Golden Apricot Daily - 2016, Day 3

DAILY

TUESDAY JULY 12 2016

DAY

3

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Someone , Else s Shoes àõñÇßÇ ÏáßÇÏÝ»ñáõÙ ²ÜβÊàôÂÚ²Ü ø²èà𸠸²ðÀ ¸²ÜºØ²ðø²ÚÆ ²ðø²ÜºðÀ Êàðî²ÎìºÈàì вðòºðÆ Øºæ ¿ç 3

²ð¸²ð²¸²îàôÂÚ²Ü Ê²ÔºðÀ î²ÜÀ, ´²Úò îºÔ²Ð²Üì²Ì ÎàÔàäîì²Ì ä²ðÀ ¿ç 4

üñ»¹ ø»É»Ù»Ý

A GARDEN PICKED CLEAN AT HOME IN DISPLACEMENT THE GAME OF JUSTICE p. 6

вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

Fred Kelemen

GREAT DANES SILENCE FOR KIAROSTAMI TREASURING PARAJANOV p. 7

GOLDEN APRICOT DAILY DAY 3 | 12 JULY | 2016

2 ĂŒĂ°Â˛ÂśĂ†Ă°/ PROGRAM

, MOSCOW CINEMA, BLUE HALL 10:00 !/ .

-

The Land of the Enlightened/dir.

Pieter-Jan De Pue

12.07 Bel/Irl/Nld/ Lang.: English/Russian/ Deu/Afg, 87’ Farsi/Pashtu/Uzbek/Waghi/ FC Khyrgyz Subt.: English and Armenian

12:00

14:00

j 3 ) q !/ . _ , + ( Olmo & the Seagull/dir. Petra Costa, Lea Glob { !/ . { ) ; Don Juan/dir. Jerzy Sladkowski

Dnk/Bra/Prt/ Lang.: French/English Fra/Ita, 82’ Subt.: English and Armenian DC Swe/Fin, 92’ Lang.: Russian DC Subt.: English and Armenian

!/ . & | }

Arm, 30’ Lang.: Armenian The Armenian/dir. Harutyun SS Subt.: English Khachatryan Lang.: Italian Ita, 55’ 18:00 / . G . / Subt.: English and Armenian DC . [V

Habitat - Personal Notes/dir. Emiliano Dante UK/Dnk/Nld/ Lang.: Arabic % G Q 3 %!/ . #; Subt.: English and Armenian Lbn, 30’ X DC A Man Returned/dir. Mahdi Fleifel Lang.: French Fra, 33’ 20:00 - $-7 ) / . * Subt.: English and Armenian AP

Paris-Yerevan/dir. Nora Martirosyan Lang.: Armenian Arm, 21’ 3 '# (!/ . " ( Subt.: English AP )

My World/dir. Albert Sargsyan Lang.: Bulgarian Bgr, 20’ 21:30 / % ' 3 / . +~ Subt.: English and Armenian AP "

Balkan Royal/dir. Kevork Aslanyan Lang.: Russian Rus, 18’ / "!/ . [

Subt.: English and Armenian AP ? q

Bravoman/dir. Evelina Barsegian 16:00

12:00

14:00 16:00

" # $!, % " & '"& !, ( ! ) % / .

The Prosecutor The Defender The Father and The Son/dir. Iglika Trionova * +/ .

- Things to Come/dir. Mia Hansen-Løve - . / . !

The Tempest/dir. Derek Jarman

18:00 !/ .

-

The Land of the Enlightened/dir.

Pieter-Jan De Pue 20:00 - ' ' / . "# $%& Dust Cloth/dir. Ahu Ă–ztĂźrk 22:00 / ./ . ' & & Bullitt/dir. Peter Yates

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

Fra/Deu, 100’ Lang.: French/English/German FC Subt.: English and Armenian Lang.: English Subt.: Armenian

UK, 92’ SH

Bel/Irl/Nld/ Lang.: English/Russian/ Deu/Afg, 87’ Farsi/Pashtu/Uzbek/Waghi/ FC Khyrgyz Subt.: English and Armenian Tur, 98’ Lang.: Turkish/Kurdish FC Subt.: English and Armenian

16:30

19:00

21:00

24 ' 9 ./ . "

> # ? @ ; 24 Weeks/dir. Anne Zohra Berrached < 9 ?!/ .

"

The Last Inhabitant/dir. Jivan Avetisyan % @ ; " % . 3 G3K !/ . Q V Q

Newsreel of Village Youth, in Winter/ dir. Želimir Žilnik - + & !/ . Q V Q

Little Pioneers/dir. Želimir Žilnik * Q $ !/ . Q V Q

The Unemployed/dir. Želimir Žilnik #K . / .

Q V Q

June Turmoil/dir. Želimir Žilnik ) X 3/ . Q V Q

Black Film/dir. Želimir Žilnik $ & " 39 . !/ .

Q V Q

Uprising in Jazak/dir. Želimir Žilnik ' K 3/ . Q V Q

Inventory/dir. Želimir Žilnik

Esp, 94â&#x20AC;&#x2122; & . / . | ( , BNC " + ; @ Txarriboda/dir. Javier Rebollo, Alvar Gordejuela Arm, 7â&#x20AC;&#x2122; 15:00 ~ K ; % / . "Â&#x201A; ÂŤ25Âť }

Winter Melody/dir. Ashot Mkrtchyan Arm, 47â&#x20AC;&#x2122; / ^ + " / . " =

ÂŤ25Âť { Â&#x192;

Under the Open Sky/dir. Arman Yeritsyan 16:30 ; 3 / . \

Arm, 101â&#x20AC;&#x2122; Â&#x201E; ;

ÂŤ25Âť God Have Mercy/dir. Vigen Chaldranian 18:30 % ? 3/ . ) #

Arm/Deu, I am Going to Change My Name/dir.

103â&#x20AC;&#x2122; Maria Sahakyan ÂŤ25Âť 20:30 9 ./ . =

UK/USA, 140â&#x20AC;&#x2122; Macbeth/dir. Roman Polanski SH 13:00

Lang.: Armenian Subt.: English

Lang.: English Subt.: Armenian

Arm, 21â&#x20AC;&#x2122; AP Fra, 33â&#x20AC;&#x2122; AP

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

Arm, 19â&#x20AC;&#x2122; AP

Lang.: Armenian Subt.: English

Rus, 92â&#x20AC;&#x2122; AP

Lang.: Russian Subt.: English and Armenian

Dnk, 115â&#x20AC;&#x2122; DNC

Lang.: Danish Subt.: English and Armenian

Deu, 102â&#x20AC;&#x2122; GFD

Lang.: German Subt.: English and Armenian

Arm/Ltu/ Swe/Lbn/ USA, 82â&#x20AC;&#x2122; AP Yug, 17â&#x20AC;&#x2122; R

Lang.: Armenian/AzerbaÄłani/ Russian Subt.: English and Armenian Lang.: Serbian Subt.: English and Armenian

Yug, 18â&#x20AC;&#x2122; R

Lang.: Serbian Subt.: English and Armenian

16:00

Lang.: Serbian Subt.: English and Armenian

) !/ .

