Golden Apricot Daily - 2015, Day 6

Page 1

DAILY

DAY 6, FRIDAY, JULY 17

ÜáõÝáõ ê»Ý³. ѳݹÇåáõÙ ÂáõÙáÛáõÙ

§¶ñá½ÝÇ ´ÉÛáõ½¦, §ØdzÛݳÏ, ÙdzëÇݦ

гñó³½ñáõÛó. ÞáÝ Øù³ÉÇëûñ

Interview Sean McAllister

Panahi Is Around ö³Ý³ÑÇÝ ³Ù»Ýáõñ ¿

Sanctuary: System of Oppression

Robert Gue’diguian: Let There Be Light

GOLDEN APRICOT DAILY | DAY 6 | 17 JULY | 2015

2 Ă?ù³¡Ă‡Ăą/program ÑåþÉÇÍÇ 17 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³üåþÛï š³Ă‘ÉÇ×/ Moscow Cinema, Blue Hall 10:00, 18:00

/Sanctuary /Marc Brummund

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³ùÙÇù š³Ă‘ÉÇ×/ Moscow Cinema, Red Hall 10:00

/ Corn Island ! /George Ovashvili

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00, 16:00

& , 0 /Sons of Barents , # /David Kremer

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

17:00

10:00, 18:00

9 %( 5 /Violoncello -8 / Olesya Morgunets-Isayenko

Deu, 104’/FC

Lang.: German, Subt.: English 12:00, 22:00

Geo/Deu/Fra/Cze/ Kaz, 101’/ DAB

Lang.: Abkhazian, Subt.: English

Fra, 76’/DC

Ukr, 23’/SC

Lang.: French, Subt.: English

Lang.: Ukrainian/Russian, Subt.: English

12:00 12:00

2 3 /Grozny Blues " '' /Nicola Bellucci

Rom/Bgr/Cze, 108’/FC

Lang.: Romanian, Subt.: English 14:00, 15:00

/ Pioneer Heroes " # ! /Natalya Kudryashova

Nld, 45’/WE

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

$% 0 $ /The Sandwich Island Man 2;

/Levon Minasian

$ 0 ) $ 0/A Meeting at an Exhibition " $ 1

/Nerses Hovhannisyan

Fra, 13’/SC

Lang.: French, Subt.: English

Lang.: Russian, Subt.: English

3N Q /The Doctor +

/Anna Goroyan

% ' [ 0 % 0 /A Pigeon Sat On a Branch Reflecting On Existence + /Roy Andersson

Rus, 24’/AP

Swe/Nor/Fra/Deu, 100’/YP

Lang.: Russian, Subt.: English and Armenian

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

& %, ÂŤX Âť/ Farewell Volga $ 4 /Hamlet Vardanyan

Arm, 37’/T = . 0 0 /Rio Open Body # /Kadu Burgos

" # $ % / SchĂśnefeld Boulevard ( ) * /Sylke Enders

2 0 4 5 / Germany and the Secret Genocide ) $ 3 / Michael Hagopian

Deu, 100’/GNC

USA, 57’/WE

Lang.: German, Subt.: English and Armenian

Lang.: English, Subt.: Armenian

18:30

Bra, 20’/SC

Lang.: Portuguese, Subt.: English

18:00 % 0/ Pelican in the Desert 4 # ! /Viestur Kairish Lva, 68’/DC

Arm, 24’/AP

Lang.: Armenian, Subt.: English 21:00

Pol, 90’/YP

0 /Anomalous + 6 /Aitor GutiÊrrez Spa, 15’/SC

Lang.: Spanish, Subt.: English

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

X 4 /From Above +

/Alen Manukyan Arm, 30’/AP

Lang.: Armenian, Subt.: English $% 0 $ /The Sandwich Island Man 2;

/Levon Minasian Fra, 26’/AP

& ' % ( ) % * / The Last Hammer Blow + ) ,- /Alix Delaporte /The Clinch /Sergei Puskepalis

Fra, 83’/FNC

Rus, 90’/FC

Lang.: French, Subt.: English and Armenian 20:30

Spa, 12’/DC

êÇĂ?Ù³ ĂŤĂƒ³ù/ Cinema Star

Lang.: CatalĂĄ, Subt.: English and Armenian 20:00

19:00

Lang.: French, Subt.: English and Armenian 21:00 ? /The Lesson =; , 4- ' / Kristina Grozeva, Petar Valchanov Bgr/Grc, 107’/YP

Lang.: Bulgarian, Subt.: English and Armenian

8 /Espes + 5 6 , 8

/TanĂ­t Fernandez, Isaac Rodriguez

+ /Taxi . 0 1 /Jafar Panahi

- $ . $ /Fidelio: Alice’s Odyssey 2 - /Lucie Borleteau Fra, 95’/FNC

Lang.: French, Subt.: English and Armenian

$% 0 $ /The Sandwich Island Man 2;

/Levon Minasian Fra, 26’/SC

Lang.: French, Subt.: English

# /Alpha 5 4. /Facundo V. Scalerandi

%% /Shepherd’s Song 4 1 % / Vahram Mkhitaryan

%% /Shepherd’s Song 4 1 % / Vahram Mkhitaryan

Deu, 30’/SC

Pol, 30’/AP

Pol, 30’/AP

Lang.: German, Subt.: English

Lang.: Armenian, Subt.: English

Lang.: Armenian, Subt.: English

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

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

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

Contributors: Siranush Galstyan, Nane Sahakyan, Maria Tokmajyan

êùΟ³¡ùÇãĂ?ùª Ă˜³ùÇĂ?Âť Ă”³ù³Ă‹ÂłĂ?Û³Ă?, èÇÙ³ ²Ă•ÂťĂ?Û³Ă? % /A Syrian Love Story 9 ) % /Sean McAllister

Photographer: Mane Hovhannisyan, Mickael Petrosyan

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

Design: Gayane Grigoryan

UK, 80’/DC

œÉ˳íåù ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ?

Lang.: Persian, Subt.: English and Armenian 22:00

21:00

Lang.: French, Subt.: English and Armenian

Ă?ÕÇĂ?ÂłĂ?Ă?ùª ĂŽ³ùĂ? ²íïÇÍÛ³Ă?, Ă˜³ùdz ÂåÚÙ³çÛ³Ă?, ĂœÂłĂ?Âť ê³Ñ³Ă?Û³Ă?

Irn, 82’/YP

& 0 /Body & N 9 /Małgorzata Szumowska

Lang.: Polish, Subt.: English and Armenian

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

20:00

Fra, 100’/FNC

21:00

Lang.: Armenian, Subt.: English

/White Town $ % & '

/Harutyun Khachatryan

Lang.: German, Subt.: English and Armenian

> /Caprice * 6 /Emmanuel Mouret

19:00

Arm, 52’/AP

Deu, 98’/GNC

Lang.: Russian, Subt.: English and Armenian

Lang.: Abkhazian, Subt.: English and Armenian

19:00

X $ Z 0 0 5 /Return or We Exist + & ' / Armen Khachatran

12:00, 20:00

Arm, 22’/WE

16:30

/Phoenix

/Christian Petzold

Lang.: Armenian, Subt.: English

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

; 0 ; 0 < $ / Pim Poum the Little Panda + ) /Alexis Michalik

Lang.: no dialogues, Subt.: no subtitles

16:00

Geo/Deu/Fra/Cze/Kaz, 101’/ DAB

Arm, 26’/AP

Lang.: French, Subt.: English

Lang.: Russian, Subt.: English

/ Blood Brothers / Kees Schaap

/ Corn Island ! /George Ovashvili

Fra, 26’/SC

Rus, 116’/DAB

15:00

0/Traversed + ) 8 %3 ! , * ' /Alex Igidbashian, Emily Mkrtichian

USA, 82’/AP

Che, 142’/DC

14:00

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

1915 # $ 1

, + ) 1 3 /Garin Hovhannisian, Alec Mouhibian

Lang.: Russian/Chechen, Subt.: English /Aferim! /Radu Jude

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

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

¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă? Îü³¡ùí³Ă? Âż §ĂœĂŽ Ă?åɚÇĂ?¡Œ êäĂ€-åþÙ

