Golden Apricot Daily - 2016, Day 4

DAILY

WEDNESDAY JULY 13 2016

DAY

4

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Gloriously Awkward ÆÝã ³ÝѳñÙ³ñ ¿... ´²êÎ²Î²Ü Üàð ÎÆÜà ÄÆÈÜÆÎÆ ì²ðäºî²ò ¸²êÀ îƺ¼ºð²Î²Ü èºøìÆºØ ¿ç 3

زð¸Ü Æ´ðºì ̲è ÊȲòÜàÔ ÈèàôÂÚàôÜ ø²Ô²ø²ÚÆÜ êÆØüàÜƲܺðÀ ¿ç 4

ìÇï³ÉÇ Ø³ÝëÏÇ

DEAFENING SILENCE COMING OUT OF HIS SHELL CLASH OF GENERATIONS p. 6

вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

Vitaly Mansky

BASQUING IN THE GLOW ZELIMIR ZILNIK MASTER CLASS COSMIC REQUIEM p. 7

GOLDEN APRICOT DAILY DAY 4 | 13 JULY | 2016

2 ĂŒĂ°Â˛ÂśĂ†Ă°/ PROGRAM

, ) *+ MOSCOW CINEMA, BLUE HALL

13.07

, 2 MOSCOW CINEMA, SMALL HALL 2 Lang.: Danish Subt.: English and Armenian

10:00

- . / . $ % Toni Erdmann/dir. Maren Ade

Deu/Aut/ Lang.: German/English/Romanian Rom, 162’ FC Subt.: English and Armenian

13:00

/ .

The Hunt/dir. Thomas Vinterberg

13:30

/ 4 %$/ . & ' /dir. Pablo Lamar

Pry/Nld/Chl/ Lang.: no dialogues Qat, 77’ FC Subt.: no subtitles

15:00

, / .

Moskvich, My Love/dir. Aram Shahbazyan

15:00

; . ( < ' / . ( !

Our Mother/dir. Fejria Deliba

17:00

/ .

Jeano/dir. Suren Babayan

Arm, 99â&#x20AC;&#x2122; ÂŤ25Âť

Lang.: Armenian Subt.: English

19:00

! " # $/ .

If Only Everyone/dir. Natalya Belyauskene

Arm, 95â&#x20AC;&#x2122; ÂŤ25Âť

Lang.: Armenian 0Subt.: English

17:00

/ .

Amama: When a Tree Falls/dir. Asier Altuna

21:00

% / .

King Lear/dir. Peter Brook

19:30

/ 4 %$/ . & ' The Last Land/dir. Pablo Lamar

21:30

= > $/ . " ) *

Fire at Sea/dir. Gianfranco Rosi

Fra, 85â&#x20AC;&#x2122; FNC

Lang.: French Subt.: English and Armenian

Esp, 103â&#x20AC;&#x2122; FC

Lang.: Basque Subt.: English and Armenian

Pry/Nld/Chl/ Qat, 77â&#x20AC;&#x2122; FC Ita/Fra, 108â&#x20AC;&#x2122; YP

Lang.: no dialogues Subt.: no subtitles

Arm/Ltu/ Swe/Lbn/ USA, 82â&#x20AC;&#x2122; AP Arm, 18â&#x20AC;&#x2122; AP USA, 40â&#x20AC;&#x2122; AP

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

Lang.: Italian Subt.: English and Armenian

Dnk, 11â&#x20AC;&#x2122; DNC

Arm/Fra/Rus, Lang.: Armenian 87â&#x20AC;&#x2122; ÂŤ25Âť Subt.: English

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

CINEMA STAR 18:00

&' ( / .

In a Better World/dir. Susanne Bier

20:00

! / . ! " # The Tempest/dir. Derek Jarman

Dnk, 113â&#x20AC;&#x2122; DNC

Lang.: Danish/English/Swedish Subt.: English and Armenian

,

MOSCOW CINEMA, RED HALL 10:00

/ " $/ . " + +

The Last Inhabitant/dir. Jivan Avetisyan

12:00

? . # / . '

& 4 Radioreceiver/dir. Lusine Papoyan @ ( G $/ . $ ; The Other Side of Home/dir. NarĂŠ Mkrtchyan @ ('/ . ( % = # Nightfall/dir. Fred Kelemen

14:00

Lang.: German Subt.: English and Armenian

Deu, 140â&#x20AC;&#x2122; R

16:30

4 %/ . > ? +

Cosmos/dir. Andrzej Zulawski

Fra/Prt, 103â&#x20AC;&#x2122; Lang.: French PFD Subt.: English and Armenian

19:00

Q @ ; V / . (

@ ) Day for Night/dir. François TruďŹ&#x20AC;aut 28:94 G X / . ! +

) 28:94 Local Time/dir. David Safarian

Fra/Ita, 115â&#x20AC;&#x2122; R

21:30

Arm/Deu/ Nld, 130â&#x20AC;&#x2122; AP

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

Rus, 83â&#x20AC;&#x2122; DC

Lang.: Russian Subt.: English and Armenian

Z & [ \ . / . W+ X [ Across the Don/dir. Evgeny Grigorev

12:00

X ( $/ . W % +

Don Juan/dir. Jerzy Sladkowski

14:00

< ]$/ . ? \ ?

Fortress Europe/dir. Želimir Žilnik

Svn, 80â&#x20AC;&#x2122; R

16:00

'/ . ( ( # AĂąoranza/dir. Flo Flamme

Bel, 70â&#x20AC;&#x2122; DC

Lang.: Russian/Slovenian/Italian/ English/Serbian Subt.: English and Armenian Lang.: Spanish Subt.: English and Armenian

17:30

&' V / . X & 4 Skhtorashen/dir. Garegin Papoyan ? ! ^ $ ._/ (` / . ]

Rhythm & Intervals/dir. Comes Chahbazian q w =@ (> #= (!@ ( $/ .

