Golden Apricot Daily - 2017, Day 4

WEDNESDAY JULY 12, 2017

DAILY

DAY 4

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SPLINTERING PERSONALITIES ՄԱՍՆԱՏՎԱԾ ԱՆՀԱՏԱԿԱՆՈՒԹՅՈՒՆ вðò²¼ðàôÚò. ¼ºøÆ ¸ºØÆðøàô´àô¼ IJÜ-äƺè غÈìÆÈ ¿ç 3

²èúðº²Î²ÜàôÂÚ²Ü ä²î²è Øî²ÚÆÜ ´²Üî àâ ØÆ îºÔ ¶Ü²òàÔ ¶Ü²òø ¿ç 4

´àðÆê ÊȺ´ÜÆÎàì вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

BORIS KHLEBNIKOV

A SLICE OF DAILY LIFE THE PRISON OF THE MIND A TRAIN TO NOWHERE p. 6

INTERVIEW ZEKI DEMIRKUBUZ JEAN-PIERRE MELVILLE: SOLEMNLY STYLISH

p. 7

GOLDEN APRICOT DAILY DAY 4 | 12 JULY | 2017

2 ĂŒĂ°Â˛ÂśĂ†Ă°/ PROGRAM Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐŠ Ő…Ő? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, BLUE HALL 10:00 ( )

' / . )

AlterEgo /dir. Vigen Chaldranyan 12:30 * +.- , ' / .

! * Requiem for Mrs. J /dir. Bojan Vuletić 14:30

', ' % 7

' / . * !

The Moon, The Sun and The Musketeers/ dir. Vahagn Khachatryan 8 . 9 ) % )

/ . " : Musa Dagh: the Road Home/ dir. Mariam Ohanyan ;

/ . $!

; - Khnusik /dir. Stella Ter-Hakobyan 16:00 <

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Tribute to Erznkyan, Dovlatyan, Israyelyan 18:00 >

, ,' / .`? ' The Old Man and the City /dir. Grigor Harutyunyan 19:30 ( )

' / . )

AlterEgo /dir. Vigen Chaldranyan 22:00 # @ ' / . $ -

The Day After /dir. Hong Sang-soo

12.07 Arm, 125â&#x20AC;&#x2122; FC, 16+

15.00

17:00 19:00 22:00

Arm, 25â&#x20AC;&#x2122; FV 12+

Lang.: Armenian Subt.: English

Arm, 12â&#x20AC;&#x2122; FV, 12+

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

Arm, 115â&#x20AC;&#x2122; T

Arm, 60â&#x20AC;&#x2122; YP 12+

Lang.: Armenian Subt.: English

Arm, 125â&#x20AC;&#x2122; FC 16+ Kor, 92â&#x20AC;&#x2122; YP, 16+

Lang.: Armenian Subt.: English Lang.: Korean Subt.: English and Armenian

Deu, 22â&#x20AC;&#x2122; AP, 12+

Lang.: English Subt.: Armenian

U X / . ! !* Origines /dir. Ashot Mkrtchyan Z [ ,

& / . @

Bravo, Virtuoso! /dir. Levon Minasian

Arm, 62â&#x20AC;&#x2122; AP, 12+ Arm/Fra/Bel, 104â&#x20AC;&#x2122; AP, 16+

'/ .` J -% @ The Eternals/dir. Pierre-Yves Vandeweerd / .

Finding Altamira /dir. Hugh Hudson _ < # / . Q -J

Le Cercle Rouge /dir. Jean-Pierre Melville ` ' / . :> The Double Lover/dir. François Ozon

Bel/Fra, 75â&#x20AC;&#x2122; FV 12+ Esp, 97â&#x20AC;&#x2122; R, 16+ Fra/Ita, 140â&#x20AC;&#x2122; T, 16+ Fra, 107â&#x20AC;&#x2122; AP, 18+

Ő&#x201E;Ő&#x2C6;Ő?ÔżŐ&#x17D;Ôą ÔżÔťŐ&#x2020;Ő&#x2C6;ÔšÔąŐ?Ő?Ő&#x2C6;Ő&#x2020;, Ő&#x201C;Ő&#x2C6;Ő&#x201D;Ő? Ô´ÔąŐ&#x20AC;ÔźÔťŐ&#x192; 1 MOSCOW CINEMA, SMALL HALL 1 10:00, _ Q Q / . # Z [ , 17:00 \ J Stop and Go /dir. Ralph Kronauer, Giovanni Pannico

j x z { { )

(.- / . ] ^ ( Why is Mr W. Laughing?/ Jana Papenbroock 12:00,

/ . # 19:00 Ghost Hunting /dir. Raed Andoni

Lang.: Armenian Subt.: English

, Q

/ . ? J f

Where Are We Going/ dir. Grigor Poghosyan

% 7 / . q- { ! & " > Salt and Bread /dir. Arch-Aspet Shermazanyan

Arm, 21â&#x20AC;&#x2122; AP, 12+ Arm/Rus, 20â&#x20AC;&#x2122; AP,12+

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

Srb/Bul/Mkd/Rus/ Lang.: Serbian Fra, 94â&#x20AC;&#x2122;, FC Subt.: English 16+ Lang.: no dialogue Prt/Arm, 20â&#x20AC;&#x2122; FV 12+

Ő&#x201E;Ő&#x2C6;Ő?ÔżŐ&#x17D;Ôą ÔżÔťŐ&#x2020;Ő&#x2C6;ÔšÔąŐ?Ő?Ő&#x2C6;Ő&#x2020;, ÔżÔąŐ?Ő&#x201E;ÔťŐ? Ô´ÔąŐ&#x20AC;ÔźÔťŐ&#x192; MOSCOW CINEMA, RED HALL 10:00 Q

/ . ?

Hydrography /dir. Gor Margaryan

12:30

21:00

Deu/Ita, 15â&#x20AC;&#x2122; DC 12+ Deu, 76â&#x20AC;&#x2122; DC 12+

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

_ Â&#x201A; !

/ . ? $ | } Red Apples /dir. George Sikharulidze Ő?ÔťŐ&#x2020;ÔľŐ&#x201E;Ôą Ő?ÔšÔąŐ?

CINEMA STAR 18:00 _ , / . !* The Line /dir. Mher Mkrtchyan 20:00

7

/ . ~ " The Other Side of Hope /dir. Aki Kaurismäki

Arm/Geo/USA, 15â&#x20AC;&#x2122; Lang.: Armenian Subt.: English AP 12+

Arm, 103â&#x20AC;&#x2122; AP, 12+ Fin/Deu, 98â&#x20AC;&#x2122; FC,16+

ÔżÔťŐ&#x2020;Ő&#x2C6;Ő&#x160;ÔąŐ?Ôż KINOPARK 20:30 / .

Arrhythmia /dir. Boris Khlebnikov ÔľŐ?ÔľŐ&#x17D;ÔąŐ&#x2020;Ő&#x2026;ÔąŐ&#x2020; ÔłÔťŐ&#x2021;ÔľŐ?Ő&#x2020;ÔľŐ? Ő&#x160;Ő&#x2C6;Ő&#x201A;Ő&#x2C6;Ő?Ő&#x2026;ÔąŐ&#x2020; ÔąŐ&#x2026;ÔłÔťŐ&#x2020;ÔľŐ? Ő&#x201E; YEREVAN NIGHTS AT POGHOSYAN GARDENS 21:00

/ .

Fartuun Adan and Ilwan Elman/dir. Andrei Loshak

/ .

Where Youâ&#x20AC;&#x2122;re Meant to Be/dir. Paul Fegan

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

Rus, 100â&#x20AC;&#x2122; YP, 16+

Lang.: Russian Subt.: English and Armenian

Rus, 5â&#x20AC;&#x2122; AU,12+

Lang.: Armenian

UK, 75â&#x20AC;&#x2122; BW, 12+

Lang.: English

ÔľŐ?ÔľŐ&#x17D;ÔąŐ&#x2020;Ő&#x2026;ÔąŐ&#x2020; ÔłÔťŐ&#x2021;ÔľŐ?Ő&#x2020;ÔľŐ? Ő&#x2022;Ő&#x160;ÔľŐ?ÔąŐ&#x2026;Ôť Ő&#x20AC;Ő?ÔąŐ&#x160;ÔąŐ?ÔąÔż Ő&#x201E; YEREVAN NIGHTS AT OPERA SQUARE 21:00 / .

Arm, 5â&#x20AC;&#x2122; Jamila Afghani /dir. Vardan Hovhannisyan AU, 12+

/ .

!

Bra, 87â&#x20AC;&#x2122;, YN, 12+ A Cat From Havana/dir. Dacio Malta ÔľŐ?ÔľŐ&#x17D;ÔąŐ&#x2020;Ő&#x2026;ÔąŐ&#x2020; ÔłÔťŐ&#x2021;ÔľŐ?Ő&#x2020;ÔľŐ? ÔżÔąŐ?ÔżÔąÔ´ Ő&#x201E; YEREVAN NIGHTS AT CASCADE 21:00

/ .

Arm, 5â&#x20AC;&#x2122; AU, 12+ Dr Tom Catena /dir. Vardan Hovhannisyan Arm, 43â&#x20AC;&#x2122;

! / . !

AP, 12+ Voices of Light /dir. Hrant Vardanyan

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

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

Lang.: Slovenian/ Arabic/ German/ Austrian/ English Subt.: English and Armenian Lang.: German Subt.: English and Armenian

Fra/Pse/Che/Qat, Lang.: Arabic/ English 94â&#x20AC;&#x2122;, DC, 12+ Subt.: English and Armenian

ÔľŐ?ÔľŐ&#x17D;ÔąŐ&#x2020;Ő&#x2026;ÔąŐ&#x2020; ÔłÔťŐ&#x2021;ÔľŐ?Ő&#x2020;ÔľŐ? ÂŤŐ&#x20AC;ÔąŐ&#x2026;ÔąŐ?Ő?ÔąŐ&#x2020;Âť Ôż/Ôš ÔąŐ&#x2026;Ôł Ő&#x201E; YEREVAN NIGHTS AT HAYASTAN CINEMA GARDEN 21:00

14:00

15:30

} .

Q ~ $ ' / .` $ " : Ara Guler, Once Upon a Time Istanbul/dir.

Samuel Aubin Â&#x20AC; 7Â ÂŤ Âť/ . f q He Said â&#x20AC;&#x153;Mommyâ&#x20AC;?/dir. Arsen Đ?gadjanyan

! / . !