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

GOLDEN APRICOT DAILY | DAY 6 | 17 JULY | 2015

Éáõñ»ñ »õ ýÇÉÙ»ñ 3

ö³é³ïáÝÁ Ë³Õ áõ å³ñ ã¿ ÂáõÙá ëï»Õͳñ³ñ ï»ËÝáÉá·Ç³Ý»ñÇ Ï»ÝïñáÝáõ٠ϳ۳ó³í åáñïáõ·³É³óÇ ÜáõÝáõ ê»Ý³ÛÇ í³ñå»ïáõÃÛ³Ý ¹³ëÁ: ÈÇë³μáÝÇ ³ÝÏ³Ë ÏÇÝáÛÇ ÙÇç³½·³ÛÇÝ ÷³é³ïáÝÇ (IndieLisboa) ѳٳÑÇÙݳ¹Çñ ê»Ý³Ý Ù»ÏݳñÏ ïí»ó ѳݹÇåÙ³ÝÁª »ñÏáõ Ëáëù ³ë»Éáí Çñ Ù³ëÇÝ: ²Ï³¹»ÙdzÛáõ٠ݳ ѳÕáñ¹³ÏóáõÃÛáõÝ ¿ áõëáõÙݳëÇñ»É, ë³Ï³ÛÝ Ñ»ï³·³ÛáõÙ Ù³ëݳ·Çï³ó»É ¿ Ñ»Ýó ÏÇÝáÛÇ ·Íáí: ¼μ³Õí»É ¿ ÷³é³ïáÝ»ñÇ, ½³Ý³½³Ý ÏÇÝáýáñáõÙÝ»ñÇ Ï³½Ù³Ï»ñåã³Ï³Ý ѳñó»ñáí, åñá¹Ûáõë»ñ³Ï³Ý ·áñÍáõÝ»áõÃÛ³Ùμ: ²ß˳ï»É ¿ äáñïáõ·³ÉdzÛÇ ÏÇÝáÇÝëïÇïáõïáõÙ, ýÇÉÙ³¹³ñ³ÝáõÙ, ÏÇÝáÛÇ Ã³Ý·³ñ³ÝáõÙ® ²ÛÅÙ ¿É ÏÇÝáÛÇ å³ïÙáõÃÛáõÝ áõ ï»ëáõÃÛáõÝ ¿ ¹³ë³í³Ý¹áõÙ: îñ³Ù³μ³Ý³Ï³Ý ¿ñ, áñ í³Õ, û áõߪ ê»Ý³Ý ÏËáëÇ Ý³¨ ÷³é³ïáÝ»ñÇ Ï³½Ù³Ï»ñåã³Ï³Ý ³ß˳ï³ÝùÝ»ñÇ Ù³ëÇÝ. §ö³é³ïáÝ»ñÁ ÙdzÛÝ Ë³Õ áõ å³ñ ã»Ý,– Ýϳï»ó ê»Ý³Ý,– ³Ûɨ μ³ñ¹,

ɳñí³Í áõ å³ï³ë˳ݳïáõ ϳ½Ù³Ï»ñåã³Ï³Ý ³ß˳ï³Ýù: ê³Ï³ÛÝ ³Ûë ³ß˳ï³ÝùÁ å»ïù ¿ ³ÛÝå»ë ë³ÑáõÝ ³ñíÇ, áñ ³ñ¹ÛáõÝùáõÙ ã»ñ¨³Ý ͳÝñ å³ïñ³ëïáõÃÛáõÝÝ»ñÁ¦: ê»Ý³Ý ݳ¨ Ëáë»ó ÏÇÝáÛÇ Çñ ÁÝϳÉÙ³Ý Ù³ëÇÝ: Àëï Ýñ³ª ÏÇÝáÝ ³ë»ë ÷³Ï ïáõ÷ ÉÇÝÇ, áñÁ ³Ù»Ý ë»ñáõݹ å»ïù ¿ ÝáñáíÇ ÉóÝÇ, ÝáñáíÇ μ³ó³Ñ³ÛïÇ, ÇÙ³ëï³íáñÇ áõ í»ñ³ÇÙ³ëï³íáñÇ: §ÎÇÝáÛÇ É³í³·áõÛÝ ÝÙáõßÝ»ñÝ ëï»ÕÍí»É »Ý ¹»é¨ë ѳñÛáõñ ï³ñÇ ³é³ç: ¸ñ³Ýù ѳÙñ, åñÇÙÇïÇíÇëï³Ï³Ý ßñç³ÝÇ ÏÇÝáÝϳñÝ»ñ »Ý, áñáÝù áñù³Ý ÑÇÝ, ³ÛÝù³Ý ¿É Ýáñ »Ý, ù³ÝÇ áñ å³Ñå³ÝáõÙ »Ý ³ÛÝ Å³Ù³Ý³ÏÇ ßáõÝãÁ, áñáõÙ ëï»ÕÍí»É »Ý¦: ê»Ý³Ý ³é³ç³ñÏ»ó ÝáñÇó áõ ÝáñÇó ¹Çï»É ³Ûë ßñç³ÝÇ ýÇÉÙ»ñÁ, μ³ó ÉÇÝ»É ¹ñ³Ýó ѳݹ»å, áõÝ»Ý³É Ñ»ï³ùñùñáõÃÛáõÝ, ½³ñٳݳÉáõ ¨ ÑdzݳÉáõ ϳñáÕáõÃÛáõÝ: ܳ ѳٻٳï³Ï³Ý ³Ýóϳóñ»ó ÏÇÝáÛÇ å³ïÙáõÃÛ³Ý Ñ³ÛïÝÇ »ñÏáõ` ÉÛáõÙÇ»ñÛ³Ý áõ Ù»ÉÛ»ëÛ³Ý ·Í»ñÇ ÙÇç¨, áñáÝóÇó ͳ·»É »Ý ˳ճñϳÛÇÝ ¨ áã ˳ճñϳÛÇÝ

ýÇÉÙ»ñÁ: Êáë»Éáí ÄáñÅ Ø»ÉÛ»ëÇ Ù³ëÇݪ ݳ ³ë³ó, áñ ѳÝñ³Ñ³Ûï §Ø³ï³ÝÇÝ»ñÇ ïÇñ³Ï³Éݦ ³Ûë ·ÍÇ ïñ³Ù³μ³Ý³Ï³Ý, ë³Ï³ÛÝ ³í»ÉÇ ½³ñ·³ó³Í áõ ϳï³ñ»É³·áñÍí³Í ï³ñμ»ñ³ÏÝ ¿: §ºë áõ½áõÙ »Ù Ëáë»É ݳ¨ ÏÇÝáëÇñáõÃ۳ݪ ³ÝóÛ³É ¹³ñáõ٠ͳ·³Í ³Û¹ ÏÇÝá˻ɳѻÕáõÃÛ³Ý Ù³ëÇÝ, áñÝ ³é³ç μ»ñ»ó ÏÇÝáÛÇ Ñ³Ý¹»å ³Ñé»ÉÇ ë»ñ áõÝ»óáÕ Ù³ñ¹Ï³Ýó ÙÇ Ù»Í ³ÉÇù: Üñ³Ýù ýÇÉÙ»ñ ¿ÇÝ ¹ÇïáõÙ ³Ù»Ý ûñ, ûñÁ ÙÇ ù³ÝÇ Å³Ù ¨ ã¿ÇÝ Ñ³·»ÝáõÙ: ê³Ï³ÛÝ ³Ûëûñ Ù»ñ áõÝ»ó³Í μ³½Ù³ÃÇí ï»ËÝáÉá·Ç³Ý»ñÇ ÙÇçáóáí Ù»Ýù ÇëÏ³Ï³Ý å³ñ³¹áùëÇ »Ýù ³Ï³Ý³ï»ë ÉÇÝáõÙ. Ù³ñ¹ÇÏ ³Û¹ù³Ý ¿É ß³ï ã»Ý ݳÛáõÙ ýÇÉÙ»ñ, áã ¿É í³Û»ÉáõÙ »Ý ÏÇÝá¹ÇïáõÙÁ¦: ê»Ý³Ý ËáñÑáõñ¹ ïí»ó μáÉáñÇëª ëÏë»É ëϽμÇó, ÏÇÝáÛÇ ³ÏáõÝùÝ»ñÇó, áñå»ë½Ç ϳñáճݳÝù ×Çßï ѳëÏ³Ý³É Ýáñ ųٳݳÏÝ»ñÇ ÏÇÝáÝ, ųٳݳϳÏÇó ÏÇݻٳïá·ñ³ýÇ Ýáñ³ñ³ñáõÃÛáõÝÝ»ñÝ áõ ÷áñÓ³ñ³ñáõÃÛáõÝÝ»ñÁ ×Çßï ·Ý³Ñ³ï»Ýù áõ ÝáñÇó ¨ Ç½áõñ §Ñ»Í³ÝÇí ãѳÛïݳ·áñÍ»Ýù¦: ØÂ

ñ»É ÏÇÝáÝϳñÝ»ñ` êϳݹÇݳídzÛÇó áõ Ø»ñÓμ³ÉÃÛ³Ý å»ïáõÃÛáõÝÝ»ñÇó ÙÇÝ㨠г۳ëï³Ý áõ ìñ³ëï³Ý: гٳï»Õ ç³Ýù»ñÇ ßÝáñÑÇí Ù»Ýù ÏϳñáճݳÝù ¹áõñë ·³É ÙÇç³½·³ÛÇÝ ßáõϳ¦: üáñáõÙÇ ëï»ÕÍÙ³Ý ·³Õ³÷³ñÁ ÞÇñ³¨Ç Ùáï í³Õáõó ¿ñ ѳëáõݳó»É. Þí»¹Ç³ÛÇ ÏÇÝáÇÝëïÇïáõïÇ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ μ³Å³ÝÙáõÝùÇ áõë³ÝáÕÝ»ñÁ ³í³ñï³Ï³Ý ÏáõñëáõÙ å»ïù ¿ Ù»ÏÝ»Ý ³ÛÉ

