Golden Apricot Daily - 2017, Day 3

Page 1

TUESDAY JULY 11, 2017

DAILY

DAY 3

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MASTER OF MELANCHOLY ՄԵԼԱՆԽՈԼԻԱՅԻ ՎԱՐՊԵՏԸ Îð²ÎÆ ØÆæàì вð¶²ÜøÆ îàôðø. èàô´ºÜ ¶ºìàð¶Ú²Üò ¿ç 3

²êîì²ÌàôÐÆܺðÆ ºì βܲÜò زêÆÜ ÎðÂìºÈàô ÎÆÜààôÔºðÒ ¿ç 4

ÐÚàô в¸êàÜ Ð²ðò²¼ðàôÚò

¿ç/p. 5

OF GODDESSES AND WOMEN BOYS WILL BE BOYS A PLEA FOR EDUCATION INTERVIEW

HUGH HUDSON

p. 6

THROUGH HELL AND FIRE TRIBUTE TO RUBEN GREVORGYANTS p. 7

GOLDEN APRICOT DAILY DAY 3 | 11 JULY | 2017

2 ĂŒð²œĂ†Ă°/ PROGRAM Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐŠ Ő…Ő? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, BLUE HALL 10:00 = 7 / . () Sexy Durga /dir. Sanal Kumar Sasidharan 12:00 " > / . > ( ? Sarajevo Songs of Woe /dir. Fred Kelemen 15:00

24 @ & @ / . @ - " A Day in the Life of a Clown /dir. Jean-Pierre Melville X ! / . @ - " The Silence of the Sea/ dir. Jean-Pierre Melville

17:30

! & / . Q ! Ember /dir. Zeki Demirkubuz [ / . = $& W * Kind Trace /dir. Ruben Gevorgyants @ / . ; " ! The Woman Who Left /dir. Lav Diaz

20:00 20:30

Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐ?Ő„ÔťŐ? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, RED HALL 10:00 / . & ? X Murat /dir. Marine & Sona Kocharyans & [ / . \- ] # ^ Salt and Bread /dir. Arch-Aspet Shermazanyan + ( & / . % ) _ X # Strokes of Light /dir. Vahe Khachatryan

11.07 Ind, 85’ FC, 18+

Lang.: Malayalam Subt.: English

Fra, 18’ T 12+ Fra, 87’ T, 12+,

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

Tur/Deu, 115’, FC, 18+ Arm, 10’ FC, 12+ Phl, 226’ YP, 16+

Lang.: Turkish Subt.: English and Armenian No dialogue

Arm, 36’ AP, 12+ Arm/Rus, 20’, AP, 12+ USA, 57’ AP, 12+

Lang.: Filipino Subt.: English and Armenian

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

\ / . ) #X The Line /dir. Mher Mkrtchyan

Arm, 103’ AP, 12+

Lang.: Armenian Subt.: English

14:30

& ] ^ ! / . ( Revolution /dir. Hugh Hudson

UK, 124’ R, 16+

Lang.: English Subt.: Armenian

17:00

> [ / . ` ( f ( On Body and Soul /dir. IldikĂł Enyedi

Hun, 116’ YP, 16+

Lang.: Hungarian Subt.: English and Armenian

19:30

= 7 / . () Sexy Durga /dir. Sanal Kumar Sasidharan ` / . -( The Net /dir. Kim Ki-duk

Ind, 85’ FC, 18+

Lang.: Malayalam Subt.: English

Kor, 114’ YP, 16+

Lang.: Korean Subt.: English and Armenian

Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, Ő“ŐˆŐ”Ő? Ô´ÔąŐ€ÔźÔťŐƒ 1 MOSCOW CINEMA, SMALL HALL 1 10:00 7 / . # ! "

Pol, 24’ Lang.: Polish Daniel/ dir. Anastazja Dąbrowska DC, 12+ Subt.: English and Armenian 7 > ; / . ( Tur/Arm, 68’ O DC Lang.: Turkish/Armenian Mother Derdo and the Walnut Tree/ dir. Serdar Önal 12+ Subt.: English and Armenian 12:30 > / . # Ita/Yem, 82’ Lang.: Arabic Blood and the Moon/ dir.. Tommaso Cotronei DC, 12+ Subt.: English and Armenian 14:00

/ . ! #

A Cat From Havana/ dir. Dacio Malta

Bra, 87’ YN, 12+

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

15:30

q / . < # #X Origines /dir. Ashot Mkrtchyan

Arm, 62’ AP, 12+

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

17:00

7 > ; / . ( O Tur/Arm, 68’ Lang.: Turkish/Armenian Mother Derdo and the Walnut Tree/ dir. Serdar Önal DC, 12+ Subt.: English and Armenian

19:00

21:00

Fin/Deu, 98’, FC Lang.: Finnish/English/ 16+ Arabic/Swedish Subt.: English and Armenian

BiH/Deu, Lang.: Bosnian/English 140’, FC,16+ Subt.: English

12:30

21:30

ÔżÔťŐ†ŐˆŐŠÔąŐ?Ôż KINOPARK 20:30 / . The Other Side of Hope /dir. Aki Kaurismäki

/ . & ? X Murat /dir. Marine & Sona Kocharyans

Arm, 36’ AP, 12+

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

! / .

