Golden Apricot Daily - 2015, Day 3

DAILY

DAY 3, TUESDAY, JULY 14

¶»ñÙ³Ý³Ï³Ý Ýáñ ÏÇÝá

§ÞáõϳÛÇ ûñ»ÝùÁ¦, §ÒÙé³Ý í»ñçÁ¦

гñó³½ñáõÛó. èáμ»ñ ¶»¹Ç·Û³Ý

Interview Robert Gue’diguian

Embrace of the Serpent: Imperial Wanderlust

Battle for the Soul ä³Ûù³ñª Ñá·áõ ѳٳñ

Apricot Stone: As Long as it Takes

GOLDEN APRICOT DAILY | DAY 3 | 14 JULY | 2015

2 Ă?ù³¡Çù/program ÑåþÉÇÍÇ 14 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γüåþÛï š³ÑÉÇ×/ Moscow Cinema, Blue Hall 10:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γùÙÇù š³ÑÉÇ×/ Moscow Cinema, Red Hall 10:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, ÜåÚù š³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00

Arm, 10’/AP

Lang.: Armenian, Subt.: English

/The Measure of a Man

/StÊphane BrizÊ Fra, 93’/FC

Lang.: French, Subt.: English 12:00, 20:00

Lva/Est, 71’/AP

Lang.: Latvian/Russian, Subt.: English and Armenian

14:00 ( ) * "

+

/Getting Fat in a Healthy Way #( $ /Kevork Aslanyan Bgr, 22’/AP

16:00

/A Man Before His Time /Henri Charr US A, 60’/NA

Lang.: English, Subt.: Russian and Armenian

Fra/Syr, 92’/DC

Lang.: Arabic, Subt.: English 14:00

Lang.: Russian, Subt.: English and Armenian . ) / The Sandwich Island Man )( & /Levon Minasian

/Barking Island

/Serge AvÊdikian Fra, 15’/WE

+' =/Voices From the Lake & % / Michael Hagopian USA, 87’/WE

Lang.: English, Subt.: Armenian

Lang.: Russian, Subt.: English and Armenian

Lang.: Arabic, Subt.: English and Armenian

+1 2 /Kristina Grozeva, Petar Valchanov

, , /One, Two Three 4 5 /Arman Yeritsyan

Bgr/Grc, 107’/YP

Arm/Deu/Nor, 75’/AP, DC

Lang.: Bulgarian, Subt.: English and Armenian

Lang.: Armenian/Russian, Subt.: English 20:00 :

+ / Transatlantic 6

-) ' /Felix Dufour-Laperrière

Arm, 27’/WE

21:30

USA, 90’/YP

Lang.: English, Subt.: Armenian 21:00

Col, 122’/FC

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

Deu, 128’/GNC

Lang.: German, Subt.: English and Armenian

Arm, 24’/AP

Ă?³Û³Íï³Ă? Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, VIP š³ÑÉÇ×/ Hayastan Cinema, VIP Hall 10:30

Lang.: Armenian, Subt.: English

]

!

"

/Return or We Exist 9 2 / Armen Khachatran Arm, 52’/AP

êÇĂ?Ù³ ĂŤĂƒÂłĂą/ Cinema Star

Lang.: Armenian, Subt.: English - /The Doctor # /Anna Goroyan

- _ /Ben Zaken = 8 , /Efrat Corem Only for Jury Isr, 92’/DAB

Lang.: Hebrew, Subt.: English 12:30 j q 2 /The Move

Rus, 24’/AP

Lang.: Russian, Subt.: English and Armenian

19:00

21:00 & /Marat Sarulu Only for Jury

Fra, 95’/FNC

Can, 72’/DC

! " /Embrace of the Serpent " # " /Ciro Guerra

* & , ÂŤ] +" Âť/ Farewell Volga + /Hamlet Vardanyan

Kgz, 168’/DAB

Lang.: no dialogues, Subt.: no subtitles

*

,

8 /We are Young, We are Strong , /Burhan Qurbani

Lang.: Kurdish, Subt.: English

Q + . :+ * * /Fidelio: Alice’s Odyssey ) 1 /Lucie Borleteau

Lang.: no dialogues, Subt.: no subtitles

22:00

19:00

Lang.: English, Subt.: Armenian

18:00

.

2 + $ 5/ Love is Folly + # / Vasil Gendov

7

* $ /A Bridge to a Border * /Rob Nilsson

Irq, 10’/SC

: 9 9 . .

/ Silvered Water, Syria Self-Portrait

/We ! /Artavazd Peleshyan

Lang.: no dialogues, Subt.: no subtitles

Lang.: Turkish, Subt.: English and Armenian

Fra/UK, 186’/R

=/Ants Apartment : ; /Tofigh Amani

16:00

Fra/Syr, 92’/DC

Lang.: no dialogues, Subt.: no subtitles

Tur/Deu, 97’/DAB

Lang.: no dialogues, Subt.: no subtitles

Rus, 116’/DAB

19:00

. */Sivas , & ? /Kaan Mujdeci

j **/Tess 0 % / Roman Polanski

Lang.: Portuguese, Subt.: English

Bel, 14’/SC

17:00

Spa/Arg, 9’/SC

3 & , +

/Ossama Mohammed, Wiam Simav Bedirxan

6 * /The Lesson ,

# ( , 0

19:00

Spa/Prt, 14’/SC

K + /Lila ) % / Carlos Lascano

Bgr, 11’/YP 18:00

Arm, 26’/AP

/ Children of the River 9

& ' /Javier Macipe

Lang.: French, Subt.: English

0 *

/ Pioneer Heroes *

! /Natalya Kudryashova

16:30

0 = /Traversed <$ 8 ! , =

&% 2 /Alex Igidbashian, Emily Mkrtichian

12:00, 20:00

@ 2

/ Family for Sale

0 /SĂŠbastien Petretti

Ă?ÂłĂ&#x203A;³Íï³Ă? Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, Ă&#x2DC;ÂťĂ? š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014;/ Hayastan Cinema, Big Hall

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

Lang.: Armenian, Subt.: English

Lang.: Romanian, Subt.: English

Rus, 24â&#x20AC;&#x2122;/AP

14:00

Lang.: French, Subt.: English and Armenian

Rom, 19â&#x20AC;&#x2122;/SC

- /The Doctor # /Anna Goroyan

Lang.: French, Subt.: English and Armenian

Fra, 32â&#x20AC;&#x2122;/NA

Lang.: Polish, Subt.: English

Lang.: Italian, Subt.: English

Lang.: Bulgarian, Subt.: English and Armenian

Fra, 26â&#x20AC;&#x2122;/AP

/Night and Fog /Alain Resnais

Pol, 25â&#x20AC;&#x2122;/SC

Can/Ita, 90â&#x20AC;&#x2122;/ DC

: 9 9 . .

