Golden Apricot Daily - 2015, Day 5

Page 1

DAILY Beauty and Terror ¶»Õ»óÏáõÃÛáõÝ ¨ ë³ñë³÷

DAY 5, THURSDAY, JULY 16

B2B Doc. ·ïÝ»É ÁݹѳÝáõñ É»½áõ

§êÇñ»ÉÇ ùáõÛñ»ñ¦, §ì³ñå»ïÁ ¨ î³ï۳ݳݦ

гñó³½ñáõÛó. ¼³½³ àõñáõß³Ó»

Interview Zaza Urushadze

Toto and his Sisters: A Dangerous Home

B2B Doc: Finding a Common Language

GOLDEN APRICOT DAILY | DAY 5 | 16 JULY | 2015

2 Ă?ù³¡Ă‡Ăą/program ÑåþÉÇÍÇ 16 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³üåþÛï š³Ă‘ÉÇ×/ Moscow Cinema, Blue Hall 10:00, 18:00

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, 16:30

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

Ă?³Û³Íï³Ă? Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ×/ Hayastan Cinema, Small Hall 17:00

10:00, 18:00

Ă?³Û³Íï³Ă? Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, Ă˜ÂťĂ? š³Ă‘ÉÇ×/ Hayastan Cinema, Big Hall 17:00

# $ , /Moskvich, My Love $ * ) / Aram Shahbazyan Arm/Fra/Rus, 87’/AP

Lang.: Armenian, Subt.: English

/ Snow Pirates

/Faruk Hacihafizoglu

! " /Film Sound , ' /Cesar Gananian, Alexandre Moura

Tur, 83’/FC

Bra, 9’/ AP

Lang.: Turkish, Subt.: English

Lang.: no dialogues, Subt.: no subtitles

12:00

+ - . / Master and Tatyana - % 2& /Giedrė Žickytė Ltu, 84’/DC

Lang.: Lithuanian/Russian, Subt.: English 12:00, 18:30 . - & /Toto and His Sisters 4 /Alexander Nanau

/The Project of the Century / Carlos Machado Quintela Arg/Cub/Deu/Che, 100’/FC

Lang.: Spanish, Subt.: English

1915 ( , ) /Garin Hovhannisian, Alec Mouhibian

14:00

Deu/Pol/Fra, 113’/NA

16:00, 17:00

Arm/Fra/Rus, 87’/AP

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

Lang.: German, Subt.: English and Armenian

. , 7 ) '8 / Where is the Euphrates, Son? 6 ) 7 ' /Ruben Pashinyan

Lang.: Slovak/Czech/German/ English, Subt.: English and Armenian

19:00

; $/Getting Fat in a Healthy Way -? 9 /Kevork Aslanyan Bgr, 22’/AP

Lang.: Bulgarian, Subt.: English and Armenian

. , + - / Granny, Vanya and the Goat + ; &? /Daria Yurkevich Fra/Blr, 15’/SC

Lang.: Belarussian/Russian, Subt.: English and Armenian @ &/Listen $ 6 $ , 6 9 4 /Hamy Ramezan, Rungano Nyoni

+ * \ * ] / Back to Gurun - 9 /Adrineh Gregorian Arm, 64’/AP

Dnk/Fin, 12’/SC

Lang.: English, Subt.: Armenian

Lang.: Danish/Arabic, Subt.: English and Armenian

! " /Film Sound , ' /Cesar Gananian, Alexandre Moura

Spa, 9’/SC

Lang.: Spanish, Subt.: English and Armenian

/ Blood Brothers !/ Kees Schaap Nld, 45’/WE

Rus, 18’/ WE

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

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

20:00

&/A Piece of Sky & /Henrik Malyan

20:30

Kgz, 168’/DAB

Bra, 9’/AP

Lang.: no dialogues, Subt.: no subtitles 21:00

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

19:00 ' & ( ) &/As We Were Dreaming + /Andreas Dresen /Ixcanul " # $ /Jayro Bustamante Gtm/Fra, 91’/FC

Lang.: Kaqchikel, Subt.: English and Armenian

< /Bolis 8 & 4 / Eric Nazarian

Lang.: German, Subt.: English and Armenian 21:30

Tur, 19’/WE

Lang.: English/Turkish, Subt.: English and Armenian /April 9 : /Vigen Chaldranian Arm, 30’/WE

Lang.: Armenian, Subt.: English 21:30

Fra/Bel, 95’/FNC

Lang.: French, Subt.: English and Armenian

21:00

N " * $ / SchÜnefeld Boulevard . 8 /Sylke Enders Deu, 100’/GNC

Lang.: German, Subt.: English and Armenian

^& /Somewhere Beautiful ) 9 /Albert Kodagolian USA/Arg, 75’/AP

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

% $ /Sivas 5 /Kaan Mujdeci

Q (, 0 & /Paris, Texas $ /Wim Wenders

_ `/The Road - 9 & /Gagik Madoyan

Fra/Deu, 148’/R

Arm, 10’/AP

Lang.: English, Subt.: Armenian

Lang.: Armenian, Subt.: English

Tur/Deu, 97’/DAB

Lang.: Turkish, Subt.: English and Armenian

Fra/Deu, 117’/GNC

22:00

/Diary of a Chambermaid # % & /Benoit Jacquot

19:00

21:00

Arm, 92’/T

Lang.: Armenian, Subt.: English

. 8 4 /The Move /Marat Sarulu

Lang.: Kyrgyz, Subt.: English and Armenian

êÇĂ?Ù³ ĂŤĂƒ³ù/ Cinema Star

Lang.: Armenian, Subt.: English # : ;/ Immersion into the Fire $ + /Hamlet Dulyan