<# "

A Marriage Story/dir. Helena Třeťtíkovå + ( & / . % ) _ X # Strokes of Light/ dir. Vahe Khachatryan

Cze, 102’ DC 12+ USA, 57’ AP, 12+

Lang.: Czech Subt.: English and Armenian Lang.: Armenian Subt.: English

Ő€ÔľŐ†Ő?ÔťÔż Ő„ÔąÔźŐ…ÔąŐ†Ôť ÔąŐ†ŐŽÔąŐ† ÔżÔťŐ†ŐˆÔ´ÔľŐ?ÔąŐ?ÔąŐ†Ôť ÔšÔąŐ?Ő?ŐˆŐ† HENRIK MALYAN THEATRE OF CINEMA ARTISTS 12:00 . / . Arm, 42’ The Book: Home/dir. Hakob Papazyan FV, 12+

14:00

16:00

18:00

/ .

USA, 61’ FV, 12+

Crows of the Desert/ dir. Marta Houske / . The Army’s Mother/dir.. Sona Tonakanian

Arm, 20’ FV, 12+

/ . Temple of Light/ dir. Nigol Bezjian

Lbn, 48’ FV, 12+

/ . ! " Qarktik /dir. Nikolay Davtyan

Arm, 50’ FV, 12+

- / . # Musaler- Aynchar/ dir. Taron Petrosyan ! / . $ , % # &

In the Reflection of Eternity/dir. Garik Abelyan, Viktoria Maksoeva

Arm, 41’ FV, 12+ Arm/Geo, 35’ FV, 12+

Fra/Tur, 51’ . " # / . FV, 12+ ' Ara Guler, Once Upon a Time Istanbul/dir. Samuel Aubin ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? ŐŠŐˆŐ‚ŐˆŐ?Ő…ÔąŐ† ÔąŐ…ÔłÔťŐ†ÔľŐ? Ő„ YEREVAN NIGHTS AT POGHOSYAN GARDENS Arm, 5’ 21:00 $ %& / . % ( ") AU, 12+ Jamila Afghani /dir. Vardan Hovhannisyan Rus/Arm, 73’ ' ( & % / . YP, 12+ # ! * Six Musicians and the City/dir.Tatiana Daniliyants

ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? Ő•ŐŠÔľŐ?ÔąŐ…Ôť Ő€Ő?ÔąŐŠÔąŐ?ÔąÔż Ő„ YEREVAN NIGHTS AT OPERA SQUARE 21:00 ) ! / . % ( ") Dr Tom Catena/dir. Vardan Hovhannisyan * ! # / . - : Khatabala/dir. Yuri Yerznkyan ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? ÔżÔąŐ?ÔżÔąÔ´ Ő„ YEREVAN NIGHTS AT CASCADE 21:00 / . ! #

A Cat From Havana/dir. Dacio Malta

Lang.: Armenian Lang.: English Subt.: no

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

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

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

Lang.: Armenian

Lang.: Armenian/Russian Subt.: English

Arm, 5’ AU, 12+ Arm, 69’ T, 12+

Lang.: Armenian

Bra, 87’ YN, 12+

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

ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? ÂŤŐ€ÔąŐ…ÔąŐ?Ő?ԹՆ Ôż/Ôš ÔąŐ…Ôł Ő„ YEREVAN NIGHTS AT HAYASTAN CINEMA GARDEN 21:00 + 5 / . # % ( Arm, 43’ Voices of Light /dir. Hrant Vardanyan AP, 12+

Lang.: Armenian

Lang.: Armenian Subt.: English

ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? Ő†ÔąŐ†Ő?ÔľŐ†Ôť ÔąŐ…Ôł Ő„ YEREVAN NIGHTS AT NANSEN GARDEN 21:00 Ő?ÔťŐ†ÔľŐ„Ôą Ő?ÔšÔąŐ? CINEMA STAR 18:00 9 , ; / . ;& Arm/Fra/Bel, Lang.: Armenian/Russian Bravo, Virtuoso! /dir. Levon Minasian 104’, AP, 16+ Subt.: English 20:00 / . = f ( Swe/Deu/Fra/Dnk, Lang.: English/Swedish The Square/ dir. Ruben Ă–stlund 142’, YP, 18+ Subt.: English and Armenian

7 / . ( ; < Dr. Denis Mukwege/dir. Andrei Loshak ½/ . = " Arto ½/dir. Armen Ronov

