Golden Apricot Daily - 2015, Day 4

Page 1

DAILY

DAY 4, WEDNESDAY, JULY 15

ܳëï³ëÛ³ ÎÇÝëÏÇ

§úÓÇ ·ñÏáõÙ¦, §¸³ñÇ Ý³Ë³·ÇÍÁ¦

гñó³½ñáõÛó. èáμ ÜÇÉëáÝ

Interview Rob Nilsson

Inner Turmoil Ü»ñùÇÝ Çñ³ñ³ÝóáõÙ

Project of the Century: Radioactive Cinema

Nastassja Kinski: Open to Imagination

GOLDEN APRICOT DAILY | DAY 4 | 15 JULY | 2015

2 Ă?ù³¡Ă‡Ăą/program ÑåþÉÇÍÇ 15 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³üåþÛï š³Ă‘ÉÇ×/ Moscow Cinema, Blue Hall 10:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³ùÙÇù š³Ă‘ÉÇ×/ Moscow Cinema, Red Hall 10:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00

Rus, 90’/FC

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

Lang.: Armenian, Subt.: English ' /Traversed $ % &' , (" /Alex Igidbashian, Emily Mkrtichian Arm, 26’/AP

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

17:00

Geo, 15’/SC

Lang.: Armenian, Subt.: English

Arm, 30’/AP

17:00

10:00, 18:00

2 ( /Espes 2 3 , % 4 /Tanít Fernandez, Isaac Rodriguez Spa, 12’/DC

Lang.: Catalå, Subt.: English % ( ' / Pelican in the Desert # /Viestur Kairish Lva, 68’/DC

Lang.: Latvian/Russian, Subt.: English

% / Everything Will be Ok 3 &/Patrick Vollrath Deu/Aut, 30’/SC

Lang.: German, Subt.: English ' ( /Hitler in the Opera . ' 0 / Michał Grzybowski Pol, 27’/SC

Lang.: Polish/English, Subt.: English 12:00, 20:00

] ' / Family Album ! 0-

% /Hovhannes Ishkhanyan

_@ - 40 /40 Days of Silence & % " 0 / Saodat Ismailova

Arm, 35’/AP

Uzb/ Tjk/Nld/Fra/Deu, 88’/ DAB

Lang.: Armenian/Russian, Subt.: English ) \ ^ % /The Man in the Orange Jacket ! /Aik Karapetian

Lang.: Latvian/Russian, Subt.: English and Armenian 19:00 # X /Cruel ( + / Eric Cherriere

$ , , /One, Two Three $ " ) * /Arman Yeritsyan

14:00

Nld, 45’/WE

? % 0 % /Why the Dinosaurs Disappeared - *:/Mihai Ghită

Arm/Deu/Nor, 75’/AP, DC

Lang.: Armenian/Russian, Subt.: English

/ Blood Brothers / Kees Schaap

$ , ( ) ' * '/ Press Conference, Meeting with Nastassja Kinski 15:30

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

3 % /Sivas . 5 /Kaan Mujdeci Tur/Deu, 97’/DAB

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

18:00 /The Measure of a Man /StĂŠphane BrizĂŠ

Lang.: English 17:30

Prt, 104’/DC

Lang.: Portuguese, Subt.: English and Armenian

$ /Body . + " 0 /Małgorzata Szumowska Pol, 90’/YP

Lang.: Polish, Subt.: English and Armenian 19:30

Nld/Bel/Deu, 89’/FC

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

7

0 8 0/Grozny Blues 7 /Nicola Bellucci Che, 142’/DC

Lang.: Russian/Chechen, Subt.: English and Armenian 20:00 9 %

/Eclipse $ ) 5 / Ara Yernjakyan Arm, 12’/WE

Lang.: Armenian, Subt.: English

22:00

* , (

/Life as It is # " 1 / Vladimir Dashuk Blr, 57’/T

Lang.: Russian, Subt.: English and Armenian

Lang.: Spanish, Subt.: English and Armenian

R ' X/Discipline ' [ . ' /Christophe M. Saber

21:00 $ / Maria’s Lovers $ 0 /Andrei Konchalovsky USA, 109’/R

Lang.: English, Subt.: Armenian

; < . $ =

- / Other Homeland: Diaries of Maria Jacobssen # . /Vrezh Petrosyan Arm, 50’/WE

Lang.: Armenian, Subt.: English 21:30 > /Screamers /Carla Garapedian

$ ' , q X /We are Young, We are Strong - ' /Burhan Qurbani Deu, 128’/GNC %% /Shepherd’s Song # - " & / Vahram Mkhitaryan

Lang.: German, Subt.: English and Armenian

Pol, 30’/AP

Lang.: Armenian, Subt.: English

êÇĂ?Ù³ ĂŤĂƒ³ù/ Cinema Star

ºù¨³Ă?Û³Ă? ¡Ă‡Ă&#x;ùĂ?ù äåÕåÍÛ³Ă? ³Û¡Ă‡Ă?ùåþĂ™/ Yerevan Nights at Poghosyan Gardens 21:00

