝdzÛǪ μ³ëÏ»ñÇ »ñÏñÇ ÏÇÝá·áñÍÇãÝ»ñÇ Ýáñ³·áõÛÝ Ó»éùμ»ñáõÙÝ»ñÁ Ý»ñϳ۳óÝáÕ §Üáñ μ³ëÏ³Ï³Ý ÏÇÝᦠÍñ³·ÇñÁ:

гݹÇåáõÙ Ï»ë·Çß»ñÇÝ úñí³ í»ñçáõÙ ª 24:00, μáÉáñ ó³ÝϳóáÕÝ»ñÁ ϳñáÕ »Ý ³Ûó»É»É The Club (ÂáõÙ³ÝÛ³Ý 40) ¨ ÙÇ ·³í³Ã ·ÇÝáõ ßáõñç ÏÇëí»É ³é³çÇÝ ûñí³ ïå³íáñáõÃÛáõÝÝ»ñáí:

γï³ñÛ³É ÏÛ³Ýùª ϳï³ñÛ³É »ñÏñáõÙ §²ñ¨Ç ßáÕ»ñÇ ï³Ï¦ (ìÇï³ÉÇ Ø³ÝëÏÇ, èáõë³ëï³Ý/ ȳïídz/ ¶»ñÙ³Ýdz/ â»Ëdz/ ÐÛáõëÇë³ÛÇÝ Îáñ»³, 2015), ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³, 10.07ª 18:00« §êÇݻٳ ëóñ¦, 11.07ª 17:00, §ØáëÏí³¦ Ï/à γñÙÇñ ¹³ÑÉÇ× ØÇ ³ß˳ñÑáõÙ, áñï»Õ ÷áÕáóÝ»ñÝ ³ÛÝù³Ý Ù³ùáõñ »Ý, áñ ó³ÝÏáõÃÛ³Ý ¹»åùáõ٠ϳñáÕ »ë μ³ñÓñ³óÝ»É ¨ áõï»É ·»ïÝÇÝ ÁÝÏ³Í áõï»ÉÇùÁ, ¨ áñï»Õ ûñÇݳϻÉÇ ù³Õ³ù³óÇÝ»ñÝ ³ß˳ïáõÙ »Ý áõ »ñç³ÝÇÏ »Ý, ÏÛ³ÝùÁ Ñdzëù³Ýã ¿: ²Ñ³ ¼ÇÝ-ÙÇݪ ÷áùñÇÏ ³ÕçݳÏÁ, áí Çñ ÍÝáÕÝ»ñÇ Ñ»ï ³åñáõÙ ¿ ϳï³ñÛ³É »ñÏñáõÙ ª Îáñ»³ÛÇ ÄáÕáíñ¹³¹»ÙáÏñ³ï³Ï³Ý гÝñ³å»ïáõÃÛáõÝáõÙ: ºñÏñÇ Ñ³Ý·áõóÛ³É ³é³çÝáñ¹Ý»ñÇ ¹ÇÙ³ÝϳñÝ»ñÝ ³Ù»Ýáõñ»ù »Ýª ÑÛáõñ³ë»ÝÛ³ÏÝ»ñáõÙ, ¹åñáóÝ»ñáõÙ áõ ÝáõÛÝÇëÏ Ñ³ë³ñ³Ï³Ï³Ý ïñ³ÝëåáñïáõÙ. Ýñ³Ýù ß³ñáõݳÏáõÙ »Ý Çñ»Ýó μ³ñÓáõÝùÇó ¹Çï»É áõ Ñá· ï³Ý»É ÅáÕáíñ¹Ç Ù³ëÇÝ: ¼ÇÝ-ÙÇÇ ÍÝáÕÝ»ñÝ ³ß˳ïáõÙ »Ý ·áñͳñ³ÝáõÙ ¨ ³åñáõ٠ѳñÙ³ñ³í»ï μݳϳñ³ÝáõÙ: ¸»é³ïÇ ³ÕçÇÏÁ ßáõïáí ϳݹ³Ù³·ñíÇ Îáñ»-

سÝëÏÇÇ ýÇÉÙÁ óáõÛó ãÇ ï³ÉÇë ÐÛáõëÇë³ÛÇÝ Îáñ»³ÛáõÙ ³åñáÕ ÁÝï³ÝÇùÇ Çñ³Ï³Ý ÏÛ³ÝùÁ, ³ÛÝ ³í»ÉÇ ß³ï μ³ó³Ñ³ÛïáõÙ ¿, û ÇÝãå»ë ¿ Ó¨³íáñíáõÙ ¨ ³½¹áõÙ ù³ñá½ãáõÃÛáõÝÁ: âÝ³Û³Í Ï³ï³ñÛ³É Ñ³ë³ñ³ÏáõÃÛáõÝ óáõÛó ï³Éáõ ³ÝËáÝç ÷áñÓ»ñÇݪ سÝëÏÇÝ ³ÛÝáõ³Ù»Ý³ÛÝÇí ϳñáÕ³ó»É ¿ óáõÛó ï³É ³Û¹ ³Ù»ÝÇ Ñ»ï¨áõ٠óùÝí³Í Çñ³Ï³ÝáõÃÛáõÝÁª ëÏë³Í ÷áùñ »ñ»Ë³Ý»ñÇó, áíù»ñ ѳ½Çí »Ý Çñ»Ýó ½ëåáõÙ, áñ ùÝáí ã³ÝóÝ»Ý å³ßïáÝ³Ï³Ý ÙÇçáó³éáõÙÝ»ñÇÝ, ÙÇÝ㨠Ùßï³å»ë Ñݳ½³Ý¹ ¼ÇÝ-ÙÇÇ ³ñóáõÝùÝ»ñÁª ï³Ýç³Ñ³ñ ³ÝáÕ å³ñÇ å³ñ³åÙáõÝùÇ Å³Ù³Ý³Ï: ØÜ

GOLDEN APRICOT DAILY DAY 1&2 | 10/11 JULY | 2016

4 ¶ð²ÊàêàôÂÚàôÜܺð

²é³Ýó é³Ñ³Ã-ÉáËáõÙÇ ñáõÙ ¹»ñ³Ï³ï³ñÝ»ñÇ ÷á˳ñ»Ý Ý»ñ·ñ³íí³Í ¿ÇÝ ùñ¹»ñ: ºí ùñ¹³Ï³Ý ³í³Ý¹áõÛÃÝ»ñÝ áõ ëáíáñáõÛÃÝ»ñÁ ýÇÉÙáõÙ ³ÛÝ ³ëïÇ×³Ý Çñ³Ï³Ý ¿ÇÝ í»ñ³ñï³¹ñíáõÙ, áñ ÝáõÛÝÇëÏ Çñ»Ýùª ùñ¹»ñÁ, »ñμ»ÙÝ ß÷áÃíáõÙ ¿ÇÝ® üÇÉÙÇ ÏáõÉÙÇݳóÇáÝ ï»ë³ñ³ÝÇ Ýϳñ³Ñ³ÝáõÙÝ»ñÇ Å³Ù³Ý³Ï, »ñμ ¼³ñ»ÇÝ ³Ý³ñ·³ÝùÇ »Ý Ù³ïÝáõÙª ó»Ëáï»Éáí ¹»ÙùÁª óñë Ýëï»óÝáõÙ »Ý ¿ßÇÝ, ÙÇ ùáõñ¹ ÏÇÝ, Áëï »ñ¨áõÛÃÇÝ ãÝϳï»Éáí ÏÇÝáËóÇÏÁ (ϳ٠¿É ÝϳïáõÙ ¿, μ³Ûó ·áñͳéáõÛÃÁ ãÇ Ñ³ëϳÝáõÙ®), Ùáï»ÝáõÙ ¿ ¨ ï»ëÝ»Éáí, áñ ³ÙμáËÁ μ³í³Ï³Ý ç³Ý³ëÇñáõÃÛ³Ùμ ãÇ ³Ý³ñ·áõÙ, μÕ³íáõÙ ¿ª ÇÝãDZ »ù ëå³ëáõÙ, ¨ ÃùáõÙ ¿ Ë»Õ× ¹»ñ³ë³ÝáõÑáõ »ñ»ëÇÝ® ØÇÝã ´»Ïݳ½³ñÛ³ÝÁª ÏÇÝáÛáõÙ ²ñ¨»ÉùÁ Ý»ñϳ۳óíáõÙ ¿ñ áñå»ë ï³ñ³ß˳ñÑÇÏ »ñÏñ³Ù³ëª Ååï»ñ»ë åáñï³å³ñáõÑÇÝ»ñáí, áëÏ»½³ñ¹ Ù»ï³ùëÛ³ ߳ɻñáí, í»ñ ËáÛ³óáÕ ÙÇݳñ»ÃÝ»ñáí, áëÏ»·áõÛÝ ³Ý³å³ïÝ»ñÁ ÏïñáÕ Ñ³í»ñÅ³Ï³Ý ù³ñ³í³ÝÝ»ñáí: ÆÝùÁª ´»Ïݳ½³ñÛ³ÝÁ, §Ü³ÙáõëÇó¦ ¨ §¼³ñ»Çó¦ ³é³çª 1925-ÇÝ ìñ³ëï³ÝÇ ÏÇÝáëïáõ¹Ç³ÛÇ Ñ³Ù³ñ Ýϳñ»É ¿ñ §Ü³Ã»Éɳ¦ å³ïÙ³Ï³Ý Ù»Éá¹ñ³Ù³Ý, áñï»Õ ÝáõÛÝå»ë ϳñ»ÉÇ ¿ ï»ëÝ»É ²ñ¨»ÉùÇ í»ñáÝßÛ³É ÁÝϳÉÙ³Ý ï³ññ»ñ: ´»Ïݳ½³ñÛ³ÝÁ ͳÕÏ»ó áñå»ë é»ÅÇëáñ Ñ»Ýó ³ÛÝ å³ÑÇÝ, »ñμ Ññ³Å³ñí»ó ³í³Ý¹³Ï³Ý Ùáï»óáõÙÇó ¨ ³í»ÉÇ Ù»Í áõß³¹ñáõÃÛáõÝ ëÏë»ó ¹³ñÓÝ»É Ý»ñϳ¹ñ³ÛÇÝ μáí³Ý¹³ÏáõÃÛ³Ý ×ßÙ³ñï³óÇáõÃÛ³ÝÁª ¹³éݳÉáí Ýáñ³ñ³ñ: лﳷ³ÛáõÙ Ù»Í é»ÅÇëáñÁ ß³ñáõݳϻó Çñ áñáÝáõÙÝ»ñÁ 黳ÉÇëï³Ï³Ý-³½·³·ñ³Ï³Ý ÏÇÝáÛÇ áõÕÕáõÃÛ³Ùμ: 1920-³Ï³ÝÝ»ñÇ í»ñçáõ٠ݳ §ìáëïáÏÏÇÝᦠëïáõ¹Ç³ÛÇ Ý³Ë³Ó»éÝáÕÝ»ñÇó Ù»ÏÝ ¿ñ, áñÁ Ýå³ï³Ï áõÝ»ñ ýÇÉÙ»ñ Ýϳñ»É ÷áùñ ³½·»ñÇ Ù³ëÇÝ: ºí Ñ»Ýó ´»Ïݳ½³ñÛ³ÝÝ ¿ñ, áñ Ýϳñ³Ñ³Ý»ó ³Û¹ ß³ñùÇ ³é³çÇÝ ýÇÉÙ»ñÇó Ù»ÏÁª 1930 Ãí³Ï³ÝÇ §Æ·¹»Ýμáõݦ áñëáñ¹ ·áɹ»ñÇ (Ù»ñûñÛ³ ݳݳÛóÇÝ»ñÇ) ÏÛ³ÝùÇó, ÇëÏ 1932-Çݪ §Þù³Ýß³Ýáí Ù³ñ¹Á¦ª ã»ã»ÝÝ»ñÇ Ù³ëÇÝ: ²ì