# Leopardâ&#x20AC;&#x2122;s Silence/dir. Viken Armenian ? . # / . '

& 4 Radioreceiver/dir. Lusine Papoyan @ ( G $/ . $ ; The Other Side of Home/dir. NarĂŠ Mkrtchyan % ' x [ / . ^ > Stony Paths/dir. Arnaud Khayadjanian

Arm, 19â&#x20AC;&#x2122; AP Bel, 52â&#x20AC;&#x2122; AP

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

Fra, 42â&#x20AC;&#x2122; AP

Lang.: French Subt.: English and Armenian

Arm, 18â&#x20AC;&#x2122; AP USA, 40â&#x20AC;&#x2122; AP

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

Fra, 60â&#x20AC;&#x2122; AP

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

21:30

18:30

= ^ . / . =

& Sieranevada/dir. Cristi Puiu

Rom, 173â&#x20AC;&#x2122; YP

Lang.: Romanian Subt.: English and Armenian

21:30

( ? _, (/ . & ' Two Remis, Two/dir. Pierre LĂŠon

Fra, 66â&#x20AC;&#x2122; FNC

Lang.: French Subt.: English and Armenian

+

HENRIK MALYAN THEATRE OF CINEMA ARTISTS JULY 13

10:00

20:00

Lang.: English Subt.: Armenian

)

KINOPARK

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

, 1 MOSCOW CINEMA, SMALL HALL 1

19:00

UK, 92â&#x20AC;&#x2122; SH

Swe/Fin, 92â&#x20AC;&#x2122; Lang.: Russian DC Subt.: English and Armenian

16:15

16:30

16:45

18:00

= & &] / . ^ ; Phone Booth/dir. Vahagn Khachatryan % & ' (!@ ( / . @ -X

Self-Confession/dir. Suren Ter-Grigoryan % & $/ .

X % ` The Children of Vank/dir. Nezahat GĂźndoÄ&#x;an

Prt/Arm, 10â&#x20AC;&#x2122; FV

Lang.: Portuguese Subt.: English

Arm, 10â&#x20AC;&#x2122; FV

Lang.: Armenian Subt.: no subtitles

Tur, 70â&#x20AC;&#x2122; FV

Lang.: Turkish/Kurdish Subt.: English

/ 4 / . # * + Nazar the Brave/dir. Armen Ronov

Fra/Isr/Arm, 65â&#x20AC;&#x2122; FV

Lang.: Armenian Subt.: English

+ Â&#x20AC; Â

) Â&#x201A; + +Â&#x20AC; * YEREVAN NIGHTS AT POGHOSYAN GARDENS 21:00

V ( = ] Â&#x192; =# / . ' { | Esp, 100â&#x20AC;&#x2122; Lang.: Spanish Autumn Without Berlin/dir. Lara Izagirre BNC Subt.: English and Armenian

GOLDEN APRICOT DAILY 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&#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?

Editors: Joost Broeren & Artur Vardikyan

Ă?ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?Ă?ùª Ă&#x17D;³ùĂ? ²íïĂ&#x2021;ĂŤĂ&#x203A;ÂłĂ?, èå½³ ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ?

¸Ă&#x2021;½³Ă&#x203A;Ă?ù` œ³Ă&#x203A;ÂłĂ?Âť ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ?

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

Ă?Ê³Ă?Âł Ă&#x2039;ĂĄĂąĂ&#x2018;ùš³ïåþ` äĂ&#x2021;ïù Ă­ÂłĂ? ´Ă&#x203A;åþùĂ?

Staff: Maricke Nieuwdorp, Hugo Emmerzael

êùΟ³¡ùĂ&#x2021;ĂŁÂŞ Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x201D;³ù³Ă&#x2039;ÂłĂ?Ă&#x203A;ÂłĂ?

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

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?