19:00 * \ ( /A Bridge to a Border 4 ' 7 /Rob Nilsson

& /From Above $ /Alen Manukyan Arm, 30’/AP

USA, 90’/YP 18:00

21:00

Fra, 26’/AP

Lang.: French, Subt.: English

Lang.: French/German/Arabic/ Italian/ Spanish, Subt.: English

6 ( /Fish Tail 6 , 7 8 /Joaquim Pinto, Nuno Leonel

3 % 0 /The Sandwich Island Man 8= /Levon Minasian

Fra, 15’/SC

Arm, 94’/WE

20:00

Arg/Cub/Deu/Che, 100’/FC

Egy, 16’/SC

Q (/ Ferdinand Knapp $ /Andrea Baldini

+ - ' 0/Map of Salvation $ " + -' / Aram Shahbazyan

Lang.: French, Subt.: English and Armenian

Lang.: French, Subt.: English and Armenian

Che, 11’/SC

Lang.: French, Subt.: English and Armenian

# " / The Project of the Century / Carlos Machado Quintela

6 @ <

/ Wintry Spring - " " /Mohamed Kamel

Can/Dra, 115’/WE

16:00

Fra, 93’/FC

! "/Zurich /Sacha Polak

Lang.: Romanian, Subt.: English

Lang.: Arabic, Subt.: English

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

Fra, 108’/FNC

Rom, 16’/SC

'/Ararat $ " ( /Atom Egoyan

15:30 ÂŤ . Âť /“Armenians: Internal and External Viewâ€? Program

19:00

Lva/Est, 71’/AP

Col, 122’/FC

14:30

Lang.: Tajik, Subt.: English and Armenian

12:00

/Embrace of the Serpent /Ciro Guerra

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

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

Lang.: Georgian, Subt.: English

Arm, 24’/AP

/The Clinch /Sergei Puskepalis

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

# 0 % /Dinosaur 9 ' 0 /Margo Zubashvili

$

%, ÂŤ& Âť/ Farewell Volga ! " # /Hamlet Vardanyan

& /From Above $ /Alen Manukyan

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

Lang.: English, Subt.: Armenian

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

21:00 " /Diary of a Chambermaid 6 /Benoit Jacquot

$ , , /One, Two Three $ " ) * /Arman Yeritsyan Arm/Deu/Nor, 75’/ AP, DC

Fra/Bel, 95’/FNC

Lang.: French, Subt.: English and Armenian

Lang.: Armenian/Russian, Subt.: English

Artmenians/Artmenians 4 ( /Ricardo Espírito Santo Prt, 108’/WE

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

GOLDEN APRICOT DAILY ĂŠĂ™Ο³¡Ă‡ĂąĂ?ù` ĂšĂĄĂŤĂƒ ´ùåùĂ?, ²ùĂƒåþù ϳùšĂ‡Ă?Û³Ă? ²Ă&#x;Ă‹³ï³Ă?³½Ă™` Ă˜³ùÇÍĂ?Âł œùĂ›Ă­Ă‰ÂťĂ?š, Ă˜³ùÇĂ?Âť ĂœĂ›åþšåùá Ă?ÕÇĂ?ÂłĂ?Ă?ùª ¸Ă‡ÂłĂ?Âł ĂŽ³ùšåþÙÛ³Ă?, ĂˆåþͳĂ?Ă?³ùÇãª Ă˜ÂłĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă? êùΟ³¡ùÇãĂ?ùª Ă˜³ùÇĂ?Âť Ă”³ù³Ă‹ÂłĂ?Û³Ă?, èÇÙ³ ²Ă•ÂťĂ?Û³Ă? Ă‚³ù¡Ă™ÂłĂ?ÇãĂ?ùª ĂˆåþÍÇĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă?, Ÿ³ùåþÑÇ ê³ý³ùÛ³Ă?

UK, 91’/NA

¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă?

Lang.: English, Subt.: Armenian

œÉ˳íåù ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ? Îü³¡ùí³Ă? Âż §ĂœĂŽ Ă?åɚÇĂ?¡Œ êäĂ€-åþÙ

Editors: Joost Broeren & Artur Vardikyan Staff: Mariska Graveland, Maricke Nieuwdorp Contributors: Kees Driessen, Karen Avetisyan, Diana Kardumyan Photographer: Mane Hovhannisyan Design: Gayane Grigoryan General Coaching Adviser: Peter van Bueren Printer: "NT Holding" Ltd.

GOLDEN APRICOT DAILY | DAY 4 | 15 JULY | 2015

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GOLDEN APRICOT DAILY | DAY 4 | 15 JULY | 2015

4 ·ñ³ËáëáõÃÛáõÝÝ»ñ

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ÝáõÙ ¿ ³ÝϳÛáõÝ áõ ³ÝÑáõë³ÉÇ, ÙÇÝã¹»é ë»é³Ï³Ý ÏåãáõÝáõÃÛáõÝ áõÝ»óáÕ Ýñ³ ³ÙáõëÇÝÁ ê»É»ëïÇÝÇ Ñ»ï å³ñ﻽áõÙ ëÇñ³Ë³Õ ¿ ëÏëáõÙ: лÝó ³éÇà ÉÇÝǪ ê»É»ëïÇÝÁ Ïû·ï³·áñÍÇ Ãáõɳϳ٠áõ ó³Ýϳë»ñ ³Û¹ Ù³ñ¹áõÝ, ¨ »ñϳñ ãÇ ï¨Ç, ÙÇÝ㨠áñ ݳ Çñ»ÝÇó ÏÃáó÷Ç ¹Çïáñ¹Ç ¹»ñÁ: ¼·áõßáñ»Ý ϳéáõóí³Í ýÇÉÙÁ Ñ»ï³ùñùÇñ áõ ÙÃÇÝ ß³ñáõݳÏáõÃÛáõÝ ¿ ëï³ÝáõÙ, »ñμ ³Ýï³éáõ٠ѳÛïݳμ»ñíáõÙ ¿ Ù»é³Í ÷áùñÇÏ ³Õçϳ ¹Ç: ê»É»ëïÇÝÁ ϳëϳÍáõÙ ¿ Çñ ëÇñ»óÛ³É å³ñïǽå³Ý æá½»ýÇÝ, ù³ÝÇ áñ Ñ»Ýó ݳ ¿ ëå³ÝáõÃÛ³Ý ûñÝ ³Ýï³éÇ ÙÇçáí í³ñ»ÉÇë »Õ»É: ²Û¹ï»Õ` ï³Ý Ùáï³Ï³ ë¨ Ã÷»ñÇ ³ñ³ÝùáõÙ μ³ñμ³ñáëáõÃÛáõÝÝ ¿ ¹³ñ³Ý³Ï³ÉáõÙ... ØÇ ù³ÛÉ ÙdzÛÝ ¨ª ù³Õ³ù³ÏñÃáõÃÛáõÝÝ ³Ûɨë ãϳ: æá½»ýÁ ê»É»ëïÇÝÇÝ Çñ ³½¹»óáõÃÛ³Ý Ý»ñùá ¿ å³ÑáõÙ ¨ ëå³ëáõÑÇÝ, áí Ýñ³Ý Ñ»ï¨áõÙ ¿ ³Ù»Ý ÇÝãáõÙ, å³ïñ³ëï ¿ ݳ¨ Ýñ³ ѳÝó³ÏÇóÁ ¹³éݳÉ: ä³ñ½íáõÙ ¿, áñ ݳËÏÇÝ ³Õ³ËÇÝÝ Çëϳå»ë ѳ×áõÛù ¿ ½·áõÙ, »ñμ Ù³ñ¹Ï³Ýó í»ñ³μ»ñíáõÙ ¿ ÝáõÛÝù³Ý í³ï, áñù³Ý Çñ»Ý »Ý í»ñ³μ»ñí»É. ¹»ñ»ñÁ í»ñç³å»ë ÷áËíáõÙ »Ý: ض