»ñÏÇñ, ·ïÝ»Ý Ã»Ù³, Ñ»ï³ùñùÇñ Ñ»ñáëÝ»ñ áõ Ñ»Ýó ³Ûë ÑÇÙùÇ íñ³ Ýϳñ³Ñ³Ý»Ý Çñ»Ýó ¹ÇåÉáÙ³ÛÇÝ ³ß˳ï³ÝùÝ»ñÁ: ²Ûë áõëáõÙÝ³Ï³Ý Ñ³ëï³ïáõÃÛáõÝáõÙ Ó·ïáõÙ »Ý, áñ ÝáõÛÝÇëÏ ëϽμÝ³Ï³Ý ÷áõÉáõÙ »ñÇï³ë³ñ¹Ý»ñÁ ëáíáñ»Ý ³ß˳ï»É ѳٳï»Õ: §êϽμáõ٠ݳ˳ï»ëáõÙ »Ýù ³ÝóϳóÝ»É ÷ÇãÇÝ·Ý»ñ, ÇëÏ ³ÛÝáõÑ»ï¨ ³ñ¹»Ý ÁÝïñí³Í ݳ˳·Í»ñÁ, áñáÝù Ïëï³Ý³Ý ·áõÙ³ñ³ÛÇÝ ³ç³ÏóáõÃÛáõÝ, Ïß³ñáõÝ³Ï»Ý Çñ»Ýó §á¹Çë³Ï³ÝÁ¦: سëݳ·»ïÝ»ñÁ Ïû·Ý»Ý Ù»½ Ùß³Ï»É áõ í»ñ³Ùß³Ï»É ëó»Ý³ñÝ»ñÁ: àõ ÙdzÛÝ ¹ñ³ÝÇó Ñ»ïá ϳÝóÝ»Ýù ³ñï³¹ñ³Ï³Ý ÷áõÉÇݪ íëï³Ñ ¹áõñë ·³Éáí Ýϳñ³Ñ³ÝÙ³Ý Ññ³å³ñ³Ï¦,– ³ëáõÙ ¿ ÞÇñ³¨Á: ܳ ѳïáõÏ Ù³ïݳÝßáõÙ ¿ ³Ýóϳóí»ÉÇù ë»ÙÇݳñÝ»ñÁ, ùÝݳñÏáõÙÝ»ñÁ, í³ñå»ïáõÃÛ³Ý ¹³ë»ñÁ, ³ß˳ï³ÅáÕáíÝ»ñÁ, áõëáõÙÝ³Ï³Ý ³Ûó»ñÁ: ²Ûë ÁÝóóùÁ ÃáõÛÉ Ïï³ Ñ³ëÏ³Ý³É ëï»Õͳ·áñÍ³Ï³Ý ¨ ³ñï³¹ñ³Ï³Ý ËݹÇñÝ»ñÁ áõ ѻﳷ³ ³ß˳ï³ÝùÇ Ñ»é³ÝϳñÝ»ñÁ: Àëï ÞÇñ³¨Çª ѳٳï»Õ ³ñï³¹ñáõÃÛ³Ý ³ÛëåÇëÇ ýÇÉÙ»ñáõÙ ß³ï ϳñ¨áñ ¿ ãÏáñóÝ»É ³½·³ÛÇÝ ¹ÇÙ³·ÇÍÁ, ãÓáõÉí»É ÙÇÙÛ³Ýó, ³ÛÉ å³Ñå³Ý»É ï»Õ³ÛÇÝ ³é³ÝÓݳѳïÏáõÃÛáõÝÝ»ñÁ: ØÂ

í³Í å³ñïù»ñÁ, ³Ýå³ï³ëË³Ý ë»ñÁ: ²Ý¹»ñëáÝÇ ïñ³·ÇÏáÙÇÏ³Ï³Ý »é»ñ·áõÃÛ³Ý ³Ûë í»ñçÇÝ ·ÉáõËÁ ¨ë §Æ±Ýã ¿ Ý߳ݳÏáõÙ Ù³ñ¹ ÉÇݻɦ ѳñóÇÝ å³ï³ë˳ÝáÕ ÷³ÛÉáõÝ, ³Ýѻûà å³ïÏ»ñÝ»ñÇó ¿ ÑÛáõëí³Í: ²Ù»Ý ÇÝã ß³ï í³ï ¿, μ³Ûó ²Ý¹»ñëáÝÇ ßÝáñÑÇí Ù»Ýù ·áÝ» ϳñáÕ »Ýù ¹ñ³ íñ³ ÍÇͳջÉ... è»ÅÇëáñÁ ÝϳñãÇ ÝÙ³Ý ¿ ýÇÉÙ ³ñ³ñáõÙ` Ù³Ýñ³ÏñÏÇï Ï»ñåáí íñÓÝ»Éáí Çñ Ýñμ³á× Ïï³íÝ»ñÁ, áñáÝù ³ÙμáÕçáõÃÛ³Ùμ ëï»ÕÍí³Í »Ý Ýϳñ³Ñ³ÝÙ³Ý Ññ³å³ñ³Ïáõ٠ϳ٠ëïáõ¹Ç³ÛáõÙ: ú·ï³·áñÍ»Éáí ï»ëáÕ³Ï³Ý Ë³μϳÝùÇ Ýϳñã³Ï³Ý ï»ËÝÇϳÝ` ݳ Ñ»é³Ýϳñ áõ ËáñáõÃÛáõÝ ¿ ³é³ç³óÝáõ٠ѳñà ٳϻñ¨áõÛÃÇ íñ³: ²Ý¹»ñëáÝÇ »ñϳñ³ï¨ ϳ¹ñ»ñÁ, áñ ½áõñÏ »Ý áñ¨¿ ·áõÛÝÇó` ³Ý·»ñ³½³Ýó»ÉÇ »Ý Çñ»Ýó ×ß·ñïáõÃÛ³Ùμ áõ Ù³Ýñ ï³ññ»ñáí. 㿱 áñ ²Ý¹»ñëáÝÁ ùÝÝáõÙ ¿ Ëáó»ÉÇ Ù³ñ¹ÏáõÃÛ³Ý í³ñùáõμ³ñùÁ... üÇÉÙÁ ¹Çï»ÉÇë` ϳñÍ»ë Ýëï³Í »Ýù ϳï³Ï»ñ·áõÃÛ³Ý í³ñ-

å»ïáõÃÛ³Ý ÙÇ ¹³ëÇ, áñÇ ÁÝóóùáõÙ é»ÅÇëáñÁ Ù»½ μ³í³ñ³ñ Å³Ù³Ý³Ï ¿ ï³ÉÇëª Çñ Ï»ñï³Í Ï»ñå³ñÝ»ñÝ áõß³¹ñáõÃÛ³Ùμ ½ÝÝ»Éáõ: ØÇ Ù³ñ¹ ëñïÇ Ï³Ý· ¿ áõÝ»ÝáõÙ ·ÇÝáõ ßÇßÁ μ³ó»ÉÇë` Ëó³Ý³Ñ³ÝÁ åïï»Éáõ ÁÝóóùáõÙ: Ø»Ï áõñÇßÁ í³Ûñ ¿ ÁÝÏÝáõ٠׳߳ñ³ÝÇ μáõý»ïÇ ³é³ç. ³é³í»É áÕμ»ñ·³Ï³Ý ÙÇ ¹»åù, ù³ÝÇ áñ ׳Ù÷áñ¹áõÃÛ³Ý å³ïñ³ëïíáÕ ³Û¹ Ù³ñ¹Á Ñ»Ýó Ýáñ ¿ñ í׳ñ»É áõï»ÉÇùÇ Ñ³Ù³ñ: ¸³Å³ÝáõÃÛáõÝÝ áõ ½í³ñ׳ÝùÁ Ùdz˳éÝí³Í »Ý ѳٳñÛ³ μáÉáñ ï»ë³ñ³ÝÝ»ñáõÙ ª ÙÇÝã¹»é ýÇÉÙáõÙ ½·³óíáõÙ ¿ ݳ¨ é³ëǽÙÇ ëáóÇ³É³Ï³Ý Ýáõñμ ùÝݳ¹³ïáõÃÛáõÝ: ´³Ûó áñù³Ý ¿É ïËáõñ ¿ ÏÛ³ÝùÁ, ÇÝãå»ë í»Ý»ïÇÏÛ³Ý §àëÏ» ³éÛáõÍǦ Ùñó³Ý³Ï³ÏÇñ Çñ ýÇÉÙáõÙ ²Ý¹»ñëáÝÝ ¿ óáõÛó ï³ÉÇë` ³Ù»Ý ÇÝã ß³ï ³í»ÉÇ í³ï ϳñáÕ ¿ñ ÉÇÝ»É: Àݹ·Í»Éáí áÕμ»ñ·áõÃÛáõÝÁ, ݳ Ù»½ª ³åñáÕÝ»ñÇë, ÙËÇóñáõÃÛáõÝ ¿ μ»ñáõÙ: ض

ØÇÝã 1968-ÇÝ ÷³ñÇ½Û³Ý »ñÇï³ë³ñ¹áõÃÛáõÝÁ Ýí³×áõÙ ¿ñ ÷áÕáóÝ»ñÁª ³åëï³Ùμ»Éáí ݳËÏÇÝ ë»ñÝ¹Ç ¹»Ù ª ·»ñÙ³Ý³Ï³Ý ³Ûë ·³í³éÁ ¹»é¨ë ÑÇÝ Çß˳ÝáõÃÛáõÝÝ»ñÇ Ó»éùÇÝ ¿ñ: Æ í»ñçá, ìáÉý·³Ý·Á áñáßáõÙ ¿ ¹ÇÙ³¹ñ»É: êϽμáõÙ ÉáÉÇÏÝ»ñ ¿ ·áÕ³ÝáõÙ áõ ëÏëáõÙ »ñ·»É (Sometimes I feel like a motherless child), »ñμ μéݳ·³ÝÓíáõÙ ¿ ïճݻñÇ é³¹ÇáÝ: ²ÛÝáõÑ»ï¨ Ý³ μ³ó³Ñ³Ûï å³Ûù³ñ ¿ ѳÛï³ñ³ñáõ٠ѳëï³ïáõÃÛ³Ý Ï³ëϳͻÉÇ ¹³ëïdzñ³Ïã³Ï³Ý Ù»Ãá¹Ý»ñÇÝ: §àõÕÕÇã ¹åñáóÝ»ñÁ Ýå³ï³Ï áõÝ»Ý ½³ñ·³óÝ»É ùñÇëïáÝÛ³ ³ÝÓݳíáñáõÃÛáõÝÝ»ñÇݪ Ïñû-