سñ¹ÇÏ »ñμ»ÙÝ ÇÝùݳëå³Ý »Ý ÉÇÝáõÙ ª Ý»ïí»Éáí ·Ý³óùÝ»ñÇ ï³Ï: гÝñáõÃÛ³Ý áõß³¹ñáõÃÛáõÝÁ, ëáíáñ³μ³ñ, 먻éíáõÙ ¿ ѳݷáõóÛ³ÉÇ íñ³: ´³Ûó 㿱 áñ ³Ûë áÕμ»ñ·áõÃÛáõÝÝ»ñÁ »ñÏáõ ½áÑ »Ý áõÝ»ÝáõÙ: Þí»¹³Ï³Ý §ºñϳ÷Çͦ ϳñ׳ٻïñ³Å í³í»ñ³·ñáõÃÛáõÝÁ ¹Çï³ñÏáõÙ ¿ ³Ûë å³ï³Ñ³ñÝ»ñÁ Ù»ù»Ý³í³ñÝ»ñÇ ï»ë³ÝÏÛáõÝÇó: ê³ ¶áõݳñ ¨ ²ÝÇϳ γñÉëáÝ ´»ñ·¹³ÉÝ»ñÇ ³é³çÇÝ Ñ³Ù³ï»Õ ÏÇÝáÝϳñÝ ¿: ºÃ» óáõó³Ñ³Ý¹»ëÝ»ñÇ Ï³½Ù³Ï»ñåÇã, Éñ³·ñáÕ ¨ ·ñáÕ ²ÝÇϳÛÇ Ñ³Ù³ñ ë³ ³é³çÇÝ ³ß˳ï³ÝùÝ ¿ ÏÇÝáÛáõÙ, ³å³ ¶áõݳñÁ ýÇÉÙ»ñ ¿ ³ÝáõÙ ¹»é¨ë áõß 90-³Ï³ÝÝ»ñÇó, ÇëÏ 1994-Çó ջϳí³ñáõÙ ¿ ¶Ûáûμáñ·Ç ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÁ: §ºñϳ÷ÇÍǦ ·áñÍáÕáõÃÛáõÝÝ»ñÝ ³ÙμáÕçáíÇÝ ï»ÕÇ »Ý áõÝ»ÝáõÙ ëɳóáÕ ·Ý³óùÇ Ù»çª ³é³çݳÛÇÝ í³·áÝáõÙ: ÊóÇÏÁª ³ë»ë Ù»ù»Ý³í³ñÇ ³ãù»ñáí, ݳÛáõÙ ¿ å³ïáõѳÝÇó ¹áõñëª Ñ³í»ñÅ³Ï³Ý Ãí³óáÕ »ñϳ÷ͻñÇÝ: ÈëíáõÙ »Ý Ù»ù»Ý³í³ñÝ»ñÇ Ó³ÛÝ»ñÁª ³Ýíëï³Ñ áõ ëñïÝ»Õí³Í. ٻݳËáëáõÙ »Ý ³ÛÝ ³ÏÝóñÃÝ»ñÇ Ù³ëÇÝ, »ñμ ³Ù³ÛÇ »ñϳ÷ÍÇÝ Ù³ñ¹ ¿ÇÝ ï»ë»É, ÇëÏ ³ñ·»É³Ï»ÉÝ ³ñ¹»Ý áõß ¿ñ: Üñ³ÝóÇó Ù»ÏÝ ³Û¹ ë³ñë³÷Á í»ñ³åñ»É ¿ »ñ»ù ³Ý·³Ù. ·áñÍÁÝÏ»ñÝ»ñÁ ϳï³Ïáí ë÷á÷áõÙ »Ý, ûª ¿É ãÇ ÉÇÝÇ, ÉÇÙÇïÝ ëå³é»É »ë: 15 ñáå» ß³ñáõÝ³Ï ÙÇ »ñϳ÷ÇÍÁ ˳éÝíáõÙ ¿ ÙÛáõëÇÝ, ½³Ý³½³Ý ï»Õ³ÝùÝ»ñÁª ɳÝç»ñÁ, ѳñóí³Ûñ»ñÁ, ÏáñóÝáõÙ »Ý Çñ»Ýó ÇÝùÝáõÃÛáõÝÁª í»ñ³Íí»Éáí Ù»Ï ·áõݳï ÏáɳÅÇ: ºñμ ÁÝóÝáõÙ »ë 200 ÏÙ/Å ³ñ³·áõÃÛ³Ùμ, ßñç³Ï³ ³ß˳ñÑÝ áõÕÕ³ÏÇ ÉÕá½íáõÙ ¿: ²Û¹å»ë »Ý ³ß˳ñÑÁ ï»ëÝáõÙ ³Ù»Ý ûñ Ù»ù»Ý³í³ñÝ»ñÁ: àõ »ñμ»ÙÝ, Çñ»Ýó ϳÙùÇÝ Ñ³Ï³é³Ï, ûųݹ³ÏáõÙ »Ý áõñÇßÝ»ñÇݪ Ñ»é³Ý³É ³Ûë ÉÕá½í³Í Çñ³Ï³ÝáõÃÛáõÝÇó: ²ì

·Çß»ñÁ, ÝëïáõÙ ¿ ï³ÝÁ: ÎáÕùÇ ë»ÝÛ³ÏÇó »ñ»ëÇÝ ÁÝÏÝáÕ »ñ»ñáõÝ ÉáõÛëÁ, Ù³ñáÏÏá-³ÉÅÇñ³Ï³Ý ë³ÑÙ³ÝÇ ÝÙ³Ý, Ñ»ñáëÇ ¹»ÙùÁ μ³Å³ÝáõÙ ¿ »ñÏáõ Ù³-

ëÇ` Éáõë³íáñ ¨ ˳í³ñ: ºí ³Û¹ ÏÇë³ÉáõÛëÇ Ý»ñùá ê³ÙÇñÁ ÏÇëíáõÙ ¿ Çñ å³ñ½, Ï»Ýó³Õ³ÛÇÝ, »ñμ»ÙÝ ¿É ëáõýÇëï³Ï³Ý Ëáñ ÷ÇÉÇëá÷³ÛáõÃÛ³ÝÁ ѳñáÕ

Ùïù»ñáí: è»ÅÇëáñÇÝ ¹ÇÙ»Éáí ËáñÑñ¹³íáñ §ù»éǦ ³ÝáõÝáíª §½³ñÙÇϦ ê³ÙÇñÁ ÙïáñáõÙ ¿ ²ëïÍá áñáÝáõÙÝ»ñÇ, ë³ñ»ñÇ áõ ù³ñ»ñÇ, ׳ϳﳷñÇ, ÏÛ³ÝùÇ áõ Ù³Ñí³Ý Ù³ëÇÝ, »ñμ»ÙÝ ¿É ²ÉɳÑÇÝ ¿ ³ÕáÃáõÙ Çñ ¨ Ù³ÛñÇÏÇ Ñ³Ù³ñ: àñù³Ý ¿É ¹Åí³ñ ¿ å³ïÏ»ñ³óÝ»É, μ³Ûó ÷áßáï ɳݹ߳ýïÝ»ñáõÙ Ïսdzó³Í áõ Ù»ÏáõëÇ ê³ÙÇñÇ å³ïÙáõÃÛáõÝáõÙ ³éϳ ¿ ݳ¨ ëÇñ³ÛÇÝ ÙáïÇí: лñáëÝ ÁÝÏ»ñáõÑÇ áõÝÇ, áõÙ Ñ»ï Ïáõ½»Ý³ñ ³ÙáõëݳݳÉ, μ³Ûó Ýñ³Ýù ëïÇåí³Í »Ý óùáõÝ ß÷í»É, ù³Ý½Ç ³Õçϳ ѳÛñÁ ÝáõÛÝå»ë Ý»ñ·ñ³íí³Í ¿ Ù³ùë³Ý»Ý· ³ß˳ï³ÝùÝ»ñáõÙ: ê³ÙÇñÝ ³Ûó»ÉáõÙ ¿ ëÇñ³Í ³ÕçÏ³Ý Ñáñ μ³ó³Ï³ÛáõÃÛ³Ý Å³Ù»ñÇÝ, áõ Ýñ³Ýù ß÷íáõÙ »Ý ÙÇÙdzÛÝ ¹é³Ý ³ÝóùÇó, áñï»Õ ê³ÙÇñÇ ³ãùÇ ÷á˳ñ»Ý ýÇÉÙÇ ÁÝóóùáõ٠ѳÛïÝíáõÙ ¿ í³í»ñ³·ñáÕÇ ï»ë³ËóÇÏÁ: ²ëïÇ׳ݳμ³ñ μ³óíáõÙ áõ ÷áËíáõÙ ¿ ê³ÙÇñÇ Ï»ñå³ñÁ ¨ ýÇÉÙÇ íǽáõ³É ïñ³Ù³¹ñáõÃÛáõÝÁ, »ñμ çáñÇÝ»ñÇ ËñËÇÝçÇ, ßÝ»ñÇ Ñ³ãáóÝ»ñÇ, μÝáõÃÛ³Ý ¨ Ù»ù»Ý³ÛÇ ß³ñÅÇãÇ ÃÙñ³óÝáÕ Ó³Ûݳ߳ñÁ μ³ËíáõÙ ¿ Ù³·ÝÇïáýáÝÇó ÑÝãáÕ ¾¹Çà ädzýÇÝ: β