/ Silvered Water, Syria Self-Portrait 3 & , +

/Ossama Mohammed, Wiam Simav Bedirxan

Lang.: Korean, Subt.: English

Lang.: English, Subt.: Armenian

USA, 82â&#x20AC;&#x2122;/AP

12:00

Kor, 99â&#x20AC;&#x2122;/FC

Can, 97â&#x20AC;&#x2122;/NA

Lang.: Armenian, Subt.: English

? * * /Excursion

/Adrian Sitaru

12:00

/End of Winter

- /Kim Dae-hwan

/ Our Nationhood

/Alanis Obomsawin

Arm, 22â&#x20AC;&#x2122;/SC

1915

, & / Garin Hovhannisian, Alec Mouhibian

-

/Fragments $ + !2 % /Aga Woszczynska ( * * 9 /The Creation of Meaning

'

/ Simone Rapisarda Casanova

Ă?ÂłĂ&#x203A;³Íï³Ă? Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, ÜåÚù š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014;/ Hayastan Cinema, Small Hall 17:00

10:00, 18:00

/The Stranger 7 8( % /Tatev Hakobyan

#

$/The Road # $ % & /Gagik Madoyan

%

" & '

/The Man in the Orange Jacket %

' /Aik Karapetian

Ă&#x2DC;ĂĄĂŤĂ?Ă­Âł Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, ÜåÚù š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014; 2/ Moscow Cinema, Small Hall 2

> " "

/Singing in Exile *

, 7

6 %% " /Nathalie Rossetti, Turi Finocchiaro Bel/Pol/Fra, 77â&#x20AC;&#x2122;/WE

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

Lang.: French, Subt.: English and Armenian 20:00

Lang.: Kyrgyz, Subt.: English #

$/The Road # $ % & /Gagik Madoyan Arm, 10â&#x20AC;&#x2122;/AP

Lang.: Armenian, Subt.: English

Z /Phoenix ,

5 /Christian Petzold

^ /Somewhere Beautiful

$ /Albert Kodagolian

Deu, 98â&#x20AC;&#x2122;/GNC

USA/Arg, 75â&#x20AC;&#x2122;/AP

Lang.: German, Subt.: English and Armenian

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

ºù¨³Ă?Ă&#x203A;ÂłĂ? ¡Ă&#x2021;Ă&#x;ùĂ?ù äåĂ&#x2022;ĂĄĂŤĂ&#x203A;ÂłĂ? ÂłĂ&#x203A;¡Ă&#x2021;Ă?ùåþĂ&#x2122;/ Yerevan Nights at Poghosyan Gardens 21:00 * ), * /Moskvich, My Love > / Aram Shahbazyan Arm/Fra/Rus, 87â&#x20AC;&#x2122;/AP

Lang.: Armenian, Subt.: English

GOLDEN APRICOT DAILY Ă&#x160;Ă&#x2122;Ο³¡Ă&#x2021;ĂąĂ?ù` Ă&#x161;ĂĄĂŤĂ&#x192; ´ùåùĂ?, ²ùĂ&#x192;åþù ϳùšĂ&#x2021;Ă?Ă&#x203A;ÂłĂ?

Editors: Joost Broeren & Artur Vardikyan

²Ă&#x;Ă&#x2039;³ï³Ă?³½Ă&#x2122;` Ă&#x2DC;³ùĂ&#x2021;ĂŤĂ?Âł œùĂ&#x203A;Ă­Ă&#x2030;ÂťĂ?š, Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x153;Ă&#x203A;åþšåùá

Staff: Mariska Graveland, Maricke Nieuwdorp

Ă&#x2C6;åþͳĂ?Ă?³ùĂ&#x2021;ĂŁÂŞ Ă&#x2DC;ÂłĂ?Âť Ă?ĂĄĂ­Ă&#x2018;ÂłĂ?Ă?Ă&#x2021;ĂŤĂ&#x203A;ÂłĂ?

Photographer: Mane Hovhannisyan

êùΟ³¡ùĂ&#x2021;ĂŁĂ?ùª Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x201D;³ù³Ă&#x2039;ÂłĂ?Ă&#x203A;ÂłĂ?, èĂ&#x2021;Ă&#x2122;Âł ²Ă&#x2022;ÂťĂ?Ă&#x203A;ÂłĂ? ¸Ă&#x2021;½³Ă&#x203A;Ă?ù` œ³Ă&#x203A;ÂłĂ?Âť ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ? ÂśĂ&#x2030;Ă&#x2039;³íåù Ă&#x2039;ĂĄĂąĂ&#x2018;ùš³ïåþ` äĂ&#x2021;ïù Ă­ÂłĂ? ´Ă&#x203A;åþùĂ? Îü³¡ùí³Ă? Âż §Ă&#x153;ĂŽ Ă?ĂĄĂ&#x2030;šĂ&#x2021;Ă?¡Œ êäĂ&#x20AC;-ĂĄĂľĂ&#x2122;

Design: Gayane Grigoryan General Coaching Adviser: Peter van Bueren Printer: "NT Holding" Ltd.

GOLDEN APRICOT DAILY | DAY 3 | 14 JULY | 2015

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´áõÉÕ³ñ³Ï³Ý é»Ïáñ¹ ØÇÝã ³ÛÅÙ §àëÏ» ÍÇñ³ÝǦ ßñç³Ý³ÏÝ»ñáõÙ óáõó³¹ñí³Í ³Ù»Ý³ÑÇÝ Å³å³í»ÝÁ ûñ¨ë гÙá ´»Ïݳ½³ñÛ³ÝÇ §Ü³Ùáõëݦ ¿ñ (áñÁ ݳ¨ ³Ûë ï³ñí³ ÷³ÏÙ³Ý ýÇÉÙÝ ¿): ê³Ï³ÛÝ ³Ûëûñ` ųÙÁ 16:30, §Ü³Ùáõëݦ Çñ ï»ÕÝ ëïÇåí³Í ÏÉÇÝÇ ½Çç»É Ýáñ é»Ïáñ¹³ÏñÇݪ μáõÉÕ³ñ³Ï³Ý §ê»ñÁ ˻ɳѻÕáõÃÛáõÝ ¿¦ ÏÇÝáÝϳñÇÝ: ö³é³ïáÝÁ ÝßáõÙ ¿ μáõÉÕ³ñ³Ï³Ý ÏÇÝáÛÇ 100-³ÙÛ³ÏÁª óáõó³¹ñ»Éáí 1917Ã. ³ñï³¹ñáõÃÛ³Ý ³Ûë Ù»Éá¹ñ³Ù³Ý, ÇÝãå»ë ݳ¨ μáÉáñáíÇÝ í»ñç»ñë ¿Ïñ³ÝÝ»ñ μ³ñÓñ³ó³Í §¸³ëÁ¦ ÏÇÝáÝϳñÁ (§ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×):

êï»Õͳñ³ñ ѳݹÇåáõ٠ijÙÁ 17:30 Ññ³íÇñáõÙ »Ýù ÂáõÙá ëï»Õͳñ³ñ ï»ËÝáÉá·Ç³Ý»ñÇ Ï»Ýïñáݪ ѳݹÇå»Éáõ ³Ù»ñÇϳóÇ ³ÝÏ³Ë ÏÇÝáé»ÅÇëáñ èáμ ÜÇÉëáÝÇ Ñ»ï, áí ³ñ¹»Ý ³é³çÇÝ ï³ñÇÝ ã¿, áñ §àëÏ» ÍÇñ³ÝǦ å³ïí³íáñ ÑÛáõñ ¿:

§¸³ëÁ¦, é»Å.ª øñÇëïÇݳ ¶ñὨ³, ä»ï³ñ ìÁÉã³Ýáí, ´áõÉÕ³ñdz/ Ðáõݳëï³Ý (ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³), ØáëÏí³ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 14.07 (16:30), §êÇݻٳ ëóñ¦, 17.07 (21:00) úñ»ñÇó ÙÇ ûñ ܳ¹»Å¹³ ³ÝáõÝáí ³ß˳ï³ë»ñ, ³½ÝÇí áõëáõóãáõÑÇÝ μ³ó³Ñ³ÛïáõÙ ¿, áñ Çñ ³ß³Ï»ñïÝ»ñÇó Ù»ÏÇ ÷áÕÁ ·áÕ³ó»É »Ý áõñÇß »ñ»Ë³Ý»ñÁ: ܳ áõ½áõÙ ¿ μ³ñáÛ³Ï³Ý ¹³ë ï³É ÷áùñÇÏ ·áÕÇÝ, μ³Ûó áã áù ãÇ Ëáëïáí³ÝáõÙ Çñ Ù»ÕùÁ: ²Û¹ ¹»åùÇó Ñ»ïá å³ñ½íáõÙ ¿, áñ ܳ¹»Å¹³Ý Ñ»Ýó ÇÝùÁ ýÇݳÝë³Ï³Ý Éáõñç ËݹÇñÝ»ñ áõÝÇ: ºÃ» ݳ ¨ Çñ ³ÙáõëÇÝÁ ß³ï ³ñ³· ãí׳ñ»Ý ·ñ³íÁ, ³å³ Çñ»Ýó ïáõÝÁ ϳé·ñ³ííÇ: ²ÙáõëÇÝÁ ÇÝã-áñ ³ÛÉ Ýå³ï³ÏÇ Ñ³Ù³ñ ¿ñ ͳËë»É ËÝ³Û³Í ³ÙμáÕç ·áõÙ³ñÁ, ÇÝãÇ Ñ»ï¨³Ýùáí ÁÝï³ÝÇùÁ ѳÛïÝí»É ¿ ³Ý»É³Ý»ÉÇ íÇ׳ÏáõÙ: γÝËÇÏ ·áõÙ³ñ Ó»éù μ»ñ»Éáõ μáÉáñ ÷áñÓ»ñÝ ³å³ñ¹ÛáõÝ »Ý ³ÝóÝáõÙ, ܳ¹»Å¹³ÛÇ ·áñͳïáõÝ ÝáõÛÝå»ë Ùï³¹Çñ ã¿ñ Ýñ³Ý í³ñÓ³ïñ»É: ºí »Ã» ݳ ãϳñáճݳ áñ¨¿ »Éù ·ïÝ»É, ÁÝï³ÝÇùÁ ëïÇåí³Í ÏÉÇÝÇ ÷áÕáóáõÙ ·Çß»ñ»É: Ðáõë³Ñ³ï ųٳݳÏÝ»ñáõÙ Ñáõë³Ñ³ï ù³ÛÉ»ñÇ »Ý ¹ÇÙáõÙ. ܳ¹»Å¹³Ý ÷áñÓáõÙ ¿ í³×³é»É Çñ Ù³ÛñÇÏÇ áëÏ» ³ï³ÙÝ»ñÁ, ³Ûó»ÉáõÙ ¿ ÑáñÁª ÑáõÛë áõݻݳÉáí Ýñ³ÝÇó å³ñïù í»ñóÝ»É, ϳåíáõÙ ¿ ³åûñÇÝÇ í³ñϳïáõÝ»ñÇ Ñ»ï: ´³Ûó ³ñ¹Ûá±ù Ýñ³ ·ï³Í ÉáõÍáõÙÁ Ñáõë³ÉÇ ¿ª Ýñ³ ¹³ë³ñ³ÝáõÙ

î³ñÇÝ»ñ ß³ñáõÝ³Ï §àëÏ» ÍÇñ³ÝǦ ßñç³Ý³ÏÝ»ñáõÙ ³ÝóϳóíáÕ §è»ÅÇëáñÝ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñǦ Íñ³·ÇñÝ ³ñ¹»Ý ÷³é³ïáÝÇ å³ñï³¹Çñ Ù³ë ¿ ¹³ñÓ»É: ²Ûë ï³ñÇ Íñ³·ÇñÁ Ïμ³óÇ éáõë é»ÅÇëáñ ܳï³ÉÛ³ Îáõ¹ñÛ³ßáí³ÛÇ §Ð»ñáë åÇáÝ»ñÝ»ñÁ¦ ýÇÉÙÁ: ²ÛÝ å³ïÙáõÙ ¿ »ñ»ù å³ï³ÝÇ åÇáÝ»ñÝ»ñÇ Ù³ëÇÝ, áíù»ñ ³ñ¹»Ý ѳëáõÝ ï³ñÇùáõ٠ѳëϳÝáõÙ »Ý, áñ Ýáñ ѳë³ñ³Ï³ñ·áõÙ ï»Õ ãϳ Ñ»ñáëáõÃÛáõÝÝ»ñÇ Ñ³Ù³ñ: üÇÉÙÝ ³ñųݳó»É ¿ ÙÇ ß³ñù Ùñó³Ý³ÏÝ»ñÇ: ¸Çï»ù ³ÛÝ ÑáõÉÇëÇ 14-ÇÝ` ųÙÁ 14:00-ÇÝ, ¨ ÑáõÉÇëÇ 17-ÇÝ` ųÙÁ 12:00-ÇÝ` §ØáëÏí³¦ Ï/à γñÙÇñ ¹³ÑÉÇ×áõÙ:

г۳ëï³Ý-Âáõñùdz ijÙÁ 20:00 ÏÇٳݳÝù, û áñáÝù »Ý гÛÃáõñù³Ï³Ý ÏÇÝáåɳïýáñÙÇ (ÐÂÎä) ѳÕÃáÕ Ý³Ë³·Í»ñÁ:

ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ

ÙÇÝã ³Û¹ ϳï³ñí³Í ÙÇç³¹»åÇ Ñ³Ù³ï»ùëïáõÙ: ²Ûë Ùñó³Ý³Ï³ÏÇñ μáõÉÕ³ñ³Ï³Ý ¹ñ³Ù³ÛÇ óáõó³¹ñáõÃÛáõÝÁ §àëÏ» ÍÇñ³ÝÇݦª å³Ûٳݳíáñí³Í ¿ μáõÉÕ³ñ³Ï³Ý ÏÇÝáÛÇ 100-ñ¹ ï³ñ»¹³ñÓÇÝ ÝíÇñí³Í ÙÇçáó³éÙ³Ý Ñ»ï: è»ÅÇëáñÝ»ñ ä»ï³ñ ìÁÉã³ÝáíÁ ¨ øñÇëïÇݳ ¶ñὨ³Ý Çñ»Ýó ëó»Ý³ñÇ Ñ³Ù³ñ ÑÇÙù »Ý ÁݹáõÝ»É Çñ³Ï³Ý å³ïÙáõÃÛáõݪ μáõÉÕ³ñ³óÇ áõëáõóãÇ Ù³ëÇÝ, áí ÏáÕáåï»É ¿ñ ÷áùñÇÏ ù³Õ³ùÇ μ³ÝÏ»ñÇó Ù»ÏÁ: ú·ï³·áñÍ»Éáí ³Ûë Çñ³Ï³Ý ¹»åùÁ áñå»ë »É³Ï»ïª Ñ»ÕÇݳÏÝ»ñÝ ëï»ÕÍáõÙ »Ý ÙÇ Ñáõ½Çã å³ïÙáõÃÛáõÝ, áñÁ ϳñáÕ ¿ å³ï³Ñ»É Ûáõñ³ù³ÝãÛáõ-