The Winged One/dir. Daniel Tanielian

Arm, 25â&#x20AC;&#x2122; FV

Lang.: Armenian Subt.: English

Yug, 13â&#x20AC;&#x2122; R

16:30

Arm, 30â&#x20AC;&#x2122; FV

Lang.: Armenian Subt.: English

Yug, 10â&#x20AC;&#x2122; R

Lang.: Serbian Subt.: English and Armenian

Yug, 14â&#x20AC;&#x2122; R Yug, 18â&#x20AC;&#x2122; R

Lang.: Serbian Subt.: English and Armenian Lang.: Serbian Subt.: English and Armenian

Kaz, 15â&#x20AC;&#x2122; FV

Lang.: English Subt.: no subtitles

17:30

Leb, 72â&#x20AC;&#x2122; FV

Lang.: Armenian Subt.: English

Deu, 9â&#x20AC;&#x2122; R

Lang.: Turkish/German/ Serbo-Croatian/Greek/Italian Subt.: English and Armenian

19:00

# ( " ^ ; " !/ . = $#

Dissolving Shadows of Ancestors/dir.

Mariam Ohanyan Accent- " / . _ V _ ` % Accent-Armenia/dir. Kamila Kamnazarova '# ( @ . / . j q " % =

Geographies/dir. Chaghig Arzoumanian # ; ( '" . ` 3 / / . ) = )3

Hovering Angles: Roman Balayan/dir.

Samo Spiuni

Arm, 53â&#x20AC;&#x2122; FV

Lang.: Armenian Subt.: no subtitles

18:00 K "!/ . ? " & Silent Heart/dir. Bille August 20:00 + / . ' & ?

King Lear/dir. Peter Brook

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

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

Dnk, 98â&#x20AC;&#x2122; DNC

Lang.: Danish Subt.: English and Armenian

UK/Dnk, 137â&#x20AC;&#x2122; Lang.: English SH Subt.: Armenian

KINOPARK 18:30 / . < = \ & ( The Hunt/dir. Thomas Vinterberg

Dnk, 11â&#x20AC;&#x2122; DNC

Lang.: Danish Subt.: English and Armenian

20:30 ' K ^ / K / . @ Autumn Without Berlin/dir. Lara Izagirre

Esp, 100â&#x20AC;&#x2122; BNC

Lang.: Spanish Subt.: English and Armenian

7 7

HENRIK MALYAN THEATRE OF CINEMA ARTISTS

17:00

UK/Dnk/Nld/ Lbn, 30â&#x20AC;&#x2122; DC Ita, 55â&#x20AC;&#x2122; DC

Lang.: Russian Subt.: English

7

CINEMA STAR

, - Z 1 MOSCOW CINEMA, SMALL HALL 1 10:00 % G Q 3 %!/ . #; X A Man Returned/dir. Mahdi Fleifel / . G . / . [V

Habitat - Personal Notes/dir. Emiliano Dante

Lang.: Basque Subt.: English and Armenian

USA, 114â&#x20AC;&#x2122; R

,

MOSCOW CINEMA, RED HALL 10:00 3 '# (!/ . " ( )

My World/dir. Albert Sargsyan - $-7 ) / . *

Paris-Yerevan/dir. Nora Martirosyan #" ' / . +

3

Skhtorashen/dir. Garegin Papoyan 12:00 % 39 ;< < 3!/ . " ; " ;

All That Jam/dir. Alexander Andranikian 14:00 " $3/ . < ( ;# = A War/dir. Tobias Lindholm

, - Z 2 MOSCOW CINEMA, SMALL HALL 2

7 7 * Â&#x20AC;7 7 Â * 7

YEREVAN NIGHTS AT POGHOSYAN GARDENS 21:00

& @ + !/ . ' & +

Prosperoâ&#x20AC;&#x2122;s Books/dir. Peter Greenaway

UK/Nld/Fra/ Lang.: English Ita/Jpn, 122â&#x20AC;&#x2122; Subt.: Armenian SH

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? ²Ă&#x;Ă&#x2039;³ï³Ă?³½Ă&#x2122;` Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x153;Ă&#x203A;åþšåùá, Ă?Ă&#x203A;åþ¡å žĂ&#x2122;ù½³Ă&#x2030; Ă?ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?Ă?ùª Ă&#x17D;³ùĂ? ²íïĂ&#x2021;ĂŤĂ&#x203A;ÂłĂ?, ĂŞĂ&#x2021;ù³Ă?ĂĄĂľĂ&#x203A;Ă&#x; œ³Ă&#x2030;ĂŤĂŻĂ&#x203A;ÂłĂ?, ꝡ Ă&#x17D;Ă&#x2021;ù³Ă?ĂĄĂŤĂ&#x203A;ÂłĂ?, ð³ýýĂ&#x2021; Ă&#x2DC;ĂĄĂ­ĂŤĂ&#x2021;ĂŤĂ&#x203A;ÂłĂ? Ă&#x2C6;åþͳĂ?Ă?³ùĂ&#x2021;ĂŁÂŞ Ă&#x2DC;ÂłĂ?Âť Ă?ĂĄĂ­Ă&#x2018;ÂłĂ?Ă?Ă&#x2021;ĂŤĂ&#x203A;ÂłĂ? êùΟ³¡ùĂ&#x2021;ĂŁÂŞ Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x201D;³ù³Ă&#x2039;ÂłĂ?Ă&#x203A;ÂłĂ?

Photographer: Mane Hovhannisyan

Ă&#x201A;³ù¡Ă&#x2122;ÂłĂ?Ă&#x2021;ĂŁĂ?ùª ²Ă?ÂłĂ&#x2018;Ă&#x2021;ĂŻ Ă&#x153;ùÍĂ&#x2021;ĂŤĂ&#x203A;ÂłĂ?, Ÿ³ùåþĂ&#x2018;Ă&#x2021; ê³ý³ùĂ&#x203A;ÂłĂ? ¸Ă&#x2021;½³Ă&#x203A;Ă?ù` œ³Ă&#x203A;ÂłĂ?Âť ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ? Ă?Ê³Ă?Âł Ă&#x2039;ĂĄĂąĂ&#x2018;ùš³ïåþ` äĂ&#x2021;ïù Ă­ÂłĂ? ´Ă&#x203A;åþùĂ?

Editors: Joost Broeren & Artur Vardikyan Staff: Maricke Nieuwdorp, Hugo Emmerzael

Backstage General Adviser: Peter van Bueren

Îü³¡ùí³Ă? Âż §Ă&#x153;ĂŽ Ă?ĂĄĂ&#x2030;šĂ&#x2021;Ă?¡Œ êäĂ&#x20AC;-ĂĄĂľĂ&#x2122;

Contributors: Karen Avetisyan

Printer: "NT Holding" Ltd.