Ő€ÔąŐ…-ŐŒ Ő?ÔąÔżÔąŐ† Ő€ÔąŐ„ÔąÔźŐ?ÔąŐ?ÔąŐ† RUSSIAN-ARMENIAN UNIVERSITY 16:00 9 , ; / . ;& Bravo, Virtuoso! /dir. Levon Minasian

Rus, 5’ AU, 12+ Arm, 24’ YN, 12+

Arm/Fra/Bel, 104’ AP, 12+

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

Lang.: Armenian/Russian Subt.: English

GOLDEN APRICOT DAILY ĂŠĂ™Ο³¡Ă‡ĂąĂ?ù` ĂšĂĄĂŤĂƒ ´ùåùĂ?-Ă?³ÛïĂ?Ă‹Âł, ²ùĂƒåþù ϳùšĂ‡Ă?Û³Ă? ²Ă&#x;Ă‹³ï³Ă?³½Ă™` ĂŞÂłĂ&#x;Âł ĂŽåþïÍÇù, Ă?Ă›åþ¡å žĂ™ù½³Ă‰, ĂŽ³ùĂ? ²íïÇÍÛ³Ă? Ă?ÕÇĂ?ÂłĂ?Ă?ùª ²ùĂ?íÇ ´³Ă‹ĂŁĂ‡Ă?Û³Ă?, èå½³ ϝÇ¡åùÛ³Ă? ¸Ă‡ÂłĂ?Âł Ă˜³ùïÇùåÍÛ³Ă? ĂˆåþͳĂ?Ă?³ùÇãª Ă˜ÂłĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă?

êùΟ³¡ùÇãª ĂŽ³ùĂ? ²Í³ïùÛ³Ă? Ă‚³ù¡Ă™ÂłĂ?ÇãĂ?ùª ĂˆåþÍÇĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă?, Ÿ³ùÇĂ?Âť 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-Huitenga & Artur Vardikyan Staff: Hugo Emmerzael, Sasja Koetsier, Karen Avetisyan Contributors: Artsvi Bakhchinyan, Roza Grigoryan, Diana Martiroyan

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

GOLDEN APRICOT DAILY 2017 | 11 JULY | DAY 3

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

âºê àô¼àôØ` ØÆ° ²ð² дÀØ ¹³ÑÉÇ×áõÙ »ñ»Ï í³ñå»ïáõÃÛ³Ý ¹³ë ³Ýóϳóñ»ó éáõë é»ÅÇëáñ ´áñÇë ÊÉ»μÝÇÏáíÁ: ì»ñçÇÝÇë ÏÇÝáÝϳñÝ»ñÝ ³ñ¹»Ý μ³½ÙÇóë óáõó³¹ñí»É »Ý §àëÏ» ÍÇñ³ÝáõÙ¦ ¨ ѳÛïÝí»É »Ý μ³½Ù³ÃÇí ³ÛÉ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝ»ñÇ áõß³¹ñáõÃÛ³Ý Ï»ÝïñáÝáõÙ` ³ñųݳݳÉáí Ùñó³Ý³ÏÝ»ñÇ: سëݳíáñ³å»ë Ýñ³ í»ñçÇݪ §²éÇÃÙdz¦ ÏÇÝáÝϳñÁ ׳ݳãí»É ¿ éáõë³Ï³Ý §ÎÇÝáï³íñ¦ ÷³é³ïáÝÇ É³í³·áõÛÝ ýÇÉÙ, ÇëÏ ûñ»ñ ³é³ç ¹»ñ³ë³Ý ²É»ùë³Ý¹ñ Ú³ó»ÝÏáÝ ³Û¹ ýÇÉÙÇ Ñ³Ù³ñ å³ñ·¨³ïñí»É ¿ ã»Ë³Ï³Ý Ñ»ÕÇݳϳíáñ γéÉáíÇ ì³ñÇÇ ØÎö-Ç Ùñó³Ý³Ïáí: ²ÛÅÙ ýÇÉÙÁ ϳñ»ÉÇ ¿ ¹Çï»É §ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³¦ Íñ³·ñÇ ßñç³Ý³ÏÝ»ñáõÙ:

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¹áɳñ ͳËë»óÇ: ºñÏáõ ï³ñÇ Ñ³í³ùáõÙ ¿Ç ³Û¹ ·áõÙ³ñÁ: ÆëÏ ³Ûëûñ ýÇÉ٠ϳñ»ÉÇ ¿ ³Ý»É ·ñáßÝ»ñáí¦: Êáë»Éáí ¹»ñ³ë³ÝÝ»ñÇ Ñ»ï ³ß˳ï³ÝùÇ Ù³ëÇݪ ÊÉ»μÝÇÏáíÁ ÷³ëï»ó, áñ ¹»ñ³ë³ÝÝ, Çñáù, å»ïù ¿ ɳíÁ ÉÇÝÇ, μ³Ûó¨ å»ïù ¿ ³Ù»Ý ÇÝãáí ÝÙ³Ý ÉÇÝÇ ³ÛÝ Ï»ñå³ñÇÝ, áñÇÝ Ù³ñÙݳíáñ»Éáõ ¿: Àëï é»ÅÇëáñǪ ³Ûë ¹»åùáõÙ, ÇѳñÏ», ³Ù»Ý ÇÝã Ñ»ßï ¿ áõ ѳñÙ³ñ, ù³ÝÇ áñ »ñμ ¹»ñ³ë³ÝÝ Çñ»Ý ͳÝáà ÙÇ μ³Ý ¿ ˳ÕáõÙ, ³å³ ëÏëáõÙ ¿ Çñ ÏáÕÙÇó ³Ýѳí³Ý³Ï³Ý Ù³ÝñáõùÝ»ñ ³í»É³óÝ»É ¨ ï»ùëïÝ ³í»ÉÇ Ñ³ñáõëï Ó¨áí Ý»ñϳ۳óÝ»É: ²ÛëÇÝùݪ ¹»ñ³ë³ÝÁ ß³ï É³í ·ÇïǪ ÇÝã ¿ ³ÝáõÙ, ù³ÝÇ áñ ³Û¹ ³Ù»ÝÝ Çñ ÏÛ³ÝùÇ ÙÇ Ù³ëÝ ¿: è»ÅÇëáñÇÝ ÙÝáõÙ ¿ å³ñ½³å»ë áõÕÕáñ¹»É Ýñ³Ý: ÆëÏ ¹»ñ³ë³ÝÇ` åñáý»ëÇáÝ³É ï»ë³ÝÏÛáõÝÇó

Îð²ÎÆ ºì ö²ØöàôÞîܺðÆ ØÆæàì

ÆÝãå»ë ÙÇßï, ³Ûë ï³ñí³ §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ ÙñóáõÛÃÁ μ³Å³Ýí³Í ¿ »ñ»ù ϳﻷáñdzݻñǪ ˳ճñϳÛÇÝ, í³í»ñ³·ñ³Ï³Ý ¨ ϳñ׳ٻïñ³Å, áñáÝóÇó ³é³çÇÝáõÙ Áݹ·ñÏí³Í ¿ 3 ÏÇÝáÝϳñ, ÇÝãå»ë ï»Õ³Ï³Ý, ³ÛÝå»ë ¿É ³ñï³ë³ÑÙ³ÝÛ³Ý ³ñï³¹ñáõÃÛ³Ý:

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GOLDEN APRICOT DAILY 2017 | 11 JULY | DAY 3

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INTERVIEW 5

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Pressure from the producers is actually what killed the original release of Revolution, isn’t it? There was a voice-over narration that was part of the original screenplay, but the studio forced it to be released before we’d had time to record and add it. And of course that was a disaster. The script provided the main character with an internal monologue that tells you many things about him, but in a slightly tangential way. In the end we did it anyway, and that version got a small release in England [this is the version shown at the festival, SK], but for the film’s reputation it was too late. Al Pacino’s very good in it, but he was unfairly attacked by the American press. Anyway: I completely did it as I wanted, and it’s a good film. That’s why I wanted it to be shown here. The music is great, and so is the cinematography by Bernard Lutic, whom I used to work with often, before he died in a plane crash. He formed my films. Al Pacino’s character in Revolution is a very introverted character. Somehow that seems to be the kind of hero that you often gravitate towards: men who fail to get their story across, but who push forward anyway. They’re fundamentally innocent. Revolution is about a man who gets sucked into a war that he doesn’t want to have anything to do with. Finding Altamira is about an amateur archaeologist who is repudiated by the scientific society. And Chariots of Fire... they’re innocent students. The authorities try to change their minds, and they refuse. They stand up. And they win! This is actually something a journalist once pointed out, that my films are mainly about innocent people. I don’t know why they interest me. They’re the ones who always get screwed up by the authorities. Maybe I am innocent, or maybe not, but I’m quite naive. Not in a stupid way, but... I like this kind of people.

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Your career spans over fifty years now... ...and I haven’t made many films. I’m often asked why I didn’t make more films, as if there’s a rule for it. But I don’t think it matters. A project takes five years: two years to prepare it, a year to make it and two years to promote it. There are also projects that don’t happen. You have to choose the right kind of project, and sometimes you make mistakes: you embark on a project and you get stuck. I’m preparing three films now, I don’t know if any of them will get made, maybe one. Also, as I get older, I’m less eager to make one after the other. Sometimes I take a long time off. I make documentaries in between, which is a very nice way of filming, more relaxed. In documentary, you make the film as you go along; it finds its form as you’re doing it. That’s very real. There’s no money behind it, so there’s no pressure.