Voices of Light /dir. Hrant Vardanyan

Fra/Tur, 51â&#x20AC;&#x2122; FV, 12+ Rus/Geo, 17â&#x20AC;&#x2122; AP, 12+ Arm, 43â&#x20AC;&#x2122; AP, 12+

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

½/ . " # Arto ½/dir. Armen Ronov

ÔľŐ?ÔľŐ&#x17D;ÔąŐ&#x2020;Ő&#x2026;ÔąŐ&#x2020; ÔłÔťŐ&#x2021;ÔľŐ?Ő&#x2020;ÔľŐ? Ő&#x2020;ÔąŐ&#x2020;Ő?ÔľŐ&#x2020;Ôť ÔąŐ&#x2026;Ôł Ő&#x201E; YEREVAN NIGHTS AT NANSEN GARDEN 21:00 "

# / . $ %

White Dreams/dir. Sergey Israelyan Ő&#x20AC;ÔąŐ&#x2026;-Ő&#x152; Ő?ÔąÔżÔąŐ&#x2020; Ő&#x20AC;ÔąŐ&#x201E;ÔąÔźŐ?ÔąŐ?ÔąŐ&#x2020; RUSSIAN-ARMENIAN UNIVERSITY 16:00 $

%

& ' / . & ' $( ' Attenborough and the Giant Dinosaur/ dir. Charlotte Scott

Arm, 24â&#x20AC;&#x2122; YN, 12+

Lang.: Armenian Subt.: English

Arm, 82â&#x20AC;&#x2122; T , 12+

Lang.: Armenian

UK, 60â&#x20AC;&#x2122; BW 12+

Lang.: English

GOLDEN APRICOT DAILY Ă&#x160;Ă&#x2122;Ο³¡Ă&#x2021;ĂąĂ?ù` Ă&#x161;ĂĄĂŤĂ&#x192; ´ùåùĂ?-Ă?ÂłĂ&#x203A;ĂŻÂťĂ?Ă&#x2039;Âł, ²ùĂ&#x192;åþù ϳùšĂ&#x2021;Ă?Ă&#x203A;ÂłĂ? ²Ă&#x;Ă&#x2039;³ï³Ă?³½Ă&#x2122;` ĂŞÂłĂ&#x;Âł Ă&#x17D;åþïÍĂ&#x2021;Ăą, Ă?Ă&#x203A;åþ¡å žĂ&#x2122;ù½³Ă&#x2030;, Ă&#x17D;³ùĂ? ²íïĂ&#x2021;ĂŤĂ&#x203A;ÂłĂ? Ă?ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?Ă?ùª ²ùĂ?Ă­Ă&#x2021; ´³Ă&#x2039;ĂŁĂ&#x2021;Ă?Ă&#x203A;ÂłĂ?, èå½³ ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ? ¸Ă&#x2021;ÂłĂ?Âł Ă&#x2DC;³ùïĂ&#x2021;ùåÍĂ&#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&#x17D;³ùĂ? ²Í³ïùĂ&#x203A;ÂłĂ? Ă&#x201A;³ù¡Ă&#x2122;ÂłĂ?Ă&#x2021;ĂŁĂ?ùª Ă&#x2C6;åþÍĂ&#x2021;Ă?Âť Ă?ĂĄĂ­Ă&#x2018;ÂłĂ?Ă?Ă&#x2021;ĂŤĂ&#x203A;ÂłĂ?, Ÿ³ùĂ&#x2021;Ă?Âť 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? Îü³¡ùí³Ă? Âż §Ă&#x153;ĂŽ Ă?ĂĄĂ&#x2030;šĂ&#x2021;Ă?¡Œ êäĂ&#x20AC;-ĂĄĂľĂ&#x2122;

Editors: Joost Broeren-Huitenga & Artur Vardikyan Staff: Hugo Emmerzael, Sasja Koetsier, Karen Avetisyan Contributors: Roza Grigoryan Photographer: Mane Hovhannisyan

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

GOLDEN APRICOT DAILY 2017 | 12 JULY | DAY 4

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

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ÝáõÙÝ»ñÇ ÁÝóóùáõÙ ÙÇßï Ï»ñå³ñÝ»ñÇ ½·³óÙáõÝùÝ»ñÝ ³ñï³Ñ³Ûï»Éáõ áõÕÇÝ»ñ »Ù ÷ÝïñáõÙ£ §²Ýûզ-áõÙ Ñ»ñáëÝ»ñÁ å³ëëÇí »Ý áõ Ç íÇ׳ÏÇ ã»Ý ³ñï³Ñ³Ûï»Éáõ Çñ»Ýó ½·³óÙáõÝùÝ»ñÁ, ³ÛÝå»ë áñ »ë Ñ³×³Ë Ýñ³Ýó óáõÛó »Ù ï³ÉÇë Ñ»é³íáñáõÃÛ³Ý íñ³, »ïÇÝ åɳÝáõ٠ϳ٠¿É å³ïáõѳÝÇ Ï³Ù í³ñ³·áõÛñÇ »ï¨Çó£ ØÇ³Å³Ù³Ý³Ï ë³ Ñ³Ý¹Çë³ï»ëÇÝ ½·³óÝ»É ¿ ï³ÉÇë, áñ Çñ»Ýù ³ë»ë óùáõÝ Ñ»ï¨áõÙ »Ý Ýñ³Ýó£ ºë áõ½áõÙ »Ù Ýñ³Ýó ѳëϳóÝ»É, áñ, Çñáù, ³Û¹ Ñ»ñáëÝ»ñÇ ÇÝïÇÙ ÏÛ³ÝùÝ »Ý ï»ëÝáõÙ¦£ âÝ³Û³Í Ñ»ñáëÝ»ñÁ »ñμ»ù Çñ»Ýó ÙïùÇÝÁ ã»Ý ³ëáõÙ, »ñÏËáëáõÃÛáõÝÁ ß³ï μ³Ý ¿ μ³ó³Ñ³ÛïáõÙ Ýñ³Ýó Ý»ñ³ß˳ñÑÇ Ù³ëÇÝ£ Àݹ³Ù»ÝÝ ³ÏݳñÏ»Éáí ³ÛÝ, ÇÝãÁ ãÇ ³ëíáõÙ` é»ÅÇëáñÝ §²Ýûզ-ÇÝ ·»ñ³·áõÛÝ É³ñí³ÍáõÃÛáõÝ ¿ ѳÕáñ¹áõÙ£ §ºñÏËáëáõÃÛáõÝÁ ß³ï ϳñ¨áñ ¿ ¨ ÙÇ³Å³Ù³Ý³Ï ³Ù»Ý¨ÇÝ Ï³ñ¨áñ 㿦,- ³ëáõÙ ¿ ¸»ÙÇñùáõμáõ½Á£ §ê³ ß³ï áõÅ»Õ ·áñÍÇù ¿ é»ÅÇëáñÇ Ñ³Ù³ñ. ÝáõÛÝù³Ý ϳñ¨áñ ¿, áñù³Ý å³ïÏ»ñÝ áõ ÑÝãáÕáõÃÛáõÝÁ£ ´³Ûó »ñμ Ù³ñ¹ÇÏ ½ñáõóáõÙ »Ý, ëáíáñ³μ³ñ »ñϳñ ã»Ý Ïßé³¹³ïáõÙ Çñ»Ýó ËáëùÁ, áõ ¹³ å»ïù ¿ ÑÇß»É, »Ã» áõ½áõÙ »ùª ¹Ç³Éá·Á μÝ³Ï³Ý ÉÇÝÇ£ лñáëÝ»ñÇ »ñÏËáëáõÃÛáõÝÝ»ñÁ ·ñ»ÉÇë »ë ݳ¨ ѳßíÇ »Ù ³é»É, áñ Ãáõñù»ñÁ, »ñμ áõñ³Ë »Ý, ß³ï »Ý ËáëáõÙ, μ³Ûó »ñμ ³Ýíëï³Ñ »Ý, ç³ÝáõÙ »Ý Ñݳñ³íáñÇÝë ùÇã μ³Ý ³ë»É¦£ êÎ

áñ¨¿ ³ÕÙáõÏÇ: êÛáõÅ»Ç ÇÙ³ëïáí ³Û¹ ýÇÉÙÁ ùÝÝáõÙ ¿ ѳí³ï³ñÙáõÃÛ³Ý ë³ÑÙ³ÝÝ»ñÁ §ßáõÝÁ ßáõÝ ¿ áõïáõÙ¦ ¹ñí³Íù áõÝ»óáÕ ³ß˳ñÑáõÙ, áñï»Õ áã ÙÇ Ù³ñ¹áõ íëï³Ñ»É ãÇ Ï³ñ»ÉÇ: ²Û¹ ûٳݻñÁ ݳ ݳ¨ ³ñͳñÍ»É ¿ ·»ñÙ³Ý³Ï³Ý μéݳ½³íÃÙ³Ý Ù³ëÇÝ ýÇÉÙ»ñáõÙ` §ÌáíÇ ÉéáõÃÛáõÝÁ¦ (1949), §È»áÝ Øáñ»Ý. ù³Ñ³Ý³¦ (1961) ¨ §êïí»ñÝ»ñÇ μ³Ý³ÏÁ¦ (1969): øÝÝ»Éáí û° ·»ñٳݳϳÝ, û° ýñ³ÝëÇ³Ï³Ý ÏáÕÙ»ñÇ í»ñ³μ»ñÙáõÝùÁ ÙÇÙÛ³Ýó ѳݹ»åª Ø»ÉíÇÉÇ ýÇÉÙ»ñÁ ùÝݳ¹³ï³Ï³Ý ѳñó³ËáõÛ½Ç »Ý ÝÙ³Ý, áñáÝù å³ñ½áõÙ »Ý, û ÇÝã ¿ Ý߳ݳÏáõÙ ÉÇÝ»É μéݳ½³íÃáÕ Ï³Ù μéݳ½³íÃíáÕ: Üñ³ ýÇÉÙ»ñÁ Ù³ñï³Ññ³í»ñ »Ý üñ³ÝëdzÛÇÝ áã ÙdzÛÝ á×Ç ÇÙ³ëïáí, ³Ûɨ μ³ñá۳ϳÝáõÃÛ³Ý, ù³ÝÇ áñ Ø»ÉíÇÉÁ ëïÇåáõÙ ¿ Çñ ѳݹÇë³ï»ëÇÝ ³åñáõÙÝ»ñ áõÝ»Ý³É Ñ³Ýó³·áñÍÝ»ñÇ, ·³Ý·ëï»ñÝ»ñÇ, ݳóÇëïÝ»ñÇ, ù³Ñ³Ý³Ý»ñÇ, ¹ÇÙ³¹ñáõÃÛ³Ý ËÙμ»ñÇ ¨ ÝÙ³Ý ³ÛÉáó ѳٳñ: лÝó ³Û¹ å³ï׳éáí, ÇÝãå»ë ݳ ¿ ÙÇ Å³Ù³Ý³Ï áõñÇßÝ»ñÇó ëáíáñ»É, ÑÇÙ³ ¿É ³å³·³ é»ÅÇëáñÝ»ñÁ ϳñáÕ »Ý Ýñ³ÝÇó ëáíáñ»É: о ²Ûëûñª §Î³ñÙÇñ ßñç³Ý¦ (üñ³Ýëdz 1970), 19:00 - §ØáëÏí³ Ï/æ, γñÙÇñ ¹³ÑÉÇ×

ì³ñå»ï³ó ¹³ë»ñ ò³íáù ëñïÇ, åáñïáõ·³É³óÇ ÏÇÝá·»ï èáõÇ Üá·»Ûñ³Ý ³ÝϳñáÕ ¿ñ Å³Ù³Ý»É Ð³Û³ëï³Ý, ¨ ³Ûëûñª 15:00-ÇÝ, дÀØ Ï»ÝïñáÝáõÙ Ýñ³ ¹³ë³ËáëáõÃÛáõÝÁ ijÝ-äÇ»é Ø»ÉíÇÉÇ Ù³ëÇÝ ãÇ Ï³Û³Ý³Éáõ: ê³Ï³ÛÝ 16:00-ÇÝ Ï³ñáÕ »ù ³Ûó»É»É ÂàôØà (гɳμÛ³Ý 16), áñï»Õ Çñ §ÀÝï³Ý»Ï³Ý å³ïÙáõÃÛáõݦ ýÇÉÙÇ »ñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³ÛÇ Ý³Ëûñ»ÇÝ í³ñå»ï³ó ¹³ë Ïí³ñÇ Ýǹ»ñɳݹóÇ é»ÅÇëáñ ¨ ì³í»ñ³·ñ³Ï³Ý ÙñóáõÛÃÇ ÅÛáõñÇÇ ³Ý¹³Ù ÂáÙ ü³ë³ñÃÁ:

ÎÉáñ ë»Õ³Ý àñå»ë ݳËÏÇÝ ÊêÐØ »ñÏñÝ»ñÇ ³½·³ÛÇÝ ÏÇÝáÝ»ñÝ áõëáõÙݳëÇñáÕ Ëáßáñ ÙÇç³½·³ÛÇÝ Ý³Ë³·ÍÇ ÙÇ Ù³ëª ³Ûëûñª 14:00-18:00, §ÆμÇë¦ ÑÛáõñ³ÝáóÇ ²ñ³ñ³ï ¹³ÑÉÇ×áõÙ ï»ÕÇ Ïáõݻݳ ÏÉáñ ë»Õ³Ý, áñÁ Ïí³ñÇ éáõë ÏÇÝá·»ï ÎÇñÇÉ è³½Éá·áíÁ: È»½áõݪ éáõë»ñ»Ý:

´ñÇï³Ý³Ï³Ý Ý»ñËáõÅáõÙ è»ÅÇëáñ ÐÛáõ г¹ëáÝÇ Ñ»ï³Ñ³Û³ó Íñ³·ñáí μñÇï³Ý³Ï³Ý ÏÇÝáÝ ³Ûë ï³ñÇ Ñ³ïáõÏ áõß³¹ñáõÃÛ³Ý ¿ ³ñųݳÝáõÙ ÷³é³ïáÝÇ ßñç³Ý³ÏÝ»ñáõÙ: Æ ÉñáõÙÝ Ð³¹ëáÝÇ Ë³Õ³ñϳÛÇÝ ýÇÉÙ»ñÇ` ³Ûëûñ ÏÉÇÝÇ ´ñÇï³Ý³Ï³Ý ýÇÉÙ»ñÇ ß³μ³ÃÇ μ³óáõÙÁ: Ìñ³·ÇñÁ Ý»ñ³éáõÙ ¿ 5 í³í»ñ³·ñáõÃÛáõÝ: §¸¨Ç¹ ²Ã»ÝμáñáÝ ¨ Ñëϳ ¹ÇÝá½³íñÁ¦ Ý»ñϳ۳óÝáõÙ ¿ Ýáñ³Ñ³Ûï ³Ù»Ý³Ù»Í ó³Ù³ù³ÛÇÝ Ï»Ý¹³Ýáõª ïÇï³Ýá½³íñÇ áõëáõÙݳëÇñÙ³Ý ÁÝóóùÁ: àõñ³Ë ¨ ½í³ñ׳ÉÇ §àñï»Õ »ë Ùï³¹Çñ ÉÇݻɦ »ñ³Åßï³Ï³Ý í³í»ñ³·ñáõÃÛáõÝáõÙ ßáïɳݹ³óÇ éáù »ñ³ÅÇßï ²Û¹³Ý Øáý³ÃÁ Ù³ñï³Ññ³í»ñ ¿ Ý»ïáõÙ »ñ·³ë³ó Þ»ÛÉÇ êÃÛáõ³ñÃÇݪ ÑÇÝ ßáïɳݹ³Ï³Ý »ñ·»ñÇ í»ñ³Ùß³ÏÙ³Ý ó³ÝÏáõÃÛ³Ùμ: ºñÏáõ ýÇÉÙÇ óáõó³¹ñáõÃÛáõÝÝ ¿É ³Ûëûñ ¿: Þ³μ³Ãí³ ÁÝóóùáõÙ Ïóáõó³¹ñí»Ý ݳ¨ §ÆÝãå»ë ÷áË»É ³ß˳ñÑÁ¦ª ßñç³Ï³ ÙÇç³í³ÛñÇ å³ßïå³ÝáõÃÛ³Ý ß³ñÅÙ³Ý ÍÝáõÝ¹Ç Ù³ëÇÝ ýÇÉÙÁ, §²é³ç³ï³ñÁ¦, áñáõÙ »ñÏáõ 90-³ÙÛ³ í³½áñ¹ ÙñóáõÙ »Ý É³í³·áõÛÝÁ Ïáãí»Éáõ ѳٳñ, ¨ §²ñ¨³Í³ÕÇÏÝ»ñÇ å³Ý¹áÏÁ¦, áñÁ ¸³áõÝÇ Ñ³Ù³Ëï³ÝÇßáí Ù³ñ¹Ï³Ýó Ù³ëÇÝ ¿, áíù»ñ ÐéáÙáõÙ åÇóó»ñdz »Ý μ³óáõÙ:

¶Çß»ñ³ÛÇÝ ÏÛ³Ýù ²í³ñï»ù ÷³é³ïáݳÛÇÝ ûñÁª Ëáñ³ëáõ½í»Éáí ·Çß»ñ³ÛÇÝ ÏÛ³ÝùÇ Ù»ç. ³Ûó»É»ù ËÝçáõÛùÇ (23:30, Basement Club) ϳ٠λë·Çß»ñ³ÛÇÝ ³Ù÷á÷Ù³Ý (00:00, §²ÏáõÙμ¦), áñï»Õ ѳí³ùíáõÙ »Ý ÏÇÝáë»ñÝ»ñÝ áõ §àëÏ» ÍÇñ³ÝǦ ÑÛáõñ»ñÁ:

ì²ÊÎàîܺðÆ Ðºî ´²ÜÎ ØÆ° ²Ȳܺø ÐÂÎä вÔÂàÔܺðÀ г۳ëï³Ý-Âáõñùdz ÏÇÝáåɳïýáñÙÇ ÷³ÏÙ³ÝÁ 7 500 »íñá Ùñó³Ý³Ï³ÛÇÝ ýáݹÁ μ³Å³Ýí»ó 2 ݳ˳·Í»ñÇ ÙÇç¨: Ð³Û é»ÅÇëáñ ܳÇñ³ Øáõñ³¹Û³ÝÁ ëï³ó³í 5 000 »íñá Çñª §Ø³ñÏ ¨ سñÏ ¨ ÎÇÏᦠݳ˳·ÍÇ Ñ³Ù³ñ, ÇëÏ Ãáõñù é»ÅÇëáñ ¶ÛáõÉǽ ê³ÕɳÙÁ å³ñ·¨³ïñí»ó 2 500 »íñ᪠§Cosi la vita¦ ݳ˳·ÍÇ Ñ³Ù³ñ: §àëÏ» ÍÇñ³ÝǦ ÇݹáõëïñÇ³É Íñ³·ÇñÁ Ïß³ñáõݳÏíÇ ³Ûëûñª êï»Õͳñ³ñ ºíñáå³ ýáñáõÙÇ ³é³çÇÝ ÝÇëïáí:

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GOLDEN APRICOT DAILY 2017 | 12 JULY | DAY 4