Fra, 83’/FNC

21:00

Arm, 15’/WE 17:00

# : $ ; ` $ / The Last Hammer Blow + X /Alix Delaporte

Lang.: French, Subt.: English and Armenian

Lang.: Polish, Subt.: English and Armenian

* &/Horseface & " /Marc MartĂ­nez JordĂĄn

% & /Beloved Sisters + $ & - / Dominik Graf Aut/Deu, 170’/GNC

Lang.: German, Subt.: English and Armenian

Pol, 19’/SC

15:30

Svk/Cze, 75’/DAB

Lang.: Armenian, Subt.: English

19:00

# & /The Only Way > + $ ? & /Piotr Domalewski

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

Arm, 15’/AP

Lang.: English, Subt.: Armenian

12:00, 20:00

0 & . 3 4 /Turkey. The Legacy of Silence # 5 $ , - $ /Anna Benjamin, Guillaume Clere

q /Koza @( I ( & /Ivan OstrochovskĂ˝

UK, 25’/SC

Deu, 14’/SC

Fra, 52’/WE

Lang.: Polish, Subt.: English and Armenian

=- /Beverley < $ /Alexander Thomas

Lang.: Romanian, Subt.: English

12:00

/Korczak /Andrzej Wajda

Lang.: Azerbaijani, Subt.: English and Armenian

> * /Forever 8 & *$ =/Erik Schmitt

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

# $ , /Moskvich, My Love $ * ) / Aram Shahbazyan

Irn, 29’/SC

Rom, 93’/DC

USA, 82’/AP

14:00

' /Elegy ;

9 /Yousef Kargar

(Z ( Z ()/How to Cross (From Jiliz to Jiliz) , /Sona Kocharyan, Marine Kocharyan

# * /Tangerines . 0 ' 1 /Zaza Urushadze Est/Geo, 90’/YP

Lang.: Estonian/Russian/ Georgian, Subt.: English and Armenian

. * ;$ & / Grandma’s Tattoos " /Suzanne Khardalian Swe, 58’/WE

Lang.: English/Armenian/Arabic/ Swedish, 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 ĂŽ³ùĂ? ²íïÇÍÛ³Ă?, Ă˜³ùdz ÂåÚÙ³çÛ³Ă?

Editors: Joost Broeren & Artur Vardikyan Staff: Mariska Graveland, Maricke Nieuwdorp

ĂˆåþͳĂ?Ă?³ùÇãª Ă˜ÂłĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă?

Contributors: Karen Avetisyan, Maria Tokmajyan

êùΟ³¡ùÇãĂ?ùª Ă˜³ùÇĂ?Âť Ă”³ù³Ă‹ÂłĂ?Û³Ă?, èÇÙ³ ²Ă•ÂťĂ?Û³Ă?

Photographer: Mane Hovhannisyan

Ă‚³ù¡Ă™ÂłĂ?ÇãĂ?ùª ĂˆåþÍÇĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă?, Ÿ³ùåþÑÇ ê³ý³ùÛ³Ă?

Design: Gayane Grigoryan

¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă? œÉ˳íåù ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ? Îü³¡ùí³Ă? Âż §ĂœĂŽ Ă?åɚÇĂ?¡Œ êäĂ€-åþÙ

General Coaching Adviser: Peter van Bueren Printer: "NT Holding" Ltd.

GOLDEN APRICOT DAILY | DAY 5 | 16 JULY | 2015

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ÂáÕ ÉÇÝÇ ÉáõÛë ²Ûëûñª ųÙÁ 16:00-ÇÝ, سÛñ ²Ãáé êáõñμ ¾çÙdzÍÝáõÙ ²Ù»Ý³ÛÝ Ð³Ûáó γÃáÕÇÏáëÁ ѳ۳½·Ç ѳÛïÝÇ é»ÅÇëáñ èáμ»ñ ¶»¹Ç·Û³ÝÇÝ ÏßÝáñÑÇ §ºÕÇóÇ ÉáõÛë¦ Ùñó³Ý³ÏÁ, áñÁ 2012-Çó ëÏë³Í ïñíáõÙ ¿ é»ÅÇëáñÝ»ñÇÝ, áíù»ñ Ñá·¨áñ ³ñÅ»ùÝ»ñÝ »Ý ù³ñá½áõÙ:

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GOLDEN APRICOT DAILY | DAY 5 | 16 JULY | 2015

4 ·ñ³ËáëáõÃÛáõÝÝ»ñ

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GOLDEN APRICOT DAILY | DAY 5 | 16 JULY | 2015

interview 5

Zaza Urushadze ly in the film, as Ivo lives near a citrus plantation that can’t be harvested because of a lack of fruit pickers. Abkhazia is the land of tangerines, everybody in Georgia knows that the best tangerines come from there. Georgians have an immediate association with Abkhazia and this particular kind of fruit. First we wanted to shoot the film in Abkhazia but the relationship between Georgia and Abkhazia is still problematic, not in the least after our recent fights with Russia. In the end we shot the film in the Georgian region of Guria, which is very close to Abkhazia. During the location scouting we found a beautiful tangerine plantation and planted more trees around the house. Every other thing you see on the screen is built especially for the film.