Your films often tell stories from the past. What interests you about that and how do you manage to make these stories feel relevant and fresh? I don’t consider myself a director of period films, although the majority of my films are set in the past. But it doesn’t matter to me: if a story is good, if I’m drawn to it, it could be from any period. In Chariots of Fire, the use of modern music helped to bring it into today’s world. That anachronistic score was a very good decision, though it’s probably not the only thing. I don’t really analyse my work, so I don’t know what else I do to bring these periods closer to our day. I try to make my films as timeless as possible. Modern films often date very quickly, but you can watch Revolution again, and Chariots, and they haven’t really aged.

HUGH HUDSON A multiple Oscar-winning feature debut launched the international film career of Hugh Hudson, president of this year’s Feature Competition jury, to whom the festival is devoting a small retrospective. His 1981 film Chariots of Fire tells the epic story of two British athletes who have to overcome various obstacles to compete in the 1924 Paris Olympics. Their ultimate victory was mirrored by the film’s smashing success at the 1982 Academy Awards, where it won four Oscars, among them the Best Picture Award. Hudson went on to make Greystoke: The Legend of Tarzan, Lord of the Apes (1984), a revision of the original early twentieth-century novel, and Revolution (1985), a refreshingly nonheroic account of the American War of Independence. A rushed release, urged by the studio, caused the latter film to flop, and it took twenty years for the film to finally get the recognition it deserved, when it was re-released in the form Hudson originally intended. His latest film is Finding Altamira, a story about the first discovery of prehistoric cave paintings in Spain. Hudson is married to producer and actress Maryam d’Abo, who’s a member of this year’s Armenian Panorama jury.

As you don’t write your own screenplays, how do you find the stories that you want to film? Finding a story is not easy. When somebody comes to me with an idea, I need to see a possibility for making it mine. Finding Altamira, for example, was the story of the producer’s great-grandfather, the amateur archaeologist; it wasn’t my story, but I could feel I had my own interest in it. This is why I never wanted to work as a director for hire. Of course your Oscar winner Chariots of Fire is the film that everyone will instantly connect you with. How do you look back on making that film and the success that it brought you? It made my life. I can always get a film going because of Chariots. In the end, when they say: “We’re not sure why the audience is going to like this story”, I just say: “Well, you know, I made Chariots of Fire”, and then they start to think: “Oh well, maybe...” So they’ll take the chance. Still, financing my films is often difficult, because my horizons are quite big. I like big subjects, which often require a lot of money. Plus, the big companies often look for very conventional stories. When I was trying to get financing to make Chariots of Fire, the American production companies wouldn’t put any money in it. That was because the story has two main characters with parallel storylines, and they didn’t like that. They wanted them to run against each other. We refused. SK Screening today: Revolution (UK, 1985). 14:30 Moscow Cinema Red Hall.

GOLDEN APRICOT DAILY DAY 3 | 11 JULY | 2017

6 REVIEWS

Boys Will Be Boys

A Stoic Form of Hope

The Other Side of Hope (Aki Kaurismäki, Finland/Germany, 2017). Yerevan Premiere. 11-7 20:30 KinoPark, 12-7 20:00 Cinema Star, 14-7 22:00 Moscow Cinema Blue Hall. “The melancholy ones are sent back first.” That’s the warning Syrian refugee Khaled gets from another immigrant when he arrives in a Finnish refugee center. It’s not a promising start for the main character of The Other Side of Hope, the latest film by Finnish master of melancholy Aki Kauriskmäki, which won the Silver Bear at the Berlin film festival last February. The film was announced as the second part of a loosely connected “harbor trilogy”, which started with Le Havre, a hopeful fairytale about immigration. The Other Side of Hope works from a similar impulse, not dealing with the rhetoric surrounding immigration in real life, but spinning a (slightly) more hopeful yarn about the way things could be. In .DXULVPlNL¶s universe it’s a given that

A Life in the Dark The Woman Who Left (Lav Diaz, Philippines, 2016). Yerevan Premiere. 11-7 20:30 Moscow Cinema Blue Hall. “I’m really a creature of the dark,” Renata says at some point in The Woman Who Left. Although she was recently released from prison after being incarcerated for thirty years for a murder she did not commit, her newfound freedom has not restored her place in society. While she was locked up, her husband passed away and her son has gone lost on the streets of Manila. Meanwhile, Renata herself is forced to live anonymously in fear of the man who framed her for the crime. Born to a wealthy family, this man (who was once Renata’s suitor) confines himself to his luxurious residence, afraid to become a victim of kidnappers. Gorgeously shot and expertly paced, this latest

Daniel (Anastazja Dąbrowska, Poland, 2016). Documentary Competition. 11-7 10:00, 14-7 17:00 Moscow Cinema Small Hall 1.