Contributors: Karen Avetisyan, Roza Grigoryan

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

GOLDEN APRICOT DAILY 2016 | 13 JULY | DAY 4

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

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سñ¹Ý ǵñ¨ Í³é §²Ù³Ù³¦ (²ëÇ»ñ ²Éïáõݳ, Æëå³Ýdz, 2015), 13.07ª 17:00, 14.07ª 12:00, §ØáëÏí³¦ Ï/à γåáõÛï ¹³ÑÉÇ× ´³ëÏ³Ï³Ý ÏÇÝá³ñí»ëïÇ í³é Ý»ñϳ۳óáõóÇãÝ»ñÇó ¿ 47-³ÙÛ³ ²ëÇ»ñ ²ÉïáõݳÝ: âÝ³Û³Í ëñ³Ýª Ýñ³ Ýáñ §²Ù³Ù³¦ (§î³ïÇϦ) ýÇÉÙÁ ϳñ»ÉÇ å³ÛٳݳϳÝáñ»Ý ѳٳñ»É ÉdzñÅ»ù Édzٻïñ³Å ¹»μÛáõï ˳ճñϳÛÇÝ ÏÇÝáÛáõÙ, ù³ÝÇ áñ ´³ëÏ»ñÇ »ñÏñÇ ³Ù»Ý³ëÇñí³Í ýÇÉÙ»ñÇó Ù»ÏÁ` §Î»óó»° ¾ã»μ»ëï»Ý¦ (Aupa Etxebeste!, 2005Ã.) ²ÉïáõݳÛÇ Ñ³Ù³ï»Õ é»ÅÇëáñ³Ï³Ý ³ß˳ï³ÝùÝ ¿ »ÉÙá ¾ëݳÉÇ Ñ»ï, ÙÛáõë ýÇÉÙ»ñÁ ϳñ׳ٻïñ³Å »Ý, ÇëÏ §ÆÙåñáíǽ³ïáñÝ»ñÁ¦ (Bertsolari, 2011Ã.) í³í»ñ³·ñáõÃÛáõÝ ¿: §²Ù³Ù³ÛǦ Ï»ÝïñáÝáõÙ ë»ñáõݹݻñÇ μ³ËáõÙÝ ¿ª Ù»Ï ·»ñ¹³ëï³ÝÇ Ý»ñϳÝ, áñï»Õ ï³å³ÏíáõÙ »Ý ï³ñμ»ñ ë»ñáõݹݻñÇ Çñ³ñ³Ù»ñŠѳ۳óùÝ»ñÁ û ³ÝóÛ³ÉÇ ¨ û Ý»ñϳÛÇ í»ñ³μ»ñÛ³É: ø³Õ³ù³μÝ³Ï ²Ù³Û³Ý ³ñí»ëï³·»ï ¿, áí áõ½áõÙ ¿ ÉÇÝ»É ³½³ï: ´³Ûó ·ÛáõÕ³μÝ³Ï ÂáÙ³ëÁª ²Ù³Û³ÛÇ Ñ³ÛñÁ, áí ٻͳó»É ¿ »ñϳÃÛ³ ³í³Ý¹áõÛÃÇ Ñ³Ù³Ó³ÛÝ, ³ÝϳñáÕ ¿ ²Ù³Û³ÛÇ ÏÛ³ÝùÝ ³ÛÉ Ï»ñå ѳëϳݳÉ, ù³Ý áñå»ë í»ñçÝ³Ï³Ý Ñ»é³óáõÙ ³ÛÝ ïÝÇó, áñï»Õ ³åñ»É »Ý Çñ ÁÝï³ÝÇùÇ μ³½Ù³ÃÇí ë»ñáõݹݻñ: ê»ñáõݹݻñÇ ÙÇç¨ ÁÝÏ³Í ³Ý¹áõݹÇÝ ½áõ·³Ñ»é ѳϳ¹ñíáõÙ áõ ÙdzÏóíáõÙ »Ý ·ÛáõÕÝ áõ ù³Õ³ùÁ, ³ÝóÛ³ÉÝ áõ Ý»ñϳÝ, ³ÕÙáõÏÝ áõ ßßáõÏÁ, Ýáñ»ÉáõÏ Çñ³Ï³ÝáõÃÛáõÝÝ áõ å³Ñå³ÝáÕ³Ï³Ý ³í³Ý¹³ëÇñáõÃÛáõÝÁ: §²Ù³Ù³Ý¦ ³é³çÇÝ ÇëÏ í³ÛñÏÛ³ÝÝ»ñÇó Ù³ïáõóáõÙ ¿ ïå³íáñÇã, åá»ï³Ï³Ý ËáñÑñ¹³íáñáõÃÛ³Ùμ ѳ·»ó³Í ëÏÇ½μª ³ë»ë ÙÕ»Éáí ѳݹÇë³ï»ëÇÝ §Édzٻïñ³Å μ³Ý³ëï»ÕÍáõÃ۳ݦ ÁÝûñóÙ³Ý, ù³Ý½Ç §²Ù³Ù³ÛáõÙ¦ μ³é»ñÇó ß³ï ³í»ÉÇ Ï³ñ¨áñ »Ý Ï»ñå³ñÝ»ñÁ, Ýñ³Ýó ËáñÑáõñ¹Á, ÙÃÝáÉáñïÁ, åá»ïÇÏ ½áõ·áñ¹áõÙÝ»ñÁ: ²ÉïáõݳÛÇ íǽáõ³É Ýñμ³·»ÕáõÃÛáõÝÁ ßáß³÷»ÉÇ ¿ ¹³ñÓÝáõÙ Ù»Ï ³ÛÉ μ³ëÏ í³ñå»ï` ûå»ñ³ïáñ ʳíÇ»ñ ²·Çé»Ý. μ³ëÏ³Ï³Ý É»éݳÛÇÝ μݳå³ïÏ»ñÝ»ñÁ, ´³ëÏ»ñÇ »ñÏñÇ ë³Õ³ñóËÇï ³Ýï³éÝ»ñÁ ßáÛáõÙ »Ý ųå³í»ÝÁ` ѳ·»óÝ»Éáí ýÇÉÙÝ ³ñï³Ñ³ÛïÇã ËáñÑáõñ¹Ý»ñáí, ³ÏݳñÏ»Éáí, û áñù³Ý ÝÙ³Ý »Ý ³Ýï³éÇ Í³é»ñÝ áõ ýÇÉÙÇ Ñ»ñáëÝ»ñÁ. Ù»ÏÁ ѳëï³μáõÝ ³ñÙ³ïÝ»ñáí ·ñÏ»É ¿ »ñÏñÇ Áݹ»ñùÁ, ÙÛáõëÁ »ñÇï³ë³ñ¹ ¿, ×á×íáÕ áõ ß³ñÅáõÝ, ï»ë³Ïáí ÝáõÛÝÝ »Ý, μ³Ûó ×ÛáõÕ»ñáí áõ ï»ñ¨Ý»ñáíª ÛáõñûñÇݳÏ: β