§Ø³Ý¹³ñÇÝÝ»ñ¦ ýÇÉÙÇ »ñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³Ý ³Ûëûñ ¿: γٻñ³ÛÇÝ Å³ÝñÇ Ùï»ñÙÇÏ ³Ûë ýÇÉÙáõÙ ÙÇ Í»ñ Ù³ñ¹ ûè³Ý ¿ ï³ÉÇë »ñÏáõ íÇñ³íáñ ½ÇÝíáñÝ»ñÇ` ÇÝÝëáõݳϳÝÝ»ñÇ íñ³ó-³μ˳½³Ï³Ý å³ï»ñ³½ÙÇ ûñ»ñÇ »ñÏáõ »ñ¹íÛ³É ÃßݳÙáõ: ìÇñ³íáñÝ»ñÁ` ÙÇ íñ³óÇ ¨ ÙÇ í³ñÓÏ³Ý ã»ã»Ý, ³ÛÝù³Ý ³ï»ÉáõÃÛáõÝ áõÝ»Ý ÙÇÙÛ³Ýó ѳݹ»å, áñ ÑÛáõñÁÝÏ³É Í»ñáõÝÇÝ åÇïÇ ÑëÏÇ, áñå»ë½Ç Çñ ѳñÏÇ ï³Ï ëå³ÝáõÃÛáõÝ ãÉÇÝÇ: ¼³½³ àõñáõß³Ó»Ý å³ïÙáõÙ ¿ §úëϳñǦ ¨ §àëÏ» ·ÉáμáõëǦ ѳí³ÏÝáñ¹ ¹³ñÓ³Í íñ³ó-¿ëïáÝ³Ï³Ý Ñ³Ù³ï»Õ ³ñï³¹ñáõÃÛ³Ý ³Ûë ýÇÉÙÇ ¨ §àëÏ» ÍÇñ³ÝáõÙ¦ ÅÛáõñÇÇ ³Ý¹³Ù ÉÇÝ»Éáõ Ù³ëÇÝ: ¸áõù ·»ñ³¹³ë»É »ù ùÝÝáõÃÛ³Ý ÝÛáõà ¹³ñÓÝ»É »ñÏáõ ÃßݳÙÇÝ»ñÇ Ñá·»μ³ÝáõÃÛáõÝÁ áã û μáõÝ å³ï»ñ³½ÙÇ å³ñ³·³ÛáõÙ, ³ÛÉ »ñμ Ýñ³Ýù ѳñϳ¹ñí³Í »Ý ÝáõÛÝ ï³ÝÇùÇ ï³Ï ³åñ»É: àñ¨¿ Ù»ÏÇ ÏáÕÙÁ ã»ù μéÝáõÙ: ä³ï»ñ³½ÙÝ Áݹ³Ù»ÝÁ ýáÝ ¿ª Ù³ñ¹Ï³Ýó μݳíáñáõÃÛáõÝÝ»ñÁ ùÝÝ»Éáõ áõ ѳëϳݳÉáõ ѳٳñ, û ÇÝãå»ë »Ý Ýñ³Ýù å³ï»ñ³½ÙÇ ¹Åí³ñáõÃÛáõÝÝ»ñÇ Å³Ù³Ý³Ï ÷áñÓáõÙ å³Ñ»É Çñ»Ýó ³ñųݳå³ïíáõÃÛáõÝÝ áõ Ù³ñ¹Ï³ÛÝáõÃÛáõÝÁ: ²μ˳½Ç³ÛÇ Ñ»ï å³ï»ñ³½ÙÁ ìñ³ëï³ÝÇ áõ ³ÝÓ³Ùμ ÇÝÓ Ñ³Ù³ñ ß³ï ó³íáï ¿ñ, ù³ÝÇ áñ Ù»Ýù ÏáñóñÇÝù Ù»ñ »ñÏñÇ ß³ï ·»Õ»óÇÏ ÙÇ Ñ³ïí³ÍÁ, »ë ¿Éª ÙÇ ù³ÝÇ É³í ÁÝÏ»ñ: ê³Ï³ÛÝ ýÇÉÙáõÙë ó³Ýϳó»É »Ù ù³Õ³ù³Ï³ÝáõÃÛáõÝÇó Ñ»éáõ ÙÝ³É áõ ³Ù»ÝÇó ³é³ç óáõÛó ï³É Ù³ñ¹Ï³ÛÝáõÃÛ³Ý ³ñÅ»ùÁ: àñå»ë íñ³óÇ` ¹Åí³ñ ¿ñ Ó»éÝå³Ñ ÙݳÉ, μ³Ûó Çëϳå»ë áõ½»ó»É »Ù å³ï»ñ³½ÙÁ óáõÛó ï³É »ñÏáõ ëáõμÛ»ÏïÇí ï»ë³ÝÏÛáõÝÝ»ñÇó: ä³Ñ³Ýç áõÝ»Ç ³ë»Éáõ, áñ ÏÛ³ÝùÝ Çñáù ϳñ× ¿, ¨ å³ï»ñ³½Ù»Éáõ ϳñÇù ãϳ: ì»ñçÇí»ñçá` ýÇÉÙÁ Ý»ñáõÙÇ Ù³ëÇÝ ¿: §Ø³Ý¹³ñÇÝÝ»ñÁ¦ óáõó³¹ñí»É ¿ ºíñáå³Ï³Ý ä³éɳٻÝïáõÙ, ¨ Ýñ³Ýù ù³Õ³ù³Ï³Ý áõÕ»ñÓ »Ý Ýϳï»É, ë³Ï³ÛÝ ýÇÉÙÁ Ù³ñ¹ ÙݳÉáõ áõ ÏÛ³ÝùÁ ·Ý³Ñ³ï»Éáõ Ù³ëÇÝ ¿: ºíñáå³Ï³Ý ä³éɳٻÝïÁ ç³ÝáõÙ ¿ ÉáõÍ»É ÙÇ ËݹÇñ, áñÇÝ ýÇÉÙÇ Ñ»ñáë Í»ñ ÆíáÝ ¨ë μ³ËíáõÙ ¿, ë³Ï³ÛÝ` ë»÷³Ï³Ý ï³ÝÁ: ÆÝÓ Ñ³Ù³ñ ß³ï Ñ»ï³ùñùÇñ ¿ñª ÇÝãå»ë ÃßݳÙÇÝ»ñÝ Çñ»Ýó Ïå³Ñ»Ý ÙǨÝáõÛÝ Ñ³ñÏÇ ï³Ï, ϳ٠³ß˳ñѳù³Õ³ù³Ï³Ý É»½íáí ³ë³Í` μ³Ý³Ïó³ÛÇÝ ë»Õ³ÝÇ ßáõñç: ÆíáÝ, áñå»ë ÙdzíáñáÕ ·áñÍáÝ, ѳçáÕáõÙ ¿ ÃßݳÙÇÝ»ñÇ ÙÇç¨ Ñ³Ù³Ï»óáõÃÛáõÝ ëï»ÕÍ»É: ܳ ÁݹѳÝáõñ ³ñÅ»ùÝ»ñ, ½·³óáÕáõÃÛáõÝ áõ μ³ñá۳ϳÝáõÃÛáõÝ áõÝÇ: γ뻱ù, û ٳݹ³ñÇÝÝ»ñÁ ýÇÉÙáõÙ ÇÝã ¹»ñ áõÝ»Ý: ÆíáÝ, ÷³ëïáñ»Ý, ³åñáõÙ ¿ óÇïñáõë³ÛÇÝ ³Û·áõ ÏáÕùÇÝ ¨ ³ß˳ïáõÅÇ å³Ï³ëÇ Ñ»ï¨³Ýùáí` μ»ñùÁ ѳí³ùáÕ ãϳ: ²μ˳½Ç³Ý ٳݹ³ñÇÝáí ѳñáõëï ÑáÕ ¿. ìñ³ëï³ÝáõÙ μáÉáñÁ ·Çï»Ý, áñ É³í³·áõÛÝ Ù³Ý¹³ñÇÝÝ ³ÛÝï»Õ ¿ ³×áõÙ: êϽμáõÙ Ù»Ýù ýÇÉÙÝ áõ½áõÙ ¿ÇÝù ²μ˳½Ç³ÛáõÙ Ýϳñ»É, μ³Ûó »ñÏáõ »ñÏñÝ»ñÇ ÙÇç¨ ¹»é¨ë ɳñí³Í ѳñ³μ»ñáõÃÛáõÝÝ»ñ »Ý` èáõë³ëï³ÝÇ Ñ»ï í»ñçÇÝ ÏáÝýÉÇÏïÇó Ñ»ïá: àñáß»óÇÝù ýÇÉÙÁ Ýϳñ»É íñ³ó³Ï³Ý ¶áõñdz ï»Õ³ÝùáõÙ, áñÁ ß³ï Ùáï ¿ ²μ˳½Ç³ÛÇÝ: î³ñ³ÍùÁ ½ÝÝ»Éáõ ÁÝóóùáõ٠ٳݹ³ñÇÝÇ Ññ³ß³ÉÇ ÙÇ ³Û·Ç ·ï³Ýù ¨ ï³Ý ßáõñçÝ ¿ÉÇ Í³é»ñ ïÝÏ»óÇÝù: Øݳó³Í ³Ù»Ý ÇÝã, áñ ï»ëÝáõÙ »ùª ѳïáõÏ ýÇÉÙÇ Ñ³Ù³ñ ¿ ëï»ÕÍí»É: üÇÉÙáõÙ ÏÇÝáÛÇÝ í»ñ³μ»ñáÕ ½í³ñ׳ÉÇ ÙÇ Ù»çμ»ñáõÙ áõÝ»ù. í³·áÝÝ ÁÝÏÝáõÙ ¿ Ëáñ ÏÇñ×Ç Ù»ç ¨ ݳÛáÕÝ»ñÝ ëå³ëáõÙ »Ý, áñ Ù³ñï³ýÇÉÙ»ñÇ ÝÙ³Ý å³ÛÃÛáõÝ åÇïÇ ÉÇÝÇ: ºñμ å³ÛÃÛáõÝ ãÇ ÉÇÝáõÙ, Ñ»ñáëÝ»ñÇó Ù»ÏÁ ѳÛï³ñ³ñáõÙ ¿. §ÎÇÝáÝ Ù»Í Ï»ÕÍÇù ¿¦: ¸³ ÙÇ Ï³ï³Ï ¿ñ, áñ »ë ½í³ñ׳ÝùÇ Ñ³Ù³ñ áõÕÕ³ÏÇ Ý»ñ³é»óÇ ýÇÉÙÇ Ù»ç: ´³Ûó ¹Çï³íáñÛ³É` ݳ¨ ÙÇ ù³ÝÇ ³ÛÉ ï»ë³ñ³Ý »Ù Ý»ñ³é»É, ù³ÝÇ áñ íñ³óÇÝ»ñÝ Çëϳå»ë å³ñ»É »Ý å³ï»ñ³½ÙÇ Å³Ù³Ý³Ï: üÇÉÙáõÙ ÑáõÙáñÁ Ýñ³Ýó û·ÝáõÙ ¿ ¹ÇٳϳۻÉ: ê³ å³ïÙáõÃÛ³Ý Ù»ç ³é³çÇݪ íñ³ó-¿ëïáÝ³Ï³Ý Ñ³Ù³ï»Õ ³ñï³¹ñáõÃÛ³Ý ýÇÉÙÝ ¿: ØÇ ù³ÝÇ ï³ñÇ ³é³ç î³ÉÇÝáõÙ ÙÇ ÷³é³ïáÝÇ