GOLDEN APRICOT DAILY | DAY 4 | 15 JULY | 2015

interview 5

Rob Nilsson Goldberg, for instance, but I gave it to the wrong producer. There was a dip in the market and we were unable to raise the money. So my friends and I decided: If we can’t do it with the industry, we’ll do it our way, in San Francisco, where we all lived.

²Ù»ñÇϳóÇ é»ÅÇëáñ èáμ ÜÇÉëáÝÇ §Î³Ùáõñç ¹»åÇ ë³Ñٳݦ ýÇÉÙÁ Ïáõݻݳ Çñ »ñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³Ý: ê³ ³ÛÝ ýÇÉÙ»ñÇó ¿, áñáÝù ݳ ëï»ÕÍ»É ¿ Çñ Direct Action Cinema Ùáï»óáõÙáí: ÜÇÉëáÝÁ ÏÇÝáÛáõÙ Çñ ³é³çÇÝ ù³ÛÉ»ñÝ ³ñ»É ¿ ÜÇ·»ñdzÛáõÙ, ¨ áñï»Õ ìÇ»ïÝ³Ù³Ï³Ý å³ï»ñ³½ÙÇ Å³Ù³Ý³Ï ³ß˳ïáõÙ ¿ñ ²ØÜ Ë³Õ³ÕáõÃÛ³Ý ÏáñåáõëÇ Ñ³Ù³ñ, áñï»Õ ݳ 8ÙÙ-áí Ýϳñ³Ñ³Ý»É ¿ §¸³ëÁ¦ (1965)ª Ý»áÏáÉáÝÇáÉǽÙÇ Í³Õñ»ñ·áõÃÛáõÝÁ: ´³Ûó Ýñ³ ϳñÇ»ñ³Ý ëÏëí»É ¿ §ÐÛáõëÇë³ÛÇÝ ÉáõÛë»ñáí¦, áñÁ 1978 Ã. γÝÝáõ٠߳ѻó §àëÏ» ËóÇϦª áñå»ë É³í³·áõÛÝ ¹»μÛáõï³ÛÇÝ ýÇÉÙ: лﳷ³ ï³ëݳÙÛ³ÏÝ»ñÇÝ Ý³ Ýϳñ³Ñ³Ý»É ¿ 48 ϳñ׳ٻïñ³Å ¨ Édzٻïñ³Å ýÇÉÙ»ñ, ¨ ÇÝãå»ë 75-³ÙÛ³ é»ÅÇëáñÝ ¿ ³ëáõÙª ¹»é Ýáñ»ñÝ ¿É ÏÉÇÝ»Ý:

How did you start up filming in San Francisco? I created a free workshop in the Tenderloin Housing Clinic, a place for homeless people, people with drug problems, and so on. That social cause was important for me. As was facing my own fear: it was a harsh area and I was kind of afraid. And when I’m afraid of something, I feel I have to go there. So it is as much about going into the world as it is about filmmaking itself? It’s definitely not just about the entertainment, but more about engaging in the human experience. For eleven years, starting from the late 90’s, I gave workshops every week. We made several films, primarily with people from the streets. They represented every kind of occupation, sexuality and every degree of sobriety. The major thing that happens when you’re living on the street is that you have to protect yourself emotionally. I tried to open that up through relaxation and concentration exercises. It’s amazing the mood it creates. You need those primal emotions. I don’t need actors, I want players who don’t need to think intellectually when they play. It has to be fun as well. In that period I developed what I call Direct Action Cinema. I knew Direct Cinema from filmmakers such as D.A. Pennebaker and the Maysles Brothers. I put the word "action" in because you say action when you film, but also because action is what I do. I don’t like to just sit around and talk.

