Golden Apricot Daily - 2017, Day 5

THURSDAY JULY 13, 2017

DAILY

DAY 5

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HUMANITY VERSUS IDEOLOGY THE NET - p.6

ՄԱՐԴՆ ԸՆԴԴԵՄ ԳԱՂԱՓԱՐԻ «ՈՒՌԿԱՆԸ» - էջ.4

вðò²¼ðàôÚò. ê²Ü²È Îàôزð ê²êƸвð²Ü ¶ºðØ²Ü²Î²Ü ÎÆÜàÚÆ úð ¿ç 3

²ðºìØàôîøÆò ²ðºìºÈø ʺܺðÀª ʺܲÜàòÆ îÜúðºÜ ¿ç 4

ÂàØ ü²ê²ð вðò²¼ðàôÚò

¿ç/p. 5

THE WEST GOES EAST MADMEN RUN THE ASYLUM INTERIOR AND EXTERIOR INTERVIEW

TOM FASSAERT

p. 6

INTERVIEW: SANAL KUMAR SASIDHARAN GERMAN FILM DAY: IN THE FADE p. 7

GOLDEN APRICOT DAILY DAY 5 | 13 JULY | 2017

2 ĂŒĂ°Â˛ÂśĂ†Ă°/ PROGRAM Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐŠ Ő…Ő? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, BLUE HALL 10:00 K / . ( = > Western / Deu/Bul/Aut, Lang.: German/Bulgarian dir. Valeska Grisebach 119’, FC, 16+ Subt.: English

13.07

12:30 " / . ? " " &@

A Prominent Patient /dir. Julius Ĺ evÄ?Ă­k

Cze/Svk/Deu, Lang.: Czech/ Slovak/ 114’, FC, 18+ English/French, Subt.: English

14:30 + " , # / . Z -[ LĂŠon Morin, Priest /dir. Jean-Pierre Melville

Fra/Ita, 128’ T, 12+

Lang.: French Subt.: English and Armenian

Srb/Bul/Mkd/ Rus/Fra, 94’, FC,16+ 19:00 R & / .

Ukr, 103’ The Nest of the Turtledove /dir. Taras Tkachenko FC, 18+

Lang.: Serbian Subt.: English and Armenian

17:00 R U.- $ / . \ ( " Requiem for Mrs. J /dir. Bojan Vuletić

21:00 " / . ? " " &@

A Prominent Patient /dir. Julius Ĺ evÄ?Ă­k

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

Cze/Svk/Deu, Lang.: Czech/ Slovak/ 114’, FC, 18+ English/French Subt.: English and Armenian

Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐ?Ő„ÔťŐ? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, RED HALL 10:00 Z / . ^ $ _

Those from the Shore/dir.

Tamara Stepanyan

15:00 / .

Trial /dir. Ara Mnatsakanyan

Arm, 65’ DC, AP, 12+

Lang.: Armenian Subt.: English

/ .

Hydrography /dir. Gor Margaryan 17:00 / .

Blood and the Moon/ dir.. Tommaso Cotronei

Deu, 22’ AP, 12+ Ita/Yem, 82’ DC, 12+

Lang.: English Subt.: Armenian Lang.: Arabic Subt.: English and Armenian

Geo/USA/ Qat/Nld, 100’ DC, 12+ Arm, 24’ DC, 12+

Lang.: Georgian Subt.: English and Armenian

Arm, 62’ AP, 12+

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

USA, 85’ AP, 12+

Lang.: English Subt.: Armenian

Kor, 114’ YP, 16+

Lang.: Korean Subt.: English and Armenian

Kor, 92’ YP, 16+

Lang.: Korean Subt.: English and Armenian

19:00 / .

City of the Sun /dir. Rati Oneli Fra/Arm/Lbn, Lang.: Armenian 84’, DC, AP, Subt.: English 12+

21:00 ½/ .

Arto ½/dir. Armen Ronov 21:30 / .

Origines /dir. Ashot Mkrtchyan Ő?ÔťŐ†ÔľŐ„Ôą Ő?ÔšÔąŐ?

CINEMA STAR 18:00 / .`

Donald Cried/ dir. Kris Avedisian

Lang.: English Subt.: Armenian

@ [ \ ], / .

^

The Structure Is Rotten, Comrade /dir. Tamara Stepanyan 12:30 ^ $ _ $[ / . f! \ q!

Simon’s Way/dir. Edgar Baghdasaryan

Can/Arm, 9’ AP 12+ Arm, 30’ AP, 12+

Lang.: Armenian/Turkish Subt.: English

+ , / . # ( !

Voices of Light /dir. Hrant Vardanyan

Arm, 43’ AP, 12+

Lang.: Armenian Subt.: English

14:30 ^ $ _ $[ / . f! \ q!

Simon’s Way/dir. Edgar Baghdasaryan

Arm, 30’ AP, 12+

Lang.: Armenian/Turkish Subt.: English

/ . w = *

Stranger/dir. Panos Aprahamian

Lbn, 28’ AP, 12+

Lang.: Armenian Subt.: English

$ / . f & *

Head Above Water/ dir. Eric Shahinian

USA 10’ AP, 12+

Lang.: English Subt.: Armenian

Can/Arm, 9’ AP, 12+

Lang.: English Subt.: Armenian

@ [ \ ], / .

^

The Structure Is Rotten, Comrade /dir. Tamara Stepanyan 16:30 ` j $ / . ^ : A Family Affair /dir. Tom Fassaert

Nld/Dnk/Rsa, Lang.: Dutch/English 120’, YP Subt.: English and Armenian 16+

19:00 ] / . : * '

/dir. Fatih Akin

Deu/Fra, Lang.: German 106’, YP, 16+ Subt.: English and Armenia

' / . $ %

21:00 A Gentle Creature /dir. Sergei Loznitsa

Fra/Deu/Ltu/ Lang.: Russian Nld, 143’, YP, Subt.: English and Armenia 18+

Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, Ő“ŐˆŐ”Ő? Ô´ÔąŐ€ÔźÔťŐƒ 1 MOSCOW CINEMA, SMALL HALL 1 12:00 / .