the oppressed working class (which has always been his focus) will side with the similarly despondent newcomers, instead of turning them away. The film centers on two men who leave behind everything they know – one by necessity, the other by choice. Khaled (Sherwan Haji) has escaped the violence in his home country and is now seeking asylum in Finland. He eventually crosses paths with Wikström (Sakari Kuosmanen, a Kaurismäki regular), who has quit his job as a travelling salesman, left his wife, and bought a rundown restaurant on a whim, including its barely motivated staff. All the regular features of .DXULVPlNL¶V singular cinema are once again

present: his production design, which is at once brightly colored and muted; the bone-dry comedy of his minimal dialogues; and the extremely stoic protagonists – with the most poker-facey poker game in the history of cinema as a highlight. At its heart, The Other Side of Hope is a film about clashes. The clash between the almost farcical proceedings in Wikström’s story and the heartbreakingly real tale of Khaled. And the clash between Kaurismäki’s nostalgia-tinged universe and the callous and cruel modern world that sometimes breaks through. What emerges is a gentle protest against the fact that .DXULVPlNL¶s brand of fairytale hope seems increasingly anachronistic. JBH

Daniel may be mentally challenged, but as Anastazja 'ąEURZVND¶V portrait of the boy shows, he’s also just a regular teenager. On a holiday camp for people with Down syndrome, he and his friends hang out and talks about girls. Why is that girl he likes not calling him back? What is the best way to express your love? And what, exactly, are they looking for in a relationship? In her short film school documentary Daniel, made at the Krzysztof KieĞlowski Faculty of Radio and Television of the University of Silesia in Katowice, 'ąEURZVND captures these conversations in carefully framed shots. She is like a fly on the wall, often keeping the camera at a distance and never interfering in their ruminations. The result is a touching and gentle portrait which subtly emphasizes that boys will be boys, no matter what. JBH

film by Filipino director Lav Diaz offers a brilliant reflection on the nature of freedom in a society defined by staggering inequality. We get to know Renata through her interactions with a series of characters that all fit the description “creature of the dark” just as well as she does. There’s a homeless woman who suffers from anxiety, a penniless street vendor, and a transsexual woman who has fled her home country and now prostitutes herself on the streets. Obviously this is a way to survive in the short term, but it’s just as much a slow act of suicide, she confesses one night. Diaz takes just under four hours to let these stories unfold (a relatively short running time for this director famed for his extremely long films) and it’s definitely worth allowing the film that time. The simple humanity revealed in these everyday exchanges provides a beautiful contrast to the scarce, but strongly visceral expressions of their torment. SK

Defeat the Devil with Kindness

A Plea for Education

Mother Derdo and the Walnut Tree (Serdar Önal, Turkey, 2017). Documentary Competition. 11-7 10:00, 17:00 Moscow Cinema Small Hall 1.

Of Goddesses and Women

Sexy Durga (Sanal Kumar Sasidharan, India, 2017). Feature Competition. 11-7 10:00 Moscow Cinema Blue Hall, 19:30 Moscow Cinema Red Hall. A religious festival in the South-Indian province of Kerala and a harrowing journey through the night form the interweaving parts of the daring Sexy Durga, winner of the Tiger Award at the International Film Festival Rotterdam. Durga is the Hindu warrior goddess, worshipped by young men who demonstrate their veneration by walking on embers and piercing their skin with metal pins and hooks. The pains to which they submit themselves attest to machismo and masochism in equal parts: the latter may well be explained by looking at Durga’s image, with several pairs of arms carrying a range of weapons, and sometimes holding a severed head in one of her many hands. Who’d want to mess with her?

In the mortal world, a young woman named Durga tries to elope at night with her boyfriend Kabeer. Hitching a ride to the nearest train station poses a challenge however. Women are not supposed to roam the streets at night, a limitation from which their alleged helpers appear to derive a sense of power. Adding to the couple’s unease is a fact they desperately try not to draw attention to: that Kabeer is a Muslim. The largely improvised story has the lovers encounter a cross-section of Indian society: young and old, poor and wealthy, civilians and state servants. Filming at night emphasises the precariousness of the situation the lovers find themselves in, and offers the perfect backdrop for a dark investigation into the state of morale in present-day India. A loose set of ideas and motives was all that director Sanal Kumar Sasidharan started filming with; he likes working without a screenplay and this time (Sexy Durga is his second feature) he even abstained from determining a storyline beforehand. That adlib nature gives the film an unpredictable quality and yields a sense of disquiet that is hard to beat. SK

Mother Derdo is a 70-year-old Armenian woman who lives in Istanbul and Bitlis with her children and grandchildren. Throughout its history Bitlis has been a place of conflict. Thousands of Armenians were murdered and driven away from their land during the genocide. Derdo has experienced the harrowing aftershock of this horrific moment in history. Her husband was murdered while she was working in the field; her Bitlis land has been taken away from her. Despite these tragic events Derdo’s story is one of perseverance and tenacity. While her whole family felt pressured to become Muslims, she remained faithful to her own Christian beliefs. Driven to poverty with her children in Istanbul, she maintained and even managed to regain some of her land. Now every two months she comes back to Bitlis to pick the walnuts from the only tree growing on her property. It’s a fitting metaphor for Derdo’s own growth under hardship. Her visits to Bitlis are Derdo’s solemn moments of remembrance as she’s reliving her traumatic past. The village is established through shots of a graveyard, showing that death has played its part in Bitlis’s history. Still, Mother Derdo and the Walnut Tree is not a melancholy documentary. Önal captures moments of joy and togetherness in the Derdo family rather than those of sadness and isolation. His protagonist is also too much of a believer to wallow in the past for long. Maybe she’s influenced by the calendar on her wall, which states: “defeat the devil with kindness”. This even-natured documentary delivers a striking blow to that devil through its kindness, as Turkish director Serdar Önal makes a compelling case for acceptance, forgiveness and oneness. HE