º±ñμ ¿ ÍÝí»É ÏÇÝáÛÇ Ñ³Ý¹»å Ó»ñ ë»ñÁ: »ñ¨ë, »ñμ ï»ë³ æáÝ ø³ë³í»ïÇëÇ §êïí»ñÝ»ñÁ¦: ºñÇï³ë³ñ¹ ¿Ç, áõ ýÇÉÙÝ ÇÝÓ íñ³ áõÅ»Õ ïå³íáñáõÃÛáõÝ ÃáÕ»ó: üÇÉÙ ª Ù»½ ÝÙ³Ý Ù³ñ¹Ï³Ýó áõ Çñ³Ï³Ý ÏÛ³ÝùÇ Ù³ëÇÝ... ØÇÝã ³Û¹ª ³ÛÝù³Ý ¿É Ññ³åáõñí³Í ã¿ÇÝ ÏÇÝáÛáí: ºñμ »ñ»Ë³ ¿Ç, ÇÝÓ ¹áõñ ¿ÇÝ ·³ÉÇë í»ëûñÝÝ»ñÁ ¨ áõñÇß áãÇÝã: ´³Ûó §êïí»ñÝ»ñÁ¦ ÙÇÝ㨠ÑÇÙ³ Ùݳó»É ¿ ÇÙ ëñïáõÙ: ÜÇ·»ñdzÛÇó Ñ»ïá, »ñμ ³ñ¹»Ý Ýϳñ³Ñ³Ý»É ¿Çù Ó»ñ ³é³çÇÝ ýÇÉÙÁ, í»ñ³¹³ñÓ³ù ²Ù»ñÇϳ: ƱÝã å³ï³Ñ»ó Ñ»ïá: êÏë»óÇ Î³ÉÇýáñÝdzÛáõÙ ¹³ë³í³Ý¹»É 8-ñ¹ ¹³ë³ñ³ÝóÇÝ»ñÇÝ ¨ ѳݹÇå»óÇ ÙÇ ËáõÙμ ïճݻñÇ, áíù»ñ ß³ï μ³Ý ·Çï»ÇÝ ÏÇÝáÛÇ Ù³ëÇÝ: Üñ³Ýù ÇÝÓ Ý»ñϳ۳óñÇÝ ÏÇÝáÛÇ μáÉáñ ï»ë³ÏÝ»ñÁ, ûñÇÝ³Ï ýñ³ÝëÇ³Ï³Ý §Ýáñ ³ÉÇùÁ¦: Ø»Ýù ëï»ÕÍ»óÇÝù êÇÝ» Ù³ÝÇý»ëïÁª é»ÅÇëáñÝ»ñÇ Ó³Ë³Ã¨Û³Ý ÏáÉ»ÏïÇí, áñÝ áõ½áõÙ ¿ñ Ýϳñ»É ýÇÉÙ»ñª ³ß˳ï³íáñÝ»ñÇ ÏÛ³ÝùÇ Ù³ëÇÝ: лÝó ³Û¹ï»Õ ¿ ÍÝí»É §ÐÛáõëÇë³ÛÇÝ ÉáõÛë»ñǦ Ùï³ÑÕ³óáõÙÁ: Üϳñ³Ñ³Ý»óÇÝù, û ÇÝãå»ë ¿ ³·³ñ³Ï³ï»ñ»ñÇ ÷áùñÇÏ ÙÇ ÉÇ·³ å³Ûù³ñáõÙ ÐÛáõëÇë³ÛÇÝ ¸³Ïáï³ÛÇ ÁÝÏ»ñáõÃÛáõÝÝ»ñÇ ¹»Ù: гٳé»ÅÇëáñ æáÝ Ð»ÝëáÝÁ ¨ »ë ³ñÙ³ïÝ»ñáí ÐÛáõëÇë³ÛÇÝ ¸³Ïáï³ÛÇó »Ýù: ´áÉáñÇë ѳٳñ ¿É ¹³ Ù»ñ ³é³çÇÝ Éáõñç ýÇÉÙÝ ¿ñ: àñå»ë é»ÅÇëáñª ¹áõù ÷áËí»óDZù §àëÏ» ËóÇÏݦ ëï³Ý³Éáõó Ñ»ïá: ÂíáõÙ ¿ñª ÇÙ ³éç¨ μ³½Ù³ÃÇí Ñݳñ³íáñáõÃÛáõÝÝ»ñ ¿ÇÝ μ³óíáõÙ: ´³Ûó »ë Ñ»ï³ùñùñí³Í ã¿Ç ÏÇÝáμǽݻëáí: ºñμ ÑáÉÇíáõ¹Û³Ý ÙÇ ·áñÍ³Ï³É ½³Ý·³Ñ³ñ»ó ÇÝÓ, ¨ »ë Ýñ³Ý ³ë³óǪ ÇÝã »Ù Ùï³¹Çñ Ýϳñ³Ñ³Ý»É, Ýñ³Ý ³Û¹ ³é³ç³ñÏÁ ¹áõñ ã»Ï³í: ØÇÝã ûñë ¿É Ñ³çáÕ³óÝáõÙ »Ù Ýϳñ³Ñ³Ý»É áñáß ýÇÉÙ»ñ, μ³Ûó ÇÝÓ ¹áõñ ãÇ ·³ÉÇë ÏÇÝáÇݹáõëïñdzÝ: 80-³Ï³ÝÝ»ñÇÝ ìáõåÇ ¶áɹμ»ñ·Ç Ñ»ï ÙdzëÇÝ ³ß˳ïáõÙ ¿Ç ÙÇ ýÇÉÙÇ Ý³Ë³·ÍÇ íñ³, μ³Ûó ëË³É åñá¹Ûáõë»ñÇ ¿Ç íëï³Ñ»É: Ø»Ýù å³ñ½³å»ë Ç íÇ׳ÏÇ ã»Õ³Ýù ѳÛóÛÃ»É ³ÝÑñ³Å»ßï ·áõÙ³ñÁ: ²ÛÝå»ë áñ, »ë áõ ÁÝÏ»ñÝ»ñë áñáß»óÇÝùª »Ã» ãÇ ëï³óíáõÙ ýÇÉÙ Ýϳñ³Ñ³Ý»É ÇݹáõëïñdzÛÇ Ï³ÝáÝÝ»ñáí, áõñ»ÙÝ Ù»ñ ÇÙ³ó³Í Ó¨áí ϳݻÝùª ê³Ý üñ³ÝóÇëÏáÛáõÙ, áñï»Õ μáÉáñë ³åñáõÙ ¿ÇÝù: ƱÝã ¿ Ý߳ݳÏáõÙ ª Direct Action Cinema: Þ³ï»ñÁ ýÇÉÙ Ýϳñ»Éáõó ³é³ç Ý³Ë Ùï³ÍáõÙ »Ý, û áí å»ïù ¿ ϳï³ñÇ ³Ûë ϳ٠³ÛÝ ¹»ñÁ: Üñ³Ýù ÁÝïñáõÙ »Ý ¹»ñ³ë³ÝÝ»ñÇÝ áõ ÙdzÛÝ ¹ñ³ÝÇó Ñ»ïá ·ïÝáõÙ ï»ËÝÇÏ³Ï³Ý Ù³ëݳ·»ïÝ»ñÇÝ: ÆëÏ »ë ѳϳé³ÏÝ »Ù ³ÝáõÙ: ºë ·ïÝáõÙ »Ù Ù³ñ¹Ï³Ýó, áõëáõÙݳëÇñáõÙ Ýñ³Ýó, ¨ Ù»Ýù ëÏëáõÙ »Ýù í³ñųÝùÝ»ñ, áñå»ë½Ç ï»ëÝ»Ýùª ³Û¹ Ù³ñ¹ÇÏ ÇÝãÇ »Ý ÁݹáõݳÏ: ºë ëó»Ý³ñáí ã»Ù ³ß˳ïáõÙ: üÇÉÙ Ýϳñ³Ñ³Ý»ÉÇë ϳñÍ»ë μ³ó³Ñ³ÛïáõÙ »ë ³ÛÝ, ÇÝã ã·Çï»ë, û·ï³·áñÍáõÙ »ë ÏÇñùÁ, ½·³óÙáõÝùÁ, Ý»ñùÇÝ Ó³Ûݹ, Ù³ñ¹Ï³Ýó μ»ñáõÙ »ë ϳï³ñëÇëÇ ¨ ·ïÝáõÙ ëÛáõÅ»Ç ·ÇÍÁ ÙdzÛÝ ³ÛÝ Å³Ù³Ý³Ï, »ñμ ÙáÝï³ÅáõÙ »ë ųå³í»ÝÁ: Ø»Ýù »ñμ»ù ݳ˳å»ë ÷áñÓ ã»Ýù ³ÝáõÙ. ³ÙμáÕç ³Ý³ÏÝϳÉÁ Ñ»Ýó ³ÛÝ ¿, áñ áãÇÝã ãÇٳݳë: úå»ñ³ïáñÁ å»ïù ¿ ç³½ Ýí³·áÕÇ ÝÙ³Ý ÉÇÝǪ ݳ å»ïù ¿ ß³ñÅíÇ, áñå»ë½Ç ·ïÝÇ ×Çßï å³ÑÁ: ºí »Ã» ݳ ãÇ ï»ë-