City of the Sun /dir. Rati Oneli

Lang.: Armenian Subt.: English

20:00 / . -! "

The Net /dir. Kim Ki-duk ÔżÔťŐ†ŐˆŐŠÔąŐ?Ôż KINOPARK 20:30 ! / . # $ - " The Day After /dir. Hong Sang-soo

ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? ŐŠŐˆŐ‚ŐˆŐ?Ő…ÔąŐ† ÔąŐ…ÔłÔťŐ†ÔľŐ? Ő„ YEREVAN NIGHTS AT POGHOSYAN GARDENS 21:00 " # $ % / . ! %

Rus, 5’ Dr. Muhammad Darwish /dir. Andrei Loshak AU, 12+ & # ' / . & UK, 60’ $' BW, 12+ Attenborough and the Giant Dinosaur/dir. Charlotte Scott ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? Ő•ŐŠÔľŐ?ÔąŐ…Ôť Ő€Ő?ÔąŐŠÔąŐ?ÔąÔż Ő„ YEREVAN NIGHTS AT OPERA SQUARE Rus, 5’ 21:00 ( ) * $ / . !

AUĐą 12+ %

Fartuun Adan and Ilwan Elman/dir. Andrei Loshak + , / . # ( !

Arm, 43’ Voices of Light /dir. Hrant Vardanyan AP, 12+ ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? ÔżÔąŐ?ÔżÔąÔ´ Ő„ YEREVAN NIGHTS AT CASCADE 21:00 $ - / . ( ! # *

Arm, 5’ Jamila Afghani /dir. Vardan Hovhannisyan AU, 12+ ½/ .

Arm, 24’ Arto ½/dir. Armen Ronov YN, 12+ ÔľŐ?ÔľŐŽÔąŐ†Ő…ÔąŐ† ÔłÔťŐ‡ÔľŐ?Ő†ÔľŐ? ÂŤŐ€ÔąŐ…ÔąŐ?Ő?ԹՆ Ôż/Ôš ÔąŐ…Ôł Ő„ YEREVAN NIGHTS AT HAYASTAN CINEMA GARDEN 21:00 4 $ 6 / . ( ! # *

Arm, 5’ AU, 12+ Dr Tom Catena /dir. Vardan Hovhannisyan Arm, 82’ ; $ / . $ 7

T, 12+ White Dreams/dir. Sergey Israelyan

Lang.: Armenian Lang.: English

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

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

Lang.: Armenian Lang.: Armenian

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

Hello, It is Me! /dir. Frunze Dovlatyan

Arm, 137â&#x20AC;&#x2122; T , 12+

Lang.: Armenian

Ő&#x20AC;ÔąŐ&#x2026;-Ő&#x152; Ő?ÔąÔżÔąŐ&#x2020; Ő&#x20AC;ÔąŐ&#x201E;ÔąÔźŐ?ÔąŐ?ÔąŐ&#x2020; RUSSIAN-ARMENIAN UNIVERSITY 16:00 @ / . *

The Line /dir. Mher Mkrtchyan

Arm, 103â&#x20AC;&#x2122; AP, 12+

Lang.: Armenian Subt.: English

Lang.: Georgian Geo/USA/ Qat/Nld, 100â&#x20AC;&#x2122; Subt.: English and Armenian DC, 12+

GOLDEN APRICOT DAILY Ă&#x160;Ă&#x2122;Ο³¡Ă&#x2021;ĂąĂ?ù` Ă&#x161;ĂĄĂŤĂ&#x192; ´ùåùĂ?-Ă?ÂłĂ&#x203A;ĂŻÂťĂ?Ă&#x2039;Âł, ²ùĂ&#x192;åþù ϳùšĂ&#x2021;Ă?Ă&#x203A;ÂłĂ? ²Ă&#x;Ă&#x2039;³ï³Ă?³½Ă&#x2122;` ĂŞÂłĂ&#x;Âł Ă&#x17D;åþïÍĂ&#x2021;Ăą, Ă?Ă&#x203A;åþ¡å žĂ&#x2122;ù½³Ă&#x2030;, Ă&#x17D;³ùĂ? ²íïĂ&#x2021;ĂŤĂ&#x203A;ÂłĂ? Ă?ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?Ă?ùª ¸Ă&#x2021;ÂłĂ?Âł Ă&#x2DC;³ùïĂ&#x2021;ùåÍĂ&#x203A;ÂłĂ? Ă&#x2C6;åþͳĂ?Ă?³ùĂ&#x2021;ĂŁÂŞ Ă&#x2DC;ÂłĂ?Âť Ă?ĂĄĂ­Ă&#x2018;ÂłĂ?Ă?Ă&#x2021;ĂŤĂ&#x203A;ÂłĂ? êùΟ³¡ùĂ&#x2021;ĂŁÂŞ Ă&#x17D;³ùĂ? ²Í³ïùĂ&#x203A;ÂłĂ?

Ă&#x201A;³ù¡Ă&#x2122;ÂłĂ?Ă&#x2021;ĂŁĂ?ùª Ă&#x2C6;åþÍĂ&#x2021;Ă?Âť Ă?ĂĄĂ­Ă&#x2018;ÂłĂ?Ă?Ă&#x2021;ĂŤĂ&#x203A;ÂłĂ?, Ÿ³ùĂ&#x2021;Ă?Âť ê³ý³ùĂ&#x203A;ÂłĂ? ¸Ă&#x2021;½³Ă&#x203A;Ă?ù` œ³Ă&#x203A;ÂłĂ?Âť ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ? Ă?Ê³Ă?Âł Ă&#x2039;ĂĄĂąĂ&#x2018;ùš³ïåþ` äĂ&#x2021;ïù Ă­ÂłĂ? ´Ă&#x203A;åþùĂ? Îü³¡ùí³Ă? Âż §Ă&#x153;ĂŽ Ă?ĂĄĂ&#x2030;šĂ&#x2021;Ă?¡Œ êäĂ&#x20AC;-ĂĄĂľĂ&#x2122;

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

Design: Gayane Grigoryan Backstage General Adviser: Peter van Bueren

Printer: "NT Holding" Ltd.

