Golden Apricot Daily - 2016, Day 5

DAILY

THURSDAY JULY 14 2016

DAY

5

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Direct Hit àõÕÇÕ Ñ³ñí³Í ÞºøêäÆðÆ Ð²ð²îºì àôÄÀ вÚ_Âàôðø²Î²Ü ÎÆÜà_ äȲîüàðØÆ Ð²ÔÂàÔܺðÀ ¿ç 3

²ä²ÞʲðàôÂÚ²Ü Ö²Øö²Ü ²ÞʲðÐÀ زð¸àôò кîà ÀÜîðàôÂÚ²Ü Ö²Øö²´²Ä²ÜÀ ¿ç 4

Ä»ÉÇÙÇñ ÄÇÉÝÇÏ

LIFE AFTER HUMANITY PAINFULLY RELATABLE CROSSROADS OF CHOICE p. 6

вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

Zelimir Zilnik

CAPTURING DREAMS FAR AWAY FROM HOME ATCP WINNERS p. 7

GOLDEN APRICOT DAILY DAY 5 | 14 JULY | 2016

2 ĂŒĂ°Â˛ÂśĂ†Ă°/ PROGRAM

, MOSCOW CINEMA, BLUE HALL 10:00

/ .

Ungiven/dir. Branko Schmidt

14.07 Lang.: Croatian Subt.: English and Armenian

Hrv, 83’ FC

17:30

19:30

20:30

21:30

Lang.: Basque Subt.: English and Armenian

12:00

/ .

Amama: When a Tree Falls/dir. Asier Altuna

Esp, 103’ FC

14:00

! / .

Toni Erdmann/dir. Maren Ade

17:00

" #$ / .

Full Contact/dir. David Verbeek

19:00

% &% ' / .

Anna’s Life/dir. Nino Basilia

Geo, 108’ FC

Lang.: Georgian Subt.: English and Armenian

21:00

( ) ! / .

Sieranevada/dir. Cristi Puiu

Rom, 173’ YP

Lang.: Romanian Subt.: English and Armenian

Deu/Aut/ Rom, 162’ FC Nld/Hrv, 105’ FC

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

10:00 * + (% - ( .% / . !

Leopard’s Silence/dir. Viken Armenian

Lang.: Russian Subt.: English and Armenian

Arm, 21’ AP Deu, 13’ AP Rus, 18’ AP Bgr, 20’ AP

Lang.: Armenian Subt.: English Lang.: no dialogues Subt.: no subtitles Lang.: Russian Subt.: English and Armenian Lang.: Bulgarian Subt.: English and Armenian

Arm, 19’ AP Fra, 33’ AP

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

13:00

] ' / "/ .

Three Lies/dir. Ana Murugarren

Esp, 98’ BNC

Lang.: Spanish Subt.: English and Armenian

15:00

. / . I I

Monte/dir. Hrant Hakobyan % = / . " I ' Establishment/dir. Grigor Harutyunyan > - / & / . > ?

The Land of Holy Rites/dir. Edgar Baghdasaryan ( =P - $ " P / . J OQ& Forgotten February/dir. Tigran Khzmalyan / < / . ! O U My Border/dir. Armen Khachatryan "/ . ' Hamlet/dir. Kenneth Branagh

Arm, 18â&#x20AC;&#x2122; ÂŤ25Âť Arm, 60â&#x20AC;&#x2122; ÂŤ25Âť Arm, 63â&#x20AC;&#x2122; ÂŤ25Âť

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

Arm, 22â&#x20AC;&#x2122; ÂŤ25Âť

Lang.: no dialogues Subt.: no subtitles

16:30

18:00 Fra, 42â&#x20AC;&#x2122; AP

Rus, 83â&#x20AC;&#x2122; DC

, 8 ; 2 MOSCOW CINEMA, SMALL HALL 2

Lang.: English Subt.: Armenian

,

MOSCOW CINEMA, RED HALL

K X $ < ! / . < " # Across the Don/dir. Evgeny Grigorev #X < / . = My World/dir. Albert Sargsyan P / . " Aurora/dir. Gor Margaryan P /" / . > ?

Bravoman/dir. Evelina Barsegian & % ! # / . "#

Balkan Royal/dir. Kevork Aslanyan X" # / . " @ Skhtorashen/dir. Garegin Papoyan 8 [-] ) / .

Paris-Yerevan/dir. Nora Martirosyan

Lang.: French Subt.: English and Armenian 19:30

Arm, 60â&#x20AC;&#x2122; ÂŤ25Âť UK/USA, 242â&#x20AC;&#x2122; SH

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

]

CINEMA STAR 18:00

5 ! & P & _ /" &/ . $ Our Mother/dir. Fejria Deliba

Fra, 85â&#x20AC;&#x2122; FNC

Lang.: French Subt.: English and Armenian

Lang.: French Subt.: English and Armenian

KINOPARK

& % ! # / . "#

Balkan Royal/dir. Kevork Aslanyan / / .

About Love/dir. Anna Melikian

Bgr, 20â&#x20AC;&#x2122; AP

Lang.: Bulgarian Subt.: English and Armenian

Rus, 115â&#x20AC;&#x2122; AP

Lang.: Russian Subt.: English and Armenian

14:30

& / . $ !