ñÇë Ñ»ï, »Ã» ÝÙ³Ý ³ÝÑáõë³ÉÇ íÇ׳Ïáõ٠ѳÛïÝí»Ýù: üÇÉÙÇ §í³í»ñ³·ñ³Ï³Ý¦ á×Ç ¨ ܳ¹»Å¹³ÛÇÝ Ñ»ï¨áÕ »ñϳñ åɳݻñÇ ßÝáñÑÇí §¸³ëݦ Çñ³Ï³Ý å³ïÙáõÃÛ³Ý ïå³íáñáõÃÛáõÝ ¿ ÃáÕÝáõÙ: è»ÅÇëáñÝ»ñÁ ëáõñ ³ãù áõÝ»Ý Ù³ñ¹Ï³ÛÇÝ í³ñù³·ÍÇ áõ ½·³óÙáõÝùÝ»ñÇ Ñ³Ù³ñ ¨ í³ñå»ïáñ»Ý »Ý ɳñ»É ýÇÉÙÇ ÙÃÝáÉáñïÁ: ÂÏÃϳóáÕ Å³Ù³óáõÛóÁ ßáõïáí éáõÙμ ¿ ¹³éÝáõÙ: ¼³ñٳݳÉÇ ã¿, áñ ¹»ñ³ë³ÝáõÑÇ Ø³ñ·Çï³ ¶áߨ³Ý å³ñ·¨³ïñí»É ¿ Çñ ³Ûë ѽáñ ¹»ñ³Ï³ï³ñÙ³Ý Ñ³Ù³ñª Ù³ñÙݳíáñ»Éáí ÙÇ ÏÝáç Ï»ñå³ñ, áí »ñμ»ù ãÇ Ñ³ÝÓÝíǪ ³ÝÏ³Ë Ýñ³ÝÇó, û ÇÝã ÷áñÓáõÃÛáõÝ ¿ μ³ÅÇÝ ÁÝÏÝáõÙ Çñ»Ý: ØÜ

ö³é³ïáݳÛÇÝ ûñí³ ³í³ñïª ÏÇÝá¹ÇïáõÙ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ: ijÙÁ 21:00-ÇÝ Ïóáõó³¹ñíÇ ²ñ³Ù Þ³Ñμ³½Û³ÝÇ §ØáëÏíÇã, ÇÙ ë»ñ¦ ýÇÉÙÁ, áñÁ Ý»ñϳ۳óí³Í ¿ §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ ³½·³ÛÇÝ ÙñóáõÛÃáõÙ:

GOLDEN APRICOT DAILY | DAY 3 | 14 JULY | 2015

4 ·ñ³ËáëáõÃÛáõÝÝ»ñ

ä³Ûù³ñª Ñá·áõ ѳٳñ §êÇí³ë¦, é»Å.` ø³³Ý ØÛáõŹ»çÇ, Âáõñùdz/¶»ñÙ³Ýdz (è»ÅÇëáñÝ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñÇ), §ØáëÏí³¦ Ï/Ã, öáùñ ¹³ÑÉÇ× 1, 15.07 (12:00), ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ, 16.07 (21:00) ÞÝ»ñÇ Ù³ëÇÝ ýÇÉÙ»ñÇó ß³ï»ñÇÝ μÝáñáß ¿ Ù³ñ¹Ï³Ýó É³í³·áõÛÝ ÁÝÏ»ñÝ»ñÇ Ñ³í³ï³ñÙáõÃÛ³Ý áõ ˻ɳóÇáõÃÛ³Ý ë»ÝïÇÙ»Ýï³É ·áíùÁ: ê³Ï³ÛÝ ø³³Ý ØÛáõŹ»çÇÇ ¹»μÛáõï³ÛÇÝ ýÇÉÙÁª §êÇí³ëÁ¦, μ³ó³Ñ³ÛïáõÙ ¿ ßÝ»ñÇ ¨ Ýñ³Ýó ï»ñ»ñÇ Ï»Ý¹³Ý³Ï³Ý ѳïϳÝÇßÝ»ñÁ: Æñ³¹³ñÓáõÃÛáõÝÝ»ñÁ ï»ÕÇ »Ý áõÝ»ÝáõÙ ÂáõñùdzÛÇ ·ÛáõÕ»ñÇó Ù»ÏáõÙ: î³ëÝٻϳÙÛ³ ²ëɳÝÁ, ó³ÝϳݳÉáí ïå³íáñáõÃÛáõÝ ÃáÕÝ»É ëÇñáõÝÇÏ ²Ûᯀ íñ³, ÷áñÓáõÙ ¿ ëï³Ý³É ³ñù³Û³½ÝÇ ¹»ñÁª §ÒÛáõݳÝáõßÇϦ ¹åñáó³Ï³Ý Ý»ñϳ۳óÙ³Ý Ù»ç: ´³Ûó ·É˳íáñ ¹»ñÁ μ³ÅÇÝ ¿ ѳëÝáõÙ ·ÛáõÕ³å»ïÇ ïÕ³ÛÇÝ, ÇëÏ ²ëɳÝÁ ëïÇåí³Í ¿ñ μ³í³ñ³ñí»É ýáõÏÇ ¹»ñáí: ê³ Ýñ³Ý ß³ï ¿ μ³ñϳóÝáõÙ, ÇëÏ μ³ñϳݳÉÇë ݳ ϳñÍ»ë ·³½³Ý ¿

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GOLDEN APRICOT DAILY | DAY 3 | 14 JULY | 2015

interview 5

Robert Gue’diguian going to 1970’s Marseille and then to Armenia in the 2000’s?

Yes, it was. You can say that the film is about a hundred years of Armenian history. There’s an “Armenian fact” in history and this movie tries to tell the story of that fact, as it has not been told in this way before, I feel. It’s a very ambitious goal, to say the least.

ܳ áã ÙdzÛÝ 12-ñ¹ §àëÏ» ÍÇñ³ÝǦ ʳճñϳÛÇÝ ÙñóáõÛÃÇ ÅÛáõñÇÇ Ý³Ë³·³ÑÝ ¿, ³Ûɨ Ñ»ÕÇÝ³Ï»É ¿ ÷³é³ïáÝÇ μ³óÙ³Ý ýÇÉÙÁª §Ê»Ýà å³ïÙáõÃÛáõÝÁ¦: àñå»ë é»ÅÇëáñª ¶»¹Ç·Û³ÝÁ Ñ³×³Ë ¿ Çñ ýÇÉÙ»ñáõÙ ·áí»ñ·»É Çñ ѳñ³½³ï سñë»ÉÇ μ³Ýíáñ ¹³ë³Ï³ñ·ÇÝ: ºí ¹³ ³ÛÝ ¿, ÇÝã Ýñ³ Ùáï ³Ù»Ý³Ñ³çáÕÝ ¿ ëï³óíáõÙª ³ß˳ï³íáñÝ»ñÇ ³Ù»ÝûñÛ³ å³Ûù³ñÝ»ñÝ áõ ËݹÇñÝ»ñÁ å³ïÏ»ñ»ÉÁ: ¶»¹Ç·Û³ÝÇ Ñ³ëï³ïáõÝ ù³Õ³ù³Ï³Ý ѳ۳óùÝ»ñÁ ÙÇßï ï»ë³Ý»ÉÇ »Ý Ýñ³ ýÇÉÙ»ñáõÙ, ë³Ï³ÛÝ é»ÅÇëáñÁ Ùßï³å»ë ÷áñÓáõÙ ¿ Ù³ñ¹Ï³ÛÇÝ ¹»Ùù ·ïÝ»É Çñ μ³ñÓñ³Ó³ÛÝ³Í íÇ×»ÉÇ ù³Õ³ù³Ï³Ý ËݹÇñÝ»ñÇ Áݹ»ñùáõÙ: §Ê»Ýà å³ïÙáõÃÛáõÝÁ¦ª 70-³Ï³ÝÝ»ñÇ ýñ³Ýë³Ñ³Û ÁÝï³ÝÇùÇ å³ïÙáõÃÛáõÝÁ, ¹ñ³ ûñÇݳÏÝ»ñÇó ¿: ò³ÝϳݳÉáí íñ»Å ÉáõÍ»É Çñ ݳËÝÇÝ»ñÇ Ñ³Ù³ñª ÁÝï³ÝÇùÇ áñ¹Çݪ ²ñ³ÙÁ, ³Ñ³μ»ÏÇã ¿ ¹³éÝáõÙ: Üñ³ ·áñÍáÕáõÃÛáõÝÝ»ñÁ, ë³Ï³ÛÝ, Ù»Í íÝ³ë »Ý Ñ³ëóÝáõÙ ³ÝÙ»Õ ÄÇÉÇÝ, áõÙ Ù»ç ³ÛÝáõÑ»ï¨ Ù»Í Ñ»ï³ùñùñáõÃÛáõÝ ¿ ÍÝíáõ٠ѳÛáó å³ïÙáõÃÛ³Ý Ñ³Ý¹»å:

What do you think is the reason that the Armenian Genocide, unlike the Holocaust for instance, has been so poorly represented in world cinema?