GOLDEN APRICOT DAILY 2017 | 13 JULY | DAY 5

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

§ØºÜø êàìàð ºÜø ´èÜàôÂÚ²ÜÀ¦ Ðñ³ß³ÉÇ ÙÇ μ³Ý ¿ ï»ÕÇ áõÝ»ÝáõÙ ³Ûëûñ ÑÝ¹Ï³Ï³Ý ÏÇÝáÛáõÙ, ¨ é»ÅÇëáñ ê³Ý³É ÎáõÙ³ñ ê³ëǹѳñ³ÝÝ ³ÝÏ³Ë é»ÅÇëáñÝ»ñÇ ³Ûë Ýáñ ³ÉÇùÇ í³é Ý»ñϳ۳óáõóÇãÝ ¿: Üñ³ §ò³ÝϳÉÇ ¸áõñ·³¦ ýÇÉÙÝ Áݹ·ñÏí³Í ¿ ³Ûë ï³ñí³ Ê³Õ³ñϳÛÇÝ ÙñóáõÛÃáõÙ: êï»ÕÍ»Éáí »ñÏáõ ÷³ËãáÕ ëÇñ»Ï³ÝÝ»ñÇ Ù³ëÇÝ Çñ ýÇÉÙÁª ê³ëǹѳñ³ÝÁ ãÇ ¹ÇÙ»É ëó»Ý³ñÇ û·ÝáõÃÛ³ÝÁ: öá˳ñ»ÝÁ ÃáõÛÉ ¿ ïí»É Çñ ¹»ñ³ë³ÝÝ»ñÇÝ ÑáñÇÝ»É Çñ»Ýó Ï»ñå³ñÝ»ñÇ ·áñÍáÕáõÃÛáõÝÝ»ñÁ ïíÛ³É Çñ³íÇ׳ÏÝ»ñáõÙ: §Üϳñ³Ñ³ÝáõÙ »ë, áõ »Ã» ¹áõñ¹ ãÇ ·³ÉÇë, ÙÇ ÏáÕÙ »ë ¹ÝáõÙ. ³ë»ë ëó»Ý³ñáõÙ ï»ë³ñ³Ý ¿Çñ ·ñáõÙ: ¸»ñ³ë³ÝÝ»ñÇ Ñ»ï ³ß˳ï³ÝùÁ ÝáõÛÝå»ë ³í»ÉÇ Ñ³×»ÉÇ ¿ ¹³éÝáõÙ: лßïáñ»Ý Ï»ñå³÷áËáõÙ »ë Ýñ³Ýó. ³ë»ë ÇÝã-áñ ÑÇåÝáïÇÏ ïñ³ÝëÇ Ù»ç ÉÇÝ»Ý. Çñ»Ýù ³ÝáõÙ »Ý ³ÛÝ, ÇÝã áõ½áõÙ »Ýùª ³é³Ýó ³Ý·³Ù ·Çï³Ïó»Éáõ: ²é³çÇÝ ýÇÉÙë ³Ý»-

ÉÇë »ë ½·³óÇ, áñ ¹»ñ³ë³ÝÝ»ñÁ ϳճå³ñíáõÙ »Ý, »ñμ ï»ëÝáõÙ »Ý ëó»Ý³ñÁ. ëÏëáõÙ »Ý ³Ý·Çñ ³Ý»É, áñ Ñ»ïá ³ñï³ë³Ý»Ý: ¸³ μÝ³Ï³Ý ã¿¦: §ò³ÝϳÉÇ ¸áõñ·³ÛǦ ·³Õ³÷³ñÁ ÍÝí»É ¿ ³åß»óÝáÕ ¨ áÕμ»ñ·³Ï³Ý ÙÇ å³ï³Ñ³ñÇó¦,å³ïÙáõÙ ¿ ê³ëǹѳñ³ÝÁ: §ØÇ ù³ÝÇ ï³ñÇ ³é³ç ÙÇ »ñÇï³ë³ñ¹ ³ÕçÇÏ ËÙμ³Ï³ÛÇÝ μéݳμ³ñáõÃÛ³Ý ¿ñ »ÝóñÏí»É ¨ ëå³Ýí»É ¸»ÉÇáõÙ: ê³ μáÉáñ Éáõñ»ñáõÙ ¿ñ, μ³Ûó ÝÙ³Ý μ³Ý»ñ ÉÇÝáõÙ »Ý ¨ ³Ûëûñ ¨ Ù³ñ¹ÇÏ ³ñ¹»Ý ëáíáñ »Ý ¹ñ³Ý: ÆÝãá±õ »Ý ÝÙ³Ý ³Ñ³íáñ μ³Ý»ñ å³ï³ÑáõÙ: ºí ÇÝãá±õ ¿ ѳë³ñ³ÏáõÃÛáõÝÁ ¹ñ³ Ñ»ï ѳٳϻñåíáõÙ¦: ²Ûë ѳñó»ñÇ å³ï³ë˳ÝÝ»ñÁ ýÇÉÙáõÙ Ý»ñϳ۳óí³Í »Ý ê³ëǹѳñ³ÝÇ Ñ³ñ³½³ï ø»ñ³É³ Ý³Ñ³Ý·Ç ÏñáÝ³Ï³Ý Í»ë»ñÁ å³ïÏ»ñáÕ í³í»ñ³·ñ³Ï³Ý ¹ñí³·Ý»ñáõÙ, áñáÝù ½áõ·áñ¹íáõÙ »Ý ˳ճñϳÛÇÝ Ù³ë»ñÇ Ñ»ï: §Ø»ñ Ùß³ÏáõÛÃáõÙ ß³ï μ³Ý »Ý ½áѳμ»ñáõ٠ѳÝáõÝ Ñá·¨áñ³Ï³ÝáõÃ۳ݦ,- Ù³ïݳÝßáõÙ ¿ ݳ. §ä³ïñ³ëï »Ý ëÝáõݹÇó ¨ áõï»ÉÇùÇó Ññ³Å³ñí»Éª ѳÝáõÝ ²ëïÍá Ñ»ï