Fallen/dir. Fren Kelemen

Deu/Lva, 90â&#x20AC;&#x2122; R

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

16:30

% '/ . % & ' The Commune/dir. Thomas Vinterberg

Dnk, 112â&#x20AC;&#x2122; DNC

Lang.: Danish Subt.: English and Armenian

19:00

%// . #( Good Morning/dir. Anna Arevshatyan

Arm, 104â&#x20AC;&#x2122; AP

Lang.: Armenian Subt.: English

21:00

# 5 - # / . ) "# * Autumn of the Magician/dir. Ruben Gevorgyants

Arm, 52â&#x20AC;&#x2122; T

Lang.: Armenian Subt.: English

12:00

18:30

[ '/ . Z -

Cosmos/dir. Andrzej Zulawski

Fra/Prt, 103â&#x20AC;&#x2122; PFD

20:30

; < # / . \QZ ] Memories of the Wind/dir. Ozcan Alper

Tur/Fra/Deu/ Lang.: Turkish/Russian Geo, 126â&#x20AC;&#x2122; YP Subt.: English and Armenian

] ]

HENRIK MALYAN THEATRE OF CINEMA ARTISTS Lang.: Armenian Subt.: English

13:00

|P & %!" }/ . ( I ] Anyone There?/dir. Ashot Hovsepyan

Arm, 8â&#x20AC;&#x2122; FV

13:15

/ &/ . " Minus One/dir. Mary H.Grigoryan

Arm, 11â&#x20AC;&#x2122; Lang.: Armenian FV Subt.: English

13:30

P . P < 5 &% / . Q , & Five Angles of Dovlatov/dir. Aza Babayan, Vadim Dubnov ]P % . ! / . & _ And on the Seventh Day/dir. Arman Chilingaryan

Arm, 52â&#x20AC;&#x2122; Lang.: Russian FV Subt.: no subtitles

= & / . ;& ' Z 1 in a Million/dir. Mahmut Koyuncu

Tur, 65â&#x20AC;&#x2122; FV

16:00 17:15

Arm, 62â&#x20AC;&#x2122; Lang.: Armenian FV Subt.: English Lang.: Kurdish Subt.: English

, 8 ; 1 MOSCOW CINEMA, SMALL HALL 1 10:00 12:00 14:00

15:30

< = = "&/ . + # Bgr, 80â&#x20AC;&#x2122; Lang.: Bulgarian Salto Mortale/dir. Borislav Kolev DC Subt.: English and Armenian "/ . $ $ !

Bel, 70â&#x20AC;&#x2122; Lang.: Spanish AĂąoranza/dir. Flo Flamme DC Subt.: English and Armenian Yug, 45â&#x20AC;&#x2122; Lang.: Serbian " / > ?@, & ! 5 / R Subt.: English and Armenian . - -

Tito Among the Serbs, for Second Time/ dir. Želimir Žilnik KP " P/ . - -

Yug, 12â&#x20AC;&#x2122; Lang.: Serbian Throwing off the Yolks of Bondage/dir.

R Subt.: English and Armenian Želimir Žilnik % / . - -

Yug, 10â&#x20AC;&#x2122; Lang.: Serbian/English For Ella/dir. Ĺ˝elimir Ĺ˝ilnik R Subt.: English and Armenian Homo Sapiens/ . " ; ' Aut/Deu/Che, Lang.: no dialogues Homo Sapiens/dir. Nikolaus Geyrhalter 94â&#x20AC;&#x2122; DC Subt.: no subtitles

] ] ` j] ] q ` ]

YEREVAN NIGHTS AT POGHOSYAN GARDENS 21:00

' / . X ' King Lear/dir. Peter Brook

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

GOLDEN APRICOT DAILY Ă&#x160;Ă&#x2122;Ο³¡Ă&#x2021;ĂąĂ?ù` Ă&#x161;ĂĄĂŤĂ&#x192; ´ùåùĂ?, ²ùĂ&#x192;åþù ϳùšĂ&#x2021;Ă?Ă&#x203A;ÂłĂ? ²Ă&#x;Ă&#x2039;³ï³Ă?³½Ă&#x2122;` Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x153;Ă&#x203A;åþšåùá, Ă?Ă&#x203A;åþ¡å žĂ&#x2122;ù½³Ă&#x2030; Ă?ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?Ă?ùª Ă&#x17D;³ùĂ? ²íïĂ&#x2021;ĂŤĂ&#x203A;ÂłĂ?, ²ùĂ?Ă­Ă&#x2021; ´³Ă&#x2039;ĂŁĂ&#x2021;Ă?Ă&#x203A;ÂłĂ?, ꝡ Ă&#x17D;Ă&#x2021;ù³Ă?ĂĄĂŤĂ&#x203A;ÂłĂ? Ă&#x2C6;åþͳĂ?Ă?³ùĂ&#x2021;ĂŁÂŞ Ă&#x2DC;ÂłĂ?Âť Ă?ĂĄĂ­Ă&#x2018;ÂłĂ?Ă?Ă&#x2021;ĂŤĂ&#x203A;ÂłĂ? êùΟ³¡ùĂ&#x2021;ĂŁÂŞ Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x201D;³ù³Ă&#x2039;ÂłĂ?Ă&#x203A;ÂłĂ?

Ă&#x201A;³ù¡Ă&#x2122;ÂłĂ?Ă&#x2021;ĂŁĂ?ùª Ă?³ÍĂ&#x2122;Ă&#x2021;Ă? Ă?ĂĄĂ­ÂłĂ?Ă&#x2021;Ă&#x2122;Ă&#x203A;ÂłĂ?, Ÿ³ùåþĂ&#x2018;Ă&#x2021; ê³ý³ùĂ&#x203A;ÂłĂ?

Editors: Joost Broeren & Artur Vardikyan

¸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?

Staff: Maricke Nieuwdorp, Hugo Emmerzael

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

Contributors: Karen Avetisyan, Artsvi Bakhchinyan

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

GOLDEN APRICOT DAILY 2016 | 14 JULY | DAY 5

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

²ÞʲðÐÆ ØÚàôê ̲ÚðÆ ºð²¼²ÜøܺðÀ ²Ûë ï³ñÇ ÙñóáõóÛÇÝ Íñ³·ñáõÙ Áݹ·ñÏí³Í »Ý ýÇÉÙ»ñ, áñáÝù μ»É·Ç³óÇ Ñ»ÕÇݳÏÝ»ñÁ Ýϳñ³Ñ³Ý»É »Ý Çñ»Ýó »ñÏñÇó ß³ï Ñ»éáõ: Æñ §Î³ñáïÁ¦ ýÇÉÙáí üÉá üÉ³Ù»Ý ëï»ÕÍ»É ¿ гí³Ý³ÛáõÙ ³åñáÕ Ïáõμ³óÇÝ»ñÇ Ù»Ïáõë³ó³Í ë»ñÝ¹Ç Ù»É³ÝËáÉÇÏ ¹ÇÙ³ÝϳñÁ: ÆëÏ äÇûñ-Ú³Ý ¹» äÛáõÝ ²ýÕ³Ýëï³ÝáõÙ Ýϳñ³Ñ³Ý»É ¿ ˳ճñϳÛÇÝ áõ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙÇ ùݳñ³Ï³Ý ˳éÝáõñ¹ª §Èáõë³íáñÛ³ÉÝ»ñÇ »ñÏÇñ¦: ƱÝãÝ ¿ ³Ûë é»ÅÇëáñÝ»ñÇÝ ¹ñ¹»É ë³ÑÙ³ÝÝ»ñ ѳï»Éª å³ïÏ»ñ»Éáõ ѳٳñ ÏÛ³ÝùÁ ³ß˳ñÑÇ ÙÛáõë ͳÛñáõÙ:

üÉá üÉ³Ù»Ý Çñ ¹åñáó³Ï³Ý ÙÇ ù³ÝÇ ÁÝÏ»ñÝ»ñÇ Ñ»ï ѳݷëï³Ý³Éáõ ¿ñ Ù»ÏÝ»É Îáõμ³, áñï»ÕÇó í»ñ³¹³ñÓ»É ¿ ѳϳë³Ï³Ý ½·³óÙáõÝùÝ»ñáí: ܳ ·Ý³ó»É ¿ñ Îáõμ³, áñáíÑ»ï¨ áõ½áõÙ ¿ñ ï»ëÝ»É ³ÛÝ ÙÇÝ㨠÷áËí»ÉÁ: §ØÇÝ㨠γëïñáÝ Ïٳѳݳ¦ ϳñ·³ËáëÁ Ù³ñù»ÃÇÝ·³ÛÇÝ Ë³Õ³ù³ñï ¿ ¹³ñÓ»É ß³ï ׳ݳå³ñÑáñ¹³Ï³Ý ·áñͳϳÉÝ»ñÇ Ñ³Ù³ñ, áñáÝù ÷áñÓáõÙ »Ý í³×³é»É Çñ³Ï³Ý Îáõμ³ÛÇ ·³Õ³÷³ñÁª ëÇ·³ñÝ»ñÇ áõ ëáódzÉǽÙÇ ³ñ¨³ßáÕ ÙÇ Ï³åëáõɳ: ´³Ûó ųٳݻÉáí Îáõ쳪 üÉ³Ù»Ý ³Ï³Ý³ï»ë ¿ »Õ»É ³Ûëå»ë Ïáãí³Í Çñ³Ï³Ý ÏÛ³ÝùÇ ÷á÷áËáõÃÛ³ÝÁ: §Îáõμ³Ûáõ٠ѳë³Ý»ÉÇ ¿ ³Ýɳñ ÇÝï»ñÝ»ïÁ, ³ÛÝå»ë áñ »ñÏÇñÁ ѳÕáñ¹³ÏÇó ¿ ³ß˳ñÑÇ Ùß³ÏáõÛÃÇݦ,- μ³ó³ïñáõÙ ¿ ݳ: §ºñÏñáí Ù»Ï ï³ñ³Íí³Í ¿ ųٳݳϳÏÇó ö»ñÇë ÐÇÉÃáÝÇ áõ ¸¨Ç¹ ´»ùÑ»ÙÇ ÏáõÉïÁ: ´³Ûó »ë ݳ¨ ½ñáõó»É »Ù Çñ»Ýó ÙáÉáñí³Í ½·³óáÕ ï³ñ»óÝ»ñÇ Ñ»ï, áíù»ñ ѻﳷ³ÛáõÙ ¹³ñÓ»É »Ý ÇÙ §Î³ñáï¦ ýÇÉÙÇ Ñ»ñáëÝ»ñÁ: ºñμ ïáõÝ í»ñ³¹³ñÓ³, óÝóí³Í ¿Ç ³ÛÝ ½·³óáÕáõÃÛáõÝÇó, áñ Îáõμ³ÛáõÙ Ñݳñ³-

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äÇûñ-Ú³Ý ¹» äÛáõ

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ÎÛ³ÝùÁ Ù³ñ¹áõó Ñ»ïá Homo Sapiens (ÜÇùáɳáõë ¶³ÛñѳÉûñ, ²íëïñdz, 2016) ì³í»ñ³·ñ³Ï³Ý ÙñóáõÛÃ, 14.07ª 15:30, 15.07ª 12:00, §ØáëÏí³¦ Ï/à öáùñ ¹³ÑÉÇ× 1

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GOLDEN APRICOT DAILY 2016 | 14 JULY | DAY 5