While writing, did you get inspiration from real people you knew? Yes, there was a prototype for Ivo, and that was my grandfather. When I was writing I always thought about my grandfather; he had the same human values as Ivo. And the Georgian mercenary Nika was inspired by a famous Georgian actor who secretly went to war the day it started, and on the second day he died. Not only in my film but also in real life I am looking for similarities between people instead of distinctions made by land, culture or language, a lesson my grandfather taught me. You also make a funny reference to cinema itself. At one point in the film a van runs down into a canyon and the spectators expect it to explode like it would in an action movie. When it doesn’t one of the characters declares: “Cinema is a big fraud.” It was a joke that I put in the film just for my own pleasure. But I deliberately included some other light scenes in my film, because Georgians also kept on dancing during the wars. In this film humour helps them overcome their difficulties. ¿Ç Ù³ëݳÏóáõÙ, ¨ ¿ëïáݳóÇ åñá¹Ûáõë»ñÝ»ñÁ Ñ»ï³ùñùñí»óÇÝ ÇÙ ëó»Ý³ñáí, ù³ÝÇ áñ ¹»åù»ñÁ ï»ÕÇ ¿ÇÝ áõÝ»ÝáõÙ ²μ˳½Ç³ÛáõÙ` ï³ëÝÇÝÝ»ñáñ¹ ¹³ñÇ »ñÏñáñ¹ Ï»ëÇÝ Ï³½Ù³íáñí³Í ¿ëïáÝ³Ï³Ý ·ÛáõÕ»ñÇó Ù»ÏáõÙ: ìñ³ó-³μ˳½³Ï³Ý ÏáÝýÉÇÏïÁ ë³ë³Ý»ó ¿ëïáݳóÇ μݳÏÇãÝ»ñÇ Ë³Õ³Õ ÏÛ³ÝùÁ: Üñ³Ýó Ù»Í Ù³ëÁ áñáß»ó í»ñ³¹³éÝ³É Ñ³Ûñ»ÝÇù: ¶ÛáõÕ»ñÝ ³Ù³Û³ó³Ý, Ùݳó ÙÇ ù³ÝÇ μݳÏÇã... ºë Áݹ³Ù»ÝÁ »ñÏáõ ß³μ³ÃáõÙ ·ñ»óÇ ëó»Ý³ñÁ: â·Çï»Ù, û ¹³ ÇÝãå»ë ëï³óí»ó, μ³Ûó` ·ñ»óÇ: üÇÉÙÝ §úëϳñǦ ¨ §àëÏ» ·ÉáμáõëǦ ¿ ³é³ç³¹ñí»É. ¹³ DZÝã ¹»ñ áõÝ»ó³í: ê³ û·Ý»ó Ù»½ ³å³Ñáí»É ýÇÉÙÇ μ³ßËáõÙÁ ѳٳß˳ñѳÛÇÝ ÏÇÝáó³ÝóáõÙ: §àëÏ» ·ÉáμáõëÇó¦ Ñ»ïá` ¹ÇëïñÇμÛáõïáñÝ»ñÁ Ñ»ï³ùñùñí»óÇÝ, ÇëÏ §úëϳñǦ ³é³ç³¹ñáõÙÇó Ñ»ïá` ýÇÉÙÝ ëÏë»ó í³×³éí»É ³ÙμáÕç ³ß˳ñÑáõÙ: ºí ¹³ áã ÙdzÛÝ ï³ñ³Í³ßñç³Ý³ÛÇÝ ÏáÝýÉÇÏïÇ Ù³ëÇÝ ýÇÉÙ Ýϳñ»Éáõ ßÝáñÑÇí ¿, ³Ûɨ ýÇÉÙáõ٠ѳٳٳñ¹Ï³ÛÇÝ å³ïÙáõÃÛáõÝ Ý»ñϳ۳óÝ»Éáõ: ܳ¨` §úëϳñǦ ÝáÙÇݳódzÛÇó Ñ»ïá ìñ³ëï³ÝÇ Çß˳ÝáõÃÛáõÝÝ»ñÝ ³ÝÙÇç³å»ë ·áõÙ³ñ ѳïϳóñÇÝ Ç٠ѳçáñ¹ ýÇÉÙÇ Ñ³Ù³ñ: ²ÛÝå»ë áñ, ÑÇÙ³ »ë Ýáñ ¹ñ³Ù³ÛÇ Ý³Ë³Ýϳñ³Ñ³ÝÙ³Ý ÷áõÉÝ »Ù ëÏë»É: ÎÇÝá³ñï³¹ñáõÃÛáõÝÁ í»ñçÇÝ ï³ñÇÝ»ñÇ ÁÝóóùáõÙ ìñ³ëï³ÝáõÙ μ³ñ»É³íí»É ¿: Øß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝÝ ³ç³Ïó»ó ݳ¨ §Ø³Ý¹³ñÇÝÝ»ñǦ Ýϳñ³Ñ³ÝÙ³ÝÁ, û¨ ¿ëïáÝ³Ï³Ý ÏáÕÙÇ Ý»ñ¹ñáõÙÝ ³í»ÉÇ Ý߳ݳϳÉÇ ¿ñ: ø³ÝÇ áñ ³Ûë ï³ñí³ ÷³é³ïáÝÇ ÅÛáõñÇÇ Ï³½ÙáõÙ »ù` ·Ý³Ñ³ïÙ³Ý Ñ³ïáõÏ ã³÷³ÝÇß áõÝ»±ù: ºë ³Û¹åÇëÇ ã³÷³ÝÇß ãáõÝ»Ù, ÇÙ ëÇñïÁ μ³ó ¿: ºë å³ñ½³å»ë ѳí³ÝáõÙ »Ù ³ÛÝ ýÇÉÙÁ, áñÝ ÇÙ ëñïÇÝ áõ Ñá·áõÝ ¿ ¹ÇåãáõÙ: ¸³ï»É áñ¨¿ ýÇÉÙ, ó³Ýϳó³Í ýÇÉÙ, ÇÝÓ Ñ³Ù³ñ ß³ï ï³ñûñÇÝ³Ï ¿, ù³ÝÇ áñ ¹³ ß³ï ëáõμÛ»ÏïÇí ÏÉÇÝÇ: γñÍáõÙ »Ù, áñ Ûáõñ³ù³ÝãÛáõñ ɳí ýÇÉÙ åÇïÇ ·Ý³Ñ³ïíÇ áñå»ë ³ñí»ëïÇ ·áñÍ: ض §Ø³Ý¹³ñÇÝÝ»ñ¦, é»Å.ª ¼³½³ àõñáõß³Ó», ¾ëïáÝdz/ìñ³ëï³Ý (ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³), §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 16.07 (21:30)