²Ă&#x203A;ĂŤ íùĂ?³¡Ă&#x2021;ĂąĂ? ĂĄĂľĂ&#x2022;Ă&#x2022;åùš¹Ă&#x2030; Âż Ă&#x2019;½ ³ü³¡³ Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;Ă&#x2021; ĂĄĂ&#x2014;Ă Ă&#x201C;¨³íåùĂ&#x2030;Ă&#x2021;ĂŤ, Ă&#x192;¹ Ă&#x2018;ÂťĂ?Ăł ¡Ă&#x2022;³ùíÍï³Ă?ÂłĂ? Ă&#x2030;ĂĄĂľĂ?ĂĄĂľĂ&#x2122;Ă?ùĂ? ÂťĂ? Ă&#x192;ÂťĂ&#x2030;³šùĂ&#x2030; §²ÊĂ&#x2021;Ă&#x192;Ă&#x2122;Ă&#x2021;³Œ ÂłĂ?ĂĄĂľĂ?Ă : Ă&#x2DC;ù Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;à ½åþùĂ? Âż ó³Ă?Ă?³ó³Ă? ÂłĂ&#x203A;Ă&#x2030;³Ο³Ă?ĂĄĂľĂ&#x192;Ă&#x203A;ĂĄĂľĂ?Ă&#x2021;Ăł, ¨ Ă&#x2122;ÂťĂ?Ăš ĂŤĂ?½ΟåþĂ?ÚåùĂ? šĂ&#x2122; ÂťĂ?Ăš ÂťĂ&#x2022;ÂťĂ&#x2030; Ă&#x2122;ï³ýåùĂ?ùĂ&#x2021;Ă?ÂŞ ĂĽĂ?šĂ&#x2030;ĂĄĂ­, ĂĄĂą Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;à Íåíåù³Ă?ÂłĂ? Ă&#x2122;³ÍĂ?³íåù ü³ïĂ&#x2122;ĂĄĂľĂ&#x192;Ă&#x203A;ĂĄĂľĂ? Âż: §²ÊĂ&#x2021;Ă&#x192;Ă&#x2122;Ă&#x2021;³Œ ÂłĂ?Ă­ÂłĂ?ĂĄĂľĂ&#x2122;Ă? Ă&#x2021;Ă?Ă&#x201C; ÂłĂ&#x203A;Ă?Ú³Ă? ÂżĂ&#x2030; šåþù ĂŁĂ&#x2021; ¡³Ă&#x2030;Ă&#x2021;ĂŤ, Ú³Ă?Ă&#x2021; ĂĄĂą ùĂ?ÂłĂ?Ă&#x2021; Ă&#x2021;Ă&#x2122;³Íï ĂĄĂľĂ?Ă&#x2021;. ĂŤĂ?½ΟĂ&#x2021;Ăł Ă&#x2018;ÂłĂ?šĂ&#x2021;ͳïÍĂ&#x2021;Ă? ĂŻÂłĂ?ĂĄĂľĂ&#x2122; Âż Ă&#x2039;ĂĄĂąĂ&#x2018;ùš³Ă?Ă&#x2021;Ă&#x;Ă?ùĂ&#x2021; åùåĂ?Ă&#x2122;ÂłĂ?, Ă&#x2021;ĂŤĂ? ³ü³ª Ă Ă?šĂ&#x2018;ÂłĂ?ù³óĂ&#x2122;ÂłĂ? š³Ă&#x;ĂŻ. Ο³Ă&#x203A;Ăł Ă&#x2122;ÂťĂ?Ăš ÂżĂ&#x2030; ³ÍïĂ&#x2021;Ă&#x2014;ÂłĂ?³Ο³ù Ă Ă?ĂŻÂťĂ&#x2030;³ó³Ă?Ăš ÂłĂ&#x203A;š Ο³ÊĂ&#x2021;Ă? ¨ Ă&#x;³ùĂ&#x2026;íóĂ&#x2021;Ă?Ăš ³Ê³ç: Ă&#x2020;ĂŤĂ? Ă&#x2019;½ Ă&#x2018;ÂłĂ&#x2122;³ù ĂŤĂ?½ΟåþĂ?Ú³Ă&#x203A;Ă&#x2021;Ă? Âż, ĂĄĂą Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;Ă? Ă Ă?Ă?ÂłĂ&#x2030;ÂťĂ? Ă&#x2018;ÂťĂ?Ăł Ă&#x2019;ùª Ă&#x2021; ĂŤĂ?½Ο³Ă?Âť Ă&#x2122;ĂŻÂłĂ?ÂłĂ?ÂŞ Ă Ă?š³Ă&#x2122;ÂťĂ?Ă Ă&#x2122;³ÍĂ?³íåù ü³ïĂ&#x2122;ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ? ïÍ³Ă?Ă?Ă&#x203A;ĂĄĂľĂ?Ă&#x2021;Ăł: Ă&#x201A;¹ Ă&#x2018;ÂłĂ&#x2122;ÂłĂ?ùüíĂ&#x2030; Ú ÂłĂ&#x203A;Ă? Ă&#x2122;ĂŻĂšĂ&#x2021; Ă&#x2018;ï, ĂĄĂą Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;Ă&#x2021; ÂżĂ?ù³Ă? Ο³ùĂ&#x201C;ù³Ă?ÂłĂ&#x2030;åþó Ă&#x2018;ïå ÂłĂ&#x203A;Ă? ÂłĂ&#x203A;Ă&#x2030;¨Í ĂŁĂ&#x2021; ü³ïĂ?ÂłĂ?ĂĄĂľĂ&#x2122; ĂŠÂťĂ&#x2026;Ă&#x2021;ĂŤĂĄĂąĂ&#x2021;Ă?: ºÍ ĂŁÂťĂ&#x2122; ĂŤĂ&#x2021;ùåþĂ&#x2122; ÂłĂ&#x203A;Ă&#x2030;³Ο³Ă?ĂĄĂľĂ&#x192;Ă&#x203A;ĂĄĂľĂ?, ĂŁÂťĂ&#x2122; ĂŤĂ&#x2021;ùåþĂ&#x2122; ³Íڝù: ²Ă?Ă&#x201C;ÂłĂ&#x2122;Îź Ă&#x2021;Ă?Ă&#x201C; Ă&#x2018;ÂłĂ&#x2122;³ù š³ Ă?ÂłĂ&#x203A;ù³Ă&#x2018;ÂťĂ&#x2022; Ă&#x2018;ÂłĂ&#x;Ă&#x2122;ÂłĂ?š³Ă&#x2122; Ă&#x2026;ÂłĂ?Ăą Âż, åùà Ă&#x;áíåþĂ&#x2122; Âż ĂĄĂŁ Ă&#x192;Âť Ă&#x2018;ÂłĂ?šĂ&#x2021;ͳïÍĂ&#x2021; ½¡³óĂ&#x2122;ĂĄĂľĂ?ĂšĂ?ùĂ&#x2021; ĂĄĂľ ½¡³óåĂ&#x2022;ĂĄĂľĂ&#x192;Ă&#x203A;ĂĄĂľĂ?Ă?ùĂ&#x2021;, ÂłĂ&#x203A;Ă&#x2030; Ο³Ă?ÂłĂ?ÂłĂ?ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ?, Ă?ĂąĂ&#x192;ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ?, Ă&#x2122;Ă&#x;ÂłĂ?ĂĄĂľĂ&#x192;ÂłĂ&#x203A;Ă&#x2021;Ă? Ă&#x2018;ÂłĂ&#x2122;³ïÚÍïĂ&#x2021; Ă&#x2018;ï, Ă&#x2021;ĂŤĂ? šù³Ă?Ăš Ă&#x2122;Ă&#x2021;Ă&#x;ĂŻ åùåĂ&#x;ÂłĂ?Ă&#x2021; Ă&#x2018;ĂĄĂľĂ&#x;ĂĄĂľĂ&#x2122;Ă?ù ÂťĂ? ĂĄĂľ Ă&#x2122;ĂŻÂłĂ&#x203A;Ă&#x2021;Ă? Ă&#x2018;ÂłĂ?ÂťĂ&#x2030;ĂĄĂľĂ?Ă?ùª Ă&#x2021;ùĂ?Ăł Ă&#x2030;ĂĄĂľĂ?ĂĄĂľĂ&#x2122;Ă?ùåí, åùåĂ?Ăš Ă&#x2021;Ă?Ă&#x201C; ³Ê³Ă?Ă&#x201C;Ă?³üÍ Ă&#x2018;ï³ÚùÚĂ&#x2021;Ăą ĂŁÂťĂ?: ĂŞĂ?ĂĄÎźĂ&#x2021;½Ă&#x2122;Ă&#x2021; ï³ùù¹ù Ú ïÍĂ?ĂĄĂľĂ&#x2122; ÂłĂ&#x203A;š ÂłĂ&#x2122;ÂťĂ?Ă&#x2021; Ă&#x2122;ç: œåþó¨ ĂŤĂ?ĂĄÎźĂ&#x2021;½Ă&#x2122;Ă&#x2021;, Ο³Ă&#x203A;Ăł ³íĂ&#x2030;Ă&#x2021; Ă&#x;³ï Ă&#x2018;ÂłĂ?ÂťĂ&#x2030;ĂĄĂľĂ?Ă?ùĂ&#x2021;, åùåĂ?Ăš Ă&#x2018;ÂłĂ?šĂ&#x2021;ͳïÍà üïÚ Âż Ă&#x2030;ĂĄĂľĂ?Ă&#x2021; ¨ ĂŤĂŻÂłĂ?Âł Ă&#x2018;ÂłĂ&#x2014;ĂĄĂľĂ&#x203A;Ăš ÂłĂ&#x203A;š á³ÍïĂ&#x2021;Ăł: Ă&#x2020;Ă?Ă&#x201C; Ă&#x2018;ÂłĂ&#x2122;³ù ³íĂ&#x2030;Ă&#x2021; Ă?³ù¨åù Âż Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;Ă&#x2021; Ă&#x2018;ï ½¡³óĂ&#x2122;ĂĄĂľĂ?Ú³Ă&#x203A;Ă&#x2021;Ă? Ă&#x;áåþĂ&#x2122;Ă : ĂŽĂ­Ă&#x203A;ÂłĂ&#x2030; šüÚåþĂ&#x2122; Ă&#x;áåþĂ&#x2122;Ă Ă?ĂĄĂ?Ă?ùï ¡Ă&#x2030;Ă&#x2039;³íåù Ă&#x2018;ùåÍĂ?ùĂ&#x2021;ÂŞ ĂşĂ&#x2030;¡Ă&#x2021; ¨ Ă&#x17D;³ïĂ&#x203A;ÂłĂ&#x203A;Ă&#x2021;, åùåĂ?Ăš ĂĄĂŁ ÎźĂ&#x2021;ÎźĂ&#x2030;Ă&#x2021;ÂłĂ?ÂłĂ? ĂşĂ&#x2030;¡ ¨ Ă&#x17D;³ïĂ&#x203A;Âł ÂťĂ?, ĂĄĂŁ Ă&#x2018;Ă&#x2021;Ă? Ă&#x2018;ĂĄĂľĂ?ÂłĂ?ÂłĂ?, ÂłĂ&#x203A;Ă&#x2030; åùåĂ&#x;ÂłĂ?Ă&#x2021; ĂşĂ&#x2030;¡ ¨ Ă&#x17D;³ïĂ&#x203A;Âł, åùåĂ&#x;ÂłĂ?Ă&#x2021; Ă&#x161;³ùåÍĂ&#x2030;³í Ú³Ă&#x2022;³ÚĂ&#x2021;Ăł, åíڝù ½Ο³Ă&#x2022;Ă­ĂĄĂľĂ&#x2122; ÂťĂ? Ă&#x2021;ùĂ?Ăł åùåĂ&#x;ÂłĂ?Ă&#x2021; ÎźĂ&#x2026;Ă&#x;Ă?ÂłĂ?ÂłĂ? ¡åùĂ?ĂĄĂľĂ?åþĂ&#x192;Ă&#x203A;ÂłĂ&#x2122;Îź:

INTERVIEW 5

´à ðĂ&#x2020;ĂŞ Ă&#x160;Ă&#x2C6;º´Ă&#x153;Ă&#x2020;Ă&#x17D;Ă ĂŹ èåþͳÍï³Ă?ĂĄĂľĂ&#x2122; §Ă&#x17D;Ă&#x2021;Ă?åï³íùŒ Ă&#x2DC;Ă&#x17D;Ăś Ă&#x2030;³í³¡åþĂ&#x203A;Ă? Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122; Ă&#x2014;ÂłĂ?³ãíĂ&#x2030;åþó Ă&#x2018;ïå ´åùĂ&#x2021;ĂŤ Ă&#x160;Ă&#x2030;ΟĂ?Ă&#x2021;Ă?ĂĄĂ­Ă&#x2021; §²ÊĂ&#x2021;Ă&#x192;Ă&#x2122;Ă&#x2021;ÂłĂ?ÂŚ ĂĄĂľĂ&#x2022;¨åùíó Ă&#x17D;³ÊĂ&#x2030;ĂĄĂ­Ă&#x2021; ϳùĂ&#x2021;Ă&#x2021; Ă&#x2DC;Ă&#x17D;Ăś, åùïĂ&#x2022; Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;Ă&#x2021; ¡Ă&#x2030;Ă&#x2039;³íåù Ă&#x2018;ùåÍĂ&#x2021;ÂŞ ĂşĂ&#x2030;¡Ă&#x2021; šùà Ă&#x2122;³ùĂ&#x2122;Ă?³íåù³Ă? šù³Í³Ă? ²Ă&#x2030;ÚͳĂ?šù Ă&#x161;³óĂ?Ă?ĂĄĂ&#x203A;Ă&#x2021; šù³Í³Ă?ÂłĂ?ÂłĂ? Ă&#x2039;ÂłĂ&#x2022;Ă Ă?ĂĄĂľĂ&#x203A;Ă?üÍ Ă&#x2014;ÂłĂ?³ãíó Ă&#x2030;³í³¡åþĂ&#x203A;Ă?Ă : ´åùĂ&#x2021;ĂŤ Ă&#x160;Ă&#x2030;ΟĂ?Ă&#x2021;Ă?ĂĄĂ­Ă&#x2021; Ă?ĂĄĂą ÂłĂ&#x;Ă&#x2039;³ï³Ă?Úà Ă&#x;³ïùĂ&#x2021; ĂĄĂľĂ&#x;³šùåþĂ&#x192;Ă&#x203A;ÂłĂ? Ă?ÂťĂ?ïùåĂ?ĂĄĂľĂ&#x2122; ¿ª Ă&#x192;° ĂŻĂ&#x2021;ĂĽĂ&#x2021;Ă? Ă&#x2018;ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?ÂłĂ&#x203A;Ă&#x2021;Ă? Ă?Ă&#x2021;Ă?ĂĄĂ&#x203A;Ă&#x2021;, Ă&#x192;° Ă&#x2026;ÂłĂ?ù³Ă&#x203A;Ă&#x2021;Ă? Ă&#x2122;ÂťĂ&#x2030;åšù³Ă&#x2122;ÂłĂ?ùĂ&#x2021; ĂŤĂ&#x2021;ù³Ă&#x2018;³ùĂ?ùĂ&#x2021; Ă&#x;ùç³Ă?ĂĄĂľĂ&#x2122;, Ú³Ă?Ă&#x2021; ĂĄĂą Ă?Âł ÊåþͳÍï³Ă?Ă&#x203A;ÂłĂ? ÂłĂ&#x203A;Ă? ĂŠÂťĂ&#x2026;Ă&#x2021;ĂŤĂĄĂąĂ?ùĂ&#x2021;Ăł Âż, ĂĄĂ­ ÂłĂ?Ă Ă?šĂ&#x2018;³ï Ă&#x2018;³í³Í³ù³Ă?Ă&#x;ĂŠĂĄĂľĂ&#x2122; Âż Ă&#x2018;ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?ÂłĂ&#x203A;Ă&#x2021;Ă? Ă&#x201C;Ê³¡Ă&#x2021;ĂąĂ? ĂĄĂľ ½³Ă?¡í³Ă?ÂłĂ&#x203A;Ă&#x2021;Ă? Ă?Ă&#x2021;Ă?ĂĄĂ&#x203A;Ă&#x2021; Ă&#x2030;½åþĂ?, í³íù³¡ù³Ă?ÂłĂ?ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ? ³ÍïĂ&#x2021;Ă&#x2014;ÂłĂ?Ă&#x2021; šù³Í³Ă?ÂłĂ?ÂłĂ? Ă&#x2039;ÂłĂ&#x2022;Ă? ĂĄĂľ Ă&#x2039;ÂłĂ&#x2022;³ùĂ?ÂłĂ&#x203A;Ă&#x2021;Ă? Ă?Ă&#x2021;Ă?ĂĄĂ&#x203A;Ă&#x2021; Ă&#x2039;ÂłĂ&#x2022;Ă&#x2021; Ă?ÂłĂ?ĂĄĂ?Ă?ùà : §²ÊĂ&#x2021;Ă&#x192;Ă&#x2122;Ă&#x2021;ÂłĂ?ÂŚ ÂżĂ&#x2030; Ο³ó³ÊåþĂ&#x192;Ă&#x203A;ĂĄĂľĂ? 㿪 Ă&#x2021;Ăą ó³Ă&#x203A;ĂŻĂĄĂľĂ? ĂĄĂľ Ă&#x2021;ù³Ă?ÂłĂ? ½¡³óåĂ&#x2022;ĂĄĂľĂ&#x192;Ă&#x203A;ĂĄĂľĂ?Ă?ùåí ¨ ÂłĂ?Ă&#x192;³ÚåþĂ&#x203A;Ăł ³üùåþĂ&#x2122;ÂłĂ?ĂłĂ&#x2122;ÂłĂ&#x2122;Îź: âĂ?ÂłĂ&#x203A;ÂłĂ? ü³ïĂ&#x2122;ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ? Ă&#x2018;ĂŤĂŻÂłĂ? ĂĄĂľ ĂŤÂłĂ&#x2018;ĂĄĂľĂ? Ă Ă?Ă&#x192;³óÚĂ&#x2021;Ă?` Ă&#x;³ïùà ýĂ&#x2021;Ă&#x2030;Ă&#x2122;ĂĄĂľĂ&#x2122; ĂŻÂťĂ&#x2022;Ă&#x2021; ĂĄĂľĂ?óåĂ&#x2022; ïÍ³ù³Ă?Ă?ùà Ă&#x2122;ÂťĂ?Ă?³Ο³Ă?ĂĄĂľĂ&#x2122; ÂťĂ? åùüÍ ĂŤĂĄĂłĂ&#x2021;ÂłĂ&#x2030;-Ú³Ă&#x2022;³Ú³Ă?ÂłĂ? ÂłĂ&#x203A;Ă&#x2030;³Ο³Ă?ĂĄĂľĂ&#x192;Ă&#x203A;ĂĄĂľĂ?Ă?ù, Ă&#x2021;ĂŤĂ? íùĂ?³¡Ă&#x2021;ùà ª ÂłĂ&#x2039;ïåùåĂ&#x;ĂĄĂľĂ&#x2122;:

Were you guided by the title Arrhythmia as you were making artistic decisions, or was it the other way around? $V IDU DV ,ÂśP FRQFHUQHG WKLV ÂżOP LV GHYRLG RI DQ\ DOOHJRries. We were against metaphors as a principle, and have always said that this is merely a personal story. I donâ&#x20AC;&#x2122;t like the title Arrhythmia that much, to be honest. It leads the viewer on a quest for symbols, double meanings, layers and generalizations. But step by step we got used to the word and in the end we just moved on. ,V LW LPSRUWDQW WR \RX WKDW WKH ÂżOP LV XQGHUVWRRG LQ WKH way you understand it yourself? Or do you accept the theRU\ WKDW DV VRRQ DV D ÂżOP UHDFKHV WKH VFUHHQ LW QR ORQJHU belongs to its author?

I just donâ&#x20AC;&#x2122;t like allegories and I donâ&#x20AC;&#x2122;t like parables or fables. For me that is an extremely invalid genre which speaks to the audience not by conveying feelings or emotions, but through rationality and didacticism, and which always demands that the audience is already aware of the relevant cultural context. These are like hints or riddles that have concrete solutions and Iâ&#x20AC;&#x2122;m not interested in that.

'R \RX ÂżQG WKDW VRUW RI VWXII VQREELVK" Perhaps there are elements of snobbism there, too, but as I said these are just riddles the audience has to solve so that they can then feel proud for doing so. Iâ&#x20AC;&#x2122;m more interested in having an emotional conversation with the viewer. In this case, the conversation about the concrete characters of Oleg and Katya, which do not reference any Biblical Oleg and Katya, and neither are they based on some Ancient Greek leJHQG 7KH\ÂśUH WKLV VSHFLÂżF 2OHJ DQG .DW\D ZKR OLYH LQ WKH VSHFLÂżF 5XVVLDQ FLW\ RI <DURVODYO DQG KDYH D VSHFLÂżF RFFXSDWLRQ LQ WKH PHGLFDO ÂżHOG

ºí Ă&#x;³ïùà Ă&#x2018;ÂłĂ&#x2122;³ùåþĂ&#x2122; ÂťĂ?, ĂĄĂą §²ÊĂ&#x2021;Ă&#x192;Ă&#x2122;Ă&#x2021;ÂłĂ?ÂŚ Ă&#x2019;ù ÂłĂ&#x2122;ÂťĂ?³½¡³óĂ&#x2122;ĂĄĂľĂ?Ú³Ă&#x203A;Ă&#x2021;Ă? Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;Ă? Âż: Ă&#x2DC;Ă&#x2021; Ă?ĂĄĂ&#x2022;Ă&#x2122;Ă&#x2021;Ăł ó³Ă?Ă?ÂłĂ?ĂĄĂľĂ&#x2122; ÂżĂ&#x2021; ĂŤĂŻÂťĂ&#x2022;Ă?ÂťĂ&#x2030; í³Ê ³ùï³Ă&#x2018;ÂłĂ&#x203A;ĂŻĂ­ÂłĂ? í³íù³¡ù³Ă?ÂłĂ? Ă&#x2122;Ă&#x192;Ă?ĂĄĂ&#x2030;åùï` ³ùĂ&#x2018;Íï³Ă?ÂłĂ?åùĂ? §ãͳĂ?ùí³Ă?ÂŚ Ă&#x2018;ùåÍĂ?ùåí ĂĄĂľ Ă?ÂťĂ?ó³Ă&#x2022;ĂĄĂ­, Ă&#x2122;Ă&#x203A;åþÍ Ă?ĂĄĂ&#x2022;Ă&#x2122;Ă&#x2021;Ăł åþ½åþĂ&#x2122; ÂżĂ&#x2021;, ĂĄĂą Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;Ă? ĂĄĂľĂ?ÂťĂ?³ù Ă&#x2026;ÂłĂ?ù³Ă&#x203A;Ă&#x2021;Ă? Ă?³Êåþóí³Ă?Úª šù³Ă&#x2122;Âł ¨ Ă&#x2122;ÂťĂ&#x2030;åšù³Ă&#x2122;Âł: Ă&#x160;Ă?šĂ&#x2021;ùà Ă&#x2018;ÂťĂ?Ăł ÂłĂ&#x203A;ĂŤ Ă&#x2122;Ă&#x2021;ÂłĂ&#x201C;ĂĄĂľĂ&#x2030;Ă&#x2122;ÂłĂ? Ă&#x2122;ç ¿ùª Ă&#x2018;ÂłĂ&#x2122;³ïĂ&#x2022;ÂťĂ&#x2030; Ă&#x2026;ÂłĂ?ù³Ă&#x203A;Ă&#x2021;Ă? Ă?ÂłĂ?ĂĄĂ?Ă?ùåí ü³ïåþĂ&#x2122;à í³íù³¡ù³Ă?ÂłĂ? ïÍ³Ă?Ă&#x2021; Ă?Ă?³ù³Ă&#x2018;ÂłĂ?ĂĄĂľĂ&#x2122;Ă?ùĂ&#x2021; Ă&#x2018;ï:

Indeed, many critics have called Arrhythmia your most HPRWLRQDO ÂżOP 'LG WKH LQYROYHPHQW RI FR ZULWHU 1DWDO\D Mechshaninova have something to do with that?

Certainly Mechshaninovaâ&#x20AC;&#x2122;s involvement was crucial for WKLV ÂżOP 6KH EURXJKW KHU XQLTXH WRXFK WR LW 2Q WKH RQH KDQG I wanted to create an expressively authentic mood with â&#x20AC;&#x153;unÂżOWHUHG´ KHURHV DQG HQYLURQPHQWV $QG RQ WKH RWKHU KDQG , ZDQWHG WKH ÂżOP WR EH EDVHG RQ WKH JHQUH VWUXFWXUH RI D GUDPD or even a melodrama. For me, my job was to make this synthesis happen by combining genre conventions with documentary-style shooting.