ÆÝãå»±ë ÏÝϳñ³·ñ»Çù ýÇÉÙ»ñ ³Ý»Éáõ Ó»ñ ÷áñÓÁ »ñÏáõ ï³ñμ»ñ ѳٳϳñ·»ñáõÙ ª ³ÛÝ Å³Ù³Ý³Ïí³ ëáódzÉǽÙÇ áõ ÑÇÙÇÏí³ Ï³åÇï³ÉǽÙÇ ¹³ñ³ßñç³ÝÝ»ñáõÙ: ܳËÏÇÝ Ð³ñ³íëɳídzÛáõÙ ëáódzÉǽÙÇ Å³Ù³Ý³Ï³ßñç³ÝÁ 45 ï³ñÇ ¿ 層É, μ³Ûó ÙÇßï ÙdzÝÙ³Ý ã¿ñ, ³ÝÁݹѳï ÷áËíáõÙ ¿ñ: ºñÏñáñ¹ ѳٳß˳ñѳÛÇÝ å³ï»ñ³½ÙÇó Ñ»ïá »ñμ ß³ï »ñÇï³ë³ñ¹ ¿Ç, Ù»Ýù ÙÇ Ñ³Ù³Ï³ñ· áõÝ»ÇÝù, áñÇ ÑÇÙùáõÙ ÊáñÑñ¹³ÛÇÝ ØÇáõÃÛáõÝÝ ¿ñ: ´³Ûó 40-³Ï³ÝÝ»ñÇ í»ñçÇÝ Ù»ñ ³é³çÝáñ¹Ý»ñÁ íÇ×»óÇÝ ÊáñÑñ¹³ÛÇÝ ØÇáõÃÛ³Ý Ñ»ï áõ Ù»ñ ѳٳϳñ·Á ÷áËí»óª ¹³éݳÉáí ÇÝùݳϳé³í³ñíáÕ: ê»÷³Ï³Ý³ßÝáñÑí³Í ·áñͳñ³ÝÝ»ñÝ áõ ÑáÕ»ñÝ ³Ûɨë å»ïáõÃÛ³ÝÁ ã¿ÇÝ å³ïϳÝáõÙ, ³ÛÉ ³Ûë ϳ٠³ÛÝ Ó¨áí ³ß˳ï³íáñÝ»ñÇ Ó»éùáõÙ ¿ÇÝ: ²ÛëåÇëáí, 50-³Ï³ÝÝ»ñÇ áõ 60-³Ï³ÝÝ»ñÇ Ñ³Ù³Ï³ñ·Á μ³ñ·³í³×»ó Ï»Ýë³Ù³Ï³ñ¹³ÏÇ ³éáõÙáí, áñÁ ÙÇ ù³ÝÇ ³Ý·³Ù μ³ñÓñ ¿ñ ÙÛáõë ëáódzÉÇëï³Ï³Ý »ñÏñÝ»ñÇ Ñ³Ù»Ù³ï, áõ Ù»Ýù ÙÇ³Ï ëáódzÉÇëï³Ï³Ý å»ïáõÃÛáõÝÝ ¿ÇÝùª μ³ó ë³ÑÙ³ÝÝ»ñáí: ¼³ñ·³ÝáõÙ ¿ñ ݳ¨ ÏÇÝá³ñï³¹ñáõÃÛáõÝÁ: Ø»Ýù áõÝ»ÇÝù ÏÇÝá³ÏáõÙμÝ»ñª ÷áùñ ëïáõ¹Ç³Ý»ñ ¿ÇÝ, áñï»Õ »ñÇï³ë³ñ¹ ë»ñáõݹÁ ϳñáÕ ¿ñ ëáíáñ»É, û ÇÝãå»ë ϳñ»ÉÇ ¿ û·ï³·áñÍ»É μ³ñ¹ ë³ñù³íáñáõÙÝ»ñ áõ ýÇÉÙ ëï»ÕÍ»É: ¸ñ³ÝÇó Ñ»ïá Ù»Ýù ϳñáÕ ¿ÇÝù ÷áñÓ»É åñáý»ëÇáÝ³É 35 ÙÙ ýÇÉÙ»ñ Ýϳñ³Ñ³Ý»É: 1966-ÇÝ, »ñμ ³é³çÇÝ ³Ý·³Ù Ùï³ åñáý»ëÇáÝ³É ëïáõ¹Ç³, ÇÝÓ ³ëÇÝ, áñ ³ÝÓݳϳ½Ù ·ïÝ»Ù, áñÁ ÏÝ»ñ¹ÝÇ Çñ ³ß˳ï³ÝùÁ, ÇÝãå»ë ëïáõ¹Ç³Ý Çñ ·áõÙ³ñÝ áõ ë³ñù³íáñáõÙÝ ¿ñ Ý»ñ¹ÝáõÙ: ÆëÏ ëï³óí³Í »Ï³ÙáõïÝ Çñ³ñ Ñ»ï ÏÇë»Éáõ ¿ÇÝù: ºñμ¨¿ ϳé³í³ñáõÃÛ³Ý Ñ»ï ËݹÇñÝ»ñ áõÝ»ó»±É »ù: ²Û¹ ɳí ï³ñÇÝ»ñÇÝ Ù»Ýù ëïÇåí³Í ã¿ÇÝù å³Ûù³ñ»É μÛáõñáÏñ³ïdzÛÇ ¹»Ù: àõ »ñμ ³ñ¹»Ý Ç٠ϳñ׳ٻïñ³Å ýÇÉÙ»ñáí ºíñáå³ÛáõÙ Ùñó³Ý³ÏÝ»ñ ¿Ç ߳ѻÉ, ÇÝÓ ³ë³óÇÝ. §²Ù»Ý ï³ñÇ Ù»Ýù ³éÝí³½Ý Ù»Ï é»ÅÇëáñÇ û·ÝáõÙ »Ýù ëï»ÕÍ»É Çñ ¹»μÛáõï³ÛÇÝ Édzٻïñ³ÅÁ: ƱÝã ϳë»ù¦: ¸³ 1968-Ç ÑáõÉÇëÝ ¿ñ: ú·áëïáëÇÝ ì³ñß³íÛ³Ý ¹³ßÇÝùÇ »ñÏñÝ»ñÁ Ý»ñËáõÅ»óÇÝ â»ËáëÉáí³Ïdz: ÆÙ ë»ñÝ¹Ç Ñ³Ù³ñ ë³ ³é³çÇÝ ¹»åùÝ ¿ñ, »ñμ ëÏë»óÇÝù ϳëϳͻɪ ³ñ¹Ûá±ù ëáódzÉǽÙÁ Ù»½ ³å³·³ ¿, »Ã» ѳٳϳñ·Á ½³ñ·³óÝ»Éáõ áõ ³ñí»ëïÇÝ ³ç³Ïó»Éáõ áñáß Ó¨»ñ ³Û¹ù³Ý Ïáåïáñ»Ý ×ÝßíáõÙ »Ý: ¸ñ³Ýáí á·»ßÝãí³Íª ÍÝí»ó §ì³Õ »ñÏ»ñ¦ ýÇÉÙÇ ·³Õ³÷³ñÁ: êïáõ¹Ç³ÛáõÙ μáÉáñÇ ¹áõñÝ »Ï³í, μ³Ûó ³ÛÝù³Ý íÇ×»ÉÇ ¿ñ, áñ Ýñ³Ýù áñáß»óÇÝ ýÇÉÙÁ ϳé³í³ñ³Ï³Ý ÙÇçáóÝ»Éáí ãýÇݳÝë³íáñ»Éª ݳËÁÝïñ»Éáí μ³ÝÏÇó í³ñÏ í»ñóÝ»É: ²Ûëûñ á±í ÝÙ³Ý éÇëÏÇ Ï·Ý³ ÇÝã-áñ ýÇÉÙ Ýϳñ»Éáõ ѳٳñ: §ì³Õ »ñÏ»ñݦ ³éÝí³½Ý »ñ»ù ß³μ³Ã óáõó³¹ñí»É ¿ гñ³íëɳídzÛáõÙ: ´³Ûó »ñμ îÇïáÝ ï»ë³í ýÇÉÙÁ, áëïÇϳÝáõÃÛáõÝÁ »Ï³í áõ í»ñóñ»ó μáÉáñ ûñÇݳÏÝ»ñÁ: ¸ñ³Ý ѳçáñ¹»óÇÝ É³Ûݳͳí³É ѳë³ñ³Ï³Ï³Ý ùÝݳñÏáõÙÝ»ñ áõ ¹³ï³Ï³Ý ·áñÍ: ºë ѳϳ¹³ñÓáõÙ ¿Ç ¹³ï³Ë³½ÇÝ. §¸áõù ã»ù ѳí³ïáõÙ Ù»ñ ѳٳϳñ·Ç áõÅÇÝ, »Ã» ϳñÍáõÙ »ù, áñ Ù»Ï ýÇÉÙÁ ϳñáÕ ¿ ³ÛÝ Ïáñͳݻɦ:

INTERVIEW 5

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How would you describe your experience making films in two systems – socialism then and capitalism now?

The socialist period in the former Yugoslavia lasted for 45 years, but it wasn’t always the same; it was constantly changing. After World War II, when I was very young, we started out with a system that was based on the Soviet Union.

But by the end of the 1940’s our leadership quarreled with the Soviets and the Yugoslav system was changed to a selfgoverning one. The nationalized factories and lands were not state-owned, but were somehow organized to be in the hands of the working people. Because of this, the system flourished in the 1950’s and 1960’s in terms of the standard of living, which was several times higher than in other socialist countries, and we were the only socialist state with open borders.

In my youth, the local film industry was progressing.

Yugoslavia was doing a lot of co-productions with Italy, Germany, the USA, et cetera. We had Kinoclubs: small studios where a younger generation of amateur filmmakers could learn how to use this complicated equipment and how to develop film. After that we could apply to make professional 35mm films. In 1966 when I went to a professional studio for the first time they told me find a crew to make a contract on these principles of self-government. In other words, I was to find a cameraman, electricians, and other crew who would invest their work, just as the studio would invest money and equipment, and together we would divide the profit.

Did you not have any trouble with the government?

In those good years we did not have to struggle with bureaucracy. And when I had won some prizes around Europe for my shorts they called me up and said: “Every year we help at least one director to make a his or her feature-length debut. Don’t you have any stories?” This was July of 1968. In August the Warsaw Pact countries invaded Czechoslovakia. For my generation, this was the first time we questioned whether socialism was the way forward, if some ways of developing the system and supporting creativity are so brutally stopped. Inspired by this I came up with the concept for my first film Early Works.

All the studio people liked it, but because it was so controversial they decided not to finance it through the government, but rather by taking a loan from the bank.

The minimal amount for making a motion picture in this time was $200,000; the new equipment alone cost almost $60,000. Who today would take such a risk just to make a film?

But back then, films were much more widely viewed than today. Early Works played for at least three weeks in Yugoslavia.

Now only the biggest blockbusters run that long. So money and investments could be returned back then. But of course, after Tito himself saw Early Works, the police came and took away all the prints. A big public debate and court case ensued.

I was accusing the prosecutor: “You do not believe in the power of our system, because you think that one film can ruin it!”

There was no such outcry when they banned one of your films in West Germany, was there?

I was making short documentary and fiction films on the topic of migrant workers in Germany in the mid-1970’s, and one of them did get banned, but in a very strange, secretive way. A letter came from a commission with a very funny name – “Voluntary Self-Control” – which stated: “Filmmaker Žilnik does not understand the society and the issues of this country and the film should not reach distribution.” And that was it. No reaction from the press, nothing. I talked to journalists and they said: “It’s not that big of an issue. You’ll not be banned from working on other films, so just put it to rest.”

Zelimir Zilnik Serbian director Želimir Žilnik first came to prominence with his 1969 feature Early Works, the only Yugoslav film to ever win a Berlinale Golden Bear. Since then, the Serbian director was recognized as a major figure of the Yugoslav Black Wave, and to this day he makes feature and documentary films on important political and social issues.

He likes throwing the audience in the middle of the action. Žilnik doesn’t dwell on the details, but always manages to create holistic and comprehensive depictions of the subjects he’s filming. These depiction have often raise objections: he emigrated to West Germany after facing creative limitations in Yugoslavia, but somehow managed to get one of his films banned even there. Yet despite censorship and financial limitations, Žilnik continues to make movies every year. “I have created my own visual diary by capturing on film various phases of my life, my friends’ lives, and social life. So if you would ask me about any year of my life, I will answer you with a film.”

You returned to Yugoslavia after that, but the situation in the country soon destabilized.

After Tito’s death in 1980 his friends and servants started fighting for power. By the end of the 1980’s, when socialism as a whole was shaking, people like Milošević and Kučan feared so much that they would suffer the same fate as Ceausescu that they took up this nationalist rhetoric, because it’s easier to tribalize people than to actually come up with solutions. So actually the people that formed the new elite were the ones who profited most from the war. They privatized everything very cheaply and sold most of it to Western companies. As for filmmaking, because I chose to make films with provocative subject matter, I was always on the margins of the industry, in the sense that I rarely got any state support. So when the film industry in Yugoslavia collapsed during the wars it was very easy for me and my crew to switch to video and digital filmmaking.

The look of your films changed in that era as well. Now you shoot with simple cameras with very simple shot compositions. What do you think this added to your films?

For me the most important inspiration is to capture in a film, whether it’s fiction or documentary, some stories, some characters, or some social issues which are outside of the mainstream consciousness. In many cases I reacted very quickly and therefore the films look like they’re happening right there and then. What was most surprising and also very encouraging for me is that sometimes even the simplest structures had a tremendous effect. AV

GOLDEN APRICOT DAILY DAY 5 | 14 JULY | 2016

6 COMPETITION REVIEWS

Making His Case

Direct Hit Full Contact (David Verbeek, The Netherlands/Croatia, 2015).