å»ë ÙÇ ïËáõñ íÇ׳ϳ·ñ³Ï³Ý ÷³ëï ϳ٠á×ñÇ áõ å³ïÅÇ Ùé³ÛÉ ûñÇݳÏ: öá˳ñ»ÝÝ áõ½áõÙ ¿ñ å³ïÙ»É Çñ ÏÛ³ÝùÇ å³ïÙáõÃÛáõÝÁª ³ÛÝå»ë, ÇÝãå»ë ÇÝùÝ ¿ñ ³ÛÝ í»ñ³åñ»É, å³ïÙ»É μ³ÝïáõÙ Çñ ³éûñÛ³ÛÇ Ù³ëÇÝ ¨ ËóÇÏÇ ³é³ç Ñݳñ³íáñÇÝë Ëáëïáí³Ý»É Çñ Ù»Õù»ñÁ: γñáÕ ¿ Ãí³É, û ÙÇ ùÇã »ë³Ï»ÝïñáÝ, μ³Ûó ³ÝÏ»ÕÍ Ø³ÝáõÏÇ Ñ³Ù³ñ äñ³¹áõÝ Áݹ³Ù»ÝÁ í³ñÓáõ é»ÅÇëáñ ¿, ë³Ï³ÛÝ Ýñ³Ýó ѳñ³μ»ñáõÃÛáõÝÝ»ñÝ ³í»ÉÇ Ëáñ »Ý: Üñ³Ýù ½ñáõó»É »Ý ³í»ÉÇ ù³Ý 70 ųÙ, μ³½Ù³ÃÇí ݳٳÏÝ»ñ ·ñ»É, ¨ سÝáõÏÝ ³ÝѳßÇí ï»ë³·ñáõÃÛáõÝÝ»ñ ¿ ³ñ»É Çñ ÏÛ³ÝùÇ Ù³ëÇÝ ³ÛÝ μ³ÝïáõÙ, áñï»Õ Ýñ³ Ëó³ÏÇóÝ»ñÁ Ù³ñ¹³ëå³ÝÝ»ñ »Ýª ³Û¹ ÃíáõÙ §²É ø³Ç¹³ÛǦ ³Ñ³μ»ÏÇãÝ»ñ: Êó³ÏÇóÝ»ñÇ Ñ³Ù»Ù³ïª Ø³ÝáõÏÇ Ñ³Ýó³·áñÍáõÃÛáõÝÁ (14 Ï· ÏáϳÇÝ ¿ Ý»ñÏñ»É ²ëdz) μ³í³Ï³ÝÇÝ ³ÝÙ»Õ ¿ ÃíáõÙ, μ³Ûó Çñ³Ï³ÝáõÙ ³Ûë ËáñÇÙ³ëï í³í»ñ³·ñáõÃÛáõÝÝ ³ñ¹³ñáõÃÛ³Ý Ù³ëÇÝ ã¿: ²ÛÝ ÁݹáõÝ»Éáõ áõ ³å³ß˳ñ»Éáõ, ÏÛ³ÝùÇ ÷³ëï»ñÇÝ ³é»ñ»ëí»Éáõ áõ ¹ñ³ÝóÇó ³é³í»É³·áõÛÝë ¹³ë»ñ ù³Õ»Éáõ Ù³ëÇÝ ¿: üÇÉÙÁ ·ñ³íÇã ¿ ¹³éÝáõ٠سÝáõÏÇ å³ÛÍ³é ¿Ý»ñ·Ç³ÛÇ ßÝáñÑÇí. ³ÝáõÕÕ»ÉÇ Ñ³Ýó³·áñÍÝ»ñÇ Ñ»ï Ýñ³ ϳï³ÏÝ»ñÁ ýÇÉÙÇÝ áñáß³ÏÇ ¹ñ³Ï³Ý ÉÇóù»ñ »Ý ѳÕáñ¹áõÙ, Ñ»ïá ÇѳñÏ», ³Ý¹³éݳÉÇáñ»Ý ëï³ÝáõÙ ¿ óËÍáï »ñ³Ý·: о

âï»ëÝí³Í §»ëÁ¦

§¼³ñ»¦ (гÙá ´»Ïݳ½³ñÛ³Ý, ÐÊêÐ, 1926), 10.07ª 20:00, ØáëÏí³ Ï/à γñÙÇñ ¹³ÑÉÇ× (Ññ³íÇñ³ïáÙë»ñáí) ²Ýó³Í ï³ñÇ §àëÏ» ÍÇñ³ÝÁ¦ »½ñ³÷³Ïí»ó ѳÛÏ³Ï³Ý ³é³çÇÝ Ë³Õ³ñϳÛÇÝ ýÇÉÙǪ §Ü³ÙáõëǦ 90-³ÙÛ³ÏÇÝ ÝíÇñí³Í óáõó³¹ñáõÃÛ³Ùμ: ²Ûë ï³ñÇ ÷³é³ïáÝÁ ÏÙ»ÏݳñÏÇ Ñ³ÛÏ³Ï³Ý »ñÏñáñ¹ ÏÇÝáÝϳñǪ §¼³ñ»Ç¦ 90-³ÙÛ³ Ñáμ»ÉÛ³ÝÇ ïáݳϳï³ñáõÃÛ³Ùμ: ºñÏáõ ýÇÉÙÇ é»ÅÇëáñÝ ¿É ²ñ¨»ÉùÇ ÏÇÝáÛÇ ³é³çÇÝ é»³ÉÇëï, åñáý»ëÇáÝ³É ÁÙμß³Ù³ñïÇÏ, ݳ˳ѻճ÷áË³Ï³Ý ÏÇÝáÛÇ ³ëïÕ, ÏáßϳϳñáõÃÛ³Ý ³ñÑ»ëïáõÙ í³ñå»ï³ó³Í, ê»ñ·»Û ¾Û½»Ýßï»ÛÝÇ ³Ù»Ý³ëÇñ»ÉÇ ¨ ·áõó» ³é³çÇÝ Ñ³ÛÏ³Ï³Ý Ëáñáí³ÍÁ Ñ»ÕÇݳϳÍ, Ñ³Û ÏÇÝáÛÇ Ñ³Ûñ гÙá ´»Ïݳ½³ñÛ³ÝÝ ¿: §¼³ñ»Ç¦ ³ñï³¹ñáõÃÛáõÝÝ ëÏëí»ó ÊêÐØáõÙ §Ü³ÙáõëǦ áõÝ»ó³Í ѳçáÕáõÃÛáõÝÇó ³ÝÙÇç³å»ë Ñ»ïá: ´»Ïݳ½³ñÛ³ÝÁ ëó»Ý³ñÁ ·ñ»ó ·ñáÕ, ùñ¹³·»ï ȳ½áÛÇ (гÏáμ Ô³½³ñÛ³ÝÇ) ÝÛáõûñÇ ÑÇÙ³Ý íñ³: §¼³ñ»Ç¦ ѳٳÝáõÝ Ñ»ñáëáõÑÇÝ, áñÇÝ Ù³ñÙݳíáñáõÙ ¿ »ݳ½ÇÝ (سñdz ³¹¨áëÛ³ÝÁ), ·»Õ»óÇÏ ùñ¹áõÑÇ ¿ª ²É³·Û³½ É»é³Ý ɳÝç»ñÇÝ μݳÏáõÃÛáõÝ Ñ³ëï³ï³Í ùáãíáñ ó»ÕÇó: ¼³ñ»Ý áõ ÑáíÇí ê³Û¹áÝ (Ðñ³ãÛ³ Ü»ñëÇëÛ³Ý) ëÇñáõÙ »Ý Çñ³ñ, Ýëï³Í »Ý ù³ñ»ñÇݪ ·»ï³ÏÇ Ùáï, ·ñϳ˳éÝí³Í, áõ »ñμ Ùáï»ÝáõÙ »Ý Ýñ³Ýó ßáõñûñÁª ËóÇÏÁ §Ëáѻٳμ³ñ¦ ûùáõÙ ¿ ѳ۳óùÁ çñÇ Ñáë³ÝùÇ Ù»ç ³Ýí»ñç åïïíáÕ ÏáõÅÇÝ: ÆëÏ ³ß˳ñÑáõÙ 1915 Ãí³Ï³ÝÝ ¿: ºéáõÙ »Ý ²é³çÇÝ ³ß˳ñѳٳñïÇ ÎáíϳëÛ³Ý ×³Ï³ïÇ Ã»Å Ù³ñï»ñÁ: ò³ñ³Ï³Ý ϳé³í³ñáõÃÛáõÝÁ ·áõÙ³ñ ¿ ѳïϳóÝáõÙ ª ùáõñ¹ ϳٳíáñÝ»ñÇ çáϳï ϳ½Ù»Éáõ ѳٳñ: ´³Ûó ·áõÙ³ñÁ, Ó»éùÇó Ó»éù ³ÝóÝ»Éáí, å³Ï³ëáõÙ, ÏáñãáõÙ ¿: ò³ñ³Ï³Ý å³ßïáÝ۳ݻñÁ å³Ûٳݳíáñí³ÍáõÃÛ³Ý »Ý ·³ÉÇë ó»Õ³å»ï »Ùáõñ μ»ÏÇ (¶³ñ³·³ßÇ) Ñ»ï. ó»-

ÕÇ ³Õù³ïÝ»ñÁ Ï·Ý³Ý ×³Ï³ï, ÇëÏ áõݨáñÝ»ñÁ Ïëï³Ý³Ý Ãí³óÛ³É Çß˳ÝáõÃÛáõÝ: ´»ÏÁ í³Õáõó ¿ñ ³ãù ¹ñ»É ¼³ñ»Ç íñ³, ¨ ½áñ³ÏáãÁ ê³Û¹áÛÇó Ó»ñμ³½³ïí»Éáõ ɳí å³ïñí³Ï ¿: âÝ³Û³Í ë³ (³ÛÝųٳݳÏí³ »½ñáõÛÃáí) §Ñ³Ï³ÇÙå»ñdzÉÇëï³Ï³Ý¦ ýÇÉÙ ¿ áõ ëó»Ý³ñ³ÛÇÝ μáí³Ý¹³ÏáõÃÛ³Ùμ ѳٳÑáõÝã ¿ 1920-³Ï³ÝÝ»ñÇÝ ëáí»ï³Ï³Ý ù³ñá½ã³Ï³Ý ųå³í»ÝÝ»ñǪ ýÇÉÙÁ ¹Çï»ÉÇë å³ñ½ ¿ ¹³éÝáõÙ, áñ §¼³ñ»Ý¦ ݳ¨ ³ÛÉ Ýå³ï³ÏÝ»ñ ¿ñ Ñ»ï³åݹáõÙ: ´»Ïݳ½³ñÛ³ÝÁ ýÇÉÙÇ ëï»Õͳ·áñÍ³Ï³Ý ³ÝÓݳϳ½ÙÇ ³éç¨ ß³ï Ñëï³Ï ËݹÇñ ¿ñ ¹ñ»É: Æñ ݳٳÏÝ»ñÇó Ù»ÏáõÙ é»ÅÇëáñÁ ·ñáõÙ ¿. §ê³ å»ïù ¿ ÉÇÝÇ ³é³çÇÝ ÇëÏ³Ï³Ý ÏÇÝáÝϳñÝ ²ñ¨»ÉùÇ ÏÛ³ÝùÇóª ³é³Ýó é³Ñ³Ã-ÉáËáõÙǦ: ²Û¹ ÇëÏ å³ï׳éáí Ýϳñ³Ñ³ÝáõÙÝ»ñÁ ï»ÕÇ ¿ÇÝ áõÝ»ÝáõÙ ²É³·Û³½ É»é³Ý ɳÝç»ñÇݪ ÇëÏ³Ï³Ý ùñ¹³Ï³Ý μݳϳí³ÛñáõÙ: سëë³Û³Ï³Ý ï»ë³ñ³ÝÝ»-