I think the Shoah was the pinnacle of genocides.

One can even say that in theory, the Armenian Genocide was the grand rehearsal for the Holocaust.

The reason world cinema has focused on the Holocaust is not only because it was such a great tragedy, but also because it was a cold-hearted, calculated, systematic event. It was a mass killing built like a clockwork, probably the most systematic of them all. The Jews were sought out and exterminated all around Europe, going as far as Hungary and even Ukraine and Russia. This was a horrifying organization. And another reason is that this all took place in Europe – the cradle of civilization. That’s why Europeans are very concerned with this tragedy and constantly study and discuss it.

§Ê»Ýà å³ïÙáõÃÛáõÝÁ¦ Ù³ë³Ùμ á·»ßÝãí³Í ¿ Êáë» ²ÝïáÝÇá ¶áõédzñ³ÝÇ La Bomba ÇÝùݳϻÝë³·ñ³Ï³Ý ·ñùÇó: àñù³Ýá±í ¿ ýÇÉÙÁ ÑÇÙÝí³Í Ó»ñ ³ÝÓÝ³Ï³Ý ÑÇßáÕáõÃÛáõÝÝ»ñÇ, ½·³óÙáõÝùÝ»ñÇ íñ³: ⿱ áñ ¹áõù ¿É ٻͳó»É »ù 60-70-³Ï³ÝÝ»ñÇ Ø³ñë»ÉáõÙ ª ë÷Ûáõéù³Ñ³ÛáõÃÛ³Ý ÙÇ Ù³ëÝ »ù: üÇÉÙÇ ÇÝùݳϻÝë³·ñ³Ï³Ý Ù³ëÁ ϳåí³Í ¿ ÑÇßáÕáõÃÛ³Ý ¨ ÑÇßáÕáõÃÛáõÝÝ»ñÇ ÷á˳ÝóÙ³Ý Ñ»ï: ê³Ï³ÛÝ ýÇÉÙë Ñ»Ýó ÑÇßáÕáõÃÛ³Ý Ù³ëÇÝ ã¿ ¨ ѳïϳå»ëª áã ÇÙ ë»÷³Ï³Ý: ²í»ÉÇ ßáõïª ÑÇßáÕáõÃÛ³Ý å³ïÙáõÃÛ³Ý Ù³ëÇÝ ¿ª û ÇÝãå»ë ¿ ³Û¹ ÑÇßáÕáõÃÛáõÝÁ ÷á˳ÝóíáõÙ ë»ñݹ»ë»ñáõݹª ³Ùë³·ñ»ñÇ, »ñ·»ñÇ, ÁÝï³Ý»Ï³Ý ϳå»ñÇ, »ñμ»ÙÝ ÝáõÛÝÇëÏ áñáß³ÏÇ áõï»ëïÝ»ñÇ μ³Õ³¹ñ³ïáÙë»ñÇ ÙÇçáóáí: ÆëÏ »ñμ»ÙÝ ¿Éª ½ÇÝí³Í å³Ûù³ñÇ ÙÇçáóáí: §Ê»Ýà å³ïÙáõÃÛáõÝÁ¦ ÷áñÓáõÙ ¿ Ý»ñϳ۳óÝ»É ³Û¹ ³Ù»ÝÁ: êó»Ý³ñÇ Ï³éáõóí³ÍùÝ Ç ëϽμ³Ý» ³ÛÝåÇëÇÝ ¿ñ, ÇÝãåÇëÇÝ Ù»Ýù ï»ë³Ýù ³í³ñïáõÝ ýÇÉÙá±õÙ ª ëÏëí»Éáí ³ɻ³Ã ÷³ß³ÛÇ ëå³ÝáõÃÛáõÝÇó, ï»Õ³÷áËí»Éáí 70-³Ï³ÝÝ»ñÇ Ø³ñë»É, Ñ»ïá ¿Éª 2000-³Ï³ÝÝ»ñÇ Ð³Û³ëï³Ý: ²Ûá°: γñ»ÉÇ ¿ ³ë»Éª ýÇÉÙÁ ѳÛáó å³ïÙáõÃÛ³Ý Ù»Ï Ñ³ñÛáõñ³ÙÛ³ÏÇ Ù³ëÇÝ ¿: ä³ïÙáõÃÛ³Ý Ù»ç ѳÛÏ³Ï³Ý ÷³ëï ·áÛáõÃÛáõÝ áõÝÇ, ¨ ýÇÉÙÁ ÷áñÓáõÙ ¿ Ý»ñϳ۳óÝ»É ³Û¹ ÷³ëïÁ ÙÇ ³ÛÝåÇëÇ Ó¨áí, áñ ÙÇÝã ³Û¹ ãÇ »Õ»É: à±ñÝ ¿, Áëï Ó»½, å³ï׳éÁ, áñ Ç Ñ³Ï³é³Ï ÐáÉáùáëïǪ гÛáó »Õ»éÝÇ Ã»Ù³Ý ³Ûëù³Ý ùÇã ¿ ³ñͳñÍí³Í ѳٳß˳ñѳÛÇÝ ÏÇÝáÛáõÙ: ÆÝÓ ÃíáõÙ ¿ª ÐáÉáùáëïÁ ó»Õ³ëå³ÝáõÃÛáõÝÝ»ñÇ ·³·³ÃݳϻïÝ ¿: ÜáõÛÝÇëÏ Ï³ñ»ÉÇ ¿ ³ë»É, áñ ï»ë³Ï³Ýáñ»Ý Ø»Í »Õ»éÝÁ ÐáÉáùáëïÇ Ý³Ë³÷áñÓÝ ¿ñ: гٳß˳ñѳÛÇÝ ÏÇÝáÝ ³Û¹ù³Ý Ù»Í áõß³¹ñáõÃÛáõÝ ¿ ѳïϳóñ»É ÐáÉáùáëïÇÝ áã ÙdzÛÝ ³ÛÝ å³ï׳éáí, áñ ¹³ Ù»Í áÕμ»ñ·áõÃÛáõÝ ¿ñ, ³Ûɨ áñáíÑ»ï¨ ¹³ ã³÷³½³Ýó ɳí å³ïñ³ëïí³Í, Íñ³·ñ³íáñí³Í, ųٳóáõÛóÇ Ù»Ë³ÝǽÙÇ å»ë Ùï³Íí³Í áõ ѳٳϳñ·í³Í »Õ»ÉáõÃÛáõÝ ¿ñ: Ðñ»³Ý»ñÇÝ ·ïÝáõÙ ¨ áãÝã³óÝáõÙ ¿ÇÝ áÕç ºíñáå³Ûáí ٻϪ ѳëÝ»Éáí ÙÇÝ㨠ÐáõÝ·³ñdz ¨ ÝáõÛÝÇëÏ àõÏñ³Çݳ: ä³ï׳éÝ»ñÇó Ù»ÏÁ ݳ¨ ³ÛÝ ¿, áñ ¹³ ï»ÕÇ ¿ áõÝ»ó»É Ñ»Ýó ºíñáå³ÛáõÙ ª ù³Õ³ù³ÏñÃáõÃÛáõÝÝ»ñÇ ûññ³ÝáõÙ: ¸ñ³ ѳٳñ ¿É »íñáå³óÇÝ»ñÝ ³Ûë ѳñóÁ ß³ï »Ý ùÝݳñÏáõÙ, áõëáõÙݳëÇñáõÙ: ¶ñùáõÙ ³Ù»Ý ÇÝã Ý»ñϳ۳óí³Í ¿ ¶áõédzñ³ÝÇ ï»ë³Ï»ïÇó, ë³Ï³ÛÝ ýÇÉÙáõÙ ¹áõù áñáß»óÇù ÙÇ ù³ÝÇ ¹Çï³ÝÏÛáõÝÇó å³ïÙ»É ³Ûë å³ïÙáõÃÛáõÝÁ: ÀݹѳÝñ³å»ë μ³í³Ï³ÝÇÝ ³ñ³· »Ù ³ß˳ïáõÙ, ·ñ»Ã» ³Ù»Ý ï³ñÇ ýÇÉÙ »Ù ÃáÕ³ñÏáõÙ: ê³Ï³ÛÝ §Ê»Ýà å³ïÙáõÃÛáõÝÁ¦ ÙÇ³Ï ÏÇÝáÝϳñë ¿, áñ »ñϳñ ï³ñÇÝ»ñ ëå³ë»óÇ, áñ μáÉáñ μ³Õ³¹ñÇãÝ»ñÁ ×Çßï Çñ»Ýó ï»ÕÁ Ýëï»Ý: ¶áõédzñ³ÝÁ, ÇѳñÏ», ÇÝÓ ß³ï ¿ û·Ý»É: Üñ³ Ï»Ýë³·ñáõÃÛáõÝÁ μ³ó³éÇÏ ¿, ¨ ÇÝùÝ ¿É ÙÇ μ³ó³éÇÏ ³ÝÓݳíáñáõÃÛáõÝ ¿: ¶áõédzñ³ÝÇ å³ïÙáõÃÛáõÝÝ ÇÝÓ Ç ëϽμ³Ý» ß³ï Ñáõ½Çã ¿ñ Ãí³ó»É, μ³Ûó ų-