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American director Rob Nilsson (1939) is presenting the Yerevan Premiere of A Bridge to a Border, the latest in a long line of films created using his Direct Action Cinema approach. Nilsson took his first steps in cinema in Nigeria, where he was working for the US Peace Corps during the Vietnam War, creating The Lesson (1965), a short 8mm spoof of neo-colonialism. But his career really got started with Northern Lights, which won the Camera d’Or for best debut feature in Cannes in 1978. In the intervening decades, he has made 48 short and feature films – and there will be many more to come, the 75-year-old director says. When did your love for cinema begin? Definitely after having seen John Cassavetes’ Shadows as a young man. I was blown away! Cinema about people like us and about how life really is: astonishing! Up until that point, I had no use for cinema. As a child I liked westerns, but that was it. Shadows still resonates in my mind. After having made your first film, you returned to America. What happened there? I started teaching 8th-graders in California and met a group of guys who knew a lot about film. They introduced me to all kinds of cinema, the French New Wave for instance. We formed Cine Manifest, a leftwing collective of filmmakers that wanted to make films showing the lives of working people. That’s where Northern Lights came from. We filmed a league of small farmers fighting against big companies in North Dakota. Co-director John Hanson and I both had roots there. For all of us, it was our first serious movie, and lo and behold, we won the Camera d’Or during the Cannes festival! Did that change things for you as a filmmaker? There where many opportunities, it looked like. But I wasn’t interested in the film business. So when a Hollywood agent called me and I told him what I wanted to do, it didn’t work. I still managed to make some films, but I did not like the industry. I was working on a film project in the eighties with Whoopi

What does Direct Action Cinema entail? Most people think of a film in the sense of who’s going to be in the film. They cast the film and then they find the technicians. I do the opposite: I find people. I look at them and we do exercises to see what people can do. I don’t work with a screenplay, just with a short treatment. Filming is kind of a mission to find out what we don’t know, using passion, feeling and intuition, bringing people to a cathartic moment and only finding the through-line while editing. We never rehearse the scenes, the surprise is in not knowing. I call them the miracles of the ordinary. The cameraperson should be a kind of jazz player: he’s got to move to find the right moment. And if he doesn’t see it, I grab him by the waist and move him towards the action. Some of them aren’t too happy about that! (Laughs) That way of filming will be completely alien to some. There was a production company who looked at some footage and said: “This is ridiculous! This can’t be cut!” But after we edited the material ourselves they got it. It’s a bit like a documentary; a combination of Shadows, cinéma vérité and small-combo jazz, the music I grew up with. I don’t care about a straight narrative or that it looks like a mosaic or even cubism. Fortunately we have MTV and such these days, and people are more used to these odd rhythms. Was your latest film A Bridge to a Border also made using this method? Yes. We got 21 people together, a mix of trained and untrained actors. My strategy is to first see the people rather than seeing the movie. When I looked at them, I thought of the 70's activist group the Weather Underground. So the film deals with a modern version of that: a group of people banding together to commit a terrorist act. That’s how it’s built. It seems that even at 75, you’re still looking toward the future. Yes! I’d like to be like Manoel de Oliveira, the Portuguese film director who was 106 years old and still making films. So from now on: one film every year! (Laughs). No, really, I just want to make films as long as there are people to collaborate with. The goal still is to find out what the next movie is. MN Rob Nilsson will give a Master Class today at 15:00 at the Small Theatre (11 Abovyan St.)