GOLDEN APRICOT DAILY 2016 | 13 JULY | DAY 4

ÆÝãå»±ë ¿ ³ñï³ë³ÑÙ³ÝóÇÝ ï»ë³ËóÇÏáí ѳÛïÝí»É ÐÛáõëÇë³ÛÇÝ Îáñ»³ÛáõÙ: ºë ׳ݳå³ñÑÝ»ñ ¿Ç ÷ÝïñáõÙ ¨ ÙÇ ûñ ³éÇà áõÝ»ó³ ½ñáõó»É ÑÛáõëÇëÏáñ»³Ï³Ý å³ßïáÝ۳ݻñÇ Ñ»ï: ºñÏáõ ï³ñÇ μ³Ý³ÏóáõÙ ¿ÇÝù ¨ í»ñç³å»ë Ññ³íÇñ»óÇÝ (μݳϳݳμ³ñ, Ç٠ѳßíÇÝ): êϽμÇó ͳÝáó·ñ³Ï³Ý áõÕ¨áñáõÃÛáõÝ ¿ñ, Ñ»ïá ¿É Ýϳñ³Ñ³Ý»Éáõ ÃáõÛÉïíáõÃÛáõÝ ëï³ó³Ýù: ²Ûë ýÇÉÙÁ Ýñ³Ýó å³ïí»ñÁ ã¿ñ, μ³Ûó Çñ»Ýù ѳٳӳÛÝ»óÇÝ, áñáíÑ»ï¨ û·áõï ï»ë³Ý Çñ»Ýó ѳٳñª Çñ»Ýó »ñÏÇñÝ ÇÙ ÙÇçáóáí ³ñï³ë³ÑÙ³ÝóÇÝ»ñÇÝ óáõó³¹ñ»Éáõ Ñݳñ³íáñáõÃÛáõÝ: ÆëÏ Ýñ³Ýó »ñÏÇñÁ ϳñ»ÉÇ ¿ Ý»ñϳ۳óÝ»É ÙdzÛÝ ÙÇ ÏáÕÙÇóª ³Ù»Ý³É³í ÏáÕÙÇó: ÆÝãå»±ë ÁÝïñ»óÇù ýÇÉÙÇ ÁÝï³ÝÇùÁ: γñÍáõÙ »Ùª ¹³ Çñ³Ï³Ý ÁÝï³ÝÇù ¿ñª ѳٻݳÛݹ»åë ³ÛÝù³Ý Çñ³Ï³Ý, áñù³Ý ϳñáÕ ¿ ÉÇÝ»É ÐÛáõëÇë³ÛÇÝ Îáñ»³ÛáõÙ ³åñáÕ ÁÝï³ÝÇùÁ Ù»ñ å³ïÏ»ñ³óÙ³Ùμ£ ºë ß»ßïáõÙ »Ù ë³, ù³ÝÇ áñ ï»ë»É »Ù, áñ ϳݳÛù ëáíáñ³μ³ñ ³åñáõÙ »Ý μ³ñ³ùÝ»ñáõÙª ³é³Ýó ïÕ³Ù³ñ¹Ï³Ýó, ³ÛÝ ÝáõÛÝ ·áñͳñ³ÝÝ»ñÇ ï³ñ³ÍùáõÙ, áñï»Õ ³ß˳ïáõÙ »Ý£ ¸åñáó³Ï³Ý »ñ»Ë³Ý»ñÝ ÁݹѳÝñ³å»ë ¹åñáóÝ»ñáõÙ »Ý ³åñáõÙ£ ºí ë³ μÝ³Ï³Ý Ñ³ñó ¿ ³é³ç³óÝáõÙª DZÝã ¿ ÁÝï³ÝÇùÁ ÑÛáõëÇëÏáñ»³óÇÝ»ñÇ ÁÝϳÉÙ³Ùμ£ ²ÛÝå»ë áñ, Çñ³Ï³ÝáõÙ »ë ÁÝï³ÝÇùÁ ã»Ù ÁÝïñ»É, ³ÛÉ ³Õçϳݣ Üñ³Ýù ÙÇ ûñ ÑÇÝ· ³ÕçÇÏÝ»ñÇ Ñ»ï ѳݹÇåáõ٠ϳ½Ù³Ï»ñå»óÇÝ ¹åñáóÇ ïÝûñ»ÝÇ ³ß˳ï³ë»ÝÛ³ÏáõÙ£ Üñ³Ýù ÇÝÓ Áݹ³Ù»ÝÁ ï³ëÁ ñáå» Å³Ù³Ý³Ï ïí»óÇÝ, áõ ³Û¹ ѳݹÇåÙ³Ý ³ñ¹ÛáõÝùáõÙ »ë ÁÝïñ»óÇ ¼ÇÝ-ÙÇÇÝ£

INTERVIEW 5

ìÇï³ÉÇ Ø³ÝëÏÇ èáõë í»ï»ñ³Ý ÏÇÝá·áñÍÇã ìÇï³ÉÇ Ø³ÝëÏÇÝ ³í»ÉÇ ù³Ý 30 ýÇÉÙÇ Ñ»ÕÇÝ³Ï ¿ ¨ Ùáï 200 ÏÇÝáݳ˳·Í»ñÇ åñá¹Ûáõë»ñ: 2006-Çó Ç í»ñ ݳ ݳ¨ ÙáëÏáíÛ³Ý ²ñï¸áÏü»ëï í³í»ñ³·ñ³Ï³Ý ÏÇÝáÛÇ ÷³é³ïáÝÇ ïÝûñ»ÝÝ ¿: ²Ýó³Í ï³ñÇ ÷³é³ïáÝÁ áñáß»ó Íñ³·ñÇ ÙÇ Ù³ëÁ ï»Õ³÷áË»É èÇ·³, áñï»Õ ³ÛÅÙ ³åñáõÙ ¿ سÝëÏÇݪ ÇÝãå»ë Çñ éáõë ·áñÍÁÝÏ»ñÝ»ñÇó ß³ï»ñÁ: سÝëÏÇÝ ºñ¨³Ý ¿ »Ï»É §²ñ¨Ç ßáÕ»ñÇ ï³Ï¦ í³í»ñ³·ñáõÃÛ³Ùμ, áñÁ å³ïÙáõÙ ¿ ÑÛáõëÇëÏáñ»³Ï³Ý ÙÇ ÁÝï³ÝÇùÇ Ù³ëÇÝ: »å»ï ÑÛáõëÇëÏáñ»³Ï³Ý å³ßïáÝ۳ݻñÁ Ñ»ï¨áõÙ ¿ÇÝ Ýñ³ ³Ù»Ý ÙÇ ù³ÛÉÇÝ, سÝëÏáõÝ Ñ³çáÕí»É ¿ ýÇÉÙáõÙ óáõÛó ï³É Çñ³Ï³Ý ÏÛ³ÝùÁ ϳï³ñÛ³É ý³ë³¹Ç Ñ»ï¨áõÙ: سÝëÏÇݪ Çñ»Ý μÝáñáß ÉñçáõÃÛ³Ùμ. §Ø»Ýù ëïÇåí³Í ¿ÇÝù áñáß³ÏÇ ù³ÛÉ»ñ Ó»éݳñϻɦ:

What kind of measures?