ºñ»ñáõÝ ë³ÑÙ³ÝÁ §ê³ÙÇñÁ ÷áßáõ Ù»ç¦ (Øáѳٻ¹ àõ½ÇÝ, üñ³Ýëdz/²ÉÅÇñ/ø³Ã³ñ, 2015), ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ, 11:07ª 10:00 ¨ 18:00, §ØáëÏí³¦ Ï/à öáùñ ¹³ÑÉÇ× 1 سñáÏϳóÇ Ùáñ ¨ ³ÉÅÇñóÇ Ñáñ ½³í³Ï é»ÅÇëáñ Øáѳٻ¹ àõ½ÇÝÁ Ñáñ Ù³ÑÇó Ñ»ïá áñáßáõÙ ¿ í»ñ³μ³ó³Ñ³Ûï»É ÍÝáÕÝ»ñÇ ÑáÕÁ ¨ ï»ë³ËóÇÏÁ Ó»éùÇÝ áõÕ¨áñíáõÙ ¿ ÐÛáõëÇë³ÛÇÝ ²ýñÇϳ, áñï»Õ ³ñ³μ Ù³ùë³Ý»Ý· ê³ÙÇñÁ ¨ ²ñ¨ÙïÛ³Ý ²ÉÅÇñÇ å³ëï»É³ÛÇÝ É³Ý¹ß³ýïÝ»ñÁ ¹³éÝáõÙ »Ý Ýñ³ª §ê³ÙÇñÁ ÷áßáõ Ù»ç¦ ýÇÉÙÇ Ñ»ñáëÝ»ñÁ: ì³í»ñ³·ñáõÃÛ³Ý Ñ³Ù³ß˳ñѳÛÇÝ åñ»ÙÇ»ñ³Ý ï»ÕÇ ¿ áõÝ»ó»É ³Ýó³Í ï³ñ»í»ñçÇݪ ¸áõμ³ÛÇ ØÎö-ÇÝ: ê³ÙÇñÁ í³ëï³ÏáõÙ ¿ Çñ ³åñáõëïÁª çáñáõ íñ³ μ³ñÓ³Í í³é»ÉÇùÁ ·ÛáõÕÇó ·³ÕïÝÇ ï»Õ³÷áË»Éáí سñáÏÏáÛÇ ë³ÑÙ³Ý ë¨ ßáõϳÛáõÙ í³×³éùÇ Ñ³Ù³ñ: úñí³ ÁÝóóùáõÙ ê³ÙÇñÁ ϳï³ñáõÙ ¿ Çñ ËñÃÇÝ ³ß˳ï³ÝùÁ, ÇëÏ »ñμ ·³ÉÇë ¿ ÙáõÃ

²é»ñ»ëáõÙ ÷³ëï»ñÇ Ñ»ï §Ø³ÝáõÏÁ¦ (سñÏáõë äñ³¹áõ, ´ñ³½ÇÉdz, 2016), ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ, 10.07ª 14:00, 11.07ª 12:00, §ØáëÏí³¦ Ï/à öáùñ ¹³ÑÉÇ× 1 §´³Ýï³Ëóáõ٠ͳÕÏáõÙ ¿ íëï³ÑáõÃÛáõÝÁ¦. §Ø³ÝáõÏÁ¦ ýÇÉÙÝ ëÏëíáõÙ ¿ μñ³½ÇɳóÇ Ñ³ÛïÝÇ ³ëïí³Í³μ³Ý èáõμ»Ù ²Éí»ëÇ Ù»çμ»ñáõÙáí: ºí سñÏáõë äñ³¹áõÇ ³Ûë í³í»ñ³·ñáõÃÛ³Ý Ù»ç ÙÇ μ³Ýáõ٠ϳñáÕ »Ýù íëï³Ñ ÉÇÝ»É. ýÇÉÙÇ ·É˳íáñ Ñ»ñáëÁª سÝáõÏ Ù³Ï³ÝáõÝáí سñÏáõ ²ñã»ñÁ, Ç í»ñçá ٳѳå³ïÅÇ Ï»ÝóñÏíÇ ÇݹáÝ»½³Ï³Ý Ëëï³·áõÛÝ é»ÅÇÙÇ μ³ÝïáõÙ: ÆÝãå»±ë ¿ å³ñ³åɳݳÛÇÝ ëåáñïáí ½μ³ÕíáÕ μñ³½ÇɳóÇ Ø³ÝáõÏÁ ·Éáñí»É ³Ûë ³Ý¹áõݹÁ, ¨ ÇÝãå»±ë ¿ ¹³ ³Ý¹ñ³¹³ñÓ»É Ýñ³ ³ß˳ñÑÁÝϳÉÙ³Ý íñ³. Ñ»Ýó ë³ ¿ ³Ûë ëñï³μáõË í³í»ñ³·ñ³Ï³Ý ýÇÉÙÇ ³é³Ýóù³ÛÇÝ Ã»Ù³Ýª ³½ÝÇí Ù³ñ¹áõ ¹ÇÙ³ÝϳñÁ, áí í׳ñáõÙ ¿ ³Ý³½ÝÇí ³ñ³ñùÝ»ñÇ Ñ³Ù³ñ: ÆÝùÁª سÝáõÏÝ ¿ ·ï»É äñ³¹áõÇÝ ¨ ³é³ç³ñÏ»É Ýϳñ³Ñ³Ý»É Çñ Ù³ëÇÝ ³Ûë í³í»ñ³·ñáõÃÛáõÝÁ: ܳ ã¿ñ áõ½áõÙ, áñ Çñ»Ý ÑÇß»Ý áñ-

ÈÕá½í³Í ³ß˳ñÑÁ §ºñϳ÷Çͦ (¶áõݳñ ´»ñ·¹³É, ²ÝÇϳ γñÉëáÝ ´»ñ·¹³É, Þí»¹Ç³, 2016), ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ, 11.07, 10:00 ¨ 18:00, §ØáëÏí³¦ Ï/Ã, öáùñ ¹³ÑÉÇ× 1

.§ÆÝë³Ûæ (²É»ùë³Ý¹ñ Îáïï, èáõë³ëï³Ý, 2015), ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ, 10.07ª 11:00 ¨ 11.07` 17:00, §ØáëÏí³¦ Ï/Ã, γåáõÛï ¹³ÑÉÇ× úñ»ñÇó ÙÇ ûñ ²É»ùë³Ý¹ñ ÎáïïÁ ͳÝáóÝáõÙ ¿ ÙÇ ÏáõÛñ Ù³ñ¹áõ Ñ»ï, áí é»ÅÇëáñÇÝ å³ïÙáõÙ ¿ ÝíÇñ³Ï³Ý ¹ñí³·Ý»ñ Çñ ³ñï³ëáíáñ ÏÛ³ÝùÇó: êñ³ÝÇó á·¨áñí³Íª ÎáïïÁ ëï»ÕÍáõÙ ¿ Ýáñ ýÇÉÙ` μ³½ÙÇÙ³ëï §ÆÝë³Ûæ í»ñݳ·ñáí: §ÆÝë³Ûæ (³Ý·É.ª insight) μ³éÝ áõÝÇ Ñá·»μ³Ý³Ï³Ý μ³ó³ïñáõÃÛáõݪ áñ¨¿ Ù»ÏÇ Ï³Ù áñ¨¿ ÙÇ μ³ÝÇ ËáñÁ, »ñμ»ÙÝ Ñ³ÝϳñͳÏÇ μ³ó³Ñ³ÛïáõÙ, ÁÝϳÉáõÙ: лÝó ³Ûë »ñ¨áõÛÃÝ»ñÇ áÉáñïáõÙ ¿É ½³ñ·³ÝáõÙ ¿ ýÇÉÙÇ Ñ»ñáë ¨ ä³í»É ¼áõ¨Ç ¹ñ³Ù³Ý: îáõÝ áõÕáñí»ÉÇë ä³í»ÉÁ (²É»ùë³Ý¹ñ Ú³ó»ÝÏá) ÁÝÏÝáõÙ ¿ª ·ÉáõËÁ ѳñí³Í»Éáí ³ëý³ÉïÇÝ: ÐÇí³Ý¹³ÝáóáõÙ Ýñ³Ý ³ËïáñáßáõÙ »Ý ï»ëáÕáõÃÛ³Ý ³Ýí»ñ³¹³ñÓ Ïáñáõëï: Ðáõë³Ñ³ïáõÃÛáõÝÁ μ»ñáõÙ ¿ ÇÝùݳëå³ÝáõÃÛ³Ý ÷áñÓÇ, μ³Ûó Ýñ³Ý ÷ñÏáõÙ ¿ μáõÅùáõÛñÁ: лÝó ݳ ¿ ¹³éÝáõÙ ¿ ÏáõñáõÃÛ³Ý §Ùáõà ÃáõÝ»ÉáõÙ¦ ѳÛïÝí³Í ¼áõ¨Ç å³Ûͳé ÉáõÛëÁ: ¸³ï³í×Çé Ãí³óáÕ ÏáõñáõÃÛ³Ý Ñ³ÕóѳñÙ³Ý Ã»Ù³Ý ÏÇÝáÛáõÙ μ³½ÙÇóë Çñ³Ï³Ý³óí»É ¿,