ºÕÇóÇ ÉáõÛë ²Ûëûñª 16:00, ¾çÙdzÍÝÇ ¶¨áñ·Û³Ý ×»Ù³ñ³ÝáõÙ ÏáÙåá½Çïáñ îÇ·ñ³Ý سÝëáõñÛ³ÝÇÝ ÏßÝáñÑíÇ ³Ù»Ý³ÙÛ³ §ºÕÇóÇ ÉáõÛë¦ Ùñó³Ý³ÏÁ, áñÁ 2012-ÇÝ ë³ÑÙ³Ý»É ¿ Ð³Û ³é³ù»É³Ï³Ý »Ï»Õ»óÇÝ Ñá·¨áñ, Ùß³ÏáõóÛÇÝ ¨ Ù³ñ¹³ëÇñ³Ï³Ý ³ñÅ»ùÝ»ñÇ ï³ñ³ÍÙ³Ý ¨ ÏÇÝá³ñí»ëïáõÙ áõÝ»ó³Í Ý߳ݳϳÉÇ ³í³Ý¹Á å³ïí»Éáõ ѳٳñ: îÇ·ñ³Ý سÝëáõñÛ³ÝÁ ѳٳñíáõÙ ¿ Ñ³Û É³í³·áõÛÝ ÏáÙåá½ÇïáñÝ»ñÇó: ܳ ¿ ݳ¨ Ñ»ÕÇÝ³Ï»É μ³½Ù³ÃÇí ýÇÉÙ»ñÇ, ³Û¹ Ãíáõ٠ݳ¨ ê»ñ·»Û ö³ñ³ç³ÝáíÇ §Üé³Ý ·áõÛÝÁ¦ (1968) ýÇÉÙÇ »ñ³ÅßïáõÃÛáõÝÁ:

ì³ñå»ï³ó ¹³ë»ñ ѳݹÇåÙ³Ý: سñÙÇݹ ëÝݹÇó ½ñÏ»ÉÁ μéÝáõÃÛ³Ý ï»ë³Ï ¿, μ³Ûó Ù»½ ѳٳñ ¹³ ëñμáõÃÛáõÝ ¿: سñÙÇݹ ٳݷ³ÕÝ»ñáí ͳϻÉÁ, ÇÝãå»ë ýÇÉÙáõÙ Ý»ñϳ۳óí³Í Í»ë»ñáõÙ ¿, μéÝáõÃÛáõÝ ¿ ÇÝù¹ ùá ¹»Ù: л勉μ³ñª áõñÇßÝ»ñÇ Ñ»ï ¹³ ³Ý»ÉÝ ¿É Ñ»ßï ¿ ¹³éÝáõÙ: سÝÏáõó íϳ »Ù »Õ»É ³Ûë Í»ë»ñÇÝ: ì³Ë»ÝáõÙ ¿Ç ³ãù»ñë μ³ó»É: ²ÛÅÙ ëáíáñ »Ù: γñáÕ »Ù ݳۻɪ μáÉáñÇ ÝÙ³Ý: ²Û¹å»ë ¿. ëáíáñáõÙ »Ýù ·áÛ³Ïó»É μéÝáõÃÛ³Ý Ñ»ï¦: üÇÉÙÇ ³í³ñïÁ μ³í³Ï³ÝÇÝ ³Ýáñáß ¿. §´³ó ³í³ñï »Ù ÁÝïñ»É, ù³ÝÇ áñ ë³ ÏñÏÝíáÕ å³ïÙáõÃÛáõÝ ¿: ²Ûë å³ïÙáõÃÛáõÝÝ ³í³ñï ãáõÝÇ: ²ÛÝ ß³ñáõÝ³Ï å³ï³ÑáõÙ ¿ ³Ù»Ýáõñ»ù¦: êÎ

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§Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ ÙñóáõÛÃÇ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÝ ³Ûë ï³ñÇ áõÝ»Ý ß³ï ɳÛÝ ³ß˳ñѳ·ñáõÃÛáõÝ: ¸ñ³Ýù ï»Õ³÷áËáõÙ »Ý ѳݹÇë³ï»ëÇÝ ³ß˳ñÑÇ Ñ»éáõ ¨ ÙáïÇÏ, μ³ñÓñ³¹Çñ ¨ ó³Íñ³¹Çñ í³Ûñ»ñª ³Ù»Ý¨ÇÝ ãë³Ñٳݳ÷³Ïí»Éáí ýǽÇÏ³Ï³Ý Çñ³Ï³ÝáõÃÛ³Ùμ, ³ÛÉ »ñμ»ÙÝ Ã³÷³Ýó»Éáí ݳ¨ Ù³ñ¹Ï³ÛÇÝ ·Çï³ÏóáõÃÛ³Ý, ÇÕÓ»ñÇ ¨ »ñ³½³ÝùÝ»ñÇ ïÇñáõÛÃÁ: ¶áé سñ·³ñÛ³ÝÇ §æñ³·ñáõÃÛáõÝÁ¦ ï»Õ-ï»Õ ¹³ë³Ï³Ý í»å»ñÇ μݳå³ïÏ»ñ³ÛÇÝ ¹ñí³·Ý»ñ ¿ ÑÇß»óÝáõÙ Çñ ×ã³óáÕ ×³Û»ñÇ ¨ çñÇ Ñ³ï³ÏÇ ËáñÑñ¹³íáñ å³ïÏ»ñÝ»ñáí: ÆëÏ Ñ³çáñ¹ ÇëÏ Ï³¹ñáõÙ ³ñ¹»Ý ï»ëÝáõÙ »Ýù §ýáõïáõñÇëïÇϦ Ù»ï³Õ³Ï³Ý ë³ñù»ñ: Ðñ³Ýï ì³ñ¹³ÝÛ³ÝÇ §ÈáõÛëÇ Ó³ÛÝ»ñÁ¦ í³í»ñ³·ñáõÙ ¿ §Ð³Û³ëï³ÝÇ ÷áùñÇÏ »ñ·ÇãÝ»ñ¦ »ñ·ã³ËÙμÇ ×³Ù÷áñ¹áõÃÛáõÝÁ ¹»åÇ É»éݳÛÇÝ Þí»Ûó³ñdz: ºñ»Ë³Ý»ñÁ ³íïáμáõëáí ׳Ù÷áñ¹áõÙ »Ý ù³Õ³ùÇó ù³Õ³ùª ï³Éáí Ù»ÏÁ ÙÛáõëÇó ѳçáÕ Ñ³Ù»ñ·Ý»ñ: ÆëÏ ßí»Ûó³ñ³óÇ Ñáõ½í³Í áõÝÏݹÇñÝ»ñÁ ÏÇëíáõÙ »Ý ³ÝÏ»ÕÍ, Ñdzó³Ï³Ý ïå³íáñáõÃÛáõÝÝ»ñáí:

¶Çß»ñ³ÛÇÝ ÏÛ³Ýù ²í³ñï»ù ÷³é³ïáݳÛÇÝ ûñÁª Ëáñ³ëáõ½í»Éáí ·Çß»ñ³ÛÇÝ ÏÛ³ÝùÇ Ù»ç: ºÏ»°ù ·Çß»ñ³ÛÇÝ ËÝçáõÛùÇ (23:30, Calumet Pub) ϳ٠λë·Çß»ñ³ÛÇÝ ³Ù÷á÷Ù³ÝÁ (00:00, §²ÏáõÙμ¦), áñï»Õ ѳí³ùíáõÙ »Ý ÏÇÝáë»ñÝ»ñÝ áõ §àëÏ» ÍÇñ³ÝǦ ÑÛáõñ»ñÁ:

ê³ §ÐéáÙ»³Ï³Ý ³ñÓ³Ïáõñ¹Á¦ ã¿ §î³ïñ³ÏÇ μáõÛÝÁ¦ (î³ñ³ë îϳã»ÝÏá, àõÏñ³Çݳ, 2016), ʳճñϳÛÇÝ ÙñóáõÛÃ, 13.07ª 19:00, 14.07ª 12:30, §ØáëÏí³¦ Ï/Ã, γåáõÛï ¹³ÑÉÇ× §úï³ñ³Ï³ÝÁ¦

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GOLDEN APRICOT DAILY 2017 | 13 JULY | DAY 5

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INTERVIEW 5

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I’ve previously interviewed your father about his part in A Family Affair. Now I’m speaking with you. Did you know he would play such a big part in your film?

In the Netherlands we did almost all of the festival Q&As together. The fact that my father wanted to write a book about his mother was the starting point of my film. I realized that it was a big deal that he was trying to get closer to her, and that it was going to be problematic. When his project failed, mine went on. So this process of filming always had to do with my father. I am the son of a man who grew up feeling that he was not loved. That goes beyond his book and my film; it’s about seeing your parents struggle with finding love their whole life.

How did this film influence your relationship with him? It seems that by making a documentary about your grandmother, you’ve gotten closer to your father.

Is that true?

Most definitely! Actually, I always hoped this film would have that effect on us. I made a film about my grandmother, but obviously my father is way more important for me, especially now that I have a child of my own. In this search for love between grandparents, parents and children I’ve grown more aware of what really matters in a family. While I was in the process of making this film, I actually feared becoming a parent. Now, since the film is part of my past, I feel like I can love my child unconditionally. For me that’s been the most important thing I’ve gained from making this film.

Your first film An Angel in Doel is an observational, black-and-white documentary in which you stay in the background. In A Family Affair you turn out to be the centre of the film. How did you experience this shift in documentary filmmaking?

I’m actually glad I made two very distinct films. After An Angel in Doel I thought I would make another cinematic documentary, because I just loved the process. I could get completely lost in setting up the shots, lighting the locations and filming life as it happened. But then this weird, personal film crept up on me. That made me realize that as a filmmaker I’m always both an observer and a participant, and I accept that. My next film actually will be somewhere in between those two modes. It’s a follow-up to A Family Affair in which I film how my father is trying to establish a new bond with his estranged brother. Just like with his mother, this attempt by my father to find closeness is probably bound to fail as well.

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A Family Affair was released in 2015, when it opened the documentary festival IDFA in Amsterdam. Does this highly personal film still feel relevant to you after all this time?

The subject matter will always be relevant, because it’s about my family ties and those never end. The funny thing is that this film has had a profound effect on my family as well.

Plus I’ve become a father myself since A Family Affair was made, so I hold elements of this film very close to my heart.

TOM FASSAERT Some documentary filmmakers stay in the background, dutifully observing what happens in front of their camera. Others wilfully interact with their subjects and even put themselves in the centre of their own films. In the two films he has made so far, Dutch director Tom Fassaert (a member of this year’s Documentary Competition jury) has tried both modes. In his black-and-white feature documentary An Angel in Doel (2011) he stayed in the background, capturing life in a small Belgian village that’s about to be swallowed by the expanding Antwerp docks.

He followed it up with A Family Affair (2015), an intensely personal and intimate film about Fassaert’s own intriguing family.

At the centre of it all is his enigmatic 95-year-old grandmother Marianne, a stylish woman living in South Africa, far removed from her family.

Fassaert sets out to make a film about the problematic relationship between his father and his grandmother, but life takes an unexpected turn: Marianne shifts her focus from her son to her grandson, forcing Fassaert into the role of protagonist in his own film. While Fassaert tries to uncover the mysteries of his grandmother, she entangles him further in her complicated family affairs.

After seeing A Family Affair it’s understandable that he tries to do this. Your uncle is a pretty melancholy character in the film.

My father and uncle have opposite personalities. My father represents normalcy. He has a family, a job, and a position in society. My uncle represents the abnormal. He lives in the margins of society, has no romantic relationships and no work. His life is one of disorder and chaos. This has been the case for the past fifteen years, but somehow nobody noticed or cared. Now, with A Family Affair being in the public eye, my family has decided that my uncle’s situation is unacceptable. I’m filming this process where two worlds and two views on life suddenly clash, which makes for some remarkably tragicomic scenes. What I find most interesting about filming this is that it raises the question what normalcy is. Also it makes me wonder what personal freedom is and when you’re allowed to intervene in someone else’s life.

Despite the trauma that’s at the core of your documentary, A Family Affair is a strikingly funny film. Were you aware that your film had so much humour in it?