Our camera had two memory cards. And sometimes during shooting we tried to switch from one card to another.

Also while driving to the hotel we copied everything from our main card and deleted more than half the footage from the card that we gave them. Our main issue was time. So, at the end of filming we would try to win time to copy the footage, by packing our stuff slowly or saying that one of us urgently needed to use the bathroom. Every day we would come up with new excuses, just to delay our arrival at the hotel.

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How did you find this family?

I think that this was a real family – at least as real as a North Korean family can be to our understanding. I emphasize this because I’ve seen that women usually live in barracks without men on the territory of the factories they work at. School-aged children generally live in schools. So naturally this raises the question: what is a family in the North Korean understanding of the word? So I wasn’t really choosing a family, I was choosing a girl. It was quite difficult to persuade the Korean side to let me do this. In the end, they arranged a meeting with five girls in the school principal’s office. They gave me only ten minutes and as a result of that meeting, I chose Zin-mi.

Were the officials there all the time when you were filming?

Generally, yes, excluding some shots we filmed secretly from my hotel room window. And of course during the actual filming we also tried to film the procedures that were happening before our eyes. They also demanded to see the footage at the end of each day. They provided a special room in the hotel we were staying at where they watched the daily footage and destroyed what they considered to be wrong or deemed impossible for further use. So we had to undertake some specific measures to overcome this problem.

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How does one get into North Korea as a foreigner with a camera?

I wanted to go to North Korea very much. I was searching for opportunities so when I got the chance to talk to some North Korean officials, I grabbed it with both hands. I was negotiating for two years before they eventually invited me – at my own expense of course. At first it was an introductory tour, later we got permission to film. This film was not in any way made under their orders, but they agreed because they saw some benefit for themselves, an opportunity to show their country to other countries, through me. And one is only allowed to show their country in one way: in the best way and from the best point of view.

Was it scary to work like this?

I would say that the main danger was not copying the footage but storing it later on. At any given moment they could search us and our rooms, and if they had found that footage not only would it have been a scandal, but it could’ve had serious consequences as well. So when you’re walking around with that footage in your backpack 24/7, it does get unnerving. How we got the footage out of the country in the end, I cannot reveal. Recently the North Korean officials saw the film, although I have no idea how they got a copy: we did not provide them one. Of course their reaction was very tough.

Vitaly Mansky Russian veteran filmmaker Vitaly Mansky has made more than thirty films and was a producer on over two hundred projects. Since 2006, he’s also the director of the Moscow-based documentary film festival ArtDocFest. Last year his festival decided to move part of its program out of Russia, to Riga, the Latvian city where Mansky now lives – like a growing number of his Russian colleagues. Mansky visits Yerevan with Under the Sun, his ground-breaking documentary film about a family in North Korea. Although North Korean officials watched his every move, Mansky manages to show the real life behind the perfect façade. His story behind the scenes is just as interesting as the film itself. Mansky, with typical understatement: “We had to take some specific measures.”

You’re also director of ArtDocFest, which moved part of its program from Moscow to Latvia during last year's Riga International Film Festival. What prompted this decision?

It is true that we’ll be doing a part of ArtDocFest in Riga.

But we still hold the full-scale festival with a large number of competition programs on the territory of the Russian Federation as well, in various cities. Although I have to be honest: it is getting harder and harder every year. But right now we’re not giving up. Money is a problem too, but first of all this is a matter of government pressure and censorship upon any independent cultural initiatives.

So if someone wanted to make a film about a difficult subject in Russia what could be the consequences?

After World War II, when Soviet rule started to spread through Eastern Europe, the first thing they did was destroy any independent social institutions. Cultural, technical, the beekeepers association or the society of philatelists – it didn’t matter. Russia faces the same thing now. We’re an independent film festival, that’s why we’re being punished.

For instance, the Ministry of Culture which handles these questions is taking us to court. And of course we’re screening films that offer a broader view on the existing problems.

We screen films about Pussy Riot, about corruption, Mikhail Khodorkovsky. And that of course raises some serious objections. However, we never screen a film because of its subject matter. We show only good documentary cinema – films that were also shown at leading festivals, like Berlin, Venice and IDFA. So what I’m saying is: we’re not a political festival by any means. We don’t have an agenda. MN

GOLDEN APRICOT DAILY DAY 4 | 13 JULY | 2016

6 COMPETITION REVIEWS

Gloriously Awkward Toni Erdmann (Maren Ade, Germany/ Austria/Romania, 2016). Feature Competition. 13-7 10:00, 14-7 14:00 Moscow Cinema Blue Hall.

Although Toni Erdmann is the title character of Maren Ade’s latest film, he doesn’t really exist. Toni is a role, a jester, or a superhero maybe, who shakes up Ines’s life when she needs it most. Ines (Sandra Hüller) might disagree with this though. As a consultant for a big company in Romania she’s the kind of person that needs to show she’s always in control.

But is she really? Aside from all her work she also has to deal with condescending colleagues, superficial friends, a lousy lover and a clown of a father she’s estranged from. In all these social realms she always has to play a role – just like Toni.

Who is the real Ines? This is the question that haunts her father Winfried (played by famous Austrian television actor Peter Simonischek) when she’s in Germany for a little while to celebrate her birthday. You can hardly call it a celebration though: Winfried shows up with his face painted as a skull because he just came from what must

People and Trees Amama: When a Tree Falls (Asier Altuna, Spain, 2015). Feature Competition. 13-7 17:00, 14-7 12:00 Moscow Cinema Blue Hall.