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Not only is he the president of this year’s Golden Apricot Feature Competition jury, but Robert Guédiguian also co-wrote and directed the opening film Don’t Tell Me the Boy Was Mad. As a director, Guédiguian has often sung the praises of the working classes of his home town Marseille. And indeed that’s what he does best – depicting the struggles and issues of workers. His strong political beliefs are always transparent in his films, but he also tries to find a human face underneath the controversial political issues he brings up.

Don’t Tell Me the Boy Was Mad, the story of an average French-Armenian family in the late 70’s, is an example of that. Wishing to avenge his ancestors, the family’s son Aram becomes a terrorist. His actions inadvertently hurt Gilles, an innocent bystander who subsequently becomes fascinated with Armenian history.

The book is told from Gurriarán’s own point of view, but you choose to add different perspectives in the film. Why did you feel this was necessary?

First of all I have to say that, although in general I work very fast, directing a movie almost every year, for Don’t Tell Me the Boy Was Mad it took me many years to figure out all the components and place them in the right order, because those 100 years it covers offer so many significant events.

Gurriarán life story is exceptional, and he’s an extraordinary man. From the very first time I read it, I found his book to be very heartfelt and touching.

But it took some time to come up with new ideas and piece them together, to make the film that I wanted to make. I wanted to tell a more universal story. That’s why I came up with the family for the movie. And because I want the audience to understand the genocide and the historical backgrounds of this Armenian anger, I start the film with the Pasha assassination and a sequence about the trial of his assassin, Soghomon Tehlirian. All in all, this takes up a lot of time in the movie – more than 20 minutes. But it’s necessary to explain this great tragedy.

So can it be said that by making this film you pursued not only artistic, but also political goals?

Absolutely. I don’t think there’s a single movie out there which is totally deprived of political or social undertones. A work of art can’t be just that, it needs to deal with the world.

Don’t Tell Me the Boy Was Mad is partially inspired by the book La bomba, an autobiographical story by José Antonio Gurriarán. But how much of the film is actually based on your own experiences and memories as a young man growing up as part of the Armenian diaspora in Marseille in the 60’s and 70’s?

The autobiographical part of the film has to do with the idea of memories and the transmission of memories. But my movie isn’t about the memory itself, especially not my own. Rather, it is about the history of memories – how they are passed along, from generation to generation. This happens through family stories, through articles, throug songs, and at times even through recipies for certain dishes. But sometimes, it happens through armed struggle. Don’t Tell Me the Boy Was Mad tries to deal with all of that.

This policital viewpoint has led some reviewers to saying that Don’t Tell Me the Boy Was Mad is a justification of terrorism. How do you respond to this accusation?

(Laughs) That’s entirely false. The film simply brings up the question of armed struggle. I have thought about this question for a long time, as I’ve already explored it in some of my earlier movies, like Army of Crime. It is my firm belief that there are some armed struggles that are justified, and there are those which are not. But even inside any justifiable armed resistance there are also actions which are just, and those which are unjust. I have always been against violence and terrorism against civilians. However, I have always agreed with actions that target specific people – political leaders, for instance. Don’t get me wrong, there is no cause in the world that can justify the killing of the innocent. But sometimes one must rise up against corrupt and murderous governments, against the police, and there’s really no other way to do that than picking up a weapon. AV

Was the film always constructed as it is in the final version, beginning with the assassination of Turkish politician Talaat Pasha in 1921, then

Robert Guédiguian will give a Master Class today at 15:00 at the Small Theatre (11 Abovyan St.)

GOLDEN APRICOT DAILY | DAY 3 | 14 JULY | 2015

6

reviews

Battle for the Soul Sivas (Kaan Müjdeci, Turkey/Germany, 2014), 15-7 12:00, Moscow Cinema, Small Hall 1, 17:00, Hayastan Cinema, Big Hall, 16-7 21:00, Poghosyan Gardens Movies about dogs often tend to be cutesy, praising the loyalty and intelligence of man’s best friend. But Kaan Müjdeci’s debut feature Sivas depicts the animal side of both canines and their owners. The film is set in rural Turkey, where 11-yearold Aslan struggles to impress his crush Ayse by getting the role of the prince in a school production of Snow White. The part goes to the mayor’s son instead, while Aslan is forced to play a dwarf.

Thus angered, it turns out he can be as beastly as his name suggests – “aslan” means “lion” in Turkish.

The first half of the film is an almost ethnographic depiction of this village boy’s everyday life. The handheld camera follows him around the vast Anatolian landscapes in long, uncut shots as he goes to school, bullies some kids or gets bullied himself, and goes back home to his parents and older brother. This is all presented in a very realistic manner – it’s not often that one hears so much swearing from a child.

The same can be said about the dog fights that are featured, which are shocking, gruesome and bloody.

Aslan looks on as Sivas, an Anatolian sheep dog, loses his fight. As the audience leaves, assuming Sivas is dead, Aslan stays behind and seems the

wounded and blood-drenched dog opens its eyes.

Aslan takes him home and nurtures him back to health.

At first the boy is just happy to have a huge, cool dog, and he tries to use him as another way of impressing Ayse. But the girl basically mocks him for not making Sivas fight, so that’s exactly what Aslan does. And as the bets get higher and the fights get bloodier, Aslan comes to know his dark side.