In the intimate chamber piece Tangerines, which has its Yerevan Premiere today, an old man gives shelter to two wounded soldiers, sworn enemies during the Georgian-Abkhazian war of the early 90’s. The two patients – a Georgian and a Chechen mercenary – are so infused with hatred that the old man must watch them carefully to keep them from killing each other under his roof. Georgian director Zaza Urushadze talks about his Oscar- and Golden Globe nominated Estonian-Georgian coproduction, and his jury membership at GAIFF. You focus on the psychology of two enemies who are forced to cohabitate under one roof, rather than on the war itself. You don’t take sides. War is just the backdrop for a character study on how people keep their dignity as human beings during the difficulties of war, how they try to maintain their humanity. The war with Abkhazia was very painful for me and for Georgia because we lost a very beautiful part of the country, and I lost some good friends in the conflict. But I wanted to avoid politics in my film and to show, above all else, the value of humanity. As a Georgian, not taking sides was difficult, but I really wanted to present the war from both subjective perspectives. I felt the urge to say that life is really short and there’s no need for war. Above all the film is about forgiveness. Tangerines was shown at the European Parliament and they saw a political message in it, but the film is more about staying human and appreciating life. The European Parliament is trying to solve the same problems that the hero of the film, the old man Ivo, has to face in his own house. I was interested in how enemies could live together under one roof, or around one negotiation table if you wish to see it in more geopolitical terms. Ivo, as the binding factor, manages to let the enemies co-exist. Ivo still has common sense, values and morality. Could you tell me more about the dramatic role of the tangerines? They feature prominent-