´åĂ&#x2030;åùà Ă&#x2039;ĂĄĂŤĂĄĂľĂ&#x2122; ÂťĂ? Ă&#x2019;ù Ă?Ă&#x;ÂłĂ? í³íù³¡ù³Ă?ÂłĂ? šù³Í³Ă?ÂłĂ?ÂłĂ? Ă&#x2039;ÂłĂ&#x2022;Ă&#x2021; Ă&#x2122;³ÍĂ&#x2021;Ă?: Ă&#x20AC;ĂŤĂŻ Ă&#x2019;½ª ÂłĂ&#x203A;Ă&#x2030; šù³Í³Ă?Ă?ùĂ&#x2021; šüÚåþĂ&#x2122; Ă?Ă?³ùåĂ&#x2022;ÂłĂ?ÂłĂ&#x203A;Ă&#x2021;¹Ú Ă?ĂĄĂľĂ&#x203A;Ă? ³ùšĂ&#x203A;ĂĄĂľĂ?ĂšĂ&#x2021;Ă? Ă&#x2018;³ÍĂ?ÂťĂ&#x2030;: Ă ĂŁ Ă&#x2122;Ă&#x2021; šüÚåþĂ&#x2122;: ºÍ ĂŁÂťĂ&#x2122; Ă&#x2018;³í³ïåþĂ&#x2122; ĂŠÂťĂ&#x2026;Ă&#x2021;Íåþù³Ă&#x203A;Ă&#x2021; Ă?Ă&#x2122;ÂłĂ? Ă&#x2018;½åùåþĂ&#x192;Ă&#x203A;ÂłĂ?Ă : ²Ă&#x2030;ÚͳĂ?šù Ă&#x161;³óĂ?Ă?ĂĄĂ&#x203A;Ă&#x2021;Ă? Í Ă&#x;³ï Ă­ÂłĂ&#x2022;åþó ¡Ă&#x2021;ĂŻÂťĂ&#x2122;, ĂŤÂłĂ?ÂłĂ&#x203A;Ă? ÂłĂ&#x203A;ĂŤ ÂłĂ?¡³Ă&#x2122; ³Ê³ç³ó³í Ă&#x2122;Ă&#x2021; šĂ&#x2026;í³ùåþĂ&#x192;Ă&#x203A;ĂĄĂľĂ?, åùà Ă?³üí³Ă? ¿ù ÂłĂ&#x203A;Ă? Ă&#x2018;ÂłĂ?¡³Ă&#x2122;ÂłĂ?ĂšĂ&#x2021; Ă&#x2018;ï, ĂĄĂą Ă&#x2021;Ă&#x2122; ü³ïĂ?ù³óù³Ă? Ă?ùü³ùà 28-29 ï³ùĂ?ÂłĂ? Âż, Ă&#x2122;Ă&#x2021;Ă?㚝Ê Ă&#x161;³óĂ?Ă?ĂĄĂ? šù³Ă?Ă&#x2021;Ăł Ă&#x2122;ĂĄĂŻ ï³Íà ï³ùåí Ă&#x2122;ÂťĂ? Âż: ºí Í Ă&#x2122;ĂĄĂŻ Ă?Í ï³ùĂ&#x2021; áĂ?ïùåþĂ&#x2122; ÂżĂ&#x2021; Ă&#x2021;Ă&#x2122;ÂŞ ³íĂ&#x2030;Ă&#x2021; ùĂ&#x2021;ï³Í³ùš Ă&#x161;³óĂ?Ă?ĂĄĂ&#x203A;Ă&#x2021;Ă?: ²ùšĂ&#x203A;ĂĄĂľĂ?ÚåþĂ&#x2122; ĂŻÂťĂ&#x2022;Ă&#x2021; ĂĄĂľĂ?ó³í ùĂ?ĂĄĂľ Ο³Ă?. Ă?ÂłĂ&#x2039;` Í ã¡ï³ ³íĂ&#x2030;Ă&#x2021; ùĂ&#x2021;ï³Í³ùš Ă&#x161;³óĂ?Ă?ĂĄĂ&#x203A;Ă&#x2021;, ĂĄĂľ ùĂ?ùåùšà ª ĂşĂ&#x2030;¡à üïÚ Âż Ă&#x2030;Ă&#x2021;Ă?Ă&#x2021; ³íĂ&#x2030;Ă&#x2021; Ă&#x2122;ÂťĂ?, ÂłĂ&#x203A;ĂŤĂ&#x2021;Ă?ĂšĂ?ÂŞ ÂłĂ&#x203A;Ă?Ú³Ă?, åùÚ³Ă? ĂĄĂą Ă&#x161;³óĂ?Ă?ĂĄĂ? Ă&#x2018;Ă&#x2021;Ă&#x2122;Âł Âż: Ă&#x17D;Ă?åç Ă?ùü³ùĂ&#x2021; Ă&#x2018;ï Ă?ĂĄĂľĂ&#x203A;Ă?üÍ Ă?³ù Ă&#x2039;Ă?šĂ&#x2021;Ăą, ĂĄĂą šùĂ&#x2030; ÂżĂ&#x2021; Ă&#x2021;Ă&#x2122; ¨ šù³Í³Ă?ĂĄĂľĂ&#x2018;ĂĄĂľ ³Êç¨, ÂłĂ&#x203A;Ă? ¿ª ³ùšĂ&#x203A;ĂĄĂľĂ?ÚåþĂ&#x2122; ĂŤĂŻÂťĂ&#x2022;Ă?ÂťĂ&#x2030; ĂĄĂŁ Ă&#x192;Âť ¡Ă&#x2030;Ă&#x2039;³íåù Ă&#x2018;ùåÍĂ&#x2021; Ă?Ă?åç Ă?ùü³ù, ÂłĂ&#x203A;Ă&#x2030; Ă&#x2018;³í³Í³ù³½åù Ă&#x2018;ùåÍ, ĂĄĂ­ ĂŁĂ&#x2021; ½Ă&#x2021;çĂ&#x2021; Ă&#x2122;Ă&#x203A;åþÍĂ&#x2021;Ă? Ă&#x2021;Ăą Ă&#x203A;åþù³Ă&#x2018;³ïĂ?ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ&#x2122;Îź ĂĄĂľ ÂłĂ?Ă&#x2018;³ï³Ă?ÂłĂ?ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ&#x2122;Îź: Ă&#x17D;³ùĂ?ĂĄĂľĂ&#x2122; ÂťĂ&#x2122;ÂŞ Ă&#x2020;ĂąĂ&#x2021;Ă?Âł œ³ùΟ³ãåí³Ă&#x203A;Ă&#x2021;Ă? š³ Ă&#x2018;³çåĂ&#x2022;íó:

Everybodyâ&#x20AC;&#x2122;s talking about the authenticity of your acWRUV 'R \RX WKLQN \RX VWLOO ZRXOGÂśYH EHHQ DEOH WR DFKLHve that with anyone other than Alexander Yatsenko and Irina Gorbachova?

Never. I donâ&#x20AC;&#x2122;t believe directors are all-powerful like that.

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Ă&#x201E;ÂłĂ&#x2122;ÂłĂ?ÂłĂ?ÂłĂ?Ă&#x2021;Ăł Ă?Ă&#x2021;Ă?ĂĄĂšĂ?Ă?³š³ïåþĂ&#x192;Ă&#x203A;ÂłĂ? Ă&#x2122;ç Ă Ă?šåþĂ?Ă­ÂłĂ? Âż ÂłĂ?¡³Ă&#x2122; Ă&#x2026;ÂłĂ?ù³Ă&#x203A;Ă&#x2021;Ă? Ă?Ă&#x2021;Ă?ĂĄĂ? ³Ê³çĂ&#x2021;Ă? Ă&#x2018;ùĂ&#x192;Ă&#x2021;Ă? íùĂ&#x2030;ĂĄĂľĂ?ÂťĂ&#x2030; Ú³Ă&#x2022;³Ú³Ă?ÂłĂ? Ă&#x2018;ÂłĂ&#x2122;³ïÚÍïåþĂ&#x2122;: Ă&#x17D;ĂĄÂąĂ&#x2022;Ă&#x2122; Ú ³ùšĂ&#x203A;ĂĄĂš, ĂĄĂą Ă&#x2019;ù Ă˝Ă&#x2021;Ă&#x2030;Ă&#x2122;à šĂ&#x2021;ï³ùĂ?Ă­Ă&#x2021; Ă&#x2018;ÂťĂ?Ăł ÂłĂ&#x203A;š ïÍ³Ă?Ă?Ă&#x203A;ĂĄĂľĂ?Ă&#x2021;Ăł: ²Ă&#x203A;ĂŤ ³ÊåþĂ&#x2122;ĂĄĂ­ Ă&#x2021;Ă?Ă&#x201C; Ă&#x;³ï Âż šåþù ¡³Ă&#x2030;Ă&#x2021;ĂŤ Ă&#x161;³óĂ?Ă?ĂĄĂ&#x203A;Ă&#x2021; Ă&#x2122;³ùĂ&#x2122;Ă?³íåù³Ă? Ă?ùü³ùà : Ă&#x153;Âł Ă&#x2030;ĂąĂ&#x2021;Ă­ ³ü³Ú³Ă&#x2022;³Ú³Ă?ÂłĂ? Ă&#x2122;³ùš Âż: ²Ă&#x2122;ΟåĂ&#x2022;çåíĂ&#x2021;Ă? ÂłĂ?ï³ùϝù Âż ó³Ă?Ă?³ó³Ă? Ο³ùáåĂ&#x2039;ĂĄĂľĂ&#x2122;Ă?ùĂ&#x2021;, Ă&#x2021;Ă&#x;Ă&#x2039;ÂłĂ?ĂĄĂľĂ&#x192;Ă&#x203A;ÂłĂ?, Ă&#x2022;ÂťĂ?³í³ùåþĂ&#x192;Ă&#x203A;ÂłĂ? ĂĄĂľ Ă?Ă&#x2122;ÂłĂ? Ο³Ă?ùĂ&#x2021; Ă&#x2018;ÂłĂ?šü: Ă&#x153;ù³Ă? Ă?³ùĂ&#x2030;Ă&#x2021; Âż Ο³Ă&#x2039;ï³íåù Ă&#x2018;ÂłĂ&#x2122;³ùĂ&#x2030;, Ú³Ă?Ă&#x2021; ĂĄĂą Ă?Âł ½Ο³Ă&#x2022;Ă­ĂĄĂľĂ&#x2122; Âż Ă&#x2014;Ă&#x2021;Ă&#x;ĂŻ ÂłĂ&#x203A;Ă? ¡åùĂ?ĂĄĂ­, åùåí ĂĽĂ&#x2021;ĂŻĂ&#x2021; ½Ο³Ă&#x2022;íù: Ă&#x153;Âł ÂłĂ&#x203A;š ³ÊåþĂ&#x2122;ĂĄĂ­ Ă&#x;³ï ùç³Ă?Ă&#x2021;Ă? Âż ĂĄĂľ ³½³ï: ´³Ă&#x203A;Ăł, ³ùĂ&#x2021; ĂĄĂľ ïÍ, ĂĄĂą ÂłĂ&#x203A;š šüÚåþĂ&#x2122; ¨ ¡åþó Ă&#x2018;ÂťĂ?Ăł ÂłĂ&#x203A;š ü³ïĂ&#x2014;³Êåí Ă&#x2022;ÂťĂ?³í³ùåþĂ&#x192;Ă&#x203A;ĂĄĂľĂ?Ă? Âż ĂŤĂ?ĂŤĂĄĂľĂ&#x2122; Ă?Ă?³ïĂ&#x2030; Ă?ù³Ă?, ¨ Ă?ù³ª Ă&#x2022;ÂťĂ?³í³ùåþĂ&#x192;Ă&#x203A;ÂłĂ? Ă&#x2018;ÂłĂ?šü ĂĄĂľĂ?ó³Ă? ³½³ïåþĂ&#x192;Ă&#x203A;ĂĄĂľĂ?Ă? ĂĄĂľ ÂłĂ?ï³ùϝùåþĂ&#x192;Ă&#x203A;ĂĄĂľĂ?Ă Ă&#x2021;Ă?ĂšĂ?Ă&#x2021;Ă? ĂĄĂľ ÂłĂ?ÂłĂ&#x2122;Âł ĂŤĂ?ĂŤĂĄĂľĂ&#x2122; ÂťĂ? Ă&#x2018;ÂłĂ?³šùíĂ&#x2030; Ă&#x2022;ÂťĂ?³í³ùåþĂ&#x192;Ă&#x203A;ÂłĂ?Ă? ĂĄĂľ Ă?ù³ Ă?ĂĄĂ&#x2022;Ă&#x2122;Ă&#x2021;Ăł Ă&#x2021;ù³Ă?ÂłĂ?³óíåĂ&#x2022; Ο³ùáåĂ&#x2039;ĂĄĂľĂ&#x2122;Ă?ùĂ&#x2021;Ă?: ²Ă&#x203A;ĂŤ ³ÊåþĂ&#x2122;ĂĄĂ­ Ă&#x2022;ÂťĂ?³í³ùåþĂ&#x192;Ă&#x203A;ÂłĂ? Ă&#x2018;ÂłĂ?šü ÂłĂ?ï³ùϝù ÂłĂ?Ă&#x2018;³ïĂ?ùà Ă&#x2018;ÂłĂ&#x2014;ÂłĂ&#x2039; Ă&#x2018;ÂłĂ&#x2122;ÂłĂ?³ù¡Ă&#x2021; Ă&#x2018;ÂłĂ&#x2122;³ù ³íĂ&#x2030;Ă&#x2021; Ă­ĂŻÂłĂ?¡³íåù ÂťĂ?, Ú³Ă? ÂłĂ&#x203A;Ă&#x2030;ÂłĂ&#x2039;ĂĄĂ&#x2018;Ă?ùà : ²Ă&#x203A;Ă&#x2030;ÂłĂ&#x2039;ĂĄĂ&#x2018;Ă Ă&#x2018;ĂŤĂŻÂłĂ? Ă?ĂĄĂ&#x2022;Ă&#x2122;Ă?åùåĂ&#x;ĂĄĂľĂ&#x2122; ĂĄĂľĂ?Ă&#x2021; Ă&#x2021;Ăą ĂĽÂłĂ&#x203A;Ú³ùåþĂ&#x2122; ĂĄĂľ Ă?ÂłĂ&#x203A;ĂĄĂľĂ&#x2122; Âż ÂłĂ&#x2122;ÂťĂ? Ă&#x2021;Ă?ĂŁĂ&#x2021;Ă? Ă&#x2021;Ăą ÂłĂ&#x203A;š Ă?ĂĄĂ&#x2022;Ă&#x2122;Ă?åùåĂ&#x;Ă&#x2122;ÂłĂ? ïÍ³Ă?Ă?Ă&#x203A;ĂĄĂľĂ?Ă&#x2021;Ăł, Ă&#x2021;ĂŤĂ? Íåíåù³Ă?ÂłĂ? ÂłĂ&#x203A;Ă? Ú³Ă&#x2022;³Ú³óĂ&#x2021;Ă?, ĂĄĂ­ ³üùåþĂ&#x2122; Âż Ă&#x2021;Ăą ÎźĂ?ÂłĂ?ÂłĂ?ĂĄĂ? ³½³ï Ă&#x2018;ĂĄĂľĂ?ĂĄĂ­ ĂĄĂľ ¡Ă&#x2021;ĂŻÂłĂ?ó³Ο³ù Ă Ă?š¡ùĂ?Ă­ÂłĂ? ĂŁÂż ÂłĂ&#x203A;š ĂĽÂłĂ&#x203A;Ú³ùĂ&#x2021; Ă&#x2122;ç, Ă&#x2018;Ă&#x2021;Ă&#x2122;Ă?ÂłĂ?ÂłĂ?ĂĄĂľĂ&#x2122; š³ÊĂ?ĂĄĂľĂ&#x2122; Âż ÂłĂ&#x203A;Ă&#x2030;ÂłĂ&#x2039;ĂĄĂ&#x2018;Ă&#x2021;Ăł ÂżĂ&#x2030; ³íĂ&#x2030;Ă&#x2021; ïÍåþĂ?ÂłĂ?, Ă&#x2018;ï¨³Ο³ùª Ă&#x2018;ÂłĂ&#x2122;ÂłĂ?³ù¡Ă&#x2021; Ă&#x2018;ÂłĂ&#x2122;³ù ÂżĂ&#x2030; ³íĂ&#x2030;Ă&#x2021; Ă­ĂŻÂłĂ?¡³íåù: Ă&#x17D;² §²ÊĂ&#x2021;Ă&#x192;Ă&#x2122;Ă&#x2021;³Œ (èåþͳÍï³Ă?/ ĂźĂ&#x2021;Ă?Ă&#x2030;ÂłĂ?šĂ&#x2021;Âł/ œùĂ&#x2122;ÂłĂ?Ă&#x2021;Âł, 2017), 20:30ÂŞ §Ă&#x17D;Ă&#x2021;Ă?åü³ùĂ?ÂŚ