GOLDEN APRICOT DAILY | DAY 4 | 15 JULY | 2015

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reviews

Enigmatic Drifter Zurich (Sacha Polak, The Netherlands, 2015), 15-7 20:00, Moscow Cinema, Blue Hall Screenwriter Helena van der Meulen wrote this refined story of inner turmoil with acclaimed Dutch singer Wende Snijders in mind. Snijders makes her feature film debut with her intense performance as enigmatic drifter Nina. She wanders along the highways of Europe in a desperate attempt to forget the past. When she meets a German truck driver she travels along with him, starting an affair. But Nina keeps her real motives to herself. Gradually, in an a-chronologic two-chapter structure, it becomes clear that Nina is driven by the pain

of the ultimate betrayal perpetrated on her. After her great love, truck driver Boris, dies in a crash, Nina discovers he led a double life as a married man with

a second hidden family. The shock of this sudden loss and the discovery of the fraud completely unbalances her. Frozen by her sadness she flees and ends up in the anonymous environment of the wandering truckers. With her vigorous, uncompromising acting style, Snijders digs into the deeper layers of grief. She performs some great songs as well, as music plays an important part in her life, on screen as much as off. This latest character study by young Dutch talent Sacha Polak was honored with the CICAE Award of the International Confederation of Art Cinemas at this year’s Berlin Film Festival. The excellent, tactile camerawork, including a surreal shot of a live cheeta, catches Nina’s suppressed turbulence by only observing her face. MG

Radioactive Cinema The Project of the Century (Carlos Quintela, Cuba/Argentina/Switzerland/Germany, 2015), 15-7 22:00, 16-7 12:00, Moscow Cinema, Blue Hall Three men and a goldfish, living together in a tiny appartment. Three generations of a family: a father, a son, a grandfather. Their appartment is on the top floor of a highrise in Juraguá, a small Cuban town nicknamed the Electro-Nuclear City because it’s home to the “Project of the Century” that gives the film its title: an unfinished nuclear power plant. In 1976 Cuba and the Soviet Union signed an agreement to construct two nuclear power reactors near Jaraguá, which were meant to decrease Cuba’s dependence on foreign oil. Construction of the first reactor started in 1983, with materials as well as many technicians being supplied by Russia. But after the dissolution of the Soviet Union, that supply line dried up, and construction halted in the mid-90’s. The decaying concrete structures that remain are the perfect embodiment of how modern-day Cuba has come to a standstill, and the optimism of yesteryear has all but evaporated. The three men in their appartment have little to look forward too either, it seems. Schlubby father Rafael was left by his wife, and now lives with his crabby octagenarean dad Otto. At the start of the film, they’re joined by Rafael’s 23-year-old son Leo, also recently divorced. Pretty soon, the three men are at each other’s throats, and the arrival of Leo’s new girlfriend doesn’t help matters at all. That’s about

A Utopian Alarm Pelican in the Desert (Viestur Kairišs, Latvia, 2014), screening with short film Espés, 15-7 10:00, 17-7 18:00, Moscow Cinema, Small Hall 1 The mystifying title for Latvian director Viestur Kairišs’ Pelican in the Desert is traced back to an old and frightening fable in the film’s opening titles. A pelican in a wasteland, facing the extreme hunger of her brood, kills herself by ripping open her belly, giving her own meat to her offspring in order for them to survive. The earth, our nurturing soil which is both the protagonist and the shooting location of the film, has become such a self-sacrificing mother pelican.

Social Man in a Marketplace World The Measure of a Man (Stéphane Brizé, France, 2015), 15-7 18:00, Moscow Cinema, Blue Hall This film has two very different titles. The international title, The Measure of a Man, stresses the pressure on protagonist Thierry Taugourdou to provide for his family without sacrificing his self-esteem. The original French title La loi du marché however, “the law of the marketplace”, points to a much more political interpretation. Everything that happens to Thierry – his difficulties in finding and keeping a job; having to respect questionable authority; and being forced, as a security employee, to distrust everyone, including his colleagues – is in some way connected, at a higher level which is never shown but always implied, to the political free-market ideology. The personal is political and the political is personal. Together, these two titles – one more befitting a British, liberal-minded outlook on life, the other more in tune with the French politicized view of labor and art – combine to question what these times of crisis and capitalist ideologies mean for an unemployed Average Joe. It’s a hard life, and French actor Vincent Lindon, the kind of actor who usually plays supporting parts, portrays Thierry as a beaten dog, captured in tightly framed long takes. It’s a strong portrayal, which rightly earned Lindon the award for Best Actor at this year’s Cannes film festival. You can sense there is still some bite there, underneath his meekness, and it seems that Thierry might one day angrily, violently explode. But that might mean risking never getting a job or, when he has one, losing it. So he remains silent, polite to his superiors, and keeps his eyes on the ground. As a social man in a marketplace world, Thierry doesn’t seem to measure up to his own standards anymore. KD

Barbarity Lies in Wait it as far as the plot goes – The Project of the Century rather focusses on the allegorical nature of its story, with every man in the house representing a distint generation in Cuba’s recent history. Young Cuban director Carlos Quintela enlightens us on the town’s historical background in quick bursts of vividly coloured archival footage and news reports, many of which were made by the ElectroNuclear City’s very own television channel (and thus are more like propaganda than actual news re-

Everything on Kairišs’ epic canvas is dedicated to the earth – every frame, every action and even the marvelous Gustav Mahler music on the soundtrack. The director’s home province of Latgale, at the easternmost edge of the European Union, is shown to be different from the rest of Latvia, because of its surreal infrastructure and its irrational people. Who’d have guessed people can coexist on this magic land in inexplicable harmony: Russian elders dwelling in a former synagogue, gravediggers, Catholics, eccentric old believers, and all the others. An unspeakable heaviness eminates from the screen; it’s a utopian alarm. The documentary’s atmospheric pressure constantly fluctuates. Latgale might be associated with perished or utopian worlds like Atlantis, Utopia, and Pacifica. But Kairišs seems to want to patch up the self-sacrificing pelican’s torn abdomen with his film, by any means possible. KA

ports). Like little explosions, these clips cut through the modern-day story, which is shot in luminescent black-and-white. The combination of the two gives the film itself a kind of radioactive feeling. The only colour he would have liked to have used, Quintela said at the Rotterdam film festival, where the film won a Tiger Award, is green: “Because nature is slowly reclaiming this industrial area, and it would have been great to be able to show that more clearly.” JB