Blood and the Moon (Tommaso Contronei, Italy/Yemen, 2017). Documentary Competition. 11-7 12:30, 13-7 17:00 Moscow Cinema Small Hall 1. Yemen is one of only two countries in the world where the marriageable age is not defined by law, and marrying off small children is common. Soraya, the protagonist of Italian filmmaker Tommaso Contronei's Blood and the Moon, married young and against her will. But unlike thousands of other Yemeni girls, she has decided to retaliate. After living with her elderly husband for many years, Soraya, devoid of education and healthcare, eventually finds the courage to flee the house and seek refuge in a remote village. She befriends young teacher Mohammad and embarks on a fight against ignorance. Blood and the Moon offers a glimpse into a nation stuck in the mid-20th century and forgotten by most. In recent years, due in part to its extreme poverty, Yemen has become a gathering ground for Islamic terrorists. “Education is the basis of everything”, says Mohammad, and the film underlines the importance of education: poverty and ignorance can be overcome through learning. Otherwise, everyone is destined for the same fate as Mohammad’s parents, who fell victim to an Al-Qaida attack. The film is a plea to shed ignorance by being politically and socially active, to help each other reach positive change. Otherwise, as Mohammad says, “the poor will get poorer and the rich will get richer.” AB

GOLDEN APRICOT DAILY 2017 | 11 JULY | DAY 3

NEWS AND REVIEWS 7

‘DON’T DO IT IF YOU DON’T WANT TO’

The first Master Class of the festival was given yesterday by Russian director Boris Khlebnikov. Many of his films have screened at Golden Apricot in the past, and his latest film Arrhythmia is screening this year as a Yerevan Premiere. Only a few days ago, actor Alexander Yatsenko won the Best Actor Award at the Karlovy Vary IFF for his work in the film.

It may surprise some, but cinema wasn’t the first choice for one of Russia’s most interesting filmmakers working today. Instead, Khlebnikov spent two years studying biology. “At some point, I just understood that I made a huge mistake”, he admitted during his Master Class, moderated by Olga Sherwood. “I noticed that I’d become quite the cinephile and I immediately applied to film school. It was just like in second grade, when I understood that I don’t like learning poems, because it was difficult for me. From that day on I haven’t done anything I didn’t want to.” Khlebnikov reminisced about the late 90’s,

when his movie career began. “Film production is much cheaper now. When I was making my first documentary, I spent two years

THROUGH HELL AND FIRE As in previous years, the Armenian Panorama competition, which collects films by Armenian-born filmmakers from all over the globe, is divided into three categories: feature films, documentaries and shorts. The three films in the features section show the wide variety of the program. In 2012, American-Armenian director, scriptwriter and actor Kris Avedisian presented the short film Donald Cried, which now forms the basis for his 2016 feature of the same name. It is the story of a modest, serious and thoughtful young man named Peter (Jesse Wakeman). After a long absence he returns to his home state of Rhode Island (which is also where Avedisian is from). He is broke and now is forced to knock on the door of his old friend Donald (played by the director himself). It turns out that Donald hasn’t changed a bit since high school. Although he’s now an adult, he still enjoys the pleasures of teenage life: smoking pot and avoiding any kind of responsibility living in his parents’ attic, which is decorated with pictures of porn stars. Peter becomes a hostage of nostalgic memories, humorous situations and a friend who never grew up.

putting together a budget of 20,000 dollars. Now one can make a movie with a few pennies.” When discussing his work with actors, Khlebnikov stated that, while it’s nice when the actor is talented, everything is much better and easier when an actor is playing a character he or she fits. When actors are playing something they know by heart, they start adding incredible details and make their dialogues richer. The only thing the director needs to do is guide them. Khlebnikov can tell whether an actor fits the part during casting: “It all becomes clear once you share a cigarette during a break.” The director also talked about the growing quality of television, noting that the most interesting content can be found on cable channels, especially those from the UK, the US and Israel. “There’s great freedom in that medium at the moment”, Khlebnikov concluded. “Many famous filmmakers are trying out new, experimental material on TV. You could say that it's the superior platform now.” RG