With the risk of sounding dogmatic, I feel that real drama always needs humour. You can only feel the weight of tragedy if absurdity and humour are there to balance it. Of course, you can easily make a pitch-black film, but to not include humour or lightness in a documentary you'd have to consciously turn your camera away from it. It’s everywhere around us. No matter how dramatic a situation is, it will always come with life and lightness as well. This is why I like making documentaries so much: I love being confronted with a reality over which I have no control. Documentary filmmaking is about reacting to everything going on around you and deciding how you will incorporate it in your film.”

A Family Affair (Tom Fassaert, Netherlands / Denmark/South Africa, 2015). Yerevan Premiere.

13-7 16:30 Moscow Cinema Red Hall.

GOLDEN APRICOT DAILY DAY 5 | 13 JULY | 2017

6 REVIEWS

No Roman Holiday

Humanity Versus Ideology

The Nest of the Turtledove (Taras Tkachenko, Ukraine, 2016). Feature Competition. 13-7 19:00, 14-7 12:30 Moscow Cinema Blue Hall.

The Net (Kim Ki-duk, South Korea, 2016).

Yerevan Premiere. 13-7 20:00 Cinema Star.

Kim Ki-duk’s latest film The Net, the twenty-first by the prolific Korean director, tells a story about borders – the abstract lines we draw between others and ourselves. The greater our fear for one another, the less abstract these lines get. One morning fisherman Nam Chul-woo finds himself in big trouble when his fishing net gets stuck in his boat’s engine, causing him to cross a border that’s fluid but at the same time very, very rigid: the one between North and South Korea.

Washed ashore on the wrong side of the firth he always fishes in, North Korean Nam becomes the subject of an investigation to find out whether he might be a spy. His interrogator is intent on incriminating him and South Korean security officials hope to turn him to become an informer. A young man appoin-

ted to him as his guard is the only person who’s open-minded (or simply human) enough to believe in his innocence and to understand his wish to return to his family and his old life, limited as it may be.

To break Nam’s stubborn refusal of the glorious Western way, the security service even designs a plot to drop him in the heart of Seoul. The change of scenery feels refreshing after the oppressive interrogation sequences, in which some characters are perhaps a bit too strictly defined by their function

within the story. Kim Ki-duk’s work (which got a Retrospective at GAIFF in 2014) can always be admired for the breadth and depth of its subject matter, but when Nam finally succeeds in returning to North Korea, the director’s intent to create an even-handed story risks becoming a dogma in itself. Nevertheless, his film sheds a bright light on the perpetual war between humanity and ideology and raises the important question to which extent we actually identify ourselves with the state system we live in. SK

Globalization opens up borders and makes it possible to exchange goods, knowledge and currency between countries, but it doesn’t seem to make people more connected. That’s the takeaway of The Nest of the Turtledove, a drama about Ukrainian migrant workers in Italy. While their husbands are jobless and poor in their small home village, these women are employed as maids in the households of the Italian middle class. They may get a taste of luxurious city life, but they’re far from having a “Roman Holiday”.

Daryna is in an especially complicated situation.

She has been taken in by Alessandro, a divorced lawyer who is sharing an apartment with his bitter mother Vittoria. He sees this vulnerable woman as a surrogate wife; Vittoria considers her to be a thieving “badante” – the Italian word for caregiver, which in this context is basically used to call Daryna a slave.

Told in parallel to the story of Daryna adjusting to this uncomfortable environment runs the story of her return to the Ukraine. “You even smell different”, her husband remarks when she finds herself back in what used to be home. Now it’s just another place she’s estranged from. There’s a bitter ring to the title of Taras Tkachenko’s second feature film, since Daryna will probably never find her nest again. HE

Interior and Exterior Those From the Shore (Tamara Stepanyan, France, 2016). Documentary Competition/ Armenian Panorama. 13-7 10:00 Moscow Cinema Red Hall, 14-7 18:00 Cinema Star.

The West Goes East Western (Valeska Grisebach, Germany/Bulgaria/Austria, 2017). Feature Competition.

13-7 10:00, 14-7 16:30 Moscow Cinema Blue Hall.

While many are troubled by the growing number of immigrants flooding into Europe and the cultural dissonance this brings, director Valeska Grisebach explores the problem from the opposite point of view. In her third feature Western, her first film in over ten years, a hired group of German (one might

say Arian) construction workers come to a small Bulgarian village on the border with Greece to build a hydroelectric power plant.

Co-produced by Maren Ade, the director of last year’s festival hit Toni Erdmann and like Grisebach a director counted among the loosely affiliated directors of the Berlin School, Western is an understated exploration of cultural differences and behavioral patterns. Shooting with non-professional actors and a non-traditional script, the director spends a great deal of time just diving into the everyday interactions of the German crew. One can see every twitch of their grimy bodies as they

work, talk and fool around under the baking sun.

It’s as if the film is observing them like an entomologist studies insects through a magnifying glass, recording their behavior.

Their demeanor exerts an animalistic urge to show superiority, which the locals do not appreciate.

However, a worker named Meinhard with a supremely Germanic appearance befriends the villagers.

He becomes fascinated by their white stallion, riding it like Siegfried rode his Grani. In an unexpected turn of events, Meinhard and a German colleague start a furious competition for the affections of the Bulgarians. AV

Madmen Run the Asylum

Badly Nourished Aspirations

A Prominent Patient (Julius âHYþtN, Czech Republic/Slovakia/Germany, 2016).

Feature Competition. 13-7 12:00, 21:00 Moscow Cinema Blue Hall

City of the Sun (Rati Oneli, Georgia/USA/ Qatar/Netherlands, 2017). Documentary Competition. 13-7 12:00, 19:00 Moscow Cinema Small Hall 1.

It’s the swinging 30’s in Julius âHYþtN¶V A Prominent Patient – endless dancing, fountains of liquor and a lot of cocaine going up the nose of one Jan Masaryk, the Czechoslovakian Ambassador in London and the son of his country’s founder and first president Tomáš Garrigue Masaryk. It seems the West is so blinded by sparkling silk skirts, slicked-back dark hair and tap dancing movie stars that it kind of just lets things get out of hand with the Nazis in Germany.