Éáí »ñ»Ë³Ý»ñÇÝ Ñ³í³ïùÇ Ù»ç ¨ ëáíáñ»óÝ»Éáí Ýñ³Ýóª ͳé³Û»óÝ»É Çñ»Ýó μáÉáñ áõݳÏáõÃÛáõÝÝ»ñÁ ëÇñáõݦ: ²ÛëåÇëÇ áõÕ»óáõÛóÝ»ñ ¿ÇÝ ëï³ÝáõÙ Çñ³Ï³Ý üñ³Ûßï³ÃÇ ¹³ëïdzñ³ÏÝ»ñÁ: ê³Ï³ÛÝ ´ñáõÙáõÝ¹Ç ýÇÉÙÇó »ñ¨áõÙ ¿, áñ ³Û¹ ï»ùëïÁ Ï»ÕÍ ¿ñ: §´áÉáñÁ Ù»½ Ùáé³ó»É »Ý¦,– ³ëáõÙ ¿ ìáÉý·³Ý·Ç ÁÝÏ»ñÝ»ñÇó Ù»ÏÁ, ¨ ë³ ³í»ÉÇ É³í ¿ μÝáñáßáõÙ ³Ûë ë³ñë³÷»ÉÇ í³ÛñÁ: ê³Ï³ÛÝ Ù³Ýñ³Ù³ëÝ»ñÁ Ñ»ïá »Ý »ñ¨³Ý ·³ÉÇë: 2010 Ãí³Ï³ÝÇÝ ·»ñÙ³Ý³Ï³Ý å³éɳٻÝïÁ ѳ½Çí áñáßáõÙ ÁݹáõÝ»óª ÷áËѳïáõóáõÙÝ»ñ í׳ñ»Éáõ Ù³ëÇÝ: ض

ÌáíÇó Íáí ºñ»Ï §²ÝÇ äɳ½³¦ ÑÛáõñ³ÝáóáõÙ ï»ÕÇ áõÝ»ó³í §´³ÉÃÇÏ ÍáíÇó ÙÇÝã¨ ê¨ Íáí¦ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ó³ÝóÇ ßÝáñѳݹ»ëÁ: ܳ˳·ÇÍÁ Ý»ñϳ۳óñ»ó ßí»¹³μÝ³Ï éáõë í³í»ñ³·ñáÕ ²É»ùë ÞÇñ³¨Á, áí Ù³ëݳÏÇóÝ»ñÇÝ áõ ÑÛáõñ»ñÇÝ å³ïÙ»ó í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ëï»ÕÍÙ³Ý ³ñï³¹ñ³Ï³Ý ¨ Ñ»ï³ñï³¹ñ³Ï³Ý ÷áõÉ»ñÇ, ѳٳï»Õ ³ñï³¹ñáõÃÛ³Ý μ³ñ¹áõÃÛáõÝÝ»ñÇ, ¹ÇëïñÇμáõóÇáÝ ¨ ³ÛÉ Ñ³ñó»ñÇ Ù³ëÇÝ: §ø³ÝÇ áñ êϳݹÇݳíÛ³Ý »ñÏñÝ»ñáõÙ ÏÛ³ÝùÇ Ù³Ï³ñ¹³ÏÁ ß³ï μ³ñÓñ ¿, ³Ûëï»Õ áãÇÝã ãÇ Ï³ï³ñíáõÙ: âϳ ëáõñ ÏáÝýÉÇÏï ¨ ¹ñ³Ù³, ÷³ëïáñ»Ý Ýϳñ»Éáõ ÝÛáõà ¿É ãϳ¦: ²Ûë ï»ë³ÝÏÛáõÝÇó Ýå³ï³Ï³Ñ³ñÙ³ñ ¿ ýÇÉÙ»ñ ëï»ÕÍ»É Ã»Å Çñ³¹³ñÓáõÃÛáõÝÝ»ñáí ÉÇ í³Ûñ»ñÇó, ë³Ï³ÛÝ ³Ù»Ý³μ³ñ¹ ÷áõÉÁ, ÇѳñÏ», ·³Õ³÷³ñÇ ½³ñ·³óáõÙÝ ¿: àõëïÇ áõëáõÙÝ³Ï³Ý ßñç³ÝÁ å³ñï³¹Çñ ¿: §ºë Çëϳå»ë ó³ÝϳÝáõÙ »Ù ëï»ÕÍ»É ÙÇ Ûáõñ³ï»ë³Ï μ³ó ѳñóÏ, áñÇ ÙÇçáóáí Ñݳñ³íáñ ÏÉÇÝÇ Ñ»ßïáõÃÛ³Ùμ ϳå ѳëï³ï»É áõ ѳٳï»Õ ³ñï³¹-

Æ ÙËÇóñáõÃÛáõÝ ³åñáÕÝ»ñÇ §²Õ³íÝÇÝ Ýëï»É ¿ñ ×ÛáõÕÇÝ` Ùïáñ»Éáí ÏÛ³ÝùÇ Ù³ëÇݦ, é»Å.ª èáÛ ²Ý¹»ñëáÝ, Þí»¹Ç³/Üáñí»·Ç³/ üñ³Ýëdz/¶»ñÙ³Ýdz (ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³), §Ð³Û³ëï³Ý¦ Ï/Ã, Ø»Í ¹³ÑÉÇ×, 17.07 (19:00) §ºñ·»ñ` »ñÏñáñ¹ ѳñÏÇó¦ ¨ §¸áõ` ³åñáÕ¹¦ ýÇÉÙ»ñÇó Ñ»ïá ½³í»ßï³Ï³Ý ³ÝѻûÃáõÃÛ³Ý ßí»¹ í³ñå»ï èáÛ ²Ý¹»ñëáÝÁ ÏñÏÇÝ Ý»ñϳ۳óÝáõÙ ¿ Ññ³ß³ÉÇáñ»Ý ï³ñûñÇÝ³Ï ÙÇ ýÇÉÙ` §²Õ³íÝÇÝ Ýëï»É ¿ñ ×ÛáõÕÇÝ` Ùïáñ»Éáí ÏÛ³ÝùÇ Ù³ëÇݦ: è»ÅÇëáñÁ ϳï³Ï»ñ·áõÃÛáõÝ ¿ ·ïÝáõÙ ³Ù»Ý³ó³íáï ûٳݻñáõÙ, ÇÝãåÇëÇù »Ýª Ù³ÑÁ, Í»ñáõÃÛáõÝÁ, ãí׳ñ-

³ñÙ ÙÇë §êñμ³ñ³Ý¦, é»Å.ª سñÏ ´ñáõÙáõݹ, ¶»ñÙ³Ýdz (ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, γåáõÛï ¹³ÑÉÇ×, 17.07 (10:00, 18:00) üñ³Ûßï³ÃÁ ¶»ñÙ³ÝdzÛÇ »ñÇï³ë³ñ¹³Ï³Ý ³Ù»Ý³¹³Å³Ý áõÕÕÇã ѳëï³ïáõÃÛáõÝÝ»ñÇó ¿ñ: 1970-³Ï³ÝÝ»ñÇÝ å»ïáõÃÛ³Ý ¨ »Ï»Õ»óáõ ջϳí³ñáõÃÛ³Ý Ý»ñùá ·áñÍáõÙ ¿ÇÝ ßáõñç 3 000 ³Û¹åÇëÇ áõÕÕÇã ïÝ»ñ, áñáÝóáõÙ ÁݹѳÝáõñ ѳßíáí ³åñáõÙ ¿ÇÝ ³í»ÉÇ ù³Ý 800 000 ³ÕçÇÏÝ»ñ ¨ ïճݻñ: §êñμ³ñ³ÝÁ¦ª سñÏ ´ñáõÙáõÝ¹Ç ïå³íáñÇã ¹»μÛáõïÁ, ÑÇÙÝí³Í ¿ Çñ³Ï³Ý ÷³ëï»ñÇ íñ³ ¨ Ýϳñí³Í ¿ ³ÛÝ Ùé³ÛÉ í³Ûñ»ñáõÙ, áñï»Õ ¹»åù»ñÁ ï»ÕÇ »Ý áõÝ»ó»É: 14-³ÙÛ³ ìáÉý·³Ý·Ç ÍÝáÕÝ»ñÝ áõÕ³ñÏáõÙ »Ý Ýñ³Ý Ù³Ýϳïáõݪ ÇÝã ¿, û ÇÝùÁ ÙÇ ùÇã ³½³ï³ï»Ýã ¿ñ: §Â³ñÙ ÙëǦ ÝÙ³Ý »Ý Ýñ³Ý ¹ÇÙ³íáñáõÙ ª Ù»ñϳóÝ»Éáí ï³ÏÝáõíñ³ ³ñ³Í Éí³óù³ë»ÝÛ³ÏáõÙ ¨ ï³Éáí Çñ μ³ÅÇÝ áõï»ÉÇùÇ ÙdzÛÝ Ï»ëÁ: îճݻñÇÝ ³Ù»Ý ûñ ëïÇåáõÙ »Ý μ³Ýíáñ³Ï³Ý ͳÝñ ³ß˳ï³Ýù ϳï³ñ»É:

гñ·³ÝùÇ ïáõñù ²Ûë ï³ñÇ §àëÏ» ÍÇñ³ÝǦ ÑÇÙݳ¹Çñ-ïÝûñ»Ý, ÐÐ í³ëï³Ï³íáñ ³ñïÇëï гñáõÃÛáõÝ Ê³ã³ïñÛ³ÝÁ ïáÝáõÙ ¿ Çñ 60-³ÙÛ³ÏÁ: ²Ûë ³éÇÃáí §èáÛ³É ÂÛáõÉÇ÷ ¶ñ³Ý¹ ÐáÃ»É ºñ¨³ÝǦ ìÇí³É¹Ç ëñ³Ñáõ٠ųÙÁ 12:00-ÇÝ Ù³ÙÉá ³ëáõÉÇëÇó Ñ»ïá` §ØáëÏí³¦ Ï/à γñÙÇñ ¹³ÑÉÇ×áõÙ 15:00-ÇÝ Ïóáõó³¹ñíÇ Ýñ³ §êåÇï³Ï ù³Õ³ù¦ ÏÇÝáÝϳñÁ (1988): ²Ûë ýÇÉÙÝ Áݹ·ñÏí»É ¿ ²Ùëï»ñ¹³ÙÇ, ØÛáõÝË»ÝÇ, È»ÝÇÝ·ñ³¹Ç ¨ ß³ï ³ÛÉ ÷³é³ïáÝ»ñÇ Íñ³·ñ»ñáõÙ, ³ñųݳó»É ÜÇáÝÇ ØÎö §²ñͳû ë»ëï»ñó¦ Ùñó³Ý³ÏÇÝ: èáõë ³Ýí³ÝÇ ÏÇÝáùÝݳ¹³ï ²Ý¹ñ»Û äɳËáíÁ Ýᯐ ¿.§êåÇï³Ï ù³Õ³ùáõÙ¦ ï»ë³Ý»ÉÇ ¿ ϳճå³ñí³Í ¨ å³ßïáÝ³Ï³Ý ·³Õ³÷³ñ³ËáëáõÃÛ³Ý ¨ ù³Õ³ùÝ»ñÇ áõ é»·ÇáÝÝ»ñÇ Çñ³Ï³Ý ÏÛ³ÝùÇ ÏáÝýÉÇÏïÁ, áñÇÝ é»ÅÇëáñÁ Ñ»ï¨áõÙ ¿ í³í»ñ³·ñáÕÇ ×ß·ñïáõÃÛ³Ùμ ¨ åá»ïÇ Ñáõ½³Ï³ÝáõÃÛ³Ùμ: سñ¹, áõÙ Ù»ç ½áõ·³ÏóíáõÙ »Ý óËÇÍÝ áõ ÏÇñùÁ, ÏÛ³ÝùÇ Ñ³Ý¹»å ³ÏïÇí ¹ÇñùáñáßáõÙÁ ¨ ÷ÇÉÇëá÷³Û³Ï³Ý Ù»¹Çï³ódzݦ:

гݹÇåáõÙ 17:30-ÇÝ ÂáõÙá ëï»Õͳñ³ñ ï»ËÝáÉá·Ç³Ý»ñÇ Ï»ÝïñáÝáõ٠ѳݹÇåáõÙ ï»ÕÇ Ïáõݻݳ é»ÅÇëáñ ì³Ññ³Ù ØËÇóñÛ³ÝÇ Ñ»ï, áõÙ §ÐáííÇ »ñ·Á¦ ýÇÉÙÁ Ý»ñϳ۳óí³Í ¿ ÷³é³ïáÝÇ ²½·³ÛÇÝ ÙñóáõÛà Íñ³·ñáõÙ: ÐÇß»óÝ»Ýù, áñ ³Ýó³Í §àëÏ» ÍÇñ³ÝÇݦ ØËÇóñÛ³ÝÇ §Î³ÃÝ»Õμ³ÛñÁ¦ ׳ݳãí»É ¿ §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ ³½·³ÛÇÝ ÙñóáõÛÃÇ É³í³·áõÛÝ Ï³ñ׳ٻïñ³Å ýÇÉÙ:

Öã³óáÕ ³Ýå³ñÏ»ßïáõÃÛáõÝ

§ÀÝïǯñ ¿¦, é»Å.ª è³¹áõ Äáõ¹», èáõÙÇÝdz (ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, γåáõÛï ¹³ÑÉÇ×, 17.07 (12:00, 22:00) è³¹áõ Äáõ¹»Ý Çñ ãáññáñ¹ Édzٻïñ³Å §ÀÝïǯñ ¿¦ ýÇÉÙÝ ëÏëáõÙ ¿ ¹³ë³Ï³Ý ³ñ¨ÙïÛ³Ý á×áíª Ñ»ï½Ñ»ï» ٻͳóáÕ μݳå³ïÏ»ñáí. Ç Ñ³Ûï ¿ ·³ÉÇë ì³É³ãdzÛÇ É»éÝáï ï»ë³ñ³ÝÁ` èáõÙÇÝdzÛÇ ÙÇ ßñç³ÝáõÙ, áñï»Õ 1835-ÇÝ Í³ÕÏáõÙ ¿ñ ëïñϳïÇñáõÃÛáõÝÁ: §ÀÝïǯñ ¿¦ ýÇÉÙÝ ³Ûë ï³ñÇ ´»éÉÇÝÇ ÏÇÝá÷³é³ïáÝáõÙ È³í³·áõÛÝ é»ÅÇëáñ ³Ýí³Ý³Ï³ñ·áõÙ §²ñͳû ³ñç¦ Ùñó³Ý³ÏÇÝ ¿ ³ñųݳó»É: ÖáË ë¨-ëåÇï³Ï å³ïÏ»ñÝ»ñáí ýÇÉÙÁ ÙÇ ×³Ù÷áñ¹áõÃÛáõÝ ¿ ûëÙ³ÝÛ³Ý ¹³ï³Ï³Ý ϳï³ñ³Íáõ ÎáÝëï³Ý¹ÇÝÇ áõ Ýñ³ Ñ»½ áñ¹áõ Ñ»ï. Ýñ³Ýù Ñ»ï¨áõÙ »Ý ëåñ¹³Í ·Ýãáõ ÙÇ ëïñáõÏÇ, áí Çñ ï»ñ §μáÛ³ñÇó¦ ·áÕáõÃÛáõÝ ¿ ³ñ»É: Äáõ¹»Ý, áñ Ñ»ÕÇÝ³Ï»É ¿ ݳ¨ §²ß˳ñÑÇ ³Ù»Ý³»ñç³ÝÇÏ ³ÕçÇÏÁ¦ ¨ §Ø»ñ ÁÝï³ÝÇùÇ μáÉáñ ³Ý¹³ÙÝ»ñÁ¦ ýÇÉÙ»ñÁ, ³ÝѳݹáõñÅáÕáõÃÛ³Ý ³ñÙ³ïÝ»ñ ¿ ÷áñÓáõÙ ·ïÝ»É` ïÇå³Ï³Ý ³Ûë ϳٳϳï³ñÇÝ ÙáïÇÏÇó ùÝÝ»Éáí: ì»ñçÇÝë ³ÝÁݹѳï ѳÛÑáÛ³ÝùÝ»ñ ¿ ï»ÕáõÙ... §¶ÝãáõÝ»ñÁ Ù³ñ¹ »Ý, Ññ»³Ý»ñÁ` áã. Ýñ³Ýù ·³½³Ý »Ý¦,– μ³ó»Çμ³ó ѳÛï³ñ³ñáõÙ ¿ ÎáÝëï³Ý¹ÇÝÁ: àñáß å³ïÙáÕ³Ï³Ý ÏïáñÝ»ñ ¨ ·é»ÑÇÏ áõ μéÇ »ñÏËáëáõÃÛáõÝÝ»ñ í»ñóí³Í »Ý Ñ»Ýó å³ïÙ³Ï³Ý í³í»ñ³·ñ»ñÇó áõ ï»ùëï»ñÇó: ¶ÝãáõÝ»ñÇÝ í»ñ³μ»ñíáõÙ ¿ÇÝ áñå»ë ѳë³ñ³ÏáõÃÛ³Ý ï³Ï³ÝùÇ, ³Ý³ëáõÝÝ»ñÇ ÝÙ³Ý Ýñ³Ýó ³ß˳ï»óÝáõÙ ¿ÇÝ ÙÇ ÷áñ ѳóáí: ²Ý·³Ù í³Ý³Ï³ÝÝ»ñÝ ¿ÇÝ Ýñ³Ýó Ë÷áõÙ: §Ø»Ýù áãÇÝã »Ýù, Ù»Ýù ÙÇ ãÝãÇÝ Ï³ÛÍ, μéÝÏáõÙ »Ýù: гñáõëïÁ ݳÛáõÙ ¿ ѳۻÉáõÝ, ³Õù³ïÁ` Ýñ³Ýó ³÷ë»Ý»ñÇݦ,– ³ëáõÙ ¿ ÙÇ ëïñáõÏ: ê³Ï³ÛÝ áã áù Ç íÇ׳ÏÇ ã¿ ÏÛ³ÝùÁ ë»÷³Ï³Ý ϳÙùáí Ï»ñï»É, ³Ý·³Ù` ѳñáõëïÁ... §Ø»Ýù ³åñáõÙ »Ýù, ÇÝãå»ë ϳñáÕ »Ýù, áã û` ÇÝãå»ë áõ½áõÙ »Ýù¦,– ³ëáõÙ ¿ ÎáÝëï³Ý¹ÇÝÁ: Üñ³Ýù ³åñáõÙ »Ý ¹³í³×³Ý ÙÇ ³ß˳ñÑáõÙ, áñÁ Ý³Ë ù³Õóñ³Ýáõß ¿, ³å³` ¹³éÝáõÃÛ³Ùμ ÉÇ: ض

GOLDEN APRICOT DAILY | DAY 6 | 17 JULY | 2015

4 ·ñ³ËáëáõÃÛáõÝÝ»ñ

ÎÛ³ÝùÁ ß³ñáõݳÏáõÙ ¿ Ñáë»É...