Love for Yerevan

Despite the title of the film, Donald is constantly laughing and having fun. On the other hand, the lead character in Levon Minasian’s French-Armenian film Bravo, Virtuoso (screening today) is a delicate soul. Alik (Samvel Tadevosyan) finds himself at the center of a vortex of absurd, crazy and improbable situations in Minasian’s fable-like satirical crime story. The young clarinet player is living the harmonious life of the intelligentsia, until the day he meets Lara (Maria Akhmetzyanova), who sucks him into her corrupt oligarch life. Personal, professional and family issues get tangled up as Alik and Lara go through hell and fire and a load of bullets in the crazy world that Minasian has created. Bullets also fly in Mher Mkrtchyan’s The Line, a war melodrama also starring Samvel Tadevosyan – this film propelled the actor to Armenian stardom. The film focuses on the Karabakh War of the early 90’s. The story revolves around four inseparable childhood friends, each of whom chooses a different path and ends up in a different place – from Karabakh to Moscow and even the afterlife. Tadevosyan’s character Tigran overcomes his fears and joins the army, not only to defend Karabakh but also to find himself – which is what the protagonists of all three films are trying to do. DM

Bravo, Virtuoso

Six Musicians and the City (Tatiana Daniliyants, Russia, 2016). Yerevan Premiere. 11-7 21:00 Poghosyan Gardens, 14-7 19:00 Moscow Cinema Red Hall, 21:00 Nansen Garden, 15-7 21:00 Hayastan Cinema Garden. With Six Musicians and the City, Russian filmmaker, poet and photographer Tatiana Daniliyants has created a love letter to the music and the capital city of her ancestral homeland Armenia. The director manages to capture one of Yerevan’s most typical and bright aspects: the music scene. Interweaving portraits of six musicians from various generations, genres and styles – including Grammy winner Arto Tuncboyaciyan and world-famous “duduk-voice” Jivan Gasparyan – she creates an image of 21st century Yerevan music culture. In doing so, she also touches on the city’s architecture, history, urban culture and its many, many people – whether it’s street musicians or passersby who want to take a picture with these famous musicians, or even start singing their songs to them. The film portrays Yerevan from its most glamorous side, with shots from a moving vehicle or from high and diverse angles. However, the lesser known side that inspires the musicians most is also always present underneath it all. In interviews cut through the performance footage, these famous Yerevan musicians reminisce about funny and tragic stories from the not so distant past (with archival footage illustrating their memories), and philosophize about the city and its spirit. And although all six of them are very different, it’s not only their professional interests and talents that they have in common: they all love Yerevan, even if they don’t bluntly state that on camera. AB

A TRACE OF GEVORGYANTS Sunday’s opening ceremony started with a minute of silence for director Ruben Gevorgyants, who passed away on June 23. Furthur tribute will be paid today at a special screening of Gevorgyants’ 1980 short film A Kind Trace. A Kind Trace is itself a film centered on remembrance. The documentary short shows 83-year-old amateur painter Asatur Chermakyan, who draws landscapes on garage walls, retaining what is perhaps a small memory of the nature that was replaced by these buildings, even if the garage owners often paint over his beautiful works. Ruben Gevorgyants was a prominent member of Yerevan’s filmmaking community. Active as a director since his graduation from the Yerevan Fine Arts and Theatre Institute in 1969, he was the chairman of the Cinematographers Union of Armenia from 2004 until his recent passing. He also taught at the Yerevan Institute of Theatre and Cinema and was president of the National TV and Radio Academy. He leaves a body of work consisting of some 65 films, many of which were awarded at international festivals, as well as two books. The Tribute to Gevorgyants comes in addition to three previously planned tributes to Armenian filmmakers celebrating their birthdays this year: director Frunze Dovlatyan (90) and Yuri Yerznkyan (95) and cinematographer Serik Israelyan (80). Stars honoring the three were revealed on Aznavour Square on Sunday, and tomorrow’s festival program includes screenings of documentaries about them. JBH A Kind Trace (Ruben Gevorgyants, Armenia, 1980). 20:00 Moscow Cinema Blue Hall.

Master Class Ildikó Enyedi Ahead of the Yerevan Premiere of her latest film On Body and Soul (17:00 Moscow Cinema Red Hall), Hungarian filmmaker Ildikó Enyedi will give a Master Class at AGBU at 15:00. You can read an interview with Enyedi in Daily #1.

Master Class Fred Kelemen

After the festival screened a Retrospective of his work last year, director Fred Kelemen is back with his latest film Sarajevo Songs of Woe in this year’s Feature Competition. Kelemen will give a Master Class at TUMO Center this afternoon at 16:00.

Rotterdam Film Days This evening’s screening of Sexy Durga (see opposite page) will constitute the official opening of a small program of films selected at the International Film Festival Rotterdam 2017. The program further includes Arábia and Still Night, Still Light. All three films are also selected for the Feature Competition.

Into the Night End your festival day and go deep into the night with the After Party (23:30, Basement Club) or the Midnight Wrap-Up (00:00, The Club), where filmmakers and GAIFF guests come together.

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