While 47-year-old director Asier Altuna is one of the most prominent directors of Basque cinema, his latest film may technically still be considered his feature film debut. His first film Aupa Etxebeste!

(2005), one of Basque Country’s favorite films, was made in cooperation with Telmo Esnal, after which he made several shorts as well as the documentary Bertsolari (2011). But in all those films, visual poetic verses and emotionally driven storylines were part of his style, and Amama extends that to feature length.

The film centers on a clash of generations in the everyday life of a family, where different perceptions of the past and the present collide. City girl Amaia is an artist who seeks release through works of art while trying not to sever herself from

be one of the most inappropriate and weird plays to ever be held at an elementary school. Meanwhile Ines is on the phone all the time discussing her Very Important Work.

Does that really matter to her or is she just avoiding making a connection with her strange father? When he ap-

proaches her to have an actual conversation, she quickly grabs her phone and pretends to be having a chat. It’s one of the many performances in Toni Erdmann during one of the many parties, some of which are gloriously awkward in a way that will completely catch you off guard.

her heritage. Her father Tomas was raised with an iron fist and considers Amaia’s lifestyle an affront to the house where his family has lived for many centuries. While exploring the chasm between generations, the director also contrasts and splices rural and urban, past and present, noise and whisper, newfangled reality and conservative tradition.

At its very beginning Amama serves up a sequence full of poetic mystery, as if preparing the audience for perusing a feature-length visual poem. Far more important than words are the characters, their meaning, the atmosphere, the poetic associations. Altuna’s visual elegance is made real by another Basque artist: cinematographer Javier Aguirre. He caresses the film with mountainous panoramas and the thick forests of Basque Country, saturating it with telling symbols, drawing comparisons between the characters and forest trees: some have embraced the earth with the thickest roots while others are young, leafy and tottering. They are of the same kind and yet their branches and leaves make them unique. KA

Deafening Silence

If all of this sounds depressing and gloomy, don’t worry: there’s a certain naturalness, playfulness and lightness to Toni Erdmann that gives you the impression that this story is completely improvised.

Make no mistake though: German screenwriter and director Maren Ade knew exactly what she wanted from the start. It may have taken her over a year to condense one hundred hours of scripted material into this almost three hour long film, but she managed to make a film out of this staggering amount of footage that is as melancholy as it is funny. The good thing about it is that it’s not a second too long.

Every awkward and uncomfortable minute invested in Toni Erdmann pays out with scenes that will have audiences roaring with laughter.

Still, Toni Erdmann is not just a comedy. It’s a very serious film about estrangement and disconnection that just happens to be very funny. It shows us how difficult it can be to keep up so many masks and how we can sometimes crack under the extreme pressure of always pretending to be happy. After Toni Erdmann’s premiere in Cannes Maren Ade said that the pursuit of happiness can be overrated: “Maybe it would be more relaxing if it’s okay to not be happy sometimes.” Toni Erdmann shows exactly that there are still enough moments of joy to be had when you stop given a damn and take off that burdensome mask. HE

The Last Land (Pablo Lamar, Paraguay/ The Netherlands/Chile/Qatar, 2016). Feature Competition. 13-7 13:30, 19:30 Moscow Cinema Blue Hall.

In his virtually dialogue-free first feature, director Pablo Lamar needs only 77 minutes to mercilessly push the viewer into the mindset of the film’s stone-faced protagonist. We meet this man at his wife’s death bed, in a little hut somewhere far from civilized society, deep in the Paraguayan woods.

Long shots show him keeping her company, holding her hand, waiting with her for the inevitable. Small gestures make tangible the intimacy of a life spent together, and this does not end after she has taken her final breath. He washes her corpse, dresses her, digs her grave. Through these simple, practical activities, he tries to deal with this immense loss, with the sudden absence of the one person who was always there.

It’s a noble pursuit, which of course is doomed to fail.

With his resolutely minimal approach, Lamar proves that innovation is still possible in slow cinema, the movement that has been a festival favorite for the past decade. It helps to know that Lamar had mostly worked as a sound designer before trying his hand at directing: the soundtrack of The Last Land is a wondrous, magical thing and plays no small part in its success. It’s exactly in the clash between the non-stop swarming, chirping and rustling of the jungle and the deafening silence of death that The Last Land finds its greatest beauty. JB

Ebb and Flow

City Symphony

Añoranza (Flo Flamme, Belgium, 2016).

Documentary Competition. 13-7 16:00, 14-7 12:00 Moscow Cinema Small Hall 1.

Across the Don (Evgeny Grigoriev, Russia 2016). Documentary Competition.

13-7 10:00, 14-7 17:30 Moscow Cinema Small Hall 1.

“Tourists are like waves in the sea – they ebb, they flow,” a Cuban poet philosophizes while he walks along the sun-glazed beaches of Havana.

Añoranza chronicles the lives of some eccentric Cubans who wait for the next wave of tourists to wash ashore. There is the poet trying to sell his romantic work. The chronicler capturing life in undisputed facts: How many tourists were at the beach?

How many pictures did they shoot? And there is the bicyclist, who invites people to join him on a guided tour while he slurs out political propaganda. He’s convinced that Belgian director Flo Flamme is making a propaganda film about Cuba.

Añoranza is no such thing. It’s a melancholy but humane portrait of an estranged generation of Cubans that have seen their country change radically. Cut off from the globalizing world in the mid-

twentieth century, Cuba became an isolated country in which communism tried to fill the void. Now, with the picturesque shores welcoming more and more tourists, a generation of Cubans seems stuck between the promise of the new and the shackles of the old.