Feature Competition. 14-7 17:00, 15-7 10:00 Moscow Cinema Blue Hall.

Drone pilot Ivan pulls his trigger without emotion in Full Contact, the sixth film by Dutch director David Verbeek. Until he hits the wrong target, that is, killing innocent bystanders in the process.

Unmanned bombers have been a hot topic in cinema lately, with Hollywood thrillers like Good Kill (Andrew Niccol, 2014) and Eye in the Sky (Gavin Hood, 2015) delving into the subject. But Verbeek puts a resolutely auteurist spin on it. Full Contact is not a political thriller, nor a social commentary.

Instead, the film employs the drone pilot as a starting point for a philosophical inquiry into the sense of detachment we all live with in our digital era.

In an impressionistic triptych, Verbeek shows us the same figures in three different environments: a hunter, his prey, and a guide. Ivan is always the hunter. He’s played by Claire Denis’ muse Grégoire Colin. As a drone pilot, he is sat behind a computer terminal in a nondescript container somewhere in the American desert (although the film was shot entirely in Croatia). He gets his orders on his headset, and turns them into action. He pulls the trigger on his joystick dispassionately, as if he’s merely play-

ing a video game. He avoids human contact outside of work too, racing around on his motorcycle or hanging out at a strip club.

But that all collapses when he gets the wrong order. Some information got screwed up, and what was thought to be a terrorist training camp turns out to have been a school – but by that point it has already been bombed to shreds. It’s not Ivan’s fault, his superior officer reassures him. But it’s no use: Ivan has been awakened, and his conscious can no longer deal with his actions.

We subsequently see him on an unnamed island, where Ivan turns into a sniper shooting at those same terrorists, helped by a lone wolf. And then the film reconfigures itself again, turning Ivan into a baggage handler at a French airport, where the stripper he met in the first part is somehow also working. Here, he meets his opponents once again, this time in a boxing ring. Verbeek doesn’t spell out the meaning of it all, but admirably leaves it up to us to draw the connections. The film follows Ivans psychological breakdown by falling apart itself: while on the surface, the shots remain tightly constructed – just as Ivan’s face never gives away much emotion – the interior world of Full Contact turns into an impressionistic fever dream.

Verbeek spent the better part of six years working on Full Contact, making two other projects in

Salto Mortale (Borislav Kolev, Bulgaria, 2015).

Documentary Competition. 14-7 10:00, 15-7 18:00 Moscow Cinema Small Hall 1.

the mean time. This long process clearly shows in the final product. Everything in the film gives off the feeling that Verbeek has thought it through to perfection. The assured framing, precise editing and minimalist music by David Boulter (a member of U.K. band Tindersticks) combine to purposefully create a sense of tightly-wound control. JB

Sunset of a Couple Ungiven (Branko Schmidt, Croatia, 2015).

Feature Competition. 14-07 10:00, 15-07 17:00, Moscow Cinema Blue Hall

Painfully Relatable Sieranevada (Cristi Puiu, Romania, 2016).

Yerevan Premieres. 14-7 21:00 Moscow Cinema Blue Hall.

Romanian director Cristi Puiu captures family life as a symphony of smashing doors in a cramped apartment.

Without a doubt this says something about the state of Romania, but what he wants to say exactly is as unclear as the reason that this film is called Sieranevada. Not that any of this matters. What does matter is that Puiu has beautifully orchestrated the complicated dynamics of the phenomenon that is family. Everything in this film can change whenever a cousin, sister, uncle, mother or friend enters or leaves a room.

The reason that we spend almost three hours in this small apartment in the first place is because this fam-

ily is commemorating the recent death of their patriarch. His death, like so many other major family topics, is never discussed but rather felt. Families have a way of talking about a lot of stuff, except for the things that matter. While the camera sneaks from room to room, it overhears conversations about politics, money, life after 9/11, Charlie Hebdo conspiracies and, of course, food.

Food places a major role in every family and in this film it is the source of all suspense. A priest is expected to initiate a ritual for the deceased, so dinner can only be served after he arrives. Except he doesn’t show up. As hunger inevitably creeps in, so does the tension. People sneak into the kitchen hoping for a quick bite, but the mother – the gravitational center of this family – guards the food with her life. One wonders what the patriarch would think if he would see this mess of a family right now. After all, the lurking camera implies that he is still roaming around the house. HE

Ungiven, the most recent film by acclaimed Croatian director Branko Schmidt, joins the company of a number of recent films to reflect on the complicated relationships between elderly spouses. But this Bosnian elderly couple living a hard life in post-war Croatia are still making efforts to improve the sunset of their lives. They give meaning to their dreary existence by renovating their barn, herding cows and planting fruit trees. But the psychological, mental and physical problems that are worsening with age constantly complicate the couple’s coexistence.

In interviews, Schmidt has questioned whether this story is appropriate for our times, since it is very different from his two previous films which focused on pressing issues in Croatian society. But actually, these psychological dramas always remain urgent, especially in our times which can drive a person to isolation.

Actors Ivo Gregurević and Nada Đurevska carry the narrative and Ungiven benefits greatly from their acting, which is quite convincing. The relations between the constantly grumbling husband and his demure wife, who seem intolerant towards each other at first, take on new meaning as we see original manifestations of devotion and affection.

The psychological depth of these moments reaches its peak during the emotional ending of the film.

Compared to Amour by Michael Haneke or 45 Years by Andrew Haigh, two remarkable recent films which also explored the relationships between elderly couples, Schmidt’s film has a lighter feel. This goes especially for the dialogues between the spouses, which are brief, sometimes witty, and sometimes inadequate and absurd. AB

flies from one workplace to another, from a friend’s house to the hospital to her son. It’s as if the cinematographer is adapting to the movement of the

actors and not the actors to the camera. Gradually Anna’s social burden becomes so unbearable that the only way out seems to be an American visa. But obtaining one is difficult, whether she goes about it legally or illegally. Still, Anna is ready for drastic measures – from selling her house and calculated sex to desperately kidnapping of a stranger’s child.