BORIS KHLEBNIKOV Boris Khlebnikov studied biology for two years before he was admitted to Moscowâ&#x20AC;&#x2122;s famous film school VGIK. His feature directing debut, Roads to Koktebel (2003, co-directed by Aleksey Popogrebsky) won the FIPRESCI debut prize at the Moscow International Film Festival, and his six films as a solo director since then have all been awarded all over the world as well.

His latest film Arrhythmia won the Grand Prize at the Kinotavr film festival in Sochi, where it had its world premiere last June, as well the award for Best Actor for its star Alexander Yatsenko later that month at the prestiguous Karlovy Vary film festival. Khlebnikovâ&#x20AC;&#x2122;s new work again manages to find a balance between a distinct authorial style and the language of popular cinema, between almost documentary acting and the mannerisms of fiction. Despite offering a very concrete story, many see Arrhythmia as a social-political allegory â&#x20AC;&#x201C; and the filmâ&#x20AC;&#x2122;s title as a diagnosis.

Is having a happy ending a risky decision for an arWKRXVH ÂżOP" As I said, I donâ&#x20AC;&#x2122;t feel that Arrhythmia is totally an arthouse ÂżOP %HVLGHV LI WKLV VWRU\ HQGHG DQ\ RWKHU ZD\ WKH ZKROH ÂżOP ZRXOGÂśYH EHHQ SRLQWOHVV 7KHUHÂśV D WUHQG LQ PRGHUQ ÂżOP FULWLFLVP WR LQWHUSUHW HYHU\WKLQJ IURP D SROLWLFDO VWDQGSRLQW 'R \RX WKLQN LWÂśV IDLU WR ORRN DW \RXU ÂżOP IURP WKDW SRLQW RI YLHZ" ,Q WKDW VHQVH , OLNH <DWVHQNRÂśV FKDUDFWHU YHU\ PXFK 2OHJ is a totally apolitical person. He doesnâ&#x20AC;&#x2122;t care about any reforms, the government, his boss, or anything like that. One can say heâ&#x20AC;&#x2122;s a lucky guy, because he does exactly the work that he wants to be doing. In that regard, heâ&#x20AC;&#x2122;s happy and free.

But it turns out that even when that is the case â&#x20AC;&#x201C; or maybe precisely because this is the case â&#x20AC;&#x201C; his boss starts to notice him. So without him wanting it, his freedom from and indifference towards the leadership inevitably results in a clash with that leadership and the reforms they are carrying out. In that sense, people who donâ&#x20AC;&#x2122;t care about the higher-ups can be more dangerous for the system than dissidents. The dissidents have a concrete viewpoint in their struggle and see everything from that limiting viewpoint. But ordinary, free people, who live their life just being themselves and are not consciously engulfed in that struggle, usually become more perceptive than the dissidents. And therefore they are more dangerous for the system. KA Arrhythmia (Russia/Finland/Germany, 2017).

Yerevan Premiere. 12-7 20:30 Kinopark.

GOLDEN APRICOT DAILY DAY 4 | 12 JULY | 2017

6 REVIEWS

A Train to Nowhere

Sharing Her Bed and Her Psyche

The Double Lover (François Ozon, France, 2017).Yerevan Premiere. 12-7 22:00 Moscow Cinema Red Hall, 14-7 20:30 KinoPark.

With his recent output François Ozon has proven himself to be among the most prolific and versatile directors in France right now. In just five years, he created a literary-story-turned-film-thriller (In the House), an unflinching drama about a middle class teen escort (Young and Beautiful), a pitch-black transgender comedy (The New Girlfriend) and a black-and-white WWI drama (Frantz).

His latest film is even more delirious and outrageous than all the previous ones combined. The Double Lover is Ozon’s tongue-in-cheek take on the psychological thriller, involving split personalities, attractive psychoanalysts and unnerving sex scenes. Young and Beautiful’s star Marine Vacth is back, this time playing Chloé, a young woman who has trouble feeling comfortable in her bo-

dy. Stomach problems eventually lead her to psychoanalyst Paul (Jérémie Renier), whose therapy helps alleviate the pain. Once the treatment is done, the undeniable attraction between Chloé and Paul leads to a relationship and marriage. Only then does Chloé find that while Paul knows everything about her, she knows nothing about him. In the supposed comfort of marriage, Chloé starts to feel insecure again. Soon enough the stomach problems return.

Leave it to Ozon to play by the rules of a genre, while still subverting them slightly. In The Double Lover he manages to shatter the expectations for a psychological thriller altogether, when twist after twist he peels off the layers of Chloé’s identity. This process starts when she finds Paul’s twin brother Louis, who is also a psychoanalyst, but of a different cut. Where Paul is tender, silent and understanding, Louis is rough, bold and dominant. Chloé shares her bed with both of them, having ordinary missionary sex with Paul while submissively role-playing with Louis.

Stop and Go (Ralph Kronauer & Giovanni Pannico, Germany/Italy, 2016). Documentary Competition. 12-7 10:00, 17:00 Moscow Cinema Small Hall 1.

This combination of sex and psychoanalysis with two different men who look the same (both Paul and Louis are played by Renier) seeps its way into Chloé’s psyche. Rather than curing her, Paul and Louis drive her deeper into her body, where traumatic secrets lie buried. The Double Lover is at its most exciting in its kaleidoscopic finale, where Chloé’s interior state opens up and those secrets start to spill out onto the screen. HE

A Slice of Daily Life The Day After (Hong Sang-soo, South Korea, 2017). Yerevan Premiere. 12-7 22:00 Moscow Cinema Blue Hall, 13-7 20:30 Kinopark.

South Korean director Hong Sang-soo has been steadily creating low-budget films since the mid1990s. In the last decade or so, has garnered him more and more attention from international film festivals and lovers of arthouse cinema alike, quickly cementing the 56-year-old director’s status in the annals of cinema history. And it seems his productivity is only increasing. For instance, Claire’s Camera starring Isabelle Huppert was shot in only eleven days, and is one of four films he released in a span of just eight months.

Among those four, The Day After is especially note-worthy. The film, selected in competition at this year’s Cannes film festival, follows the daily life of Bong-wan, the head of a publishing house. Since he spends most of his life in his office, the film also almost entirely takes place within these four walls. He’s visited there by his wife (their marriage has seen better days), by the mistress who has left him, and by his

“Once upon once there was the Balkan route”, an opening title in the documentary short Stop and Go says. In meticulously edited shots, some very factual and some bordering on impressionistic, the directors show refugees arriving in Europe carried to and fro, seemingly without destination. A column of immigrants stretches towards a station, which is shot in a way as if it itself is a train made of a flow of humans. A train to nowhere.

They arrive in buses or on foot. They are stopped, but later allowed to move on. They’ve been displaced, they've lost their homes and livelihood and they’ve lost themselves. They come empty-handed, only children in their arms. They come without knowing where they are or where to go next. They’ve run away from sudden revolutions and wars and a desperate existence.

Sometimes caring hands give out food and water when they arrive. They are called refugees. As victims of a humanitarian crisis, people feel sorry for them, but they don’t always welcome or sympathize with them. People are wary around them. Old walls may have crumbled, but new ones are erecting. Walls to isolate ourselves from them. An escalator moving upward becomes a symbol of a new and promising life – but not for all of them...

Filmmakers Ralph Kronauer and Giovanni Pannico succeed in creating this powerful image purely through observation, showing a deep artistic understanding of the processes happening in the world today. SG

The Singer Remains Silent new secretary – these three women somehow representing past, present and future. Still, hunting for metaphors and symbols in this film is far less important than simply being engrossed in the Bong-wan’s daily life, an existence drenched in alcohol and lust, sorrow and anxiety, long dialogues and meaningful pauses.

It might seem that the film is fragmentary and that the minimal span of the action might have been

A Widow and a Gun Prison of the Mind Requiem for Mrs. J (Bojan VuletLü, Serbia/ Bulgaria/Macedonia/Russia/France, 2017).

Feature Competition. 12-7 12:30, 13-7 17:00 Moscow Cinema Blue Hall.

Ghost Hunting (Raed Andoni, France/ Palestine/Switzerland/Qatar, 2017).

Documentary Competition. 12-7 12:00, 19:00 Moscow Cinema Small Hall 1.

There’s a very witty touch to the staging and framing of Requiem for Mrs. J. This reveals the film’s comedic intentions, which could otherwise easily be overlooked. Its depiction of life in a society struggling to find its bearings in the globalized world offers a bleak outlook on present-day Belgrade, although we should take into account that we’re seeing it all through the eyes of a fatally depressed woman.