Design: Gayane Grigoryan

GOLDEN APRICOT DAILY 2016 | 12 JULY | DAY 3

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

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¼³ñٳݳÉÇ ã¿, áñ ¸³ÝÇ³Ï³Ý Ýáñ ÏÇÝáÛÇ Íñ³·ÇñÝ Áݹ·ñÏáõÙ ¿ ÂáÙ³ë ìÇÝûñμ»ñ·Ç »ñÏáõ ýÇÉÙ: Æñ μ»ÏáõÙݳÛÇÝ §îáݳϳï³ñáõÃÛáõÝÇó¦ Ñ»ïá (1998), áñáí ëÏÇ½μ ³é³í ¸á·Ù³ 95 ß³ñÅáõÙÁ, ìÇÝûñμ»ñ·Á ¹³ÝÇ³Ï³Ý é»ÅÇëáñÝ»ñÇ Ýáñ ë»ñÝ¹Ç ³é³çݳ·ÍáõÙ ¿ñ áõ í»ñçÇÝ ï³ñÇÝ»ñÇÝ ³Ùñ³åݹ»É ¿ Çñ ³Û¹ ¹Çñù»ñÁ: è»ÅÇëáñ êáõë³ÝÝ» ´Ç»ñÁ ÝáõÛÝå»ë Ýñ³ Ñ»ï ³é³çݳ·ÍáõÙ ¿ñ: âÝ³Û³Í í³Õ 90-³Ï³ÝÝ»ñÇÝ ¿ ëÏë»É ¿ñ Çñ ·áñÍáõÝ»áõÃÛáõÝÝ Çμñ¨ ûè ¨ ѳçáÕ³Ï Ï³ï³Ï»ñ·áõÃÛáõÝ»ñÇ é»ÅÇëáñª ÙÇç³½·³ÛÇÝ ×³Ý³ãáõ٠ݳ Ó»éù μ»ñ»ó ÙdzÛÝ áñ¹»·ñ»Éáí ¸á·Ù³ÛÇ Ï³ÝáÝÝ»ñÁª 2002-Ç §´³ó ëñï»ñ¦ ýÇÉÙáõÙ: ÖÇßï ¿ª ë³ Ýñ³ ÙÇ³Ï ýÇÉÙÝ ¿ñ, áñÁ Ëëïáñ»Ý Ñ»ï¨áõÙ ¿ñ ß³ñÅÙ³Ý Ï³ÝáÝÝ»ñÇÝ, μ³Ûó Ýñ³ ѻﳷ³ ýÇÉÙ»ñáõÙ ¿É ß³ñáõÝ³Ï»É ¿ ³Ûë ³í»ÉÇ ¹ñ³Ù³ïÇÏ

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GOLDEN APRICOT DAILY 2016 | 12 JULY | DAY 3

¸áõù ýÇÉÙ»ñ »ù Ýϳñ³Ñ³Ý»É ³ÙμáÕç ³ß˳ñÑáõÙ: γñ»ÉDZ ¿ Ò»½ §é»ÅÇëáñ ³é³Ýó ë³ÑÙ³ÝÝ»ñǦ ³Ýí³Ý»É: γñÍáõÙ »Ùª ³ñí»ëïÝ ³éѳë³ñ³Ï ãå»ïù ¿ ë³ÑÙ³ÝÝ»ñ áõݻݳ: ø³ÝÇ ¹»é áõ½áõÙ »ù Ëáë»É Ù³ñ¹Ï³Ýó áõ Ýñ³Ýó ÏÛ³ÝùÇ Ñ³Ý·³Ù³ÝùÝ»ñÇ, í³Ë»ñÇ, å³Ûù³ñÇ, ÑáõÛë»ñÇ áõ ó³ÝÏáõÃÛáõÝÝ»ñÇ Ù³ëÇÝ, áñ¨¿ Ý߳ݳÏáõÃÛáõÝ ãå»ïù ¿ áõݻݳ, û áñï»Õ »ù Ýϳñ³Ñ³ÝáõÙ ýÇÉÙ»ñÁ, ¨ áí ¿ ¹ñ³Ýù ¹Çï»Éáõ: Ø»Ýù å»ïù ¿ ѳÕóѳñ»Ýù ³½·áõÃÛ³Ý áõ ³½·³ÛݳϳÝáõÃÛ³Ý ·³Õ³÷³ñÁ: ÆÙ å³ïÏ»ñ³óÙ³Ùμª ³ÙμáÕç ³ß˳ñÑÝ ëï»Õͳ·áñÍ»Éáõ Ù»Ï ÁݹѳÝáõñ í³Ûñ ¿: Ò»ñ Ùáï»óáõÙÁ ÏÇÝá³ñï³¹ñáõÃÛ³ÝÁ ÝáõÛÝå»ë ¹»Ù ¿ áÉáñïÝ»ñÝ Çñ³ñÇó ³Ýç³ï»Éáõݪ ¨° é»ÅÇëáñ »ù, ¨° ûå»ñ³ïáñ, ¨ ëó»Ý³ñÇëï, ¨° ÙáÝï³ÅáÕ: Úáõñ³ù³ÝãÛáõñ Ù³ñ¹ ÇÝùÁ å»ïù ¿ ѳëϳݳª áñÝ ¿ Çñ áõÅ»Õ ÏáÕÙÝ áõ áõݳÏáõÃÛáõÝÝ»ñÁ: ºÃ» ùá áõÅÁ ëó»Ý³ñÝ ¿ª ³í»ÉÇ É³í ¿ª é»ÅÇëáñ ϳ٠ûå»ñ³ïáñ ãÉÇÝ»ë: Ø»Ýù μÝ³Ï³Ý ë³ÑÙ³ÝÝ»ñ áõÝ»Ýù, ù³ÝÇ áñ μáÉáñë ¿É ë³Ñٳݳ÷³Ï »Ýù: ÆëÏ ³ñÑ»ëï³Ï³Ý ë³ÑÙ³ÝÝ»ñ ëï»ÕÍ»É å»ïù ã¿: ¸áõù ÇÝùÝ»ñ¹ Ï·ïÝ»ù áõ Ïѳëϳݳù Ó»ñ ë³ÑÙ³ÝÝ»ñÁ: ¸ñ³Ýù ÇÝùÝÁëïÇÝùÛ³Ý Ï·Íí»Ý Ó»½ ѳٳñ: ºñμ ´»éÉÇÝáõÙ ëÏë»óÇ ÏÇÝá¹åñáó ѳ׳˻É, ѳëϳó³, áñ ÇÝÓ ß³ï ¿ ¹áõñ ·³ÉÇë Éáõë³Ýϳñ»ÉÁ: ´³Ûó ݳ¨ ëÇñáõÙ ¿Ç å³ïÙáõÃÛáõÝÝ»ñ ÑáñÇÝ»É, ëó»Ý³ñÝ»ñ ·ñ»É ¨ é»ÅÇëáñáõÃÛáõÝÁ: ºë ³éѳë³ñ³Ï ѳí³ïáõÙ »Ù, áñ Ù»Ýù ãå»ïù ¿ ë³Ñٳݳ÷³Ï»Ýù ÇÝùÝ»ñë Ù»½: âå»ïù ¿ ë³Ñٳݳ÷³Ï»Ýù ëï»Õͳ·áñͳϳÝ, Ù³ñ¹Ï³ÛÇÝ, ëÇñ»Éáõ ¨ ÝíÇñí»Éáõ Ù»ñ ϳñáÕáõÃÛáõÝÝ»ñÁ:

INTERVIEW 5

üñ»¹ ø»É»Ù»Ý ²Ûëûñ, »ñμ »ñÏñÝ»ñÁ, ù³Õ³ù³Ï³Ý ·áñÍÇãÝ»ñÝ áõ ³ÝѳïÝ»ñÁ ٻͳå»ë Ùï³Ñá·í³Í »Ý, û áí ¿ ˳ËïáõÙ Çñ»Ýó ë³ÑÙ³ÝÝ»ñÁ ¨ ÇÝãáõ, ·»ñٳݳóÇ é»ÅÇëáñ, ûå»ñ³ïáñ, ëó»Ý³ñÇëï ¨ ÙáÝï³ÅáÕ üñ»¹ ø»É»Ù»ÝÇ ýÇÉÙ»ñÁ ¹Çï»ÉÁ ÙÇ ï»ë³Ï ë÷á÷áõÙ ¿, ÝáõÛÝÇëÏ »ñμ ³Û¹ ýÇÉÙ»ñÁ ͳÝñ, ¿ù½Çëï»ÝóÇ³É Ã»Ù³Ý»ñÇ »Ý ³Ý¹ñ³¹³éÝáõÙ: §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÁ óáõó³¹ñ»Éáõ ¿ ø»É»Ù»ÝÇ é»ÅÇëáñ³Ï³Ý ¨ ûå»ñ³ïáñ³Ï³Ý ï³Õ³Ý¹Á Ý»ñϳ۳óÝáÕ ãáñë ýÇÉÙª Ýϳñí³Í ãáñë ï³ñμ»ñ »ñÏñÝ»ñáõÙª ¶»ñÙ³Ýdz (§Ö³Ï³ï³·Çñ¦), äáñïáõ·³Édz (§Ø³Ûñ³Ùáõï¦), ȳïídz (§²ÝÏáõÙ¦) áõ Æëñ³Û»É (§ø³Õóñ³í»ÝÇù¦): ²Ûë ë³ÑÙ³ÝÝ»ñÇ Ñ³ïáõÙÝ ³ñï³óáÉí»É ¿ áã ÙdzÛÝ ø»É»Ù»ÝÇ ýÇÉÙ»ñÇ ³ß˳ñѳ·ñáõÃÛáõÝáõÙ, ³Ûɨ ÏÇÝá³ñí»ëïÇ ÝϳïÙ³Ùμ Ýñ³ ï»ë³Ï»ïÝ»ñáõÙ: §ºë áñëáõÙ »Ù ³ÛÝ å³ÑÁ, »ñμ ýÇÉÙÇ Ñ»ï¨áõÙ Ù»Ï ³ÛÉ ýÇÉÙ ¿ μ³ó³Ñ³ÛïíáõÙ: ²Û¹ »ñÏñáñ¹ª ³Ýï»ë³Ý»ÉÇ ýÇÉÙÝ ¿ ϳñ¨áñ¦:

àñå»ë ûå»ñ³ïáñ ³ß˳ï»É »ù ï³ñμ»ñ é»ÅÇëáñÝ»ñÇ Ñ»ï: ÆÝãå»±ë »Ý ³Û¹ ѳٳ·áñͳÏóáõÃÛáõÝÝ»ñÝ ³½¹»É ÏÇÝá³ñí»ëïÇ Ò»ñ ÁÝϳÉÙ³Ý íñ³: ºñμ »ë ýÇÉÙ »Ù Ýϳñ³Ñ³ÝáõÙ, ëáíáñáõÙ »Ù: ²ÛÝ ³Ù»ÝÁ, ÇÝã »ë ï»ëÝáõÙ »Ù ª ·Çï³Ïó³μ³ñ ϳ٠³Ý·Çï³Ïó³μ³ñ Ïáõï³ÏíáõÙ ¿ ÇÙ áõÕ»ÕáõÙ áõ ³½¹»óáõÃÛáõÝ ¿ ÃáÕÝáõÙ ÇÝÓ íñ³, ³ÛÝ ÇÙ³ëïáí, áñ ѳñëï³óÝáõÙ ¿ ÇÝÓ: ¸³ ³ñÙ³ï³å»ë ãÇ ÷áË»É ÏÇÝá³ñí»ëïÇ Ù³ëÇÝ ÇÙ å³ïÏ»ñ³óáõÙÝ»ñÁ, μ³Ûó ³í»ÉÇ ³í³ñïáõÝ ¿ ¹³ñÓñ»É ¹ñ³Ýù: ÜáõÛÝÝ ¿É í»ñ³μ»ñáõÙ ¿ áõë³ÝáÕÝ»ñÇ Ñ»ï ÇÙ ³ß˳ï³ÝùÇÝ: Üñ³Ýó ³ß˳ï³ÝùÝ»ñÝ ¿É »Ý ѳñëï³óÝáõÙ ÇÝÓ áõ ³í³ñïáõÝ ¹³ñÓÝáõÙ ÇÙ ï»ë³Ï»ïÝ»ñÝ ³ÛÝ Ù³ëÇÝ, û ÇÝã ¿ ÏÇÝáÝ áõ ÇÝã ϳñáÕ ¿ ÉÇÝ»É: ƱÝã »ù ϳñÍáõÙ ª ÏÇÝáÛÇ Ù³ëÇÝ Ò»ñ å³ïÏ»ñ³óáõÙÁ »ñμ¨¿ ϳñá±Õ ¿ ³í³ñïáõÝ ¹³éݳÉ: ºñμ»ù: àãÇÝã »ñμ¨¿ ãÇ Ï³ñáÕ ³í³ñïí»É, áñáíÑ»ï¨ ³ÛÝ ³ß˳ñÑÁ, áñï»Õ Ù»Ýù ³åñáõÙ »Ýù, ÷á÷áËáõÃÛ³Ý áõ ß³ñÅÙ³Ý ³ß˳ñÑ ¿: ²ÛÝ ³Ù»ÝÁ, ÇÝã ß³ñÅíáõÙ ¿, »ñμ»ù ãÇ Ï³ñáÕ ³í³ñïí»É: ºÃ» ÙÇ μ³Ý ³í³ñïíáõÙ ¿, ³ÛÝ Ï³Ý· ¿ ³éÝáõÙ ª ٳѳÝáõÙ ¿: ÐÆ

Your approach to filmmaking seems similarly against the idea of separating various fields: you’re a director, cinematographer, screenwriter and editor.

I would not say that everybody should do this, because you have to understand what your strength is. If you are only strong in scriptwriting it is better that you are not directing or shooting a film as a cinematographer. These are natural borders we have, because we are all limited. What we should not do is create artificial borders. You will find your own borders by yourself. They should come to you naturally. When I started at the film school in Berlin I understood that I liked photographing a lot. I liked using the camera, but I also liked to invent stories, to write scripts and to direct.

So I just did what naturally came out of me without staying in artificial borders. I generally believe we should not limit ourselves. We should not limit our creative abilities, we should not limit our human abilities, and we should not limit our abilities to love and to give.

How do you show this to your students at the different film schools you teach at?

If I see that somebody has certain strengths, I try to support that. Some years ago, I gave a workshop in Riga and I invited students from the film school of Potsdam to come with me. It was a workshop for cinematographers and directors, but one student – she was an editor – asked to join as well. She did not want to stick to the strict limitation of just being an editor, but of course nobody would give her a chance to direct. She came with us to the workshop in Riga and I developed a project with her, a documentary that she directed. The film is called Moskatchka and its is by Annett Schütze, now Ilijew. It’s a beautiful film of ninety minutes, which was shown here at the festival where it won an award.