Her son’s illness is consciously left in the background; the autistic child is merely one of the various difficulties that our main heroine has to deal with. What's important are the relations between this single mother and the society around her: a state going through a transition, where capitalism has not yet ripened and where life has turned into a hot pan, in which millions of Annas continue to fry every single day. Director Basilia pushes her heroine to a crossroad of choice. And sadly, it appears all the road signs are either wrong or busted. KA

Crossroads of Choice Anna’s Life (Nino Basilia, Georgia, 2016).

Feature Competition. 14-7 19:00 Moscow Cinema, Blue Hall.

Georgian director, screenwriter, playwright and author of about two dozen documentary and short films Nino Basilia has made her feature film debut with social drama Anna’s Life, which tells the story of thirty-something single mother Anna (Ekaterine Demetradze). In order to make ends meet, Anna works as a cleaner in several Tbilisi apartments, earning very little. The situation is made worse by the condition of her autistic son.

The hand-held camera shivers after Anna as she

The back-flip Bulgarian weightlifter Angel Guenchev pulled off in celebration after breaking a world record during the Seoul Olympic Games in 1988 became an iconic image that would haunt the legendary athlete for years. Right after his victorious win, Guenchev was caught using doping and became the epicentre of a devastating scandal. The naming and shaming began and his life went into a tailspin.

In Salto Mortale, a dramatic portrait of the former athlete, we see Guenchev’s passionate attempts to clear his name. First, the camera follows him on a trip down memory lane, from visiting the Olympic Hopes School where he was drilled as a kid to the former training area of the Bulgarian National Team. His own melancholy words about his early life and the world of professional weightlifting are amplified by former teammates and trainers, but also given a different context by a strict sports official. Both his mother and his wife tell more private stories.

A special element of this very personal film is the generous use of archive materials: news footage of the 1988 Olympics, as well as home videos of a young, buff and extremely strong Guenchev in training. There are impressive, hardcore images, such as scenes where the young athlete has to lose weight before a game and his team of trainers take it to a new level of torture.

In the contemparary footage, director Borislav Kolev shows Guenchev working out, driving around with his boat on a trailer and making his case to the camera. “The humiliation was like a prison cell. In a way it stole my soul”, he says. In the dark years after 1988, Guenchev got in trouble with the law, he reveals: drinking, fighting and getting involved in criminal activities. The big question is: can this proud, emotional man find a way towards redemption in front of Kolev’s camera? MN

Life After Humanity Homo Sapiens (Nikolaus Geyrhalter, Austria, 2016). Documentary Competition. 14-7 15:30, 15-7 12:00 Moscow Cinema Small Hall 1.

Post-apocalyptic cinema is usually concerned with what’s left of humanity. Films like Mad Max or The Road focus on the endurance of the human spirit, as the few survivors of a nuclear holocaust, meteor impact or global war struggle to survive.

The latest documentary by Austrian grand master Nikolaus Geyrhalter offers a post-apocalyptic vision of an entirely different kind. Despite the film’s title, there is not a human being in sight for the entire duration of the film. In stead, Geyrhalter (who also shot the film himself) focuses his camera on the remnants of humanity, showing what will be left of us once we are gone: abandoned houses, empty shopping malls and hospitals, overgrown parking lots. The static shots are mesmerizing and beautiful in a slightly disturbing way. The form of the film follows its content: the shots are framed symmetrically, emphasizing the man-made qualities of the structures. Meanwhile, nature forcefully disrupts this articifial order, refusing to be caught in straight lines. On the surface, nothing much seems to happen. But Geyrhalter invites us to take a closer look, revelling in the smallest of details: the rustling of the wind through a pile of books; a frog languidly hopping around; a painted mural scaling off a wall.

The real magic is in the editing. The footage was taken all over the world: from the empty fields of Fukushima, still recovering from the 2011 nuclear disaster, to the WWII bunkers littering the European coastline, with stops on almost every continent in between. But Geyrhalter and editor Michael Palm jumble up the shots without consideration of their location, instead creating loosely thematic sequences in which every shot builds on what has come before. This is cinema that needs to be seen on a big screen. JB

GOLDEN APRICOT DAILY 2016 | 14 JULY | DAY 5

NEWS 7

CAPTURING DREAMS ON THE OTHER SIDE OF THE WORLD

ATCP Winners

This year two Belgian directors are in the competition program with films shot far away from their home country. With Añoranza Flo Flamme made a melancholy portrait of an estranged generation of Cubans in Havana. Pieter-Jan de Pue shot a lyrical hybrid between fiction and documentary in Afghanistan called The Land of the Enlightened. What drove these filmmakers to cross borders and capture life at the other side of the world?

After Belgian audiovisual artist Flo Flamme went on holiday to Cuba with some friends from film school, she came back with mixed feelings. She went to Cuba because she wanted to see it before it changed. “Before Castro Dies” has become a marketing pitch for many travel agents, trying to sell the idea of the authentic Cuba, a sun-glazed time capsule of cigars and socialism. But when she was there, Flamme saw this so-called authentic life change before her eyes.

“Cuba has access to the internet, so it’s catching up with the popular culture of the rest of the world”, she explains. “Popular role models like Paris Hilton and David Beckham are entering the country's consciousness. But I also spoke with confused older men who later became the subject of my documentary Añoranza. After I got back home, I was struck by this feeling that you could easily see the changes in Cuba, but you can’t really see how they affect this older generation. Their ideals and dreams are changing. You can’t see that, but you can feel it and I wanted to make a film about that.”

Pieter-Jan de Pue also wanted to capture dreams on the other side of the world. When he came across stories of young boys who had to survive in wartorn Afghanistan by smuggling weapons, bullets and opium, he realized that these boys have dreams as well. “For me it became important to capture their imagination on film. I wanted to incorporate the projection that these kids have of themselves and the future of their country.”