ë³Ï³ÛÝ ²É»ùë³Ý¹ñ Ú³ó»ÝÏáÛÇ ³Ý½áõ·³Ï³Ý ¹»ñ³ë³Ý³Ï³Ý ˳ÕÁ ß»ÕáõÙ ¿ áõß³¹ñáõÃÛáõÝÁ Ï»ñå³ñ³ÛÇÝ, ÇëÏ ûå»ñ³ïáñ äÛáïñ ¸áõËáíëÏáõ ï»ë³ËóÇÏÁª á׳ÛÇÝ ½áõ·³μ³ÝáõÃÛáõÝÝ»ñÇó: ²ñ¹ÛáõÝùáõÙ` ä³í»É ¼áõ¨Ç Ï»ñå³ñÝ áõ Ýñ³ å³Ûù³ñÁ ÝÙ³Ý ã»Ý á°ã ä³ãÇÝáÛÇ ·Ý¹³å»ï êɻ۹ÇÝ (§ÎÝáç μáõñÙáõÝùÁ¦), áã ¿É Ë³í³ñáõÙ å³ñáÕ ê»ÉÙ³ÛÇÝ (§Ê³í³ñáõÙ å³ñáÕÁ¦): ijٳݳÏÇ ÁÝóóùáõÙ ä³í»ÉÇ Ñ³Ý¹»å ÑÇÙÝ³Ï³Ý ½·³óÙáõÝùÁ ¹³éÝáõÙ ¿ áã û ³Ûë ïÇåÇ ýÇÉÙ»ñÇÝ μÝáñáß ËÕ׳ѳñáõÃÛáõÝÁ, ³ÛÉ ÝáõÛÝÇëÏ Áݹѳϳé³ÏÁ` ݳ˳ÝÓÁ. ýǽÇÏ³Ï³Ý ÏáõñáõÃÛáõÝÁ ³é³ç ¿ ù³ßíáõÙ` áñå»ë §³í»ÉÇÝ ï»ëÝ»Éáõ¦ ³ÝÑñ³Å»ßï ݳ˳å³ÛÙ³Ý, áñå»ë áõÕ»·Çñ ¹»åÇ ½·³Û³Ï³Ý Çñ³Ï³ÝáõÃÛáõÝ, Ñ»éáõ ë»÷³Ï³Ý ýǽÇÏ³Ï³Ý §»ë¦-Ç Ñ»ï ÙdzÛÝ³Ï ÙݳÉáõ ¹³Å³Ý å³ïÅÇó: β

GOLDEN APRICOT DAILY 2016 | 10/11 JULY | DAY 1&2

êñï³Ýó ó³í³ÏóáõÙ »Ù ÏáñëïÇ Ñ³Ù³ñ: ÞÝáñÑ³Ï³É »Ù: гñó³½ñáõÛóÝ»ñáõÙ ÷áñÓáõÙ »Ù ãËáë»É Ýñ³ Ù³ëÇÝ, μ³Ûó ·Çï»Ùª åÇïÇ Ñ³Ù³Ï»ñåí»Ù: Þ³ï ɳí ÁÝÏ»ñ ¿ñ: ²ñ¹»Ý ÑÇí³Ý¹³ÝáóáõÙ ¿ñ, »ñμ í»ñçÇÝ ³Ý·³Ù ½ñáõó»óÇÝù: ²ë³óÇ. §ºñμ ¹áõñë ·ñí»ë ÑÇí³Ý¹³ÝáóÇó, §´³ÉÇ Ñ³ÙǦ 20-ñ¹ ï³ñ»¹³ñÓÝ ¿ ÉÇÝ»Éáõ, ù»ý »Ýù ³Ý»Éáõ¦: ²Ù»Ý ÇÝã ¿ñ ÇÝÓ Ñ³Ù³ñ, ¨ Ýñ³ ßÝáñÑÇí ¿, áñ ³Ûëûñ ³Ûëï»Õ »Ù: ²Ûë ß³μ³Ã Æñ³ÝáõÙ Ñ᷻ѳݷëïÇ ³ñ³ñáÕáõÃÛáõÝ ¿ ÉÇÝ»Éáõ: ò³íáù, ã»Ù ϳñáÕ Ý»ñϳ ÉÇÝ»É, ù³ÝÇ áñ å³ñï³Ï³ÝáõÃÛáõÝÝ»ñ áõݻ٠÷³é³ïáÝÇ ³é³ç, μ³Ûó ëÇñïë ³ÛÝï»Õ ¿: ÆÝãå»±ë »ù ͳÝáóó»É: ܳ ÇÝÓ ï»ë³í, »ñμ Ù»ù»Ý³Ûáí ϳñÙÇñ ÉáõÛëÇ ï³Ï Ï³Ý·Ý³Í ¿Ç: ²ë³óª áõ½áõÙ ¿ ýÇÉÙ ³Ý»É ¨ Ñ»ï³ùñùñí»óª Ïáõ½»Ý³±Ù ³ñ¹Ûáù Ù³ëݳÏó»É: ²Û¹ Å³Ù³Ý³Ï Ýñ³Ý ¹»Ùùáí ã·Çï»Ç áõ ѻ勉μ³ñ ³é³çÇÝ Ñ³ñóëª á±í »ù ¸áõù: ºñμ ³ÝáõÝÝ ³ë³ó, »ë ³ÝÙÇç³å»ë ѳëϳó³, áñ ѳÝñ³Ñ³Ûï é»ÅÇëáñÝ ¿: гٳӳÛÝ»óÇ, ¨ ³Û¹å»ë ëÏëí»ó Ù»ñ ÁÝÏ»ñáõÃÛáõÝÁ: î³ñÇÝ»ñÇ ÁÝóóùáõ٠ݳ μ³½Ù³ÃÇí áã åñáý»ëÇáݳÉÝ»ñÇ ¿ ¹»ñ»ñ ïí»É, μ³Ûó »ë ÙdzÏÝ »Ù, áí ß³ñáõݳϻó ·áñÍáõÝ»áõÃÛáõÝÝ ³Ûë ³ëå³ñ»½áõÙ: ÎÛ³Ýùë Çëϳå»ë ÷áËí»ó ¹ñ³ÝÇó Ñ»ïá: Üñ³ ýÇÉÙÝ ÇÙ »ñÏñáñ¹ ÍÝáõÝ¹Ý ¿ñ: ØÇÝ㨠§´³ÉÇ Ñ³ÙÁ¦ ׳ñï³ñ³å»ï ¿Çù: ƱÝã ·Çï»Çù ÏÇÝáÛÇ Ù³ëÇÝ: Ö³ñï³ñ³å»ïáõÃÛáõÝ Æï³ÉdzÛáõÙ ¿Ç áõë³Ý»É ¨ Ñ»ïá ³ß˳ï»É ¿Ç ì³ÝÏáõí»ñáõÙ: ²ÛÝï»Õ ÙÇ ³Ý·³Ù Çñ³Ý³Ï³Ý ÏÇÝáÛÇ ÷³é³ïáÝÇ ¿Ç ·Ý³ó»É: ¸ñ³ÝÇó ³é³ç ·ñ»Ã» áãÇÝã ã·Çï»Ç Çñ³Ý³Ï³Ý Ñ»ïѻճ÷áË³Ï³Ý ÏÇÝáÛÇ Ù³ëÇÝ: î»ëÝ»Éáí ³ÛÝåÇëÇ ýÇÉÙ»ñ, ÇÝãåÇëÇÝ ¿ñ §´³ßáõݪ ÷áùñÇÏ ³ÝͳÝáÃÁ¦ (´³Ññ³Ù ´»Û½³Ç, 1989 – ØÜ)ª ÷áËí»óÇ: àñáß»óÇ í»ñ³¹³éÝ³É Æñ³Ý:

INTERVIEW 5

ÐáÙ³ÛáõÝ ¾ñß³¹Ç ºñμ»ù ¿É áõß ã¿ ÷áË»É ÏÛ³ÝùÇ áõÕÇÝ: Æñ³ÝóÇ ¹»ñ³ë³Ý ÐáÙ³ÛáõÝ ¾ñß³¹ÇÝ (1947) ¹ñ³ ϻݹ³ÝÇ ûñÇݳÏÝ ¿: ²ñ¹»Ý ϳ۳ó³Í ÙÇçÇÝ ï³ñÇùÇ ×³ñï³ñ³å»ï ¿ñ, »ñμ 1997-ÇÝ é»ÅÇëáñ ²μ³ë øÛ³éáëï³ÙÇÝ Ëݹñ»ó Ýñ³Ý Ù³ñÙݳíáñ»É Çñ §´³ÉÇ Ñ³ÙÁ¦ ýÇÉÙÇ ·É˳íáñ Ñ»ñáëÇÝ: üÇÉÙÝ ³ñųݳó³í γÝÝÇ §àëÏ» ³ñÙ³í»Ýáõݦ ¨ μ³½Ù³ÃÇí ³ÛÉ Ùñó³Ý³ÏÝ»ñÇ: ºñÏáõ ïÕ³Ù³ñ¹Ý ¿É Ùáï ÁÝÏ»ñÝ»ñ ¿Çݪ ÁݹÑáõå ÙÇÝ㨠øÛ³éáëï³ÙÇÇ Ù³ÑÁ ³Ýó³Í »ñÏáõß³μÃÇ: àñå»ë ѳñ·³ÝùÇ ïáõñù øÛ³éáëï³ÙÇÇݪ ÷³é³ïáÝÁ Ïóáõó³¹ñÇ §´³ÉÇ Ñ³ÙÁ¦, ÇÝãå»ë ݳ¨ Ïϳ½Ù³Ï»ñåÇ §Ö³Ý³å³ñѦ óáõó³Ñ³Ý¹»ëÁª μ³Õϳó³Í øÛ³éáëï³ÙÇÇ ³ñ³Í Éáõë³ÝϳñÝ»ñÇó, áñáÝù ݳ ÝíÇñ»É ¿ñ §àëÏ» ÍÇñ³ÝÇݦ Çñ ãáñë »ñ¨³ÝÛ³Ý ³Ûó»ÉáõÃÛáõÝÝ»ñÇó Ù»ÏÇ Å³Ù³Ý³Ï: ¾ñß³¹ÇÝ, áí ³Ûë ï³ñí³ Ë³Õ³ñϳÛÇÝ ÙñóáõÛÃÇ ÅÛáõñÇÇ ³Ý¹³Ù ¿, Ëáñ³å»ë ë·áõÙ ¿ ëÇñ»ÉÇ ÁÝÏ»ñáç ÏáñáõëïÁ. §Üñ³ ßÝáñÑÇí ¿, áñ »ë ³Ûëûñ ³Ûëï»Õ »Ù: ܳ ³Ù»Ý ÇÝã ¿ñ ÇÝÓ Ñ³Ù³ñ¦:

øÛ³éáëï³ÙÇÝ Ñ³×³Ë ¿ñ Çñ ýÇÉÙ»ñáõÙ Ù»ù»Ý³Ý»ñÇ Ý»ñëÇó ϳ¹ñ í»ñóÝáõÙ: §´³ÉÇ Ñ³ÙÁ¦ μ³ó³éáõÃÛáõÝ ã¿: ¸Åí³±ñ ¿ñ ³Ûë ÷áùñÇÏ ï³ñ³ÍùáõÙ Ýϳñ³Ñ³Ýí»ÉÁ: ²Ù»Ý ³é³íáï Ù»ù»Ý³ÛÇ Ù»ç ¿ÇÝù ëÏëáõÙ: êϽμÇó áõÕÕ³ÏÇ Ýëï³Í ËáëáõÙ ¿ÇÝù, é»åÉÇÏÝ»ñÝ ¿ÇÝù ·ñáõÙ, ÷áñÓ³ñÏáõÙ: êó»Ý³ñ ãϳñ: ¸ñ³ÝÇó Ñ»ïá ³Ù»Ý ÇÝã ß³ï Ñ»ßï ¿ñ: àõÕÕ³ÏÇ ÙdzóÝáõÙ ¿Ç ß³ñÅÇãÁ, »ñμ ·Çï»Çª ÇÝã ³Ý»É ¨ ÇÝã ³ë»É: γñ¨áñ ¿ñ` ÇÝùë ÇÝÓ ÝÙ³Ý ÉÇÝ»Ç, ã˳ճÛÇ: ²Û¹ ï»ë³ñ³ÝÝ»ñÇ Å³Ù³Ý³Ï Ù»ù»Ý³ÛáõÙ ÙdzÛÝ »ë ¿Ç, øÛ³éáëï³ÙÇÝ áõ ËóÇÏÁ:

§´³ÉÇ Ñ³ÙÁ¦ (²μ³ë øÛ³éáëï³ÙÇ, Æñ³Ý/üñ³Ýëdz, 1997), 16.07ª 12:00, ØáëÏí³ Ï/à γåáõÛï ¹³ÑÉÇ×, 17.07ª 19:00 ØáëÏí³ Ï/à γñÙÇñ ¹³ÑÉÇ× òáõó³Ñ³Ý¹»ëª §Ö³Ý³å³ñÑÁ¦: ´³óáõÙÁª 12.07: ²Ù»Ý ûñª 12:00-15:00, Dalan Art Gallery, ²μáíÛ³Ý 12: Talk to GAIFF: гݹÇåáõÙ ÐáÙ³ÛáõÝ ¾ñß³¹ÇÇ Ñ»ï: 11.07ª 19:30, ÂáõÙá Ï»ÝïñáÝ

Before Taste of Cherry, you worked as an architect, right? What did you know about cinema? I studied architecture in Italy and worked in Vancouver after that. I went to a festival of Iranian films there once; up until then I did not know anything about the Iranian film industry after the revolution. Seeing films like Bashu, the Little Stranger [Bahram Beyzai, 1989 – MN] changed me a lot. I decided to go back to Iran, where I saw my first Kiarostami film, Through the Olive Trees [1994], before ever meeting him in person.

Kiarostami is known for his filming in and around cars. Taste of Cherry is no exception. Was it hard to film in such a small place? We started out in the car every morning. First to just sit and talk, writing lines and trying them out together. There was no screenplay. After that it was actually very simple: I just started the car when I knew what to do and what to say. It was important to be my true self and not act. It was only myself, Kiarostami and his camera in the car, I never played with other actors during those scenes. They did their work alone also. So, basically, I was talking to Kiarostami the whole time.

¼·á±õÙ ¿Çù, áñ ýÇÉÙÝ ³Û¹åÇëÇ Ù»Í Ñ³çáÕáõÃÛáõÝ Ïáõݻݳ: øÛ³éáëï³ÙÇݪ ·áõó» ³Ûá, μ³Ûó »ë` áã: ºñμ ýÇÉÙÝ Áݹ·ñÏí»ó γÝÝÇ ÙñóáõÛÃáõÙ, ¹Åí³ñ ¿ñ Çß˳ÝáõÃÛáõÝÝ»ñÇó ÃáõÛÉïíáõÃÛáõÝ ëï³Ý³Éª ýÇÉÙÝ ³ñï³ë³ÑÙ³ÝáõÙ óáõó³¹ñ»Éáõ ѳٳñ: ÂáõÛÉïíáõÃÛáõÝÁ ïí»óÇÝ ÷³é³ïáÝÇó Áݹ³Ù»ÝÁ Ù»Ï ß³μ³Ã ³é³ç: ºñμ é³¹ÇáÛáí ÇÙ³ó³, áñ øÛ³éáëï³ÙÇÝ §àëÏ» ³ñÙ³í»Ýáõ¦ ¿ ³ñųݳó»É, Ññ³ß³ÉÇ° ¿ñ: سñ¹ÇÏ ÇÝÓ ½·áõß³óÝáõÙ ¿ÇÝ, áñ ¹Åí³ñ ¿ ÉÇÝ»Éáõ ÝÙ³Ý Ù»Í Ñ³çáÕáõÃÛáõÝ áõÝ»ó³Í ýÇÉÙÇó Ñ»ïá í³Û»Éáõã ¹»ñ ·ïÝ»É: ´³Ûó »ë ã¿Ç ³Ýѳݷëï³ÝáõÙ: ºë ß³ñáõݳϻóÇ Ë³Õ³É Ç ëñï» ¨ ÁÝïñ»É ÝáõÛÝÇëÏ ÷áùñ³·áõÛÝ ¹»ñ»ñÁª ѳÝáõÝ ÁÝÏ»ñáõÃÛ³Ý:

ÆÝãå»±ë ¿ øÛ³éáëï³ÙÇÝ ³½¹»É Ò»ñ ³Ûëûñí³ ³ß˳ï³ÝùÇ íñ³: ÜáõÛÝÇëÏ Ù»ñ ѳٳï»Õ ³ß˳ï³ÝùÇó Ñ»ïá ݳ ß³ñáõݳÏáõÙ ¿ñ ëáíáñ»óÝ»É ÇÝÓ. ݳÛáõÙ ¿ñ ÇÙ Ýáñ ýÇÉÙ»ñÝ áõ Ù»Ïݳμ³ÝáõÙ: ÆÝãå»ë ³ñ¹»Ý ³ëǪ ݳ ÷áË»É ¿ ÇÙ ÏÛ³ÝùÁ: ²ÛÝ ¹»ñ»ñÁ, áñ »ë ëï³ó³ ÙÇç³½·³ÛÇÝ ýÇÉÙ»ñáõÙ, ÇÝãå»ë ûñÇݳϪ §ÂÇí Ù»Ï ÃÇñ³ËÁ¦ ¨ §²Ù»Ý³íï³Ý·³íáñ Ù³ñ¹Á¦, Ýñ³ ßÝáñÑÇí ¿: ´áÉáñ ³Û¹ é»ÅÇëáñÝ»ñÝ ÇÝÓ §´³ÉÇ Ñ³Ù¦-Çó ¿ÇÝ ×³Ý³ãáõÙ: ØÜ

How did you two meet? He saw me in my car waiting at a traffic light. He said he wanted to make a film and asked whether I’d like to have a part in it. I did not know his face at the time, so my first question was: “Who are you?” When he told me his name, I quickly realized that he was a famous director. I said yes and then we started from there. Over the years, he cast many non-professionals, but I’m the only one who pursued a professional career. It really changed my life. His film meant a second birth for me.

Did he explain to you why he chose you for Taste of Cherry? Kiarostami is the kind of filmmaker who knows exactly what he’s looking for. That’s one thing that makes him so interesting. He never really explained why he chose me, but he did manage to give me the confidence to play, by saying that if the film would end up bad, it would be his fault. I couldn’t possibly ruin it, he said. And when I asked him who my character Mr. Badii was, he just answered that he was an architect from Italy. So then I realised: He just wants me to be myself!

øÛ³éáëï³ÙÇÝ μ³ó³ïñ»±ó, û ÇÝãáõ ¿ñ ÁÝïñ»É Ò»½: øÛ³éáëï³ÙÇÝ ³ÛÝ é»ÅÇëáñÝ»ñÇó ¿ñ, áí ѳëï³ï ·Çï»ñª ÇÝã ¿ ÷ÝïñáõÙ: ²Û¹å»ë ¿É »ñμ»ù ãμ³ó³ïñ»ó, û ÇÝãáõ ¿ñ ÇÝÓ ÁÝïñ»É, μ³Ûó ݳ ÇÝÓ íëï³ÑáõÃÛáõÝ Ý»ñßÝã»ó, ³ë³óª »Ã» ýÇÉÙÁ í³ï ëï³óíÇ, Çñ Ù»Õùáí ¿ ÉÇÝ»Éáõ: ºñμ ѳñóñÇ, û á±í ¿ ÇÙ Ï»ñå³ñÁ, ³ë³óª ׳ñï³ñ³å»ï ¿ Æï³ÉdzÛÇó: àõ »ë ѳëÏ³ó³ª áõÕÕ³ÏÇ áõ½áõÙ ¿ ÇÝÓ ÝÙ³Ý ÉÇÝ»Ù:

²Ûëûñ ¸áõù Ýϳñ³Ñ³ÝíáõÙ »ù û° Çñ³Ý³Ï³Ý, û° ÙÇç³½·³ÛÇÝ ýÇÉÙ»ñáõÙ: ÆÝãå»±ë »ù ÁÝïñáõÙ ¹»ñ»ñÁ: ÈÇÝ»Éáí Çñ³ÝóÇ ¹»ñ³ë³Ýª »ë å»ïù ¿ ½·áõßáõÃÛ³Ùμ ÁÝïñ»Ù ¹»ñ»ñë: ´³½Ù³ÃÇí ³ñ·»ÉùÝ»ñ ϳݪ áã ÙÇ Ù»ñÏáõÃÛáõÝ, ϳݳÝó áã ¹Çåã»É ¿ ϳñ»ÉÇ, áã ѳÙμáõñ»É: ØdzÛÝ ³ÛÝåÇëÇ ¹»ñ»ñ ϳñáÕ »Ù ÁÝïñ»É, áñáÝù ã»Ý ѳϳëáõÙ Ù»ñ ÏñáÝÇÝ ¨ Æñ³ÝÇ ûñ»ÝùÝ»ñÇÝ: ¸ñëÇ Ù³ñ¹Ï³Ýó ¹Åí³ñ ¿ ѳëϳݳÉ, μ³Ûó »ë ã»Ù ϳñáÕ áõÕÕ³ÏÇ Ñ³Ù³Ó³ÛÝ»É ³ÛÝ μáÉáñ ÇÝÓ ³é³ç³ñÏíáÕ ¹»ñ»ñÇÝ:

First of all, my heartfelt condolences on the loss of your good friend. Thank you. I try not to talk about him in interviews, but I know have to get used to it. He was such a good friend. The last time I spoke to him, he was already in the hospital. I told him: “When you get out of the hospital, it’s going to be the twentieth anniversary of Taste of Cherry, so we’re having a party.” He meant everything to me and I am here today because of him. There will be a memorial service in Iran this week. Unfortunately I cannot attend because of my engagements at this festival, but my heart will be there.