Almost a year after her husband’s death, Mrs. J. StojkRYLü is left with no other desire than to die.

To complete her misery, she has also been made redundant at the factory where she worked for the last decade. The house she inhabits with her two daughters and elderly mother-in-law clearly shows signs of the apathy which has had her in its grip for the past twelve months, and the lack of homeliness has seeped into the family relations too. But Mrs. J’s resolve to end it all now requires her to spring into action, which she does with a melancholy calm that fits the purpose.

Her preparations send her along a range of professionals who demonstrate a striking indifference to her situation. After deciding against her original plan to shoot herself with her husband’s handgun, an attempt to get a drug prescription sets starts a descent into bureaucratic hell. Actress Mirjana KaranovLü’s abstracted look gradually appears to be the only natural option when facing a world that has become entirely incomprehensible to Mrs. J. Cruel as it is, Jelena StankovLü¶V cinematography still makes it look simply gorgeous. SK

How do you preserve your sanity when you live in an insane part of the world? This is one of the questions underpinning the films of Palestinian filmmaker Raed Andoni. In his debut film Fix ME (2009), Andoni discovers that his own psychosomatic issues are inevitably connected to Palestinians’ collective experiences with occupation and oppression.

His new film Ghost Hunting offers a captivating follow-up to this exploration of collective trauma.

With his own memories of the infamous Moscobiya prison in mind, Andoni places a casting call through which he gathers a group of men who become cast as

more suitable for a short film. Yet Hong Sang-soo is against compressing his stories and condensing his scripts. Because film is not just story, and it’s precisely this rhythm through which he is able to reach the ultimate identification of cinema with life.

By condensing a feature film to the necessary minimum, he creates an authenticity that goes beyond that of the average documentary film. KA

well as crew. Drawing from their recollections, they build a prison set in which they re-enact the most vivid memories of their incarceration. The moments they recall are often violent, sometimes redemptive.

One former prisoner explains how he would frequently dissolve into fits of laughter in his cell; humour would circulate among the prisoners almost as a last resort, an instinctive reflex to stay human.

The film focuses on isolated experiences instead of delving into the personal histories of the former detainees. Rightly so – their back stories might have only deflected attention from the politics of humiliation that underlie the detention of such large numbers of citizens. While the participants relive their experiences, the fictionalization of their past frequently betrays how very present their wounds remain. Even apart from the clearly therapeutic effect it has on the participants, this makes for fascinating viewing. SK

Alter Ego (Vigen Chaldranyan, Armenia, 2017). Feature Competition. 12-7 10:00, 19:30 Moscow Cinema Blue Hall.

Through the arts of poetry, literature, cinema and music, the characters in Vigen Chaldranyan’s Alter Ego explore what it means to be a victim of the Armenian genocide. In doing so they also explore the lasting effects it has had on following generations.

Edgar Novents (Vardan Mkrtchyan) is a writer and university lecturer who’s working on a book about Rev. Komitas, an influential Armenian composer. Komitas experienced and survived the genocide, but the experience left the musician and singer silent for the rest of his life. Novents's book is being adapted to the screen by a filmmaker (director Vigen Chaldranyan, playing himself), and some of the scenes concerning Armenia in 1915 are shown as a film within the film.

Then there’s Sona (Ani Ghazaryan), a young woman who gets involved in Novents’s quest to uncover the mysteries of Komitas. Novents writes literature, Sona recites poetry, while Komitas remains silent. In this multi-layered film that frequently cuts through time and space and uses various means of expression, Armenian director Chaldranyan shows how people create art to give meaning to the complexities of life. In Komitas’s case however, he has experienced destruction on such a level that his urge to create is completely lost. This is the harrowing effect of the genocide that the driven Novents has yet to discover. One can only hope he never will. HE

GOLDEN APRICOT DAILY 2017 | 12 JULY | DAY 4

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‘ALL OF MY FILMS ARE ESSENTIALLY THE SAME’ “I don’t plan these images beforehand”, the director says. “While we’re shooting I always look out for ways to show their emotional state. The characters in Ember are passive and unable to express their inner feelings, so I often show them from a distance, in the background, or from behind a window or curtain. At the same time this gives the audience the feeling that they are watching them secretly. I want them to be aware that they’re looking at a piece of the characters’ intimate life.”

Although the characters never actually speak their mind, the dialogue reveals a lot about what goes on inside. Subtle references to everything that goes unsaid give Ember a superb tension. “Dialogue is very important, but at the same time it’s not important at all”, Demirkubuz says. “It’s a very strong instrument for a director, as important as image and sound. But when two people speak, the words are usually not given so much thought, and that’s something you have to keep in mind if you want to write a natural conversation. Another thing I took into account in writing their lines is that Turkish people will speak a lot when they’re happy, but when they’re not so sure of themselves they’ll try to say as little as they can.” SK

Dark relationship dramas are Zeki Demirkubuz’s home turf. The Turkish director, whose latest film Ember screened in this year’s Feature Competition, has become a regular at international film festivals through his tranquil, confident style.

“I’m interested in the dark side of human nature”, Demirkubuz explains when asked about his subject matter. “The eleven films that I’ve made so far are essentially one and the same. The style changes, the characters change, and therefore the story also changes. Because I picked these characters for Ember, this woman and these two men, who live in Istanbul and are from different classes, the story evolves by just following the line of reality.”

Ember shows a triangle of love and power between a seamstress, her husband and an entrepreneur who is their former employer. Demirkubuz makes clever use of cinematography to underline the feeling of inevitability. Though filming in the widescreen cinemascope format, he often places his characters in much tighter frames, capturing them through doorways or narrow in-between spaces. At other times, they are seen in mirrors or in the distorted reflection of a window.

SOLEMNLY STYLISH Celebrating the hundredth birthday of JeanPierre Melville (1917-1973), the festival pays tribute to one of the most iconic directors that emerged from French post-war cinema.

Jean-Pierre Melville, born as Jean-Pierre Grumbach in a Parisian Jewish family, was involved in the craft of filmmaking and watching from a very young age. As a child he already had a fascination with the circus and its theatrical clown performances, referenced in his debut film A Day in the Life of a Clown (1946). His cinematic upbringing really began when he got a 9,5mm camera and a projector at the age of six. As a boy he would direct his own short films and screen French and American movies on his projector. “I have always learned cinema. I have never ceased to learn cinema”, he once claimed in an interview.

His films certainly make a case for that. After the German occupation (during which he joined the French resistance and took up his alias Melville in-

‘YOU CAN’T ROB A BANK WITH COWARDS’ Director and cinematographer Fred Kelemen held this year’s first Master Class at the TUMO Center for Creative Technologies yesterday. After having been in the role of the “judge” as jury member of the Feature Competition last year, this year Kelemen is one of the ones being judged, as his latest film Sarajevo Songs of Woe has been selected for the competition.

As the film’s director, screenwriter and producer, one can certainly say that Kelemen is well acquainted with all stages of filmmaking. “First of all, it’s very important to have an idea”, Kelemen said du-

spired by the author of Moby Dick) he started his own film company. He shot his first shorts on second-hand celluloid to master the cinematic craft.

By this time he called himself “a gifted amateur working in 35mm.” This was about to change.

While Melville was always solemn and controlled, his love for American film noir also gave his films a sense of style unparallelled by other French directors of the time. The gangsters in Melville’s films listen to jazz, smoke endless cigarettes, and wear shady clothes and fedora hats at all times.

Melville would dissect the trappings of those gangster films in the finest detail. One remarkable scene in Le cercle rouge (1970) shows a 30-minute jewellery heist, pulled of with the greatest precision and without making any sound. Thematically this film explores the boundaries of loyalty in a dogeat-dog world, where no man can really be trusted.

Melville applied those same themes to films concerning the German occupation like The Silence of the Sea (1949), Léon Morin, Priest (1961) and

ring the Master Class. “You should have a vision of what you should do and how. Then you need to find a very good crew and actors; film only becomes reality with the help of many people.”

Regarding the choice of the crew he highlighted that a director should choose the kind of people with whom he would attempt to rob a bank. “You must find the best professionals for any given job, and be sure that if the police arrives, they will help you. You can’t rob a bank with cowards. And when you’re fleeing the scene together, you must be sure that in the end you’ll share the money and that everyone involved will keep their mouths shut. By which I mean, you need to be able to trust the crew.

Search for partners in crime!”

Both in his work as director and as cinematographer for such legendary directors as Béla Tarr, Keleman has preferred to shoot his films in black and white. “These days it’s normal to see a colour film”, he explained, “but when I was young and I watched colour television for the first time, it seemed artificial to me. In my mind, it should all have been only black and white.”

Talking about his much-renowned work for the celebrated Hungarian director Tarr's two final films, Kelemen discussed the importance of ligthing at length. “If we talk about light, we should talk about darkness, time, rhythm, space and composition. You should be aware of all these things if you want to make a film.” The director reminded the students in the audience that light is used for far more than just making objects brighter. “Another, no less important use of light is to show the invisible.” RG

The British Are Coming With a Retrospective dedicated to Londonborn director Hugh Hudson, British cinema gets special focus at this year’s GAIFF. In addition to Hudson’s feature films, today sees the official opening of the British Film Week, which includes five documentaries. David Attenborough and the Giant Dinosaur follows the forensic investigation after the discovery of a huge fossil thighbone in Patagonia, leading to the excavation and skeletal reconstruction of the largest titanosaur known so far. In the sweet and funny music documentary Where You’re Meant to Be, Scottish indie rock singer Aidan Moffat challenges folk legend Sheila Stewart about the musical heritage of his native country.

Both films are screening today. Later this week, the program continues with How to Change the World, about the birth of the environmental movement, The Pacemaker, in which two sprinters in their nineties compete for the world title, and Sunflower Inn, a portrait of a pizzeria in Rome run by people with Down syndrome.

Master Class Tom Fassaert

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Ahead of tomorrow’s Yerevan Premiere of his documentary A Family Affair (opening film of documentary festival IDFA in 2015), Dutch director Tom Fassaert will give a Master Class at TUMO Center this afternoon at 16:00.

Round Table As part of a larger international project investigating the relations between national cinemas of the Soviet countries, both during and after communist reign, a round table discussion will be held this afternoon from 14:00-18:00 in the Ararat Hall of Ibis Hotel. Language: Russian.

Master Class Rui Nogueira Cancelled Army of Shadows (1969). Questioning both the German and French attitudes towards each other, his films are critical inquiries into what it means to be an occupier or to be occupied. His films not only challenged France stylistically, but also morally, as he made his audience root for criminals, gangsters, Nazi’s, priests and resistance groups alike. Because of that, just like he once learned from others, aspiring directors can now learn cinema from him. HE Screening today: Le cercle rouge (France, 1970). 19:00 Moscow Cinema Red Hall.

Since Jean-Pierre Melville expert Rui Nogueira was unable to travel to Yerevan at the last minute, his Master Class planned for this afternoon at the AGBU has been cancelled.

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

ATCP ANNOUNCES TWO WINNING PROJECTS

At the close of the Armenia-Turkey Cinema Platform, the workshop's prize money of €7,500 was split between two projects. Armenian director Naira Muradyan (pictured left) received an award of €5,000 towards the realization of her project Marc and Marc and Kiko, while Turkish filmmaker Guliz Saglam (right) received €2,500 for her project Cosi la vita.

The Golden Apricot’s industry program continues today with the opening op the first ever edition of the Creative Europe Forum.