ëáõ í³ñáñ¹Ç §¹»ñáõÙ¦: êáíáñ³Ï³Ý í³ñáñ¹Çó ݳ ï³ñμ»ñíáõÙ ¿ ѳ׳Ëáñ¹Ý»ñÇ Ñ»ï Çñ Ëáë³ÏóáõÃÛáõÝÝ»ñáí ¨ ÷áùñ ï»ë³ËóÇÏáí, áñ ï»Õ³¹ñí³Í ¿ Ù»ù»Ý³ÛÇ Õ»Ï³í³ñÙ³Ý í³Ñ³Ý³ÏÇÝ: »Ññ³ÝáõÙ ßñç»ÉÇë` ݳ Çñ μ³½Ù³ÃÇí ѳٳù³Õ³ù³óÇÝ»ñÇÝ ¿ ѳݹÇåáõÙ. Ýñ³ÝóÇó Ûáõñ³ù³ÝãÛáõñÝ Çñ å³ïÙáõÃÛáõÝÝ áõÝÇ Â»Ññ³ÝÇ ÏÛ³ÝùÇ Ù³ëÇÝ: Üñ³Ýù ËáëáõÙ »Ý ÏÇÝáųå³í»ÝÝ»ñÇ ³ÝûñÇÝ³Ï³Ý ßáõϳÛÇ (Æñ³ÝáõÙ §î³ùëǦ ýÇÉÙÁ ¹Çï»Éáõ ÙÇ³Ï ï³ñμ»ñ³ÏÁ...), ß³ñdzÃÇ ûñ»ÝùÇ, μ³Ýï³ñÏí³Í Ù³ñ¹Ï³Ýó, ݳ¨` ÑÇß³ñÅ³Ý Ñݳ·áõÛÝ ³í³Ý¹áõÛÃÝ»ñÇ áõ ÁÝï³Ý»Ï³Ý ÏÛ³ÝùÇ Ù³ëÇÝ: î³ùëáõ í³ñáñ¹Ç ³Û¹ ѳݹÇåáõÙÝ»ñÇ ß³ñùáõÙ Ï³Ý ³ÛÝåÇëÇù, áñ ³éÝãíáõÙ »Ý ÏÛ³ÝùÇ áõ Ù³Ñí³Ý ѳñóÇÝ, ݳ¨ ³ÛÝåÇëÇù, áñ ÑáõÙáñÇ áõ ý³ñëÇ Å³ÝñÇó »Ý: ö³Ý³ÑÇÇ ÏÛ³ÝùÇ å³ïÙáõÃÛáõÝÝ ÇٳݳÉáí ѳÝ-

¹»ñÓ` ¹ÇïáÕÇ Ñ³Ù³ñ ³ÏÝѳÛï ¿, áñ ýÇÉÙÁ Ýϳñ»É ¿ μ³ñÇ ÙÇ Ù³ñ¹, áí Ù»Í ë»ñ áõÝÇ Æñ³ÝÇ á·»Õ»Ý ³ñÅ»ùÝ»ñÇ ÝϳïÙ³Ùμ: ÎÛ³ÝùÁ ß³ñáõݳÏáõÙ ¿ Ñáë»É ï³ùëáõ ³Ûë »ñÃÇ ÁÝóóùáõÙ. áõÕ¨áñÝ»ñÁ ½ñáõóáõÙ áõ Çñ»Ýó ½³Ý·»ñÇÝ »Ý å³ï³ë˳ÝáõÙ, ¨ ³Û¹åÇëáí ßñç³å³ïÇ Ù³ñ¹ÇÏ ¨ë Áݹ·ñÏíáõÙ »Ý ýÇÉÙáõÙ: »¨ ö³Ý³ÑÇÇ ï»ë³ËóÇÏÁ ٻͳٳë³Ùμ ϳ¹ñáõÙ ¿ å³ÑáõÙ Ñ»Ýó é»ÅÇëáñÇÝ áõ ï³ùëáõ áõÕ¨áñÝ»ñÇÝ` ³ÛÝ Ý³¨ áõÕÕí³Í ¿ ¹»åÇ ¹áõñë, »ñμ ³ÛÝï»Õ áñ¨¿ ϳñ¨áñ μ³Ý ¿ ï»ÕÇ áõÝ»ÝáõÙ: ÆëÏ »ñμ ö³Ý³ÑÇÇ »ñÇï³ë³ñ¹ áõ ëñ³ÙÇï ½³ñÙáõÑÇÝ ¿ ÝëïáõÙ ï³ùëÇ, ݳ Ù»Ï ³ÛÉ §ÏÇÝáï»ë³ÝÏÛáõݦ ¿ ³é³ç³ñÏáõÙ` Çñ áõëáõÙÝ³Ï³Ý Ý³Ë³·ÍÇ ³éÇÃáí ë»÷³Ï³Ý ï»ë³ËóÇÏáí Ýϳñ»Éáí ö³Ý³ÑÇÇÝ. áõëáõóÇãÁ å³ïíÇñ»É ¿ Ýϳñ»É Çñ³Ï³ÝáõÃÛáõÝÁ, ë³Ï³ÛÝ μ³ó³ë³Ï³Ý áñ¨¿ μ³Ý óáõÛó ãï³É: ²Ûë ¹ñí³·Á Ù³Ýñáõù ¿, áñÝ Çñ³Ï³Ýáõ٠ͳí³ÉáõÝ ÇÝýáñÙ³ódzÛÇ ³ÕμÛáõñ ¿. ýÇÉÙÇ ³ÛÝ å³Ñ»ñÇó Ù»ÏÁ, »ñμ μ³ó³Ñ³ÛïíáõÙ ¿, û ÇÝã ¿ Ý߳ݳÏáõÙ ³åñ»É ÙÇ »ñÏñáõÙ, áñï»Õ ·ñ³ùÝÝáõÃÛáõÝÝ ³åñ»É³Ï»ñå ¿: Üϳñ³Ñ³ÝáõÙÝ»ñÇ ³í³ñïÇó Ñ»ïá é»ÅÇëáñÇ ÏÇÝÝ Çñ³íáõÝù ëï³ó³í Ý»ñϳ ÉÇÝ»É §î³ùëǦ ýÇÉÙÇ μ»éÉÇÝÛ³Ý åñ»ÙÇ»ñ³ÛÇÝ: ²ÛÝ, áñ ö³Ý³ÑÇÝ, ãÝ³Û³Í ¹ñí³Í ³ñ·»ÉùÇÝ, ß³ñáõݳÏáõÙ ¿ ýÇÉÙ Ýϳñ»É` Ù³ë³Ùμ ÙÇç³½·³ÛÇÝ ÏÇÝáѳٳÛÝùÇ ×ÝßÙ³Ý ³ñ¹ÛáõÝù ¿: 2010-ÇÝ ö³Ý³ÑÇÇ ³½³ï ³ñÓ³ÏáõÙÁ å³Ñ³Ýç»óÇÝ ³ÛÝåÇëÇ ÏÇÝá·áñÍÇãÝ»ñ, ÇÝãåÇëÇù »Ý` Îá»Ý »Õμ³ÛñÝ»ñÁ, êÃÇí»Ý ê÷ÇÉμ»ñ·Ý áõ سñÃÇÝ êùáñ뻽»Ý: ²í»É³óÝ»Ýù ݳ¨, áñ ö³Ý³ÑÇÝ ßñç³ÝóáõÙ ¿ Æñ³ÝÇ ·ñ³ùÝÝáõÃÛ³Ý Ñ³Ù³Ï³ñ·Á` ýÇÉÙ»ñÇ í»ñçáõÙ ãÝ»ñϳ۳óÝ»Éáí ³ÝÓݳϳ½ÙÝ áõ ³Û¹åÇëáí å³ßïå³Ý»Éáí ¹»ñ³ë³ÝÝ»ñÇÝ áõ Çñ ·áñÍÁÝÏ»ñÝ»ñÇÝ: ܳ, ÷³ëïáñ»Ý, ÙdzÝÓÝÛ³ å³ï³ë˳ݳïíáõÃÛáõÝ ¿ ÏñáõÙ í»ñçÝ³Ï³Ý ³ñ¹ÛáõÝùÇ Ñ³Ù³ñ: ض/ ØÜ