Chechen Woodstock Grozny Blues (Nicola Bellucci, Switzerland, 2015), 15-7 18:00, 17-7 12:00, Moscow Cinema, Small Hall 1 Swiss director Nicola Bellucci seems to look upon Chechnya as if it was a testing ground for nuclear weapons. War has ravaged this territory, and the results seem to catch the fresh eye of the foreign artist. After long being at the center of exhausting unrest, the country recently entered a new stage of formal peace. Yet the filmmaker is more interested in civil and spiritual harmony. Bellucci is supported in his quest by the film’s main characters, foremost among which is a group of women who documented the war years. Their video images are mixed with Bellucci’s “post-apocalyptic” views as well as archival sources, creating vivid, poetic contradictions, often venturing into the grotesque. The whole film is based on these contradictions: hellish past and gloomy future; archaic traditionalism and unclear globalization. Reformed Grozny seems to be flawless from afar, but reveals its cracks upon closer examination. This makes familiar images strange and unrecognizable: from the challenges of terrorism to a mountain wedding; from conciliatory conformism to vengeful incitement. Yet the street chants heard in Grozny Blues echo the hopeful and forever urgent Woodstock slogans from the past: “The war has ended”; “Give peace a chance.” Bellucci has created an original Chechen postmodern picture, in which past and the future are seperated by an odd and blurry borderline – a tightrope Chechnya’s present is cautiously walking on. KA

Diary of a Chambermaid (Benoît Jacquot, France/Belgium, 2015), 15-7 21:00, Cinema Star,16-7 22:00, Moscow Cinema, Blue Hall It is hard to give orders to the coolly attractive chambermaid Célestine, protagonist of Benoît Jacquot’s Diary of a Chambermaid, screening as part of the New French Cinema program. It’s a remake of Luis Buñuel’s classic 1964 book adaptation starring Jeanne Moreau, and in both cases the chambermaids end up in a tragic place, as the opposite of what they once stood for, now encapsulated by power. In the late 19th century, Parisian Célestine (Léa Seydoux) arrives in the grey countryside to work for a whimsical mistress. Célestine protects her feelings as carefully as possible, and elusively hovers between the worlds of the working class and the bourgeoisie. She continuously moves along the chambers, seeing everything without having to look through the keyhole. Her frigid mistress calls her unstable and unreliable, while her sex-obsessed husband flirts with Célestine in the garden. She manipulates this “yearning weakling” when she can, and it won’t take long before she shakes off her role as a spectator. The carefully composed film takes an intriguingly dark turn when a little girl is found dead in the woods. Célestine suspects her beloved gardener Joseph, since he drove through the forest the day of the murder. Here, in the black woods adjacent to the house, barbarity lies in wait. You only have to take one step and civilization is gone. Joseph has Célestine under his spell, and she even follows him onto the path of crime. The former chambermaid turns out to find special pleasure in treating others as bad as she was herself. The roles are finally reversed. MG

GOLDEN APRICOT DAILY | DAY 4 | 15 JULY | 2015

news and reviews 7

Open to Imagination Kinski plays the key role in one of those great film scenes, carved into the memory of film lovers: the final scene of Wim Wenders’ Golden Palm winner Paris, Texas. She makes a huge impression as the woman who gets lost and found in a peepshow booth. At first she doesn’t know who is talking to her from the other side of the mirror, but slowly she begins to realize it’s her husband Travis. The camera is focused on her subtle reactions and emotions as Travis recounts some shared memories from behind the glass. In spite of their separation, they make a powerful connection. Kinski, tantalizingly aloof as always, has that rare energetic screen presence that triggers the imagination by leaving plenty of room for interpretation. Kinski enjoyed her worldwide breakthrough with her Golden Globe Award-winning performance as the title character in Roman Polanski’s Tess (1979), an adaptation of Thomas Hardy’s book, which screened at the festival yesterday. Polanski stimulated her to turn to method acting and gave her a whole year to prepare for her role, living on a British farm to lose her German accent. In interviews, Kinski has claimed that Polanski saved her

Mariam Loretsyan/Mediamax

The festival this year welcomes actress Nastassja Kinski (Berlin, 1961) as one of its honorable guests. The Retrospective program, featuring three films from her illustrious career, officially opens today.

from a chaotic childhood, giving her the courage to choose her own life. It may be a coincidence, but many of Kinski’s films debunk the myth of the family: she is abandoned in Tess, One from the Heart,

Paris, Texas and The Claim, while in An American Rhapsody she has to leave her family behind. Throughout her illustrious career, Kinksi worked with top directors like Francis Ford Coppola, David Lynch and Michael Winterbottom, and she is still going strong. This fall her face will grace the Venice Film Festival’s poster. As an actress her work is always open to interpretation, imagination and fantasy, not least because of the famous 80’s portrait by photographer Richard Avedon, with a Burmese python strangled around her naked body, which was pinned to the walls of a generation of teenagers. Similarly, the traumatized WWII veteran in Maria’s Lovers (Andrey Konchalovsky, 1985), has fantasized about his childhood sweetheart (played by Kinski) for so long that he is now unable to love the real woman. It’s a rare opportunity to see Kinski in the role of an utterly normal and relatively deglamorized person. Still, she is as vibrant as ever. MG

17:30, Tumo Center for Creative Technologies (16 Halabyan St.). Actress, director, producer, screenwriter and member of this year’s Armenian Panorama jury Bijaya Jena will talk to students at the Tumo Center.

Paris, Texas (Wim Wenders, West Germany/ France/UK/USA, 1984), 16-7 21:00, Cinema Star, 19-7 20:30, Moscow Cinema, Red Hall Maria’s Lovers (Andrey Konchalovsky, USA, 1984), 15-7 21:00, 19-7 16:00, Moscow Cinema, Red Hall A press conference/meeting with Kinski will be held at 14:00 in Moscow Cinema, Red Hall.