Nowhere was that more evident than in the 1938 Munich Agreement, when Great Britain and France basically allowed Adolf Hitler to annex valuable German-inhabited areas of Czechoslovakia, marking what many historians consider to be the true start of WWII. And no matter how cunning Masaryk (Karel Roden) is or how cleverly he moves his pie-

ces on the political chess board, he still fails to do anything about it, betrayed not only by the British and French, but by his own government as well.

With exquisite framing and exaggeratedly colorful set design, production designer Milan %êþHN and cinematographer Martin Štrba do a good job of recreating a world gone mad. The only sane person here is the fidgety, bald-headed and impulsive Masaryk, who’s ironically introduced to the audience as he is checked into a New Jersey insane asylum in 1939. The events of 1938 are then told in flashbacks, while in 1939 the head doctor tries to convince Masaryk to overcome his guilt. It’s a rough journey, but in Roden’s vibrant performance he is a man of great passion with a sense of responsibility. He might get depressed, but giving up is simply not his game. AV

A town abandoned by the future, bearing the reminders of a utopia that failed to become real: welcome to Chiatura, located almost exactly at the centre of Georgia. It’s not difficult to see why Georgian director Rati Oneli chose this town for his depiction of daily life oscillating between dreams and dim reality. The film’s ironic-sounding title could be read as a reference to the optimism of the Soviet era, when the region’s manganese mines still prospered and boosted the local economy.

Over the course of the last quarter century, the portrayal of life in forgotten corners of the former Soviet Empire has grown to be a documentary genre of its own, often featuring eccentric characters, sully alcoholics and cute old ladies in tragicomic narratives. But Oneli distances himself from this tradition. For City of the Sun, he lived in Chiatura for almost a year, fin-

At times Those From the Shore, Tamara Stepanyan’s second feature-length documentary, feels like the landscape symphony films of the days of early cinema.

Her camera takes a train ride through desolate landscapes; wide shots show mountains, deserts and some solitary trees sticking out of the isolated environment.

But Stepanyan hasn’t made a nature documentary.

The empty landscapes are a way of showing the interior and exterior of Armenia and the many people that have left to seek asylum elsewhere. Stepanyan (born in Armenia but now living in France) interviews Armenian asylum seekers in Marseilles who struggle to get through France's bureaucracy. They try to establish a new kind of future in France, but are stuck at a border with only their past as baggage. It’s an uncertain place for these people, who have to learn a new language to have any chance in this new country.

One of the asylum seekers aptly describes this state of being: “It’s an inflated balloon, and we’re swimming inside it. We don’t know what’s going on outside.”

For a decade now, millions of Armenians have struggled to find a new place in the world. Stepanyan manages to draw the bigger picture of the lives of these people, showing that for decades refugees have been washed ashore and caught in a bubble of bureaucracy, unable to see what’s going on outside. HE

ding the individual stories that form the core of his film. Though the tone of Oneli’s observational documentary – there’s no narration or interviews – is more philosophic than heroic, these stories all speak of the will to exceed the limitations of one’s circumstances.

There’s Archil, a miner who would rather perform on the theatre stage and dedicates almost all of his spare time to it. There are the sisters Mariam and Irina, talented athletes whose Olympic aspirations are threatened by a lack of nutrition. And there’s music teacher Zurab, who extends his earnings by selling iron bars which he pulls from the reinforced concrete in the ruins of an old silo in breakneck stunts.

The immersive sound design by Andrey Dergachev and excellent cinematography by Arseni Khachaturan both add allure to the struggles of these everyday heroes. SK

GOLDEN APRICOT DAILY 2017 | 13 JULY | DAY 5

NEWS AND REVIEWS 7

‘WE’VE LEARNED TO COEXIST WITH VIOLENCE’ There’s something exciting going on in Indian cinema these days, and director Sanal Kumar Sasidharan is a prime example of this new wave of independent directors.

His film Sexy Durga is a contender in this year’s Feature Competition.

For his story about two lovers on the run, Sanal Kumar Sasidharan didn’t work with a script.

Instead he let his actors improvise on the basis of their characters and the situations they were put in.

“There’s enormous freedom”, he says about this way of working. “You shoot something and if you don’t like it, you cast it aside, just as if you were writing.

Working with the actors also becomes a very nice experience. You can easily mould them, almost as if they arrive in a sort of hypnotic moment – they do exactly what we want, without even realising it. In my first film I experienced that actors become stiff when I give them a script. They start studying it by heart and then they’ll reproduce that on set. It’s not organic.”

The idea for Sexy Durga originated from a tragic and shocking incident, Sasidharan explains. “A few years back, a young woman was gang-raped and brutally murdered in Delhi. This became a big news story, but still it’s happening a lot and people have become kind of used to it. So I asked myself: Why do such brutal things happen? And why are we becoming this numb society?”

The answers he found to these questions are represented in the film through documentary sequences of religious celebrations in his home province Kerala, which intercut the fictional

This year’s Let There Be Light award, established by the Armenian Apostolic church in 2012 to promote spiritual, cultural and humanitarian values and significant contributions to global cinematography, will be handed to Tigran Mansuryan today at 16:00 at the Gevorkian Seminary, at 30-minute drive from Yerevan.

Active since the early 1960s, Mansuryan has composed several film scores between 1968 and 1980, including the music for Sergei Parajanov’s classic The Color of Pomegranates (1969).

Master Class Ciro Guerra Columbian director Ciro Guerra, a member of this year’s Feature Competition jury whose latest film Embrace of the Serpent won the Golden Apricot at the 2015 festival, will give a Master Class at AGBU today at 15:00.

Master Class Eugene Corr storyline. “In our culture, we sacrifice a lot in the name of spirituality”, the director points out.

“We’re ready to avoid food or sex in order to meet God. Depriving your body of food is a form of violence, but we think of it as sacred. Penetrating your body with hooks, like in the processions you see in the film, is violence you inflict upon yourself. If you can do that, it’s very easy to inflict violence upon others too. I’ve witnessed these religious processions since my childhood. As a child, I couldn’t look at it. Now, seeing it year

AROUND THE WORLD This year’s Armenian Panorama documentary section has quite the geographical reach. The ten films transport the audience to places just around the corner or on the other side of the world, high and low. They don’t limit themselves to physical reality either, at times exploring the wide and diverse domain of the human mind.