In a heart-breaking shot we see how one of Flamme’s characters eats a birthday cake alone,

in honor of Fidel Castro’s birthday. It’s this loneliness that Flamme captures in Añoranza, and the film’s title already anticipates this feeling. As one of the Cubans translates it: “It’s what you’re homesick for.” It’s a longing for a Cuba that is neither old nor new, a Cuba that never existed and may never come to exist. Meanwhile everybody waits for the next wave to crash on the beach. HE

messages about the opposite sex are no help at all: some say it’s a good idea to just grab a woman’s breast when you meet them, others stress that every woman just wants to be protected and receive just enough money for make-up. The screaming therapist who rides Oleg as if he’s a horse tops it all.

How could he not end up being socially paralyzed?

There’s no looking away in this tragicomic documentary. Scene after scene poor Oleg is being

suffocated by all this attention. Then, the sky brightens. Oleg joins a small theatre group full of cheerful young ladies who take him under their wings.

Slowly, lovable Oleg comes out of his shell.

Probably due to the fact that veteran filmmaker Jerzy Sladkowski (1945, Poland) produced and directed over fifty films during his career – usually about social issues – he was able to make all the protagonist feel comfortable enough with him around: no one ever holds back in his presence, no matter the uneasiness of the situation. Olegs mother and grandmother have no qualms about discussing Olegs burdensome situation right in front of him.

Funnily enough, Oleg appears to be the voice of reason during this catfight around the small kitchen table. In a way, this Russian kid is keener and more mature than one might think. Good for him! MN

Coming Out of His Shell Don Juan (Jerzy Sladkowski, Sweden/ Finland, 2015). Documentary Competition.

13-7 12:00 Moscow Cinema Small Hall 1.

Of course 22-year-old Oleg understands very well that he is supposed to act like an adult, like a cool bloke who attracts ladies, goes to college, makes friends and does his mother proud. Alas: he isn’t like that. His mom thinks he' s a lonely, lazy, autistic figure that will have to depend on her care for the rest of his life. She’s even more desperate than he is.

A never-ending series of therapists are not making things easier for shy Oleg. Their conflicting

Olga is looking for a hero for a documentary she’s shooting in her Russian home town Rostov-on-Don. Unfortunately, most people just don’t feel courageous enough. Some tell her that they’re too old, too young, or they’d rather be an anti-hero. But while she doesn’t find her hero, Olga does show a range of Russian citizens that directly or indirectly tell us something about their life and town.

Olga’s quest is one of eight short film projects that together form a mosaic of a Russian city and its inhabitants in Across the Don. There’s a butcher with musical skills and a man who makes gold out of waste. There’s a young girl searching for a wellto-do man who can make her life as perfect as she looks – with a little help from the gym, the tanning salon and her doctor. There’s a girl who never stops running, a fireman with fiery dancing skills and a young man asking his neighbours about the block they all live in.

The young filmmakers themselves also display the way they perceive their life in this city, with their cameras, but also during interviews with director Evgeny Grigoriev. And he’s not afraid to turn the heat on them about their film plans and the difficulties they might have in life. In between the shorts and the interviews, which are staged in a kind of casting setting, drone images show the storytellers with their cameras, while also giving a literally broader view on the city. Across the Don is part of a cross-media project in which citizens explore their home towns under guidance of film professionals. The result is a collective, colourful portrait of a city and a closer look at how these young storytellers discover their world through a lens. MN

GOLDEN APRICOT DAILY 2016 | 13 JULY | DAY 4

NEWS AND REVIEWS 7

STORIES THAT NEED TO BE TOLD Yesterday the AGBU Center welcomed Serbian director Želimir Žilnik for a master class. Žilnik was one of the leading figures of the Yugoslav Black Wave, and became notorious for his feature and documentary films on controversial social issues.

The director faced censorship because of his critical opinions of his government, and was forced to flee to West Germany in the 1970s. There, he made films about the emigration issue, but at the end of the decade one of his films was banned again – this time by democratic censors.

“I made my first professional film 50 years ago”, Žilnik said. “Now we’re living in a more interesting historical era, which is also trickier. At the same time, you have options and freedoms,

means of communicating. There are much more ways of expressing yourself today. Back in the day we used to spend around 30.000 dollars on a short film, the editing desks were heavy. Now anyone

can edit on their own computer. Today starting, filming and editing a film is ten times easier and cheaper.”

During the Master Class, Žilnik showed and commented on scenes from his feature film Early Works, the documentary June Turmoil and other titles that touch upon the deep social issues uncovering their sharp edges. “Try selecting the themes that deeply interest you”, Žilnik intoned, addressing the young filmmakers in the audience.

The Serbian director noted that at the beginning of his artistic career the only way of showing your film was in cinemas. “In my youth cinema was my only window to the world. I felt that I was living in a society that had stories that needed to be told.” Žilnik pointed out similarities between his home country and Armenia, emphasizing that both countries have a very small market with an audience of less than 10 million people: “You can’t earn back the money you invest in a film in such small markets. On the other hand, if the film is financed by the government, then in a way you’re dependent on them.” RG

MANY SHADES OF MOMS

Let There Be Light

14:00 Gevorkian Seminary, Vagarshapat. This year’s Let There Be Light Award will be handed to Ukrainian-Armenian director Roman Balayan, a self-proclaimed student of Sergei Parajanov whose illustrious career stretched back to 1969.

The ceremony is accessible by invitation only.

Master Class: Vitaly Mansky 15:00, AGBU Center (2/1 Melik-Adamyan Street). Russian documentary grand master Vitaly Mansky, who is interviewed on page 5, will further expound on his views on cinema in today’s Master Class.

Game, Bisset, Match

Upon close inspection, the three films featured in the French Film Program display a common throughline: the crumbling and uneasy relationships between loved ones, mainly mothers and their children.

19:00 Moscow Cinema Red Hall. The festival gets a glamour boost with today’s arrival of Jacqueline Bisset. A retrospective of three films starring the British actress will open tonight with a screening of François Truffaut’s Day for Night.

Anna is the feature debut by French-Columbian filmmaker Jacques Toulemonde, who also co-wrote last year’s Oscar-nominated Golden Apricot winner Embrace of the Serpent. The eponymous heroine is a feisty thirty-something party girl with long, fiery hair.