Did you expect the enormous success of this film? Maybe Kiarostami did, but I did not have a clue. When Cannes selected the film it was at first difficult to get permission from the government to show it outside of Iran. Only a week before the festival started, they gave permission. When I heard the news of Kiarostami winning the Palme d’Or on the radio, it was amazing! People warned me that it would be tough after my first movie as an actor was such a success. I did not really worry; I have kept on playing from the heart and choosing even the smallest roles – all for the sake of friendship.

Homayoun Ershadi It’s never too late to change your path in life. Iranian actor Homayoun Ershadi (1947) is living proof of that. As a successful architect he was already middle-aged when director Abbas Kiarostami asked him to play the main role in Taste of Cherry in 1997. The film won the Palme d’Or during the Cannes film festival and several other major prizes worldwide. The two men remained good friends, right until Kiarostami’s death last Monday. As a tribute to Kiarostami, the festival will screen Taste of Cherry as well as organize the exhibit The Road, a series of photographs by Kiarostami which he presented to the festival during one of his four visits to Yerevan. Ershadi, who is attending GAIFF as a jury member for this year’s feature competition, is in deep mourning for the loss of his dear friend: “I’m here today because of him. He was everything to me.”

Nowadays, you work in both Iranian and international film productions. How do you choose your parts? Being an Iranian actor, I have to choose my roles very carefully. There are a lot of red lines: there can be no nudity, and no touching or kissing any women. I can only choose parts that are not against our religion and laws in Iran. It’s difficult for people on the outside to understand, but I cannot simply accept whatever I am offered. How important is Kiarostami for your work today? Even after our working together he continued to teach me, by looking at my other parts and commenting on them. It meant a lot to me. Like I was saying before: he changed my life. Most of the international films I was later cast in, like The Kite Runner, Zero Dark Thirty and A Most Wanted Man, that was all because of him. All those directors saw me in Taste of Cherry first. MN Taste of Cherry (Abbas Kiarostami, Iran/France, 1997). 16-7 12:00 Moscow Cinema Blue Hall, 17-7 19:00 Moscow Cinema Red Hall. Exposition: The Road. Opening 12-7, daily 12:00-15:00, Dalan Art Gallery, 12 Abovyan Street. Talk to GAIFF: Meeting with Homayoun Ershadi. 11-7 19:30 Tumo Center.

GOLDEN APRICOT DAILY DAY 1&2 | 10/11 JULY | 2016

6 COMPETITION REVIEWS

Rules of Survival

Facing the Facts

The Magic Mountain (Anca Damian, Romania/Poland/France, 2015). Documentary Competition. 10-7, 11-7 14:00 Moscow Cinema Small Hall 1.

Curumim (Marcos Prado, Brazil, 2016). Documentary Competition. 10-7 14:00, 11-7 12:00 Moscow Cinema Small Hall.

Adam always dreamt of becoming a twentieth century knight, unafraid to fight for a good cause. But what kind of a knight could he be after fleeing the Communist government of his home country Poland “like a rat”, as he puts it? In the sixties he became a refugee in Paris, without any papers or meaning in life. Not exactly the heroic existence he longed for. But things took a dramatic turn in the eighties, after he decided to help fight Soviets in Afghanistan alongside the mujahedin. His life as a modern kind of Don Quixote began, finally: “An amateur, but one driven by good intensions.” After Crulic in 2011, The Magic Mountain is Romanian filmmaker Anca Damian’s second film in a trilogy about heroism. This wonderful animated docudrama was inspired by the life of Adam Jacek Winkler (1939-2002). In a virtual meeting space, the protagonist – a passionate photographer, adventurist and mountaineer – meets his daughter Anna (the real-life Anna was a co-writer on the film’s

screenplay) and tells her about his atypical life and his rules of survival. Winklers naïve and exciting drawings and photographs formed the style guide for this colourful yet sometimes grim adventure that’s served out in a flowery mix of cartoon-like scenes, strong charcoal sketches and images that are nothing less than pieces of art: expressionist paintings in motion. Damian manages to bring a fresh

and gripping cinematic language to these adventures of a remarkable dreamer on the frontlines. A dynamic soundtrack and thought-out sound design accompany the eclectic images, with Damian using different animation techniques to accompany key elements in the story, from drawing on a mirror and watercolour collages to claymation and handcoloured materials from the Winkler archives. MN

a mule and secretly transporting it to the Moroccan border so it can be sold on the black market. He does this tricky task by day, but when it gets dark he sits at home with the trembling light from the other room dividing his face into two equals parts: light and dark. Under this half-light Samir starts sharing his straightforward, homespun and at times Sufi-inspired philosophy. Mysteriously calling the

director “uncle”, “nephew” Samir talks about the search for God, hills and stones, destiny, life and death and at times even prays to Allah for his mother and for himself. It’s hard to imagine, but the story of Samir, a man isolated from the world in the dusty desert, also includes a love interest. Samir has a girlfriend he’d like to marry, but they are forced to keep their relationship a secret, since the girl’s father also has connections to the smuggling trade. Samir visits his beloved when her father is away, but they only speak through a hole in the door. In the film the camera takes Samir’s place. Gradually he grows and changes, as does the mood of the film. The whinnying of mules, dogs barking and the numbing sounds of a car engine suddenly collide with the voice of Edith Piaf, singing from the radio. KA

“Cages are where certainty thrives”, states a quote by influential Brazilian theologian Rubem Alves at the beginning of Curumim. And there is one certainty indeed in this documentary by Marcos Prado: that our title character Marco “Curumim” Archer will eventually be executed by a firing squad in an Indonesian maximum-security prison. How Brazilian paraglider Curumim crashed into this abyss and how it has influenced his views on life is the main focus of this heartfelt documentary, a portrait of an honest man who is paying the price for the dishonest things he has done in life. It was Curumim who reached out to Prado to collaborate on a documentary. He didn’t want to be remembered as a macabre statistic or a gruesome example of crime and punishment. Instead, he wanted to tell his story as he experienced it, share his daily life in prison and ultimately confess his sins on camera. It may seem as if Prado was just a director for hire for the somewhat egocentric yet sincere Curumim, but the relationship between filmmaker and subject goes deeper. They talked for more than seventy hours, they wrote many letters and Curumim recorded countless videos of his life in a prison cell he shared with murderers and Al-Qaeda terrorists, among others. Compared to his cellmates, Curumim’s crime (smuggling 30 pounds of cocaine into Asia) seems quite petty, but ultimately this profound documentary is not about justice. It’s about acceptance and repentance, about facing the facts of life and making the most of what’s left of it. What makes this documentary stand out is Curumim’s radiant energy: seeing him goof around with hardened criminals even provides the film some feel-good moments before things inevitably get more melancholy. As Alvast already stated, Curumim’s cage eventually only stands for the ultimate certainty: that all things must pass. HE

Tracks takes place entirely in the driver’s cabin of a speeding train. The camera looks out the front window at the unending train tracks, as if through the driver’s eyes. Their voices are heard off camera. Diffident and heartbroken, they speak of those instances when they saw another human being on the upcoming tracks and it was too late to brake. One of them has experienced this horror three times; colleagues jokingly comfort him:

“It won’t happen again, three’s the limit.” For fifteen minutes, one track intermixes with another, every frame fading to another, the various landscapes losing their identity, blending into one pale collage. When you’re going 200 km/h, the surrounding world becomes a blur. That’s what the engineers see every day. And sometimes, against their own will, they assist others with letting go of this blurred reality. AV

The Trembling Border Samir in the Dust (Mohamed Ouzine, France/Algiers/Qatar, 2015). Documentary Competition. 11-7 10:00, 18:00 Moscow Cinema Small Hall 1. The son of a Moroccan mother and an Algerian father, director Mohamed Ouzine decided to rediscover the land of his parents after the death of his father. With a camera in hand, he traveled to Northern Africa, where an Arab smuggler named Samir and the pastel landscapes of Algiers became the heroes of his film Samir in the Dust. Samir earns his living by strapping a fuel tank to

Exhibition of Pain A Blurred Reality Tracks (Gunnar Bergdahl & Annica Carlsson Bergdahl, Sweden, 2016). Documentary Competition. 11-7 10:00, 18:00 Moscow Cinema Small Hall 1.

The Man Who Saw Too Much (Trisha Ziff, Mexico, 2015). Documentary Competition. 10-7 12:00, 16:00 Moscow Cinema Small Hall 1. Trisha Ziff, an English documentary filmmaker and producer of photo-exhibitions who lives and works in Mexico, has an extraordinary love for photography-themed films. Her 2008 film Chevolution explored the story of Che Guevara’s famous cult photograph taken by Alberto Korda. Her next film The Mexican Suitcase dealt with the rediscovery of photographs taking during the Spanish Civil War. With The Man Who Saw Too Much, Ziff has now completed her “photo trilogy.” Famous tabloid photographer Enrique Metinides is the hero of the film. His portfolio includes thousands of photos, depicting countless deaths, car accidents, suicide attempts, murders, natural disasters and so on – the whole spectrum of life’s pale, cruel and creepy phenomenons, which Metinides has been exloring since he was 12. The documentary includes interviews with professionals and celebrities, mixed with Metinides’s photographs and his own words. Ziff’s film brings to mind Wim Wenders’ The Salt of the Earth, since both focus on hero photographers. But if Wenders’s subject Sebastiao Salgado showed command of his form in a deductive way – from the general to the specific – then Metinides’ style is more inductive. And because of this every unfortunate accident and tragedy collides with all others, building up to a big exhibition of human pain. KA

Sometimes people commit suicide by throwing themselves under a train. The general public usually concentrates its attention on the deceased. Yet these tragedies always have two victims. This short documentary explores these incidents from the perspective of the train driver. This is the first film collaboration between Gunnar and Annica Carlsson Bergdahl. For Annica, an exhibition producer, writer and journalist, this is a first effort in filmmaking. Gunnar, on the other hand, has been making films since the late nineties, established the film magazine Filmkonst in 1989 and has been the director of the Gothenburg International Film Festival since 1994. In 2004 Golden Apricot organized a special program called The Voice of Bergdahl dedicated to the works of the Swedish documentarian.