Lighting Up

Gor Margaryan’s Hydrography is reminiscent of old landscape painting with its images of shouting seagulls and mysterious and beautiful shots of the bottom of the sea. When the very next shot is some futuristic looking metal equipment, this creates a kind of metaphor of the human desire to explore.

Hrant Vardanyan’s Voices of Light documents a concert tour trough Switzerland by the Little Singers of Armenia. The talented children’s choir travels

after year, I’ve become used to it. I can watch it without feeling pain, just like any of the spectators.

This is what happens with violence: we just learn to coexist with it.”

The film’s ending is rather open, as if the story is cut off before it reaches its conclusion. “I only had a vague idea about this when we started shooting”, he discloses. “But as the film was progressing, I got more convinced. I chose an open ending because it’s a recurring story. This is not a story that ends. It continues to happen everywhere.” SK

from one city to another, giving many successful concerts, singing both Armenian and European music, while the moved Swiss audience members share their sincere admiration of them.

Jeff Kalousdian’s Spiral depicts another form of art: dancing. It’s one of two feature-length films in the section, along with Those from the Shore (see opposite page). Spiral tells the story of how Armenian ballet master Rudolf Kharatyan strives to organize a modern dance troop out of disorganized dancers. More art is present in Vahe Khachatryan’s Strokes of Light, an attempt at analyzing the works of American-Armenian painter Norik Dilanchyan.

Meanwhile, in Istanbul, an Armenian-born young man named Murat is searching for his place

Ahead of tomorrow’s Yerevan Premiere of his documentary Ghost Town to Havana, American director and Documentary Competition jury member Eugene Corr will give a Master Class at TUMO Center this afternoon at 16:00, drawing on his decades of experience as a filmmaker.

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

in the world in Marine and Sona Kocharyan’s film bearing his name. Through Murat’s experiences, the young directing duo artistically investigate the interaction between an individual and society, the past and the present. East of Istanbul, in Panos Abrahamyan’s Stranger a professional sprinter and several boys on bicycles guide us through the streets and back allies of the Lebanese town of Aynjar, mostly inhabited by Armenians and just three miles from the Syrian border. In recalling those who died, the town folk also discuss the country’s socio-political problems and the effect of the civil war, showing (as so many of these films do) the intricate links between local and global. DM

Burn Out in Violence In the Fade (Fatih Akin, Germany, 2017).

Yerevan Premiere. 13-7 19:00 Moscow Cinema Red Hall, 14-7 20:00 Cinema Star.

Absurdly True A Gentle Creature (Sergey Loznitsa, France/ Germany/Lithuania/Netherlands, 2017).

Yerevan Premiere. 13-7 21:00 Moscow Cinema Red Hall.

One the most prominent masters of contemporary documentary cinema, the Germany-based Ukrainian-Russian director Sergey Loznitsa also takes up the camera to create a feature film from time to time, expressing things that may be difficult to capture in a documentary. His first fiction film was My Joy (2010), a road movie with radical social implications. Two years later the follow-up In the Fog received equal critical acclaim.

A Gentle Creature is Loznitsa’s third fiction film, and was selected for the competition program of this year’s Cannes film festival. The female protagonist of this three-hour film just wants to be allowed to visit her husband in prison. She finds herself in the

clutches of bureaucracy, doubtful morals and social indifference, through which this ordinary and formal issue becomes a problem of titanic proportions.

Just as was the case for In the Fog, this film is based on literature. But the Dostoyevsky short story of the same name only serves as a general outline for the plot, which the film transforms to transport the audience to a completely different reality. A Gentle Creature perfectly suits the ideological and formal templates Losnitsa has previously shown. Like his previous two fiction films, the setting is once again a remote region of Russia, reminiscent of its Soviet past. The secondary actors at times display such obviously exaggerated and artificial expressions that it becomes clear that this cannot be a professional shortcoming: Loznitsa was fully aware of these grotesques while making the movie. And instead of toning it down, it gets louder and louder, reaching the apogee of the absurd. In Loznitsa’s universe this isn’t an apogee, but an everyday bitter reality, which could only be reflected in the language of fables and the absurd. KA

In its opening images In the Fade already challenges a cultural assumption that’s sadly all too familiar. Fatih Akin’s ninth feature film In the Fade, which has its Yerevan Premiere today as part of the German Film Day, opens with raw home video-like shots of a Kurdish man stepping out of a cell. Surrounded by cheering cellmates he proudly walks through the prison halls. Have we ever seen a film with such cheerful prisoners? It’s only when the man turns a corner that it becomes clear what’s going on: drug dealer Nuri (Numan Acar) is marrying Katja (Diane Kruger) shortly before the end of his sentence.

In the Fade is structured in three acts, “The Family”, “Justice” and “The Sea”, each proceeded by such video footage of Nuri and Katja.

These cheerful images suggest the life this interracial couple might lead once Nuri comes out of prison. But a bomb abruptly ends this potential life together, killing Nuri as well as the couple’s young child. Fatih Akin, known for capturing the hardships of Turkish immigrants in Head-On (2004), goes to great lengths to show the effects of this traumatic experience on Katja. Kruger’s remarkable performance goes through a whole range of emotions that feel truly unfiltered.

Sadness makes way for grief, grief for numbness, and numbness for hatred.

Akin is most interested in this hate. The bomb itself was a product of hate, placed by neo-Nazi’s as a message to the Turkish communities in Germany and Europe. During a lengthy trial, Katja tries to send her family’s assassins to jail.

She fails to do so because she is deemed an “unreliable witness” because of her drug dependency.

This courtroom drama, where the shock and awe narrative of a populist lawyer finds more resonance than a victim’s grief, can be seen as an allegory for the rise of right-wing politicians throughout the world.

For Katja it means that she can’t find closure through judicial or political systems. That’s when she decides to take matters in her own hand.

Presented as a revenge thriller, Fatih Akin’s In the Fade raises one of the most important questions in our world right now: is it better to let these feelings of hate burn out in violence, rather than to just let them fade away? HE