This is an example for how someone who studies editing can also be a director. We should always make individual decisions and not follow the rules too much. The best thing about rules anyhow is to break them.

ÆÝãå»±ë »ù ³Ûë ·³Õ³÷³ñÝ»ñÁ ÷á˳ÝóáõÙ ÏÇÝá¹åñáóÇ áõë³ÝáÕÝ»ñÇÝ: ºñμ ï»ëÝáõÙ »Ù ª ÇÝã-áñ Ù»ÏÁ áñáß³ÏÇ áõݳÏáõÃÛáõÝ áõÝÇ, ÷áñÓáõÙ »Ù ³ç³Ïó»É: ØÇ ù³ÝÇ ï³ñÇ ³é³ç í³ñå»ïáõÃÛ³Ý ¹³ë»ñ ¿Ç ï³ÉÇë èÇ·³ÛáõÙ: úå»ñ³ïáñÝ»ñÇ ¨ é»ÅÇëáñÝ»ñÇ ¹³ë»ñ ¿ÇÝ, ÙáÝï³ÅáÕ áõë³ÝáÕÝ»ñÇó Ù»ÏÁ Ëݹñ»ó, áñ ÇÝùÝ ¿É Ùdzݳ Ù»½: ܳ ã¿ñ áõ½áõÙ ÇÝùÝ Çñ»Ý ë³Ñٳݳ÷³Ï»É ÙáÝï³Åáí, μ³Ûó ÇѳñÏ» áã áù Ýñ³Ý é»ÅÇëáñ³Ï³Ý áõݳÏáõÃÛáõÝÝ»ñÁ ÷áñÓ»Éáõ Ñݳñ³íáñáõÃÛáõÝ ã¿ñ ï³: ºë Ýñ³ Ñ»ï ÙÇ Ý³Ë³·ÇÍ Ù߳ϻóǪ í³í»ñ³·ñáõÃÛáõÝ, áñÇ é»ÅÇëáñÁ ÇÝùÝ ¿ñ: üÇÉÙÁ ÏáãíáõÙ ¿ñ §Øáëϳïãϳ¦, ÇëÏ é»ÅÇëáñÇ ³ÝáõÝÁª ²Ý»ï ÞÛáõó», ³ÛÅÙ ª ÆÉÇçÛáõ: ¶»Õ»óÇÏ ýÇÉÙ ¿ñ, áñÁ óáõó³¹ñí»É áõ Ùñó³Ý³Ï ¿ ëï³ó»É ³Ûë ÷³é³ïáÝÇÝ: ê³ ûñÇÝ³Ï ¿, û ÇÝãå»ë ÙáÝï³ÅáÕÁ ϳñáÕ ¿ ݳ¨ é»ÅÇëáñ ÉÇÝ»É: ²é³ñϳݻñÁ, Ñ»ñáëÝ»ñÇÝ ¨ »ñ¨áõÛÃÝ»ñÁ ÏÇÝáËóÇÏáí μ³ó³Ñ³Ûï»Éáõ Ò»ñ Ùáï»óáõÙÝ áõÝ»ù: ´»É³ î³ñÇ §ÂáõñÇÝÛ³Ý ÓǦ ýÇÉÙáõÙ, áñÇ ûå»ñ³ïáñÁ ¸áõù ¿Çù, ËóÇÏÁ »ñϳñ ½ÝÝáõÙ ¿ ³Ù»Ý ÇÝã: ÜáõÛÝÇëÏ ³÷ë»áí ϳñïáýÇÉÇ Ï³¹ñÇÝ Ï³ñáÕ »ù ½·³óÙáõÝù³ÛÇÝ ËáñáõÃÛáõÝ ï³É... üÇÉÙ Ýϳñ³Ñ³Ý»ÉÝ ³éѳë³ñ³Ï ï»ëÝ»Éáõ ϳñáÕáõÃÛáõÝ ¿ »Ýó¹ñáõÙ, áõ »ë ϳñÍáõÙ »Ùª å»ïù ¿ ³í»ÉÇ áõß³¹Çñ ÉÇÝ»Ýù ÏÛ³ÝùáõÙ, áñå»ë½Ç ³í»ÉÇ ß³ï μ³Ý ï»ëÝ»Ýù, Éë»Ýù áõ ÇٳݳÝù: Üϳñ³Ñ³ÝÙ³Ý ÇÙ Ó¨Á ݳ¨ ϳå áõÝÇ Å³Ù³Ý³ÏÇ Ñ»ï. å»ïù ¿ ·ïÝ»ë ³ÛÝ å³ÑÁ, »ñμ ųٳݳÏÝ ³ÛÉ¨ë ½áõï ýǽÇÏ³Ï³Ý »ñ¨áõÛà ã¿, ³ÛÉ Ù»ï³ýǽÇϳϳÝ: ÊáëùÁ ïíÛ³É ûμÛ»ÏïÇ ¿áõÃÛ³Ý Ù»ç ó÷³Ýó»Éáõ Ù³ëÇÝ ¿: ²Ûë ³éáõÙáí ¹»ÙùÝ ³í»ÉÇ É³í ûñÇÝ³Ï ¿, ù³Ý ϳñïáýÇÉÁ: ºÃ» »ë áñáß Å³Ù³Ý³Ï Ý³ÛáõÙ »Ù ¹»ÙùÇݪ ³ÛÝ ëÏëáõÙ ¿ ÷áËí»É, áõ »ë ëÏëáõÙ »Ù ³Û¹ ¹»ÙùÇ íñ³ ÙÇ μ³Ý ï»ëÝ»É, áñ Ýñ³ÝÇó ³Ý¹ÇÝ ¿: ºí ѳí³Ý³μ³ñ Ñ»Ýó ³Û¹ å³ÑÇÝ »Ù »ë ëÏëáõÙ Ï³å ·ïÝ»É ïíÛ³É Ï»ñå³ñÇ ¿áõÃÛ³Ý Ñ»ï: ÆëÏ áñáß Å³Ù³Ý³Ï ³Ýóª ÝáõÛÝÇëÏ »ñμ áõñÇßÇ ¹»ÙùÇÝ »Ù ݳÛáõÙ, ëÏëáõÙ »Ù ÇÙ ë»÷³Ï³Ý ¹»ÙùÁ ï»ëÝ»É: êÏëáõÙ »Ù ½·³É Ù»ñ ϳåÁ: ºë Ñ»Ýó ³Û¹ å³Ñ»ñÝ »Ù áñëáõÙ, »ñμ ýÇÉÙÇ Ñ»ï¨áõÙ Ù»Ï ³ÛÉ ýÇÉÙ ¿ μ³ó³Ñ³ÛïíáõÙ: лÝó ³Û¹ »ñÏñáñ¹ª ³Ýï»ë³Ý»ÉÇ ýÇÉÙÝ ¿ ϳñ¨áñ: ´³Ûó ¹³ ϳï³ñíáõÙ ¿ ÙdzÛÝ ³ÛÝ Å³Ù³Ý³Ï, »Ã» ¹áõ μ³í³Ï³Ý³ã³÷ »ñϳñ »ë ݳÛáõÙ, áõ »Ã» ¹áõ ÷áñÓáõÙ »ë ó÷³Ýó»É å³ñ½ ϳﻷáñdzݻñÇ áõ ·³Õ³÷³ñÝ»ñÇ ¿áõÃÛáõÝÁ:

You’ve made films all over the world. Can we call you a filmmaker without borders?