This is the first Estonian-Georgian coproduction in history. How did that come about? A few years ago I was at a festival in Tallinn, the capital of Estonia, and Estonian producers were interested in my script since it takes place in one of the Estonian villages that were formed in Abkhazia in the second half of the 19th century. The GeorgianAbkhazian war altered the peaceful life of the Estonian inhabitants. Most of them decided to return to their homeland. The villages were left empty, as only a few people remained. I wrote the script in just two weeks. I don’t know how I managed, but I did. The film was nominated for an Oscar and a Golden Globe. What effect did that have? Those award nominations helped us to get worldwide distribution. After the Golden Globe nomination, distributors became interested, and after the Oscar nomination the film was sold around the world. I hope that’s because it’s not only a film about a regional war; it tells a more universal story. After the Oscar nomination, the government of Georgia immediately gave me money for my new project, so now I am fortunate enough to be in preproduction on a new drama. Film production in Georgia has improved in recent years and is progressing gradually. The Ministry of Culture of Georgia also supported the production of Tangerines, though financial contributions made by the Estonian side were more significant. Another good thing about the coproduction was that we could get famous actors from both Estonia and Georgia. As you are one of the jury members at this year’s festival, do you have any specific focus points for the films you see? I don’t have any criteria, my heart is open. I just like a film when it touches my soul and heart. To judge a film, any film, is very strange for me, it’s so subjective. I think that any good film must be appreciated as a work of art. MG Tangerines (Zaza Urushadze, Estonia/ Georgia, 2013), 16-7 21:30, Moscow Cinema, Red Hall

GOLDEN APRICOT DAILY | DAY 5 | 16 JULY | 2015

6

reviews

Smoldering Volcano Ixcanul (Jayro Bustamante, Guatemala/ France, 2015), 16-7 20:00, Moscow Cinema, Blue Hall Jayro Bustamante’s marvelous debut is drawn from his own experiences growing up in the region surrounding the Kaqchikel Maya in Guatemala. Ixcanul was developed from within this indigenous culture, as a collaborative process through workshops with locals. And it shows. The affecting tale begins and ends with the striking face of 17-year-old Maria, who works at the coffee plantation her parents manage, picking coffee beans and helping out her mother. The volcano Ixcanul looms ominously in the background. In this ash grey environment, sulfur vapors mix with coffee flavour. Both the beauty and terror of the majestic, grumbling volcano are always present. The volcano is not the only thing that is smoldering though: Maria has fallen in love with one of the boozing plantation workers and unintentionally gets pregnant.

Ixcanul was selected for the main competition of the Berlin film festival, where it won the Alfred Bauer Prize for "opening new perspectives on cinematic art". The deep-focus, colour-saturated compositions shift from static tableaux to a kind of dy-

namic cinéma vérité, when we leave the quiet village and head for the big city. This contrast underlines the out-of-this-worldly state of the village, which doesn’t have electricity or running water. Maria’s mother is illiterate and speaks no Spanish, only the Mayan lan-

guage Kaqchikel. By foregrounding these elements, Bustamante shows the underlying causes of the exploitation of the indigenous people in Guatemala, which suffers from an alarming rate of baby sellers, a painful topic the film also explores. Women are supposed to keep a low profile, so Maria’s pregnancy is a disgrace. “You didn’t watch her, you see, women should stay at home”, a woodcutter tells Maria's parents. Superstition prevails when snakes terrorize the coffee plantation and pregnant Maria is believed to be the only person that can scare them away. In one of the film’s most poignant scenes, she puts her life at risk stepping into the field and getting bitten by a snake. The Guatemalan film industry is very modest, with only about two hundred feature film productions in total. With his debut Bustamante succeeds to lift it up to international stature. Luis Armando Arteaga's cinematography is outstanding, refusing to exoticize the protagonists, and Bustamante was wise to hire experienced French sound designer Julien Cloquet, whose credits stretch back beyond Betty Blue (1986). It all adds up to a sensory, well-observed drama with a magic-realist touch, diving deeply into an isolated world that’s on the brink of extinction. MG