19:30, Moscow Cinema, Red Hall. A Tribute will be held today to Belarusian director Vladimir Dashuk, who passed away in July of last year at the young age of 52. Dashuk, born in 1962 as the son of famed documentary filmmaker Victor Dashuk, had been making films since 1987, and was also a journalist. His final finished film Life as it Is is a documentary portrait of Demyan Khodatovich, the most renowned dog expert of the Minsk region. The film will be screened in the presence of Dashuk’s widow Khalima Khasanova.

Two Winners at ATCP At the closing ceremony of the Armenia-Turkey Cinema Platform project development workshop, not one but two winning projects were selected. K’ar by Turkish director Senem Gökce and Marine Kocharyan and Sona Kocharyan’s Armenian documentary short Murat will share the US$10,000 prize money. However, jury member Gegham Manukyan, director of news and political programs at Yerkir Media TV, added that his company will provide post-production facilities free of charge.

Both projects shine a creative light on the troubled relationship between the two countries. K’ar is a short dance film, in which the movements of two female dancers through the town of Ani (once Armenian, but now in Turkey) will reflect the separation as well as the commonalities between Turkey and Armenia. The short documentary Murat will follow the eponymous character, an man of Armenian descent living in Istanbul carrying a Turkish name. The filmmakers will follow him on

Talk to GAIFF: Bijaya Jena

his first trip to Armenia, bringing his identity crisis to the foreground. Since 2008, the ATCP network has brought together filmmakers from Armenia and Turkey. Ten work-in-progress projects were selected for the twoday workshop, which consisted of trainings, presentations, one-on-one meetings and project pitches. So far, 17 films have been supported by the ATCP, and thanks to the double award, K’ar and Murat may soon be added to that list. JB

Visit to Genocide Museum 18:00. With the centennial of the Armenian Genocide being commemorated in the festival programs We Exist and Never Again, guests are invited to visit Yerevan’s Genocide Museum. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 17:00.

Tribute: Vladimir Dashuk

Yerevan Nights: ARtMENIANS 21:00, Poghosyan Gardens. Tonight’s open air screening is of this film about Armenian resilience and hope by Portuguese director Ricardo Espírito Santo.

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.

Physical Abuse Body (Małgorzata Szumowska, Poland, 2015), 15-7 17:30, Moscow Cinema, Red Hall, 17-7 21:00, Hayastan Cinema, Big Hall

Seeing Sounds This year's Armenian Panorama includes seven short films, hailing from all parts of Armenia and beyond. Hamlet Vardanyan’s Farewell Volga is about a utopian village, where youngsters run to the fields and drink vodka. Their Volga car defends them from rain, snow and wind, but not from vanity and boredom. “I suggested to a friend of mine, a cameraman, to make a film, and was lucky that he did not refuse”, selftaught director Vardanyan explains. “The actors, too, were just people from our village! I just told them to run from one place to another, and put the camera in the right place.” The Doctor is Anna Goroyan’s graduation film. Goroyan has graduate degrees in both the field of physics-mathematics and linguistics; later she studied at the Moscow’s VGIK. Although shot in Armenia, the film takes place during the first

Chechen war. While civilians flee the city, a Russian doctor has to stay to carry out his professional duties. Cesar Gananian and Alexandre Moura present their short film Film Sound. Gananian has already made a feature film and more than ten shorts in Brazil, Spain and Armenia. The plasticity and sound design of his new film invite us to dive into a trancelike, hypnotic experience. A film in which sounds need to be seen, and images need to be heard. From Above is the second short film by Alen Manukyan, and the artistic influences of his teacher, Armenian director Suren Babayan, are plainly visible. The short is filled up with a lot of symbolism, and has a remarkable design and film cast. Bulgaria is presented by Kevork Aslanyan’s phantasmagoric Getting Fat in a Healthy Way. Aslanyan started as an editor, then studied at the

National Academy of Fine Arts and Theatre in Sofia; later on, he enrolled in the London Film Academy. His heroes live in a world without gravity. They try different things to compensate, but in the end, only love is able to withstand. Actor Gagik Madoyan graduated from Ukrainian director Roman Balayan’s advanced directing courses. In his first film The Road, a homeless man saves a desperate woman’s life when she tries to jump from a bridge. The film is captivating thanks to its spontaneity, telling its dramatic story with ease and refraining from piling on excessively tragic details. French/Armenian director Levon Minasian’s The Sandwich Island Man is included in both the Armenian Panorama and the Apricot Stone competition. Minasian graduated from the Yerevan State Fine Arts and Theatre Institute, worked as an actor, and studied film directing in Paris. The film’s protagonist Little Lio has to describe his father for a school assignment, but he never saw him. After finding out that his father lives on Sandwich Island, the boy starts a long and dangerous trip to find him. DK

Three people with completely different views on the body and the soul are central in Małgorzata Szumowska’s darkly comic film Body. Winner of the Silver Bear for best director at this year’s Berlin film festival, the film is screening as part of the Polish Film Day at GAIFF. We first encounter an unnamed prosecutor. He sees dead bodies almost every day, and was once even confronted with a newborn baby dismembered and stuffed into a toilet. With all the horrors he has seen, he simply cannot bring himself to believe that there’s anything beyond this mortal coil. On the other hand, his anorexic daughter Olga, who hates her father’s guts for mistreating her dead mother, is strangely obsessed with physical perfection. She says that the body reflects who a person is inside. Still, she too has trouble believing in the existence of anything supernatural. This is not the case for her therapist Anna, who claims that after the sudden death of her 8-month-old son she discovered her gift of communicating with spirits. She persuades father and daughter to let her make contact with their deceased loved one. Within the first five minutes of Body the prosecutor comes across a man hanging from a tree. He cuts the rope and the body falls flat on the ground. But nobody seems to notice when the guy just gets up and walks away. It’s just the tip of teh iceberg: Szumowska constructs a strange world, full of the kookiest of characters, interacting in the strangest of locations which are shot from the weirdest of angles. AV

GOLDEN APRICOT DAILY | DAY 4 | 15 JULY | 2015

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