I think art should not have borders in general. As long as you are interested in talking about human beings and their circumstances of existence, fears, struggles, hopes and desires, it should not matter where you shoot the films and who watches them. We should overcome this idea of nations and nationalism. I really understand the whole world as one place for being creative.

Fred Kelemen At a time when countries, politicians and individuals are increasingly worried about who crosses their borders and why, it can be something of a relief to revisit the films of German director, cinematographer, screenwriter and editor Fred Kelemen, even though his films can deal with heavy, existential themes. GAIFF is screening four films which Keleman either directed or worked on as a cinematographer, which were shot in four different countries: Germany (Fate), Portugal (Nightfall), Latvia (Fallen) and Israel (Sweets). This crossing of borders is not only reflected in the geography of Kelemen’s cinema, but also in his perspective on filmmaking: “I’m looking for the moment when a film starts to reveal the second film that is hidden behind it. That second, invisible film is the film that matters.”

You seem to have developed your own idea of how you approach objects and characters with your camera. In Béla Tarr’s The Turin Horse, for which you did the cinematography, your camera lingers on objects for a long time. It can even give a shot of a potato on a plate emotional depth. Can you explain what motivates this way of shooting?

Film is very much about seeing and I think we should be more attentive in life, to see more and hear more and recognize more. My way of shooting also has to do with time and with finding the moment when time is not just physical anymore, but when it transforms into metaphysical time. It’s about going beyond the object. Let’s take a face, which is a better example than a potato: if I watch a face for an extended period of time, the face starts to change and I start to see something in the face that is beyond the face or behind the face.

Maybe then I start to get in contact with the essence of this character, with his heartbeat. Maybe after a while – even though I only see his face – I start to see my own face. I start to connect. That can be a moment when we’re connecting on a deep human level with one and another. This is what I’m looking for: this moment where a film starts to reveal the second film that is hidden behind the visible one. That second, invisible film is the film that matters. But this only happens if you look long enough and if you try to go beyond simple categories and concepts. This works with faces of course, and probably even with a potato.

As a cinematographer you have worked with several directors. In what way have those collaborations influenced your perspective on filmmaking?

I think that everything we do influences us. Whenever I shoot a film I’m learning from what I’m doing. Everything I see is consciously or unconsciously entering my mind and that all influences me in a way that it enriches me. It does not fundamentally change my idea of the art of film, but it completes it more and more. It is the same when I work with students. Their work also enriches me and completes my idea of what film is and what film can be.

Do you think that your idea of what cinema is can ever be completed?

No, never. Nothing can ever be completed, because the world we’re living in is a world of change and movement.

Everything that moves can never be finished. If something would be completed it would stop. It would die. HE

GOLDEN APRICOT DAILY DAY 3 | 12 JULY | 2016

6 COMPETITION REVIEWS

Someone Else’s Shoes

Things to Come (Mia Hansen-Løve, France/ Germany, 2016). Feature Competition.

12-7 14:00 Moscow Cinema Blue Hall.

In the first shot of Mia Hansen-Løve’s Things to Come (L’avenir) there’s already a disconnect between philosophy teacher Nathalie Chazeaux (Isabelle Huppert, impeccable as always) and her surroundings. While on holiday she’s in the cabin of a ferry grading a paper by one of her students.

Meanwhile her husband and kids are on the main deck looking out over the water. This visual separation signals that something is about to happen in the Chazeaux family. Not coincidentally a rough translation of the French student paper Nathalie is correcting would be: “Can we put ourselves in someone else’s shoes?”

This philosophical enquiry forms the starting point of Hansen-Løve’s latest film. And indeed there are many things to come in Nathalie’s life, but Things to

Come never gives a definitive answer to the big question it poses. Instead it only raises more and more questions. Who really knows how she feels when her life is taking unexpected turns? Can we really identify with her? Roger Ebert famously wrote that movies are empathy machines, but what are the limitations of our ability to actually generate this empathy for Nathalie?

As one of the characters sums it up nicely: “L’Avenir sont compromise”, meaning: the future is uncertain.

It’s exactly the lack of answers, the uncertainty of events, and the absence of conventional plot mechanisms that makes this film so fulfilling. Things to Come sometimes feels like life itself. Just like in Eden, Hansen-Løve’s melancholy semi-biographical portrait of her brother – a promising house deejay in 1990s Paris who never managed to actually make money from his love for music – things slowly get taken away from our protagonist: first Nathalie’s kids leave the house for college, then her job as a writer of philosophy textbooks comes under threat, her hus-

band leaves her for another woman and to top it all off her mother passes away. These things don’t happen all at once, but nevertheless, Nathalie suddenly finds herself all alone.

It’s in the portrayal of this loneliness that Things to Come proves to be a real revelation. The moments where Nathalie suddenly realizes she’s all alone show a side of Huppert that we knew she had – an incredible ability to externalize seemingly genuine emotions – but which we’ve never seen her portray so convincing. Here, we see an actress coming as close to an actual human being as possible. As Huppert would describe it, Nathalie is a winning victim, someone who’s facing many difficulties but who always tries to stay true to herself, even when that means she has to cry her heart out from time to time. Seeing her do that, you realize there’s strength in that as well. HansenLøve asks us indirectly if we can put ourselves in the shoes of others, and with Things to Come she shows us that we can come pretty damn close. HE

Obama is saying that the U.S. troops stationed in the country will soon leave.

That double-edged opening, combining a mythical tale with documentary footage, characterizes the whole film, which offers a headstrong mix of fairytale stories, poetic fiction and reportage. The group of boys is the main subject. Having grown up before their time, they maraud the countryside, dealing opium as well as the shell casings that litter the land. These kids are acting, but the scenario’s we see them in are just a hare’s breath from their own

lives. This fiction footage is intercut with documentary images of daily life on a local U.S. Military base, where bored soldiers shoot at nothing just to while away the time.

De Pue travelled through Afghanistan for seven years to create his film debut, an urgent state of the nation of modern-day Afghanistan. Exactly by taking small steps away from documentary reality he manages to show us the country as it is: a powder-keg offering fertile grounds for fundamentalism and violence. JB

When reading the words “refugee camp”, not many will envision what we see in this short documentary. In stead of frayed tent canvases carrying U.N. logo’s, we see a dusty city of concrete buildings, its narrow streets teeming with life. If anything, it brings to mind a slum neighbourhood of a big city.

This is Ain el-Helweh, a refugee camp in Lebanon which was established in 1948 to harbor Palestinians fleeing the Arab-Israeli War. It was supposed to be temporary, but almost seventy years later, it’s still there, its population now close to 120,000.

Filmmaker Mahdi Fleifel’s family is from Ain el-Helweh, and although he grew up in Denmark, they would spend every summer in their former home.

Even when Fleifel was an adult and started making films, training in Denmark and then London, this did not change: his first short was shot in Ain el-Helweh, and the experiences of the displaced Palestinian diaspora feature prominently in many of his student films.

His first long film took on his family’s origins headon: the documentary A World Not Ours was created out of hundreds of hours of home video footage, shot by his father and Fleifel himself, chronicling several decades of life in the camp. It’s a life that revolves around the dream of returning to their ancestral homeland – a dream which has never come true.