Boys Become Men Snow Pirates (Faruk Hacıhafızoğlu, Turkey, 2015) 16-7 10:00 and 18:00, Moscow Cinema, Blue Hall

Rare Sparkle of Care Toto and his Sisters (Alexander Nanau, Romania, 2014), 16-7 12:00 and 16-7 18:30, Moscow Cinema, Small Hall 1 For some children, their home is the most dangerous place in the world. In the impressive documentary Toto and his Sisters, three Romanian siblings try to survive on their own while their mother spends seven years in jail for drug smuggling. Their house in the slums becomes a clubhouse for heroin addicts, resulting in some

shocking situations. Like when 10-year-old Toto is playing on a bed, unperturbed by the jun kies putting a needle into their neck right next to him. Shot over a period of 15 months, the tender, immersive documentary keeps a close watch as abandoned Toto and his sisters try to make the best of it. Toto has the highest chance of survival, as he’s discovered a talent for hip-hop dance. His oldest sister Ana, however, started using drugs at age 13 and has gone adrift. “Nobody ever washed my back or feet”, she characterizes their neglectful youth. Middle sister and surrogate mother Andreea struggles with the huge responsibilities put on her

An Eccentric Exhibition

Modern Love in 1788 Beloved Sisters (Dominik Graf, Germany, 2014), 16-7 14:00, Moscow Cinema, Red Hall Domink Graf’s Beloved Sisters is a bit of an outlier in the New German Cinema program, since it’s the only period piece among the five films, the rest of which focus on the country’s recent history or present. Nevertheless, Graf’s film might be the most modern of the bunch in style and sensibility. Poet Friedrich Schiller may be the most famous one in the 18th century love triangle that the film depicts, but he is by no means the most important character. Indeed, it’s no accident that the film’s title focusses attention on the pair of nobiliary sisters that catch his fancy: Charlotte and Caroline von Lengefeld. Before meeting Schiller and diving headfirst into a ménage à trois with the young poet, the two have already made a pact to go through life together, and it’s their relationship that the drama centers on, even after Charlotte marries Schiller. The heavily coded writings the three send each other, from short lovenotes to longer letters when

shoulders at too early an age. When people sing her a birthday song, she receives a rare sparkle of care. German/Romanian director Alexander Nanau, who won an Emmy Award with The World According to Ion B., avoids melodrama by calmly observing the siblings in their own world, to which they have adapted reluctantly. The documentary raises profound questions about the director as a spectator, not interfering even when he encounters unacceptable living conditions. But in this case, the main role of the director is to show this devastating situation plainly, using his camera as a non-judgmental tool to inform the world about the fate of these children, who grew up much too early. MG

It’s the winter of 1981 and the Turkish city of Kars is suffering through extreme cold. There’s a military coup happening, but three boys are much more worried about their school reports. When the winter vacation arrives, the threesome helps out their families by hunting for scarce coal. It seems like an adventure at first, with a warm home as a reward. But it doesn’t take long before the dangers of the military junta roaming the streets of this remote town near Turkey’s Eastern border catch up to them. This winter, playtime is over and boys will become men. Director Faruk Hacıhafızoğlu chose to cast local children from the city of Kars for his debut feature Snow Pirates. Even though the kids didn’t have any experience, their performances are natural. Hacıhafızoğlu’s stylish coming-of-age drama stems mostly from his own childhood memories; both happy ones and more gloomy moments. The fact that the director also works as a photographer shines through in his strong, clean images. The virginal white snow offers a sharp contrast to the pitch-black coal, just like the boys’ games, playing football and sledding, are in stark contrasts to the threat of a cruel military dictatorship. Where protagonist Serhat at first childishly fantasizes about getting a pair of ice skates, he gradually starts to worry more about curfews and loved ones that are being taken during random house raids. Although this tough part of Turkish history is present in Snow Pirates most of the time, Hacıhafızoğlu still manages to bring a certain kind of lightness, playfulness and warmth into his story. MN

Master and Tatyana (Giedrė Žickytė, Lithuania, 2015), 16-7 10:00 and 17:00, Moscow Cinema, Small Hall 1

they are further apart, form the skeleton of the film. They’re a clue to what Graf is up to stylistically as well: he has created a completely cinematic rendition of the classical literary genre of the epistolary novel. Although the affair shown in the film is partially supported by historical sources, Graf has taken many liberties with history. After all, one can hardly imagine an independent and willful woman like Caroline going through life in 1780’s Europe. But it fits the film: this is by no means a stuffy costume drama, but rather a thoroughly modern investigation of love, lust and the social perils of choosing an alternative lifestyle. JB

Since her last film, How We Played the Revolution (2012), Lithuanian documentary filmmaker Giedrė Žickytė has remained interested in exploring Soviet subcultures. In Master and Tatyana her subject is Vitas Luckus, a master of Lithuanian photography. Getting sincere comments from Luckus’ loved ones and friends, the director relays the phenomenal life story of this relatively unknown talent to the world. Žickytė constructs her film like a photo exhibition, where every showpiece expresses a complexity of thought and feeling. Together they fill in the gaps in the enormous puzzle that is the life of Vitas Luckus. It resembles the rich but tragic lives of many geniuses of the Soviet era, such as Vladimir Vysotky, Andrei Tarkovsky, and even Sergei Paradjanov. Like them, Luckus couldn’t conform. He was expressive and thoughtful, and at the same time troubled and judged.