ÕÁ, áñÁ ¨ ýÇÉÙÇ ·É˳íáñ Ñ»ñáëÝ ¿, ¨ Ýϳñ³Ñ³ÝÙ³Ý Ññ³å³ñ³ÏÁ: γÛñÇßëÇ ³Ûë ¿åÇÏ³Ï³Ý Ïï³íáõÙ ÑáÕÇÝ ¿ ÓáÝí³Í ³Ù»Ý ÇÝ㪠Ûáõñ³ù³ÝãÛáõñ ϳ¹ñÁ, ·áñÍáÕáõÃÛáõÝÝ áõ ³Ý·³Ù ¶áõëï³í سɻñÇ ãùÝ³Õ »ñ³ÅßïáõÃÛáõÝÁ: è»ÅÇëáñÇ Ñ³ñ³½³ï ȳﷳÉdz ³ÝáõÝáí ï»Õ³ÝùÁ Ñ»ï½Ñ»ï» ϳ¹ñ»ñÇ »Ýó·Çï³Ïó³Ï³Ý Ý»ñáõÅÇ ßÝáñÑÇí ¹³éÝáõÙ ¿ ³ÝÙ»ÏÝ»ÉÇ, ï»Õ-ï»Õª ³Ý·³Ù ÙᷳϳÝ: ȳﷳÉÇ³Ý ó³Ýϳó³Í ¹Çï³ñÏÙ³Ý Ñ³Ù³ï»ùëïÇó ³Ý¹ÇÝ ¿, ï³ñμ»ñ ¿ ³ÙμáÕç ȳïídzÛÇó û Çñ ëÛáõñ黳ÉÇëï³Ï³Ý »Ýóϳéáõóí³Íùáí ¨ û Çñ Çé³óÇáÝ³É μݳÏÇãÝ»ñáí: лÕÇݳÏÇ Ù³ïáõóÙ³Ùμ ȳﷳÉÇ³Ý ÙǨÝáõÛÝ Å³Ù³Ý³Ï ¨ ݳïáõñ³ÉÇëï³Ï³Ý ¿, ¨ ã³÷³½³Ýó áõïáådzϳÝ: ÜáõÛÝåÇëÇÝ »Ý ݳ¨ ɳﷳÉdzμݳÏÝ»ñÁª ͳÛñ³ëïÇ×³Ý ï³ñμ»ñ, ³é³çÇÝ Ñ³Û³óùÇóª ³Ýѳٳï»Õ»ÉÇ: ´³Ûó ³ñÇ áõ ï»ë, áñ ³Ûë ϳ˳ñ¹³Ï³Ý ÑáÕÇ íñ³ μáÉáñÁ ѳٳÏóíáõÙ »Ý ³Ýμ³ó³ïñ»ÉÇ Ý»ñ¹³ßݳÏáõÃÛ³Ý Ù»çª Ý³ËÏÇÝ ëÇݳ·á·Ç ï³ñ³Í-

ùáõÙ μݳÏáõÃÛáõÝ Ñ³ëï³ï³Í éáõë Í»ñáõÏÝ»ñÁ, ·»ñ»½Ù³Ý³÷áñÝ»ñÁ, ϳÃáÉÇÏÝ»ñÁ, ¿ùëó»ÝïñÇÏ Ñݳ¹³í³ÝÝ»ñÁ ¨ ³ÛÉù: Þñç³÷³Ïí³Í ·»Õ³ï»ëÇÉ É×»ñáíª È³ï·³ÉÇ³Ý ÑÇß»óÝáõÙ ¿ ÙÇ ÏáõÛë ³ß˳ñÑ, áñï»Õ ¹»é áïù ãÇ ¹ñ»É ·Éáμ³Éǽ³ódzÛÇ Å³Ù³Ý³Ï³ÏÇó ëïñáõÏÁ, ÇëÏ Å³Ù³Ý³ÏÁ ϳݷ ¿ ³é»Éª ³ë»ë ¸³ÉÇÇ Ïï³íÝ»ñáõÙ: ¾Ïñ³ÝÇó ѳÕáñ¹íáõÙ ¿ ÙÇ ³Ý³ë»ÉÇ ×ÝßáõÙ ª áõïáåÇ³Ï³Ý ï³·Ý³åÇ ³½¹³Ýß³Ý: ì³í»ñ³·ñ³Ï³Ý ÙÃÝáÉáñï³ÛÇÝ ×ÝßáõÙÝ ³ÝÁݹѳï ï³ï³ÝíáõÙ ¿ª ³½¹»Éáí Ù»Ï ÏǹáõÏÛ³Ý ï³ñí³ »Õ³Ý³ÏÝ»ñÇ, Ù»Ï ¿É î³ñÏáíëÏáõ ½áݳÛÇ å»ë: ºí ³Û¹ ³Ù»ÝÇ ÏáÕùÇÝ ýÇÉÙÇ Ñ»ÕÇݳÏÁª ìÇ»ëïáõñë γÛñÇßëÁ, ÝÙ³Ý ¿ êíÇýÃÇ Ñ»ñáë, ׳Ù÷áñ¹³Ï³Ý ݳíÇ μÅÇßÏ ¶áõÉÇí»ñÇÝ, μ³Ûó »Ã» ׳Ù÷áñ¹áõÃÛáõÝÝ»ñáõÙ í»ñçÇÝÇë áã ÙÇ Ï»ñå ã¿ñ ѳçáÕíáõÙ ÏÇñ³é»É Çñ μÅßÏ³Ï³Ý ÑÙïáõÃÛáõÝÝ»ñÁ, ³å³ ɳïídzóÇ é»ÅÇëáñÁ Çñ ýÇÉÙáõ٠ϳñÍ»ë ÷áñÓáõÙ ¿ ³Ù»Ý Ï»ñå ϳñϳï»É ÇÝùݳ½áÑ Ñ³í³ÉáõëÝÇ å³ï³éáïí³Í áñáí³ÛÝÁ: β

¹³Ï³ÛÇÝ ï»ë³ÝÏÛáõÝÇóª §³½ÝÇí¦ å³ï»ñ³½Ù ¨ ݻݷ ˳ճÕáõÃÛáõÝ« ¹Åá˳ÛÇÝ ³Ýó۳ɪ ˳í³ñãïÇÝ ³å³·³« ÑݳٻÝÇ Ý³Ñ³å»ï³Ï³ÝáõÃÛáõݪ ³ÝѳëϳݳÉÇ ·Éáμ³Éǽ³ódz: ä³ñμ»ñ³μ³ñ Ñ»·ÝáÕ ï»ë³ËóÇÏÝ ³Ýí»ñç áñëáõÙ ¿ ųٳݳϳÏÇó ï³ññ»ñÇó ׳鳷áÕ É³í³ï»ëáõÃÛáõÝÁ« áñÁ í³ÛñÏÛ³Ý ³Ýó ϳëϳÍÇ ï³Ï ¿ ¹ñíáõÙ Ñ»ñÃ³Ï³Ý Ñ³Ï³¹Çñ ϳ¹ñ³ß³ñáí ϳ٠³Ï³Ù³ÛÇó ýÇÉÙÇ Ñ»ñáë ¹³ñÓ³Í Ù³ñ¹Ï³Ýó í»ñÉáõÍ³Ï³Ý Ù»Ïݳμ³ÝáõÃÛáõÝÝ»ñáíª Ù»ñà ½áõëå« Ù»ñà Ñáõ½³é³ï« Ù»ñà ÏïñáõÏ« Ù»ñà ¿Éª ³Ýáñáß: лéíÇó ³ÝûñÇ Ãí³óáÕ μ³ñ»÷áËí³Í ¶ñá½Ýáõ Ïï³íÇ íñ³ Ù³Ýñ³¹Çï³ÏÇ ï³Ï ÇëÏáõÛÝ »ñ¨áõÙ »Ý ×»Õù»ñÁ« áñáÝù Çñ»Ýó ɳí ͳÝáà å³ïÏ»ñÁ ¹³ñÓÝáõÙ »Ý ï³ñûñÇݳϫ

ÇëÏ »ñμ»Ùݪ ³Ý׳ݳã»ÉÇ: î»éáñÇëï³Ï³Ý Ù³ñï³Ññ³í»ñÇó ÙÇÝ㨠ɻéݳÛÇÝ Ñ³ñë³ÝÇù« ѳßï³ñ³ñ ÏáÝýáñÙǽÙÇó ÙÇÝ㨠íñ»ÅËݹÇñ Ññ³ÑñáõÙ: ØÇÝã¹»é ¶ñá½ÝÇáõÙ Ýí³·íáÕ μÉÛáõ½Ç »É¨¿çÝ»ñÁ Ñ»é³íáñ ³ÝóÛ³ÉÇó ÑÝã»óÝáõÙ »Ý Ùßï³ñ¹Ç íáõ¹ëÃáùÛ³Ý Ñáõë³μ»ñ ϳñ·³ËáëÝ»ñÁª §ä³ï»ñ³½ÙÝ ³í³ñïí»°É ¿¦ ¨ §îá°õñ ˳ճÕáõÃÛ³ÝÁ Ñݳñ³íáñáõÃÛáõݦ: ä³ÛٳݳϳÝáõÃÛ³Ý ÏÍÇÏÇó ¹áõñë »Ý ·³ÉÇë ³ÝͳÛñ³ÍÇñ ½áõ·³Ñ»éÝ»ñ« áñáÝù ·Çï³Ïó³μ³ñ ˳ã»Éáíª é»ÅÇëáñÁ ëï»ÕÍáõÙ ¿ ÙÇ ÛáõñûñÇÝ³Ï ã»ã»Ý³Ï³Ý åáëïÙá¹»éÝ« áñï»Õ ³ÝóÛ³ÉÝ áõ ³å³·³Ý ï³ñ³Ýç³ïí³Í »Ý ³Õáï ¨ ï³ñûñÇÝ³Ï ë³Ñٳݳ·Íáí« áñÇ íñ³Ûáí ɳñ³Ë³Õ³óÇ ÝÙ³Ý ½·áõßáñ»Ý ³ÝóÝáõÙ ¿ ã»ã»Ý³Ï³Ý Ý»ñϳÝ: β