This dream gets an extra layer of irony in Fleifel’s latest short documentary A Man Returned. After a futile attempt to emigrate to Europe, twenty-something Reda is the man who has returned – not to Palastine, but to Ain el-Helweh. The only thing he has brought back is a drug addiction. In an attempt to better his life, he is now trying to bring his sweetheart to the camp so he can marry her. JB

Real Intimacy

Margin Dwellers

Olmo & the Seagull (Petra Costa & Lea Glob, Denmark/Brazil/Portugal/France/Italy, 2015).

Documentary Competition. 12-7 12:00, 16-7 14:00 Moscow Cinema Small Hall 1.

Dust Cloth (Ahu Öztürk, Turkey, 2015).

Feature Competition. 12-7 20:00 Moscow Cinema Blue Hall.

A Garden Picked Clean The Land of the Enlightened (Pieter-Jan De Pue, Belgium/Ireland/The Netherlands/ Germany/Afghanistan, 2016). Feature Competition. 12-7 10:00, 18:00 Moscow Cinema Blue Hall.

When God divided the earth among the people, the all-too-modest Afghan was the last in line. He had politely let all others go first, but now that his turn had finally come, there was no land left to give. God apologized profusely, and quickly thought of a solution: he would give his best land, the luscious garden he had se aside for himself, to the Afghan people.

Belgian director Pieter-Jan De Pue starts his hybrid documentary-fiction debut with this myth.

But accompanying the tale told in voice-over are images showing an Afghanistan of a very different kind. Thousands of years of oppressors, occupiers and self-proclaimed liberators have taken its toll on the land: the luscious garden has been picked bare. We also see a group of boys, not even teenagers, listening to the radio, where President

The Game of Justice The Prosecutor, the Defender, the Father and His Son (Iglika Triffonova, Bulgaria/ Sweden/The Netherlands, 2015). Feature Competition. 11-7 19:00, 12-7 12:00 Moscow Cinema Blue Hall.

The human relations and the issues raised in Bulgarian director and screenwriter Iglika Triffonova’s The Prosecutor, the Defender, the Father and His Son are as complex as the film’s title. The result is a sincere and heartfelt drama about justice becoming an end in and of itself.

At the The Hague tribunal for Yugoslavia, the trial of Milorad Krstić is underway. This Serbian man is accused of massacring innocent Bosnians in the chaos of the Bosnian War. The film centers on the power play between French prosecutor Catherine Lagrange (Romane Bohringer) and Dutch defender Mikhail Finn (Samuel Fröler). In closeups, the witnesses tell the court about the rape and killings they

At Home in Displacement

saw. Their voices, while trembling, are heard clearly through microphones. But the judges, assertive and insistent, keep respectfully interrupting them, asking for details and clarifications as we hear their offcamera voices creeping “into the frame” from dusty headphones. Finally, the prosecution brings a young man to the stand, an orphan as he says, who identifies Krstić as the man who ordered him and his fellow soldiers to burn down a village school. Krstić swears he doesn’t know this boy. Finn undertakes a journey to Bosnia, as he’s sure that the boy is lying. Finding his parents will help him crush Legrange’s case.

They both believe in the high power of law. Yet there is something perverse in this whole trial. For Lagrange upholding justice is not just a job, but something akin to a religious experience. Finn, a sly and cunning man, most certainly knows that his client is guilty of something, but it appears the game of legal proceedings excites him, as if he’s rolling dice at a casino. Cinematographer Rali Raltschev lights the court room as if it’s a cathedral where two priests of opposing religions are playing chess. And naturally, ordinary people are the pawns, just means to an end – upholding the law. AV

The life of the free-spirited stage actress Olivia is about to take a U-turn. While preparing for the iconic part of Arkadina in a theatrical production of Chekhov’s The Seagull, she and her boyfriend Serge, also an actor, discover that they are pregnant.

While at first the couple is ecstatic, it doesn’t take long for the downside to appear.

Their group, Theatre du Soleil, has been asked to perform The Seagull in New York in a few months, but without Olivia: she’ll be showing by then.

Reality hits her hard. “Its painful for me to loose the right to work”, she says in voice-over. Because her pregnancy appears to be a risky one, she’ll have to stay home for months until the baby arrives. Olivia has to live like a prisoner, day by day, facing her thoughts and fears mostly alone. Meanwhile, Serge still has a life outside those four walls. Cracks in their relationship soon appear.

During all of the essential scenes, directors Petra Costa and Lea Glob are there, filming. The camera fluidly captures daily life unfolding, as intimately as possible. Olivia and Serge re-enact their life like actors – because they are. The film was made in close collaboration with Olivia Corsini and Serge Nicolaï, who may perhaps be playing the roles of their lives here; they are just that good.

The clever use of personal archive materials and recordings of theatre repetitions symbolize all those thoughts and fears Olivia has about getting older and being abandoned for a younger model. This dramatic yet philosophical film smartly wanders around the borders of fiction and reality. This hybrid form creates an intimacy that is as "real" as can be. MN

A Man Returned (Mahdi Fleifel, UK/ Denmark/The Netherlands/Lebanon, 2016).

Documentary Competition. 12-7 10:00, 18:00 Moscow Cinema Small Hall 1.

Directed by Ahu Öztürk, a so-called “forth generation” Turkish director, Dust Cloth was very well received in its home country, winning the awards for best script and best actress at the Istanbul film festival. The film tells the story of Nesrin and Hatun, two Kurdish cleaning ladies, and their complicated relations with the outside world, their work and each other.

Nesrin’s husband has left her and their five year old child, so she's looking for ways to ward off loneliness.

Meanwhile, older and wiser Hatun can’t stop dreaming about a house in the respectable regions of Istanbul.

Hatun is played by Nazan Kesal, whom we’ve seen in the films of Turkish master Nuri Bilge Ceylan. This isn’t the only similarity between Dust Cloth and Ceylan. Although stylistically Öztürk’s films are less poetic and more naturalistic, he is comparable to Ceylan in his exploration of the middle class’s attitude towards people stuck on the margins of society, thus illustrating not only relations between individuals but also entire social classes.

Dust Cloth also features sharp commentaries on Christian-Muslim relations and the boorish Asian expression of male-female relations. But in order for the film to be complete, the slum observations require poetic stylizations and expressive metaphors, be it the grey May clouds, the Anatolian prairies, or a simple dust cloth. KA

GOLDEN APRICOT DAILY 2016 | 12 JULY | DAY 3

NEWS AND REVIEWS 7

GREAT DANES

Parajanov’s Treasure

Although the fundamentalist adherence to the ten strict rules of realism set forth by the Dogme 95 movement was largely abandoned by the mid-2000’s, even by its creators, the movement has left an indelible mark on Danish cinema, this program of five recent films shows.

It’s no wonder the New Danish Cinema program, showcasing five recent films from Denmark, features no less than two films by Thomas Vinterberg.

With his 1998 breakthrough film The Celebration, which kicked off the Dogme 95-movement, Vinterberg was at the forefront of a new generation of Danish filmmakers, and he has consolidated this position in recent years.