As always if there’s a Master, then there surely must be a Margarita. In Luckus’ case, her name was Tatyana. She became everything to Luckus – his passion, his love and his pain, the one who would give him wings and the one who would cut them off. All the speakers in the film testify that Luckus’ life was anything but monotononous – there were wild parties with Tbilisi police; equally peculiar relations with the criminal element, the KGB and fellow artists; a pet lion brought from the wilderness; and many more radical and contradictory stories. Luckus’ eccentric appearance was mirrored in his behavior, and in his equally eccentric end. KA

GOLDEN APRICOT DAILY | DAY 5 | 16 JULY | 2015

news and reviews 7

Finding a Common Language A new network for documentary filmmakers will be presented at GAIFF today. The Baltic 2 Black Sea documentary network, or B2B Doc in short, aims to bring together filmmakers from Sweden, Finland, Estonia, Latvia, Lithuania, Belarus, Ukraine, Moldova, Georgia and Armenia. The presentation will be led by Swedish filmmaker Alex Shiriaieff, one of the initiators of B2B Doc. “In the post-Soviet countries now trying to integrate more with Europe and the EU, there is a high level of competence in the documentary field, but the production costs are often an insurmountable problem”, Shiriaieff explains. “That’s why B2B Doc wants to facilitate the integration of documentary filmmakers from these countries into the Nordic and European markets.”

B2B Doc is supported by the Swedish State Agency for cooperation and Development, and will be administrated by the Swedish Independent Filmmakers’s Union. But this is not a top-down institution, Shiriaieff stresses: “The idea is to form a network of filmmakers, made for filmmakers and run by filmmakers.” At least four coproduction projects at the development stage will be supported each year, with leading European producers advising the filmmakers. Frequent meetings will be held at various festivals throughout the participating countries, so filmmakers can meet and plot ideas for future coproductions. A first presentation of the network was already held at the Odessa Film Festival last Tuesday. “Everybody seemed to like the idea”, Shiriaieff says. “But filmmakers from the post-Soviet sphere have little experience with international coproduc-

tions. Similarly, many European filmmakers know nothing about the film industry in the former USSR. So we have to start with the basics here, letting people meet and find common a language and understanding.” That’s also what Shiriaieff hopes to find in Yerevan: potential members. “B2B Doc will be a network of equal partners, so we need filmmakers who can contribute ideas and input for this common goal. There is always too little money for making documentaries, but coproduction can be a solution to that. So let’s find a way together to make this work.” JB B2B Doc presentation. 12:00, Ani Plaza Hotel, Nairi Hall. The presentation will be in Russian, but English and Armenian translation will be available.

From Literature to Film Yesterday Indian actress, director and screenwriter Bijaya Jena gave a master class at the TUMO Center from Creative Technologies, telling the students and visitors about her views on cinema. Jena studied film in the city of Puna before starting her career as an actress, appearing on the silver screen as well as TV movies. Her most famous work internationally is 1985’s Hakim Babu, which was named the best Indian film of that year. After that Jena successfully shifted to directing, screenwriting and producing, making the films Tara and Abhaas in the 90’s. After a prolonged break from filmmaking to focus on motherhood, Jena now has several projects in development. Jena was sharing her knowledge and skills with the audience, while also trying to give practical advice to the beginning filmmakers that were in attendance. Much of the discussion revolved around the relation between cinema and literature, since the latter serves as the foundation for may a film. Jena said that literature is probably the oldest art form, because what are cave drawings if not a peculiar type of text by which people wanted to express and share their ideas. From ancient folklore to 20th century modernist literature, Jena insisted that writing is the best format for expressing one’s thoughts. That’s why today more than ever, a key element for any film is the screenplay. In order to engage the audience, the director must know the art of telling stories, creating flexible and holistic characters, which will live on the frame and carry their biogra-

Let There Be Light 16:00, Gevorkian Seminary of Holy Etchmiadzin, Vagarshapat. This year’s Let There Be Light Award will be handed to FranchArmenian director Robert Guédiguian, director of this year’s opening film Don’t Tell Me the Boy Was Mad. The ceremony is accessible by invitation only. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 13:30.

Tribute: Henrik Malyan 17:00, Moscow Cinema, Red Hall. The festival today pays tribute to Armenian director Henrik Malyan (1925-1988), who would have celebrated his 90th birthday this year, with a screening of his film A Piece of Sky from 1980 – the same year that Malyan founded the local theatre that’s named after him. Malyan’s final film work was as a writer on Nostalgia (1990), finished after his death, which will screen at GAIFF this Saturday.

Talk to GAIFF: Nuno Sena 17:30, Tumo Center for Creative Technologies (16 Halabyan St.). Nuno Sena, programmer at the Portuguese independent film festival IndieLisboa, will talk to students at the Tumo center.

New German Cinema 19:00, Moscow Cinema, Red Hall. The festival program of five recent successes from Germany will officially open today with an screening of Andreas Dresen’s As We Were Dreaming, about a group of youngsters running wild in the city of Leipzig just after the fall of the Berlin wall.

Yerevan Nights: Sivas phies on their faces. Jena advised directors to learn how to write short stories, as this would undoubtedly help them in their filmmaking efforts. She especially gives great importance to the imagination, through which an author can take a simple fact of life and construct an original and entertaining story around it. “Plot construction is crucial; only after the film is ready on paper, the director can even think to set foot on the set to start visualizing his ideas.”

However, Jena suggests that scriptwriting is not an art, but rather a matter of craftsmanship that requires a particular set of skills. The screenplay has to be simple, or better yet: disguise its complexity beneath a seeming simplicity. One must learn how to express his or her thoughts in the simplest ways. And this is especially important for beginners, Jena said: “Always avoid stuffing simple ideas into complex forms.” MT

With the centennial of the Armenian Genocide being commemorated in the festival programs We Exist and Never Again, festival guests (including director Rob Nilsson, pictured above) visited Yerevan's Genocide Museum yesterday.

21:00, Poghosyan Gardens. The Turkish film Sivas, which graced the cover of the second Daily a few days ago, will have an open air screening tonight.

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.

GOLDEN APRICOT DAILY | DAY 5 | 16 JULY | 2015

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