The Unseen Self Insight (Aleksandr Kott, Russia, 2016). Feature Competition. 10-7 11:00, 11-7 17:00 Moscow Cinema Blue Hall. One day Aleksandr Kott met a blind man, who told him sacramental stories from his extraordinary life. Enthralled, the director has made a new film based on these stories. He has given it a title which is ambiguous, yet justified in every possible meaning: Insight. This word has a psychological definition – "a deep, at times sudden understanding of someone or something" – and it is in this realm that the drama of main character Pavel Zuev unfolds. On his way home from work Pavel (Alexander Yatsenko) trips and hits his head on the asphalt. This results in a permanent loss of vision. At first, his new reality leads to despair and even a suicide

attempt, but Pavel is saved by a nurse, who gradually becomes the “glowing light” in his “dark tunnel” of blindness. In cinema, the subject of overcoming blindness, which seems at first like a death sentence, has been covered many times. But Zuev and his struggle are nothing like Pacino’s colonel Slade (Scent of a Woman), nor Björk’s Selma (Dancer in the Dark) or even masseur Val Kilmer (At First Sight). Thanks to Alexander Yatsenko’s incomparable acting and cinematographer Pyotr Duhovsky’s camerawork, Insight stands on its own. With time the emotion towards Pavel becomes not pity, but its opposite – envy. Here, physical blindness becomes a prerequisite for “seeing more”, a means of walking into a more sensory world, away from the brutal punishment of being alone with one’s physical self. So in a way, the loss of sight becomes a blessing for Zuev who travels to places he never even thought of going. KA

GOLDEN APRICOT DAILY 2016 | 10/11 JULY | DAY 1&2

NEWS AND REVIEWS 7

Without “rahat lokum” Zare (Hamo Beknazaryan, Armenia, 1926). Opening Film. 10-7 20:00 Moscow Cinema Red Hall (invitation only). Last year’s festival ended with a special screening dedicated to the 90th anniversary of the first Armenian feature film, Namus. This year the festival will kick off with a celebration of the 90th anniversary of Zare, the second Armenian feature. Both films were directed by Hamo Beknazaryan: the first realist of oriental cinema, professional GrecoRoman wrestler, a Russian pre-revolutionary movie-star, the man who cooked Sergey Eisenstein’s favorite (and possibly first) Armenian kebab, and last but not least, the father of Armenian cinema. Zare’s production began immediately after the success of Namus in the USSR. Beknazaryan’s screenplay was based on materials by writer and Kurdologist Abé Lazo (pen-name of Hakob Ghazaryan). Zare’s eponymous heroine, played by Armenian actress Maria Tenazi, is a beautiful young girl from a tribe of nomadic Kurds, now established on the slopes of Mount Alagyaz. Zare and shepherd Saydo (Hrachya Nersisyan) are deeply in love. They

embrace on a river bank, and as their lips are about to touch, the camera modestly looks away, watching the endless circles Zare’s jug is making in the water. But it’s 1915 in the outside world. The Caucasian front of World War I is boiling. The Russian government sends out money: a unit of Kurdish volunteers has to be assembled. But while passing from one hand to another, the money vanishes, and the Russian officials make a deal with tribe leader Temur Bek (Garagash): the poorest members of the tribe will go to war, while the wealthy will be given more power. The bek has had his eyes on Zare for a long time, and the draft is a good excuse to get rid of Saydo. Although this is (using Soviet terminology) an “anti-imperialist” film and the communist overtones are quite in line with other Soviet films of the 1920’s, it becomes obvious while watching Zare that the film had other, more important goals. Beknazaryan put a very clear objective before his crew. As he wrote in a letter at the time: “This will be the first true film about the East without rahat lokum”, meaning Turkish delight. This is why the film was actually shot on the slopes of Alagyaz and

The Real Deal Behind the Ideal

Of War and Peace A Story of People in War and Peace (Vardan Hovhannisyan, Armenia, 2007). Armenian Cinema: Modern Times. 11-7 15:00 Moscow Cinema Blue Hall.

Under the Sun (Vitaly Mansky, Russia/ Latvia/Germany/Czech Republic/North Korea, 2015). Yerevan Premieres. 10-7 18:00 Cinema Star; 11-7 17:00 Moscow Cinema Red Hall. In a world in which streets are so clean one could eat off them and where good citizens are working hard and feeling happy, life is good. Meet Zin-mi, a little girl living with her parents in an ideal country: the Democratic People’s Republic of Korea. Portraits of the country’s deceased leaders are ubiquitous: in living rooms, at schools and even on public transport they continue to watch over and care for their people. Zin-mi’s parents work in a factory during the day, giving her a great home in their perfect apartment. The young girl is about to enter the Korean Union for Children, where she will be prepared to officially be a part of the ideal society in which grown-up stuff like working hard and taking responsibility for yourself are essential. She will be living in the eternal rays of the sun, the symbol of the great leader of the people, Kim Il-sung. For Under the Sun, Russian documentary filmmaker Vitaly Mansky somehow managed to get permission to film in this country, where propaganda is key. Unavoidably, there were strong restric-

real Kurds were used as extra’s. The traditions and manners were recreated so faithfully that apparently sometimes even Kurds themselves got confused. While filming a pinnacle scene in which the crowd shames Zare by rubbing mud on her face and making her sit backwards on a donkey, a Kurdish woman saw the actress, apparently didn’t notice the camera, felt that the crowd wasn’t shaming her good enough and after screaming “what are you all waiting for?” spat on the poor girl's face...

tions: throughout the year he was shooting, the government watched him like a hawk. While the first scenes indeed show a seemingly ideal world, weird moments start to pop up. Like when a strange individual suddenly walks into the frame of the happy family during dinner, instructing them on how to react to the food and what to say about their day. Slowly but surely, it becomes clear that this man is making absolutely sure that the family will only show a perfect patriotic entity. In the end, Mansky’s film isn’t capturing the real life of a North Korean family, but rather reveals how propaganda is made. Despite these inexhaustible attempts to showcase the ideal society, Mansky still manages to film the real deal behind it all: from little comrades who fight against sleep during official events to the tears the ever-obedient Zin-mi cries during a gruelling dance lesson. MN

This is perhaps the film that is most telling of Armenia’s past and present, a fitting opening for Armenian Cinema: Modern Times, dedicated to the 25th anniversary of Armenia’s independence. Director Vardan Hovhannisyan combines his own video diaries from the Karabakh War with footage of him talking to the soldiers twelve years later. Their war wounds have far from healed. Although life goes on, peace did not bring them relief. Whether consciously or not, most of the people that appear in Hovhannisyan’s images are people who didn’t find themselves after the war: one’s in jail, another’s in a mental ward, a third is crippled. With the most relentlessly realistic footage and the psychology expressed in these soldiers’ words and deeds, the documentary tries to convey both pacifist and patriotic messages. “War is evil, when it’s an aggressor’s war. But when it’s a patriot’s war to protect the land, one has to go”, says one of the heroes of the film. The film is a commemoration of those who have long passed away, but also a call to always be alert. The Armenian people and its government need that call, as Armenia’s latest experience of war and peace this last April proves. AB

Before Beknazaryan, the East was depicted in film as an exotic place blooming with gorgeous belly dancers, silk shawls with gold embroidery, sky-piercing minarets and endless caravans crossing the mighty desert. Beknazaryan himself had made the historical melodrama Natella in Georgia years earlier, which had elements of this crude understanding of the East. It was when he abandoned this approach and focused more on the realism of what is on screen that Beknazaryan flourished as a director and became an innovator. AV

Opening Festivities 10-7, various locations. The traditional Apricot Blessing (13:30, Zoravor Surp Astvatsatsin Church) will constitute the first official act of the 2016 festival. The festivities will continue at the unveiling of Honorary Stars for three famed Armenian filmmakers: cinematographer Albert Yavuryan and directors Edmond Keosayan and Dmitri Kesayants (Charles Aznavour Square, 17:15). This will run straight into the red carpet towards Moscow Cinema’s Red Hall for the opening ceremony (19:00) and screening of opening film Zare (20:00, see above).

Master Class with Fred Kelemen 11-7 15:00, AGBU Center (2/1 MelikAdamyan Str.). Ahead of the opening of the Retrospective of his work with the screening of Fate (19:30, Moscow Cinema Red Hall), director and cinematographer Fred Kelemen will give the year’s first master class. An interview with Kelemen will be published later this week.

Basque New Cinema

DOCUMENTING THE QUEST The documentary films included in this year’s Armenian Panorama section explore individual memory and experience. Directors of Armenian descent have created a string of human destinies, where memory and emotion at times become an unbearable burden, uncovering a whole universe in their personal experiences. In The Other Side of Home (Nare Mkrtchyan, USA) we meet Armenian Nare and Turkish Maya, two women seeking answers and committed to finding the remnants of the past in the present. They need it to find inner peace and to distinguish their identity. Together they travel to Armenia and Turkey, coming across hatred and memory denial, but also having honest conversations with random fellow travellers. Arnaud Khayadjanian, the creator of the French film Stony Paths, continues the exploration in a similar vein by tracking the trail of a single picture and being open to hear out all possible and alleged wit-

nesses. Thorough conversations are held around a cup of tea, new stories about Armenians living in Anatolia are being revealed (or not revealed), and the rhythm of this expectation conveys the essence of this quest rather well. Eventually, if you seek, both you and the people you talk to will change. Filmmaker Gor Margaryan, residing in Germany, has constructed his short film Aurora as a movement, a drift through snowy Siberia, being traversed by a snowmobile driver. Fragments of Russian news bulletins are heard, where the enthusiastic voice announces the most recent military and political victories. But reality remains as frozen as it was in the past and will be in future shots. This film is a movement that does not have a practical purpose, or in other words, no aim. Instead, it offers an existential gaze on the surrounding environment. In his film Rhythm and Intervals, Comes Chahbazian, who lives in Belgium, tells the story of an Armenian musician trying to establish himself. Cellist Sevak is seeking for his own niche in a new

country and his own style in art. And Gohar, the little heroine of Armenian director Albert Sargsyan’s My World, tries to find ways of self-expression despite her hearing problems, to make life meaningful and colorful. The heroes are different, but the search makes them stronger and more assertive. And this unquestionably gives hope. After all, you search when you’re hopeful. Otherwise, there is no point in undertaking the quest. In the Bulgarian film Balkan Royal by Kevork Aslanyan the protagonist repairs pianos, but dreams of becoming the conductor of a big orchestra. His failure to live up to that dream doesn’t derail him: he knows how to do his often unpleasent work with pleasure. The elderly woman in Garegin Papoyan’s Skhtorashen (Armenia) also refuses to lose hope as she lives out her last days in her native village. Lena is the only remaining resident of Skhtorashen, categorically refusing to leave this deserted abode. She has found her place on this earth. NH

11-7 15:00, Moscow Cinema Red Hall. The program celebrating cinema from the Basque region will open with the first of three screenings of Autumn Without Berlin by Lara Izagirre.

Yerevan Nights 11-7 21:00, Poghosyan Gardens. The year’s first open air screening will feature Franco Zeffirelli’s Romeo & Juliet, which is part of an extensive program marking the 400th anniversary of William Shakespeare’s death.

Midnight Wrap-up 24:00, The Club (40 Tumanyan Str.). Film gurus and GAIFF guests are invited for a daily wrap-up meeting over drinks.

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.