At last year’s Venice film festival, where Sivas was selected for the competition, young actor Dogan Izci received a Best Actor award for his portrayal of Aslan. Indeed, the boy carries Sivas on his shoulders, aided by Müjdeci’s precise and confident direction. At any given moment Izci’s eyes convey many different emotions, as if a battle is going on inside his soul. Sivas’s weary gaze suggests that maybe he, too, doesn’t quite comprehend why he’s sinking his teeth into another dog’s neck.

Or maybe he’s just an animal. In any case, the film suggests that vanity and evil sit inside us all – even the littlest ones – and it takes a good chunk of willpower to oppose them. AV

Through the Porthole Transatlantic (Félix Dufour-Laperrière, Canada, 2014), 14-7 20:00, Moscow Cinema, Small Hall 1 This experimental Canadian documentary essay by first-time director Félix Dufour-Laperrière depicts a cargo ship’s 30-day journey from Antwerp to Montreal. This is not a documentary in the traditional sense, however. The film doesn’t document anything, per se, nor does it follow a single or multiple heroes. It’s not about the interactions on the ship, or the relations between the crew. In fact there’s no dialogue in the film at all, except for a scene of a sailor praying and some inaudible chatter every now and then.

Instead, Transatlantic is more of an artistic expression with no concrete message or context. It’s about how random industrial sounds can be more distinct than words. About how the sunlight shines through the portholes, illuminating the gloomy cabins. About conveying the overwhelming atmosphere of being stranded in the middle of the almighty ocean.

Thirty days surrounded by nothing but water, all filmed in highly stylized black-and-white images, with some slightly surreal elements as well.

Sometimes a woman’s face will appear from the dark. Her lips are moving, but her chant is muted. For a second one might even mistake this for a scene right out of David Lynch’s Eraserhead. Often there are long and peaceful shots of waves almost crashing onto the screen.

Most of the film’s one-hour running time is devoted to the sailors cleaning and painting the sides of the ship and playing cricket on board. But of course it’s the director’s vision that’s being showcased here, which is very distinct and rather unconventional. AV

The Chosen Ones One, Two, Three... (Arman Yeritsyan, Armenia, 2015), 14-7 18:00, Moscow Cinema, Small Hall 1

Imperial Wanderlust Embrace of the Serpent (Ciro Guerra, Colombia, 2015), 14-7 22:00, 15-7 12:00, Moscow Cinema, Blue Hall This black-and-white Colombian drama is a powerful tribute to the ancient Amazon cultures.

The arrival of imperialistic western men brought an end to the locals’ natural, spiritual way of life. But this historical and adventurous tale offers more than a simple lament: it also deals with exploring one another’s culture and gaining friends for life.

Showing the Unsaid End of Winter (Kim Dae-hwan, South Korea, 2014), 14-7 12:00 and 20:00, Moscow Cinema, Blue Hall In this absorbing account of a family meltdown, a retired teacher sits at the diner table on a day of celebration, when he suddenly informs his family that he is going to divorce his domineering wife.

That’s all he has to say, no explanation provided.

The already uncomfortable situation becomes even more tense when it turns out that, because of heavy

Colombian filmmaker Ciro Guerra was inspired by the journals of two explorers: German ethnologist Theodor Koch-Grunberg (1872-1924) and American biologist Richard Evans Schultes (19152001). His synthesis of these stories is an impressive exploration of imperialism, wanderlust, symbolism and folklore. Even in black and white, the lushness of the jungle comes across intensely, helped greatly by the forceful sound design intensifying the voice of nature, layered sparingly with atmospheric indigenous music.

Around the year 1900, the young Amazonian shaman Karamakate encounters a white man. This German scientist is very ill and in need of a special

plant with healing powers. Should Karamakate help this foreigner, whose people enslaved Amazonians on their rubber plantations, imposed their Christian religion on the locals and disrespected their rituals and ecological surroundings? In the end, Karamakate decides to help him find this plant, rowing him up the river and engaging in several adventures suiting the Amazonian spirit.

Decades later, another white man comes to find Karamakate, in search of his ancestral knowledge and the very same plant. They follow the same trail together, but encounter a changed world, in which western influences have all but erased the intuitive, native Amazonian way of life. MN

snowfall, nobody can leave the house in the SouthKorean countryside. The nervous family members cautiously circle around each other as they’re forced to spend two nights together.

The father has become a closed shell, dragging his family into a communication vacuum.

Speculations about a mistress are neither confirmed nor denied. He only gives evasive answers, making off-topic comments about the roof needing repairs.

It’s the family's mutual relationships that really need a handyman, though.

Young director Kim Dae-hwan shows the unsaid in a brave, minimalistic style, using a suffocating steel-grey palette. His subtle debut feature won the

New Currents Award at the Busan International Film Festival. As he shows, living near an enigma can be maddening – someone so close can still be so inscrutable. The father starts smoking again like a young rebel, sticking to his decision to be single again. But he has no idea what to do with his newfound freedom. Tension rises during the awkward meals they share, fueling the resentment, embarrassment and repressed rage which are all too familiar for so many families. The snowy Cheorwon background and an almost complete lack of music and melodrama are a perfect match for this keenly observed portrait of chilled relations, in which emotions are put aside in order to endure. MG

Armenian TV viewers might remember watching Hidden Talent. One episode featured a performance by a dance troupe called "The Chosen Ones", consisting almost entirely of people over 65. Some of them looked kind of goofy jumping around, trying to keep up with the rhythm. But by God, they were giving it their all, and it was hard not to admire that. Still, they lost the competition and left the stage heartbroken.

Armenian documentary filmmaker Arman Yeritsyan was behind the scenes at that show, as he had been filming the troupe for quite some time. Now he has skillfully assembled that material in the documentary One, Two, Three....

Yeritsyan carves out an individual portrait of every member as well as showing their interaction with one another. They’re an endearlingly offbeat and kooky bunch, but also a bit miserable; not a minute goes by without them reflecting on traumatic experiences or their younger days.

The crew become part of the action too, with the cameraman’s hand at one point entering in frame to hold one of the dancers’ flower as he climbs a fence.

At times it feels like they’re showing off for the filmmakers, a source of much of the film’s subtle comedy.

On the other hand, there are moments of riveting insight. A weary man with saggy eyes is asked if he has any complaints and answers "No", in an otherwise silent shot that feels like it goes on forever. He awkwardly waits for the director to end the interview, gets up and walks away. He’s probably going to dance some more, since that’s the one thing that gives him joy. As Pina Bausch used to say: “Dance, dance, or we’re all goners.” AV

GOLDEN APRICOT DAILY | DAY 3 | 14 JULY | 2015

news and reviews 7

As Long as it Takes It’s the 12th edition of GAIFF, yet only the 5th anniversary of the Apricot Stone Competition. More and more, short films are getting the recognition they deserve.

Shorts are the medium for the young (if not in age, than in spirit) and the courageous.

Over 750 shorts were submitted, of which only 34 were chosen, hailing from 25 diferent countries. The conditions for submission were simple: the film should be 30 minutes or less. But that’s more than enough for a filmmaker to express him or herself, the competition selection shows. In fact, some short film directors manage to display more creativity in their brief running time than their feature-length colleagues. These are the directors who may one day become as great as the masters that inspired them.

Take for instance the Spanish short Horseface, written and directed by Marc Martinez. The story told in black-and-white still images, and narrated by a guy

who likes to wear a horse mask, is an odd little mix of Lynchian horror and Guilliamesque black humor.

For those who’d rather have some social satire, there’s the Swiss comedy Discipline, in which writer/director Christophe M. Saber shows a keen eye, a sharp ear and a marvellous sense of comic timing. Events in a busy night shop unfold in real time. What starts out as an act of questionable parenting, grows into a true battle of minds, races and sexes, revealing the hypocrisy and bigotry that’s still very much alive in Europe.