At the closing of the Armenia-Turkey Cinema Platform Project Development Workshop on Tuesday, two directors were awarded for their film pitches. Arnaud Khayadjanian (right) won €7,500 towards the realisation of his short fiction film Welcome to Anatolia, and Inna Sahakyan (left) won $5,000 towards the filming of her documentary Aurora’s Sunrise.

Let There Be Light Flo Flamme

Pieter-Jan de Pue

The result is The Land of the Enlightened, a poetic hybrid between documentary and fiction that De Pue shot over the course of eight years. What drives a filmmaker to travel the world to make a film?

“People told me I was crazy to go to Afghanistan,” says De Pue. “They said that it would be to dangerous, that I had no business being there and that they’d lose me if I went. But I had read about Afghanistan and it seemed like a mythical country, it spoke to my imagination. It’s a country that seduces you to dream; that’s why the dreams of those boys inspired me so much. I recognized a piece of myself in them.”

Flamme shares this filmmaker’s curiosity and empathy. “I was interested in the impact that tourism has on these people, which tourists themselves usually aren’t aware of. If you pass those people in Havana, you become their reference for the world – a world that they can’t fully place.” Obviously tensions can arise when these different worlds meet. “They are stuck on that island,” Flamme acknowledges. “They are locked within the walls of the ocean and they can’t help but wonder: Am I missing out? Is the government misleading us? And then suddenly I’m in front of them. My presence – a young blond carrying a camera – confronts them with their own immobility. I embody the rest of the world for them.”

So what’s the secret of capturing life on the other side of the world as a complete stranger? De Pue: “You have to try to understand what people of a totally different culture expect from you and what you expect from them. You also have to be very diplomatic in the way you treat people.” Flamme adds: “You have to realize what you can give them. As a filmmaker you kind of steal their story, but I hope that I can show the film to people and that the story can live on and open people’s eyes.”

De Pue is planning to give something back in an even more practical way. He’ll return to Afghanistan in August with a mobile cinema to screen the film he shot with those boys. “They never understood what we wanted to make in Afghanistan. They didn’t even understand the concept of film. There’s no electricity in the places where we shot, except for the generator we brought, so these kids never had access to televisions, cell phones with video cameras, or cinema in general. And because we used analogue cameras, we couldn’t show them anything at the end of the day either. So when we go back it will be the first moment they’ll see themselves on a screen. This will probably provoke some interesting reactions, because these boys will finally understand what we’ve been doing in Afghanistan all those years.” HE

Master Class: Homayoun Ershadi 15:00, AGBU Center (2/1 Melik-Adamyan Street). Iranian actor Homayoun Ershadi, a member of this year’s Feature Competition jury, will give his views on cinema in today’s Master Class.

Talk to GAIFF: Želimir Žilnik 17:30, Tumo Center (16 Halabyan St). After last Monday’s Master Class, Serbian director Želimir Žilnik will once again take up the microphone for a talk. See page 5 for an interview with Žilnik.

STAYING POWER

Tribute with a Tribute

As director Orson Welles once famously said: “Every single way of playing and staging Shakespeare – as long as the way is effective – is right.” Over the years there have been a great many effective cinematic reworkings of the Bard’s works, as the Shakespeare Lives in Film program at the festival shows.

At the program’s official opening last Monday, festival director Harutyun Khachatryan called it one of his favorite sections of this year’s festival. No wonder: Shakespeare’s stories have shown their staying power for over four centuries – this year marks the 400th anniversary of the playwright’s death. They have been staples of the theatrical world for all that time, and have subsequently been turned into films from cinema’s earliest days.

Many of those films have their origins on the stage, either directly or indirectly – which is not to say they aren’t cinematic. For instance, both Laurience Olivier’s 1948 version of Hamlet and Kenneth Branagh’s 1996 film of the same play were made after these directors had played the titular character on stage many times; both also star in their own films. And for his gloomy version of King Lear (1971), director Peter Brook drew inspiration from the ideas of Polish theatre critic Jan Kott, in particular Kott’s observation that King Lear was a precursor for absurdist theatre.

This year's Let There Be Light Award was handed to Ukrainian-Armenian director Roman Balayan at a ceremony at Gevorkian Seminary yesterday afternoon.

Romeo and Juliet

All the films in the program are British productions or at least co-productions. But it’s perhaps no surprise that two of the more sensational adaptations were filmed by foreign filmmakers. Polish-born director Roman Polanski created one of the more explicitly violent versions of Macbeth in 1971. And for Franco Zeffirelli’s version of Romeo and Juliet, the Italian director cast the main parts with two actors who were actually as young as the teenaged characters in Shakespeare’s doomed romance. Thus, the director even had to get special permission to show female lead Olivia Hussey topless in one scene, since she was only 16 years old at the time of filming. JB

Hamlet (Laurence Olivier, UK, 1948).

14-7 19:30 Tumo Center, 15-7 20:00 Moscow Cinema Small Hall 2.

Hamlet (Kenneth Branagh, UK/USA, 1996).

14-7 19:30 Moscow Cinema Small Hall 2.

King Lear (Peter Brook, UK/Denmark, 1971).

14-7 21:00 Boghosyan Gardens.

Macbeth (Roman Polanski, UK/USA, 1971).

14-7 20:00 Cinema Star.

Romeo and Juliet (Franco Zeffirelli, UK/Italy, 1968). 15-7 17:30 Moscow Cinema Small Hall 2.

The Tempest (Derek Jarman, UK, 1979).

15-7 21:00 Boghosyan Gardens.

21:00, Moscow Cinema Red Hall. To celebrate the 70th birthday of documentary filmmaker Ruben Gevorgyants, also the President of the Filmmakers Union of Armenia, the festival is screening the 2007 film Autumn of the Magician by Gevorgyants and his son Vahe. The documentary is itself a tribute of a kind, exploring the life of Italian poet and screenwriter Tonino Guerra, who collaborated with many masters of cinema, including Federico Fellini, Michelangelo Antonioni and Andrei Tarkovsky. The film features interviews with Guerra telling fascinating stories about these masters, as well as some revelations about himself never before caught on film.

Yerevan Night 21:00, Boghosyan Gardens. Today’s open air screening will once again feature a Shakespeare adaptation: King Lear by Peter Brook. See left for more on this festival program.

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