§î³ùëǦ, é»Å.ª æ³ý³ñ ö³Ý³ÑÇ, Æñ³Ý (ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³), §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 17.07 (20:30), γåáõÛï ¹³ÑÉÇ×, 19.07 (14:00)

2010 Ãí³Ï³ÝÇ ¹»Ïï»Ùμ»ñÇ 10-ÇÝ Æñ³ÝÇ Ð»Õ³÷áË³Ï³Ý ¸³ï³ñ³ÝÁ ÏÇÝá·áñÍÇã æ³ý³ñ ö³Ý³ÑÇÇÝ ¹³ï³å³ñï»ó í»ó ï³ñí³ ³½³ï³½ñÏÙ³Ý ¨ ùë³Ý ï³ñáí ½ñÏ»ó ýÇÉÙ Ýϳñ»Éáõ Ñݳñ³íáñáõÃÛáõÝÇó: ػճ¹ñ³ÝùÁ` §³½·³ÛÇÝ ³Ýíï³Ý·áõÃÛ³Ý ¹»Ù ¹³í³¹ñáõÃÛ³Ý ÷áñÓ ¨ åñáå³·³Ý¹³` ÆëÉ³Ù³Ï³Ý Ð³Ýñ³å»ïáõÃÛ³Ý ¹»Ù¦: ܳ μ³ÝïÇó ³½³ï ³ñÓ³Ïí»ó ѳó³¹áõÉ Ñ³Ûï³ñ³ñ»Éáõó Ñ»ïá, »ñμ ÏÇÝá·áñÍÇãÝ»ñÝ ³ß˳ñÑÇ ï³ñμ»ñ ͳÛñ»ñÇó μáÕáùÇ Ó³ÛÝ μ³ñÓñ³óñÇÝ: гí³Ý³μ³ñ ¹³ Çß˳ÝáõÃÛ³Ý ûÕ³ÏÝ»ñáõÙ í³Ë ³é³ç³óñ»ó, ù³ÝÇ áñ ÏÇÝá·áñÍãÇ Ù³ÑÁ Æñ³ÝÇ ÙÇç³½·³ÛÇÝ í³ñϳÝÇßÇÝ Ïíݳë»ñ: ê³Ï³ÛÝ μ³ÝïÇó ³½³ïí»Éáõó Ñ»ïá ö³Ý³ÑÇÇ ³ÝÓݳ·ÇñÝ ³é·ñ³íí»ó, áñå»ë½Ç ݳ »ñÏÇñÁ ãÉùÇ: üÇÉÙ Ýϳñ»Éáõ ùë³Ý ï³ñí³ ³ñ·»ÉùÁ ¨ë áõÅÇ Ù»ç Ùݳó, ¨ ¹ñ³ áñ¨¿ ˳ËïáõÙ ÏÝ߳ݳϻñ ùë³Ý ï³ñí³ ³½³ï³½ñÏáõÙ: âÝ³Û³Í ³Û¹ ³Ù»ÝÇÝ` 2011-ÇÝ Î³ÝÝÇ ÏÇÝá÷³é³ïáÝáõÙ óáõó³¹ñí»ó ö³Ý³ÑÇÇ Ýáñ ýÇÉÙÁ: §ê³ ýÇÉ٠㿦-Ý ·³ÕïÝÇ ¿ñ Ýϳñ³Ñ³Ýí»Éª ³ÝμáÕçáõÃÛ³Ùμ ö³Ý³ÑÇÇ ï³ÝÁ: ²ÛÝ üñ³Ýëdz ¿ñ ѳë»É Ù³ùë³Ý»Ý· ׳ݳå³ñÑáí` ù³Õóñ³í»ÝÇùÇ Ù»ç óùóñ³Í USB-áí: 2011 ÃíÇÝ ö³Ý³ÑÇÝ Ý³¨ ´»éÉÇÝÇ ÏÇÝá÷³é³ïáÝÇ ÅÛáõñÇÇ ³Ý¹³Ù ¿ñ, û¨ Ýñ³Ý ³ñ·»Éí»ó Ý»ñϳ ÉÇÝ»É ÏÇ-

Ýá÷³é³ïáÝÇÝ: ¸³ï³ñÏ ³Ãáé ¿ñ ¹ñí³Í μ»ÙÇ íñ³` Ç Ýß³Ý é»ÅÇëáñÇ μ³ó³Ï³ÛáõÃÛ³Ý: ºñÏáõ ï³ñÇ ³Ýó` 2013-ÇÝ, ¹³ñÓÛ³É ´»éÉÇÝáõÙ ³é³çÇÝ ³Ý·³Ù Ý»ñϳ۳óí»ó ö³Ý³ÑÇÇ §ö³Ï í³ñ³·áõÛñ¦ ýÇÉÙÁ, áñÁ ÏñÏÇÝ ï³ÝÝ ¿ñ Ýϳñí»É: ºñμ ³Ûë »ñÏáõ §·³ÕïÝǦ ýÇÉÙ»ñÇó Ñ»ïá Çß˳ÝáõÃÛáõÝÝ»ñÁ Éáõé ÙݳóÇÝ` ö³Ý³ÑÇÝ áñáß»ó ¹áõñë ·³É ïÝÇó, áñ ÝϳñÇ §î³ùëǦ ýÇÉÙÁ: ´³Ýï³ñÏáõÃÛáõÝÇó Ç í»ñ` ¹³ ³é³çÇÝ ¹»åùÝ ¿ñ, áñ ö³Ý³ÑÇÝ ù³çáõÃÛáõÝ áõÝ»ó³í ÏñÏÇÝ Ýϳñ³Ñ³ÝÙ³Ý Ññ³å³ñ³Ï ¹áõñë ·³É: ì³í»ñ³·ñ³Ï³Ý ÏÇÝáÛÇ ÝÙ³ÝíáÕ ×³Ý³å³ñѳÛÇÝ ³Ûë ýÇÉÙáõÙ ëáíáñ³Ï³Ý Ù³ñ¹ÇÏ Çñ»Ýù Çñ»Ýó »Ý §Ù³ñÙݳíáñ»É¦ ³ÛÝåÇëÇ Çñ³íÇ׳ÏÝ»ñáõÙ, áñáÝù μ³ó³ñӳϳå»ë Çñ³Ï³Ý »Ý ÃíáõÙ, ë³Ï³ÛÝ` μ»Ù³¹ñí³Í »Ý: ö³Ý³ÑÇÝ ¹»ÕÇÝ ï³ùëÇáí ßñçáõÙ ¿ ù³Õ³ùáõÙ` Çñ³Ï³Ý ï³ù-

àõïáåÇ³Ï³Ý ï³·Ý³å §Ð³í³ÉáõëÝÁ ³Ý³å³ïáõÙ¦, é»Å.` ìÇ»ëïáõñë γÛñÇßë, ȳïídz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, öáùñ ¹³ÑÉÇ× 1, 17.07 (18:00)

ÌáíÇ ÑݳμݳÏÝ»ñÁ §ØdzÛݳÏ, ÙdzëÇݦ, é»Å.ª ¸³íǹ Îñ»Ù»ñ, üñ³Ýëdz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, öáùñ ¹³ÑÉÇ× 1, 17.07 (10:00, 16:00) §ØdzÛݳÏ, ÙdzëÇݦ-Á ýñ³ÝëdzóÇ ¸³íǹ Îñ»Ù»ñÇ ³é³çÇÝ Édzٻïñ³Å í³í»ñ³·ñ³Ï³Ý ýÇÉÙÝ ¿: è»ÅÇëáñÁ Ý³Ë Ó³ÛݳÛÇÝ ÇÝŻݻñdz ¿ áõëáõó³Ý»É, ³å³ ï³ñí»É Éáõë³ÝϳñãáõÃÛ³Ùμ áõ ÏÇÝáÛáí: àõñÇßÝ»ñÇ ýÇÉÙ»ñáõÙ ûå»ñ³ïáñáõÃÛáõÝ ³Ý»ÉÇë ¿É Ý³ ÝϳñáõÙ ¿ñ ë»÷³Ï³Ý ϳñ׳ٻïñ³ÅÝ»ñÁ, ѳïϳå»ë Ù»Í ë»ñ áõÝ»ñ ÍáíÇ ÝϳïÙ³Ùμ: Îñ»Ù»ñÁ çñÇ ï³ñ»ñùÁ å³ïÏ»ñ»Éáõ ѳïáõÏ ï³Õ³Ý¹ áõÝÇ: Æñ ³é³çÇÝ Édzٻïñ³Å ýÇÉÙáõÙ é»ÅÇëáñÁ, áí ݳ¨ ýÇÉÙÇ ûå»ñ³ïáñÝ ¿, í³í»ñ³·ñáõÙ ¿ ´³ñ»ÝóÇ ÍáíÇ ÙdzÛÝ³Ï ÓÏÝáñëÝ»ñÇ ÏÛ³ÝùÝ áõ ³éûñ۳ݪ ·ñ»Ã» ³é³Ýó ÙÇç³