After learning that her ex-husband might take away her son, she runs away with the child to her relatives in Columbia. Anna’s possibly suffering from bipolar disorder, so she desperately needs to keep a smile on her face and those of everyone around her. Yet the deeper she goes into the South American jungle with her son and lover, the more her illness manifests itself.

Unlike Anna, 75-year-old Zayane, the heroine of Fejria Deliba’s Our Mother, is a well-balanced, stubborn but calm woman, and a mother of eleven. A phone call informs her that a man she knew long ago has died and left her a package. As she travels the country to claim the package, her children, worried by her sudden absence, gather in her house. One by one they discover that the person they thought they knew best may have a dark secret. Our Mother is touching and even funny, yet director Deliba’s greatest accomplishment is the discovery of first time ac-

Yerevan Nights

Anna

tress Milouda Chaqiq, who is able to channel her own fascinating life experience on screen as Zayane.

Although the third film in the program, Two Rémis, Two, doesn’t specifically center on family relations, a weird kind of familiarity is definitely in play. Pierre Léon, the director of this cute and charming fable, is also a member of this year’s Feature Competition jury. Protagonist Rémi is shy, cowardly and socially awkward. Friends use him and others abuse him, until one day he sees an all-too-familiar face walking down the street. It’s him! But unlike him, this second Rémi is cocky, arrogant and

even has an evil spark in his eyes. He’s here to take the original Rémi’s place and everybody seems to be okay with this – except Rémi himself. AV Anna (Jacques Toulemonde, 2015).

15-7 18:00 Cinema Star.

Our Mother (Fejria Deliba, 2015).

13-7 15:00 Moscow Cinema Blue Hall, 14-7 18:00 Cinema Star.

Two Remis, Two (Pierre Léon, 2015).

13-7 21:30 KinoPark, 15-7 17:00 Moscow Cinema Red Hall.

21:00, Boghosyan Gardens. The open air screenings in the “Lover’s Park” continue with An Autumn Without Berlin by Lara Izagirre, part of the New Basque Cinema program (see below).

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

BASQUING IN THE GLOW Feature Competition entry Amama (see opposite page) is not the only Basque film screening at this year’s GAIFF. A special programma of four films highlights the variety of filmmaking in this region.

Cosmic Requiem Cosmos (Andrzej Zulawski, France/ Portugal, 2015). 13-7 16:30 Moscow Cinema Red Hall, 14-7 18:30 KinoPark.

It feels like Andrzej Zulawski, one of the most controversial, radical and interesting directors of European cinema, had gathered his strength for fifteen years to create his fatalistic film Cosmos, all the while battling cancer too.

Cosmos premiered at last year’s Locarno film festival, where it won the Best Director Award.

Receiving the award, Zulawski said he was working on the screenplay for of his next film. But when Zulawski passed away last February, it turned out that this new melody would stay on the sheets, turning Cosmos into the late maestro’s requiem.

Based on the eponymous novel by another radical polish artist, writer Witold Gombrowicz, the plot of

the film is very concise and maybe even irrelevant.

Witold and Fux are young men who find themselves in a suburban boarding house, where not only the objects are strange, but also the residents. Sabine Azéma, the widow and the muse Alain Resnais, embodies one of them.

Illegible symbols, a girl with a cleft rabbit lip, a crow and a cat hanged in the woods: all of these are necessary for the film to fall out of logical patterns and become irrational, mystical and transcendent.

Only the sensory impulses – suspense, fear, grief – can help understand Zulawski. The artist combines high film aesthetics and powerful close-ups with a camera that at times wanders around in an almost amateur fashion to create an anxious atmosphere, forcing the spectator to move into a different dimension, with different laws of attraction. Zulawski offers the viewer a whole universe “compressed” into this boarding house, or into an even smaller and more internal space. KA

Each in their own way, the four films all focus on some central aspect of the Basque region. They don’t highlight the political struggles of the region, which has long proclaimed its independence from its “parent countries” France and especially Spain.

Instead they focus on its cultural heritage.

Thus, the documentary Pelota II by Danish filmmaker Jørgen Leth and his Basque colleague Olatz González Abrisketa focuses on the sport that is most popular in the region. The social thriller Three Lies

by Ana Murugarren delves into the aftermath of a sordid part of the region’s history, during the reign of Spanish dictator Franco. And dark police film Txarriboda by Javier Rebollo and Alvar Gordejuela even takes a local custom as its metaphorical title: the “txarriboda” is the annual pigs’ slaughter.

An Autumn Without Berlin is the only one of the four films that does not seem to wear its Basque heart on its sleeve. Nevertheless, the general theme of the film – the choice between staying at home and going out into the world – seems especially apt for this region struggling for autonomy. Lara Izagirre’s delicate drama revolves around twenty-something June, who returns to her home town after having spent

Pelota II

some time away. She isn’t exactly welcomed back with open arms: her father does not want to speak to her, and old flame Diego doesn’t even open his door.

Izagirre doesn't give much away at first, taking her time to inform the viewer about June’s background, her reasons for leaving and why everyone has turned their backs on her. While June finds a job teaching French to a young boy so he can get into the French school – a subtle local accent – she tries to rekindle her relationship with agoraphobic Diego.

The film is a breakthrough role for young actress Irene Escolar. As June, she is onscreen for nearly all of the film’s running time, and she portrays her subtlest emotions with ease. As the sixth generation in a family of famous Spanish actors, it seems now is her time to shine. JB An Autumn Without Berlin (Lara Izagirre, 2015). 13-7 21:00 Boghosyan Gardens.

Pelota II (Jørgen Leth & Olatz González Abrisketa, 2015). 15-7 13:00 Moscow Cinema Small Hall 2.

Three Lies (Ana Murugarren, 2014).

14-7 13:00 Moscow Cinema Small Hall 2.