As does Facundo V. Scalerandi, the Argentinian writer/director of the German short film Alpha, which features a very peculiar conflict between old and new. British director Alexander Thomas, on the other hand, decides to use his sense of humor to discuss racial issues in Beverley. The comic drama shows how the eponymous, cheeky, mixed-race girl tries to find her place in society in 1980’s England.

Other filmmakers choose to tackle sensitive is-

Directors Across Borders 14:00, Moscow Cinema, Red Hall. The Directors Across Borders film program (a selection of films from the Eastern Partnership countries of Ukraine, Georgia, Moldova, Azerbaijan, Armenia and Belarus) will open with a screening of Pioneer Heroes by Natalya Kudryashova. See opposite page for a review of Sivas, also part of the program.

Day Trippin’ Horseface

sues head-on, like Mohamed Kamel from Egypt in Wintry Spring and Tofigh Amani’s Ants Apartment, a reflection on the Kurdish genocide in Iraq.

There’s no room here to discuss all of the films.

Suffice it to say that many of them have already won awards abroad, and by the end of the week one of them is going back home with another one. AV

Talk to GAIFF 16:00, Tumo Center for Creative Technologies (16 Halabyan St.). While yesterday’s master class with Rob Nilsson unfortunately had to be cancelled, the American director (whose new film Bridge to a Border has its Yerevan Premiere today at 19:00) will talk to students at the first Tumo event of the year.

Reframing History

We Exist/Never Again

The festival program New German Cinema brings together five recent German films.

They offer a wide range of subjects and time periods, but in each film the personal and the political are intricately entwined.

The fall of the Berlin Wall still resonates in the suburbs of the East-German city of Rostock in 1992. But the world is changing quickly. Several immigrant groups, such as Roma and Vietnamese refugees, are now being housed in former social Soviet buildings. Youth unemployment is rising at an alarming rate, so who’s to blame?

Young neo–Nazi’s resolutely point to the foreign “invaders”, as is shown in We Are Young. We Are Strong, a stylishly filmed historical drama based on real events. The film shows the day when racial tensions hit the roof and riots break out. Seen through the eyes of a young Vietnamese woman, a local leftwing politician and his neo-Nazi son, all in powerful black and white.

The film is not the only one in the program to focus on 20th century historical events. For instance, celebrated auteur Christian Petzold asks an often overlooked question about WWII in his

15:00, Garni Temple & Geghard Monestary.

Festival guests wishing to take a break from the darkness of cinema theatres can join a day trip to two of Armenia’s most fascinating sights. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 14:00.

18:00, Moscow Cinema, Blue Hall. The festival’s two programs commemorating the centennial of the Armenian genocide will be opened today with a combined screening of We

by Artavazd Peleshyan and Serge Avédikian’s Barking Island.

Phoenix

latest film Phoenix: what happened to survivors of the death camps after they returned home? The film tells the story of Nelly (played by Petzold’s regular muse Nina Hoss), whose face was mutilated in the camps, leaving her unrecognisable to her husband Johnny.

When she seeks him out upon her return to Berlin, Johnny believes his wife is dead, and she impulsively introduces herself as “Esther”. Noting Esther’s remarkable likeness to his supposedly deceased wife, Johnny sees an opportunity to collect her inheritance, and strikes a deal with Esther: he will train her to become like Nelly. Thus begins a cat and mouse game between the former husband and wife, as Nelly must find out whether Johnny was the one who turned her in during the war.

Other films in the program focus on widely different subjects and places, from a romantic triangle around poet Friederich Schiller in 1788 (in Dominik Graf’s remarkably fresh period piece Beloved Sisters) to a heavy-set girl’s foibles in modern-day Berlin (in Sylke Enders Schönefeld Boulevard). But in every case, the personal and the political are intricately entwined. JB/MN Phoenix (Christian Petzold, 2014), 14-7 21:00 Cinema Star, 17-7 16:00, Moscow Cinema, Blue Hall We Are Young. We Are Strong (Burhan Qurbani, 2015), 14-7 21:00, Moscow Cinema, Red Hall, 15-7 21:00, Hayastan Cinema, Big Hall

Nastassja Kinski 19:00, Hayastan Cinema, Big Hall. While the Nastassja Kinski Retrospective will have its official opening tomorrow, a celebratory screening of Roman Polanski’s Tess will already be held tonight at the recently renovated Hayastan Cinema. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 18:00.

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

Passionate Conviction Silvered Water, Syria Self-Portrait (Ossama Mohammed & Wiam Simav Bedirxan, France/Syria, 2014), 14-7 12:00 and 16:00, Moscow Cinema, Small Hall 1

Ticking Timebomb The Lesson (Petar Valchanov & Kristina Grozeva, Bulgaria/Greece, 2014), 14-7 16:30, Moscow Cinema, Red Hall, 17-7 21:00, Cinema Star One day, hardworking and honest teacher Nadezhda finds out that one of her pupils’s pocket money was stolen by one of the other kids. She wants to teach the little thief a moral lesson, but no-one will confess to the crime.

After the incident, it becomes clear that Nadezhda has financial problems of her own. Her house will be foreclosed if she and her husband don’t pay the mortgage very soon. The fact that her husband used the

money they had set aside for something else is becoming a huge problem. Other attempts to get some cash also fail: her boss will not pay up and the families’ caravan proves worthless. So unless she comes up with a brilliant idea, her family will be evicted.

Desperate times call for desperate measures, and Nadezhda is scrambling: trying to sell her mother’s gold teeth, visiting her father in hopes of borrowing some cash, and getting involved with a loan shark.

But can the solution she eventually finds be defended, in light of the class earlier incident in her class?

This award-winning Bulgarian drama is screening as part of the Bulgarian Cinema Day, celebrating the 100th anniversary of Bulgarian cinema. The program combines this recent succes with one of the country's earliest film productions: Love Is Folly from 1917.

Directors Petar Valchanov and Kristina Grozeva loosely based the screenplay for The Lesson on the true story of a Bulgarian teacher who robbed a small town bank. Using this news item as a starting point, they tell a gripping story about something that could happen to anyone in such despair.

The film’s documentary filming style, with long shots following Nadezhda in her frantic quest, makes this social drama feel like a real-life event.

The directors have a keen eye for human behaviour and emotions, and build the tension masterfully.

The ticking clock soon turns into a timebomb. Not surprisingly, actress Margita Gosheva got awarded for her powerful portrayal of this utterly desperate woman who will not crack under pressure – no matter what life throws at her. MN

While in political exile in Paris, Syrian filmmaker Ossama Mohammed received an extraordinary Facebook message from Kurdish teacher and activist Wiam Simav Bedirxan: “If you were here in Homs with your camera, what would you film?” The starting point of their remarkable collaboration was footage of a teenager arrested and tortured by Bashar alAssad’s security forces, posted on YouTube by the boy’s captors. Mohammed went on to edit the material Simav shot in the besieged city, combining it with excerpts from numerous videos of heavy shelling and aerial bombings, filmed on cellphones.

Blood flows – a great deal of blood. But this is more than a devastating documentary about the tribulations of ordinary Syrians. The film also demonstrates the power of cinema in the face of war.

No matter how oppressive the atmosphere, Simav is passionate to keep on filming.

The film is dedicated to a cheerful little boy named Omar whom Simav also films: a symbol of the future of the country. He skips across the city, dodging snipers, to lay a flower at his father’s grave. Meanwhile, back in Paris, Mohammed is struggling with his powerless position as an outsider, unable to help the Syrians – yet another reason that he is dedicated to showing these images to the world. MG

GOLDEN APRICOT DAILY | DAY 3 | 14 JULY | 2015

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