Filmmaker Susanne Bier was right there alongside him. Although she had already been working as a director of successful light comedies since the early 1990s, she only found international success after she took up the Dogme rules for Open Hearts in 2002. While it was her only film to strictly adhere to the movement’s rules, her subsequent films have continued this more dramatic approach to great effect, leading up to her winning the Oscar for Best Foreign Film in 2011 with In a Better World.

The one outlier in the program is director Bille August. When his younger colleagues were kicking up a storm with Dogme in the late 1990s, August – by then already a two-time Palme d’Or winner –

was turning to high-profile Hollywood productions instead. But his latest film Silent Hearts goes seamlessly with those of his compatriots. Here, too, we find the story of a family in turmoil told in a muted, realistic film style.

Like Bier, Vinterberg himself has shaken off Dogme’s radicalism in the intervening decades, while retaining the movement’s emotional realism.

This continues in his most recent films: The Hunt, which deals with a pre-school teacher in a small village who gets falsely accused of child molestation, and The Commune, based on Vinterberg’s own experiences growing up in communal living arrangements in the 1980s.

Both films were co-written by Tobias Lindholm, who is also a director in his own right. Lindholm is part of a younger generation heavily influenced by

their Dogme “fathers”. His latest film A War focuses on a Danish veteran of the war in Afghanistan who returns home, and the emotional effects both his absence and his return have on his young family. JB The Commune (Thomas Vinterberg, 2016).

14-7 16:30 Moscow Cinema, Red Hall.

In a Better World (Susanne Bier, 2010).

13-7 18:00 Cinema Star, 15-7 15:00 Moscow Cinema Small Hall 2.

The Hunt (Thomas Vinterberg, 2012).

12-7 18:30 KinoPark, 13-7 13:00 Moscow Cinema Small Hall 2.

Silent Heart (Bille August, 2014). 12-7 18:00 Cinema Star.

A War (Tobias Lindholm, 2015). 12-7 14:00 Moscow Cinema Red Hall.

A surprise announcement during Sunday’s opening ceremony: Yerevan’s Parajanov Museum is being recognised as a “Treasure of European Film Culture”. Like a UNESCO World Heritage List for the film world, this list celebrates places of historical cinematic value.

The list was instituted by the European Film Academy in 2005, to celebrated these locations which “need to be maintained and preserved for generations to come.” The Parajanov Museum is the seventh entry, following the likes of the Institut Lumière in Lyon, the Potemkin Stairs featured in Sergei Eisenstein’s Battleship Potemkin, the Bergmancenter in Ingmar Bergman's home town Fårö and the Vienna Ferris Wheel which was depicted in Carol Reed’s The Third Man.

Master Class: Želimir Žilnik 15:00, AGBU Center (2/1 Melik-Adamyan Street). Serbian director Želimir Žilnik will give a master class this afternoon preceding the official opening of the retrospective of his work with a screening of several of his short films (21:00, Moscow Cinema Red Hall). An interview with Žilnik will be published in Thursday’s daily.

The recent passing of Abbas Kiarostami was commemorated with a minute of silence at Sunday’s opening ceremony, accompanied by the photographs the Iranian grand master presented to the festival a decade ago after his first of four visits to Yerevan. These same pictures will be exhibited during the festival at Dalan Art Gallery (12 Abovyan Street, second floor). The exhibition entitled “The Road” will have its official opening today at 15:00 and is subsequently open daily between 12:00 and 15:00.

Presentation: ADAMI Media Prize 15:00, Loft (3 Moskovyan Street). The ADAMI prize was instituted in 2015 to celebrate audio-visual works by journalists and filmmakers in Eastern European that cover stories of cultural diversity. Entry for the 2016 edition is now open. Interested parties can join a presentation about the prize and reception this afternoon.

Special Armenian

The Circle of Ghosts Habitat – Personal Notes (Emiliano Dante, Italy, 2014). Documentary Competition. 12-7 10:00, 18:00 Moscow Cinema Small Hall 1.

In 2009 a 5.9 magnitude earthquake struck the city of L’Aquila in Central Italy, taking 308 lives and leaving more than 65,000 homeless. After the disaster, they were temporarily sheltered in tents.

This is where director Emiliano Dante befriended Paolo, Roberta, Alessio and Gemma, the central figures of his documentary Habitat – Personal Notes. As time passed, instead of rebuilding the city, the government decided to give people apartments in the newly built C.A.S.E. settlements encircling the ruble of L’Aquila.

Basically, the government took them off the

streets and gave them a home. So why are they complaining? While the film sheds some light on the issues of government support, ultimately Habitat is about a state of mind: feeling alienated in the place the officials want you to call home.

These notes are indeed personal, as Dante, who also narrates the film, uses every means of expression that cinema has to offer. At one point the ashy black and white images are brought to life with color, before quickly paling back to black. As Dante says: “The colors of nature express serenity. But ours is not a natural tragedy, it’s an urban tragedy.” And whenever reality is not enough, Dante completes the frame with sketch animation.

It’s as if the director and his camera are walking through the Chernobyl Zone of Exclusion. The C.A.S.E. buildings are so lifelike, yet so artificial, empty and eerie. Ghostly people are residing many miles apart from each other, so close, yet so far from their true home. AV

Teutonic Trouble 24 Weeks (Anne Zohra Berrached, Germany, 2016). 12-7 16:30 Moscow Cinema Red Hall, 15-7 18:30 KinoPark.

It is perhaps a bit ironic that 24 Weeks is the film chosen to represent its country on GAIFF’s German Cinema Day, since director Anne Zohra Berrached is only half German, being born of a German mother and Algerian father. On top of this, before turning to film school in her home country Berrached worked in London, Madrid and Yaoundé, Cameroon.

24 Weeks is Berrached’s graduation film at the Film Academy Baden-Württemberg, but it is already her second feature: she made her first film Two Mothers, which was selected for the prestigious film festival of Berlin, during her third year. Both films focus on a troubled pregnancy. Where her debut centered on a lesbian couple trying to have a baby wih the help of a sperm donor, 24 Weeks deals with a couple having to deal with the news that the baby the woman is carrying will most likely have Down’s syndrome. Thus, Astrid and her husband Markus have a very difficult decision to make. Will they abort their pregnancy, or keep the child?

Berrached captures the couple’s dilemma in intimate, unfussy scenes. The question takes its toll on the couple, since they – and their first daughter Nele – have already bonded with the unborn child during Astrid’s four months of pregnancy. And the fact that Astrid’s is a famous comedian, and thus very much in the public eye, is not helping matters either. JB

16:00, Moscow Cinema Small Hall 1.

Celebrating the eleventh anniversary of the cooperation between GAIFF and Ralph Yirikian, General Manager of the festival’s main sponsor VivaCell-MTS, The Armenian

by Harutyun Khachatryan tells the story of Yirikian’s return to his homeland. The 30-minute film is getting a special screening today, and will eventually be part of Khachatryan’s documentary Those Who Return.

Lover’s Films 21:00, Poghosyan Gardens. The Shakespeare screenings continue at the “Lover’s Park” in Yerevan’s Phoghosyan Gardens wth Prospero’s Books by Peter Greenaway.

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

Lights Out Admittedly, all those brightly luminescent mobile phone screens came in very handy at the end of Sunday’s screening of the opening film, when a lightning strike temporarily cut off power in Moscow Cinema. But that also shows you how brightly those screens light up your faces when you turn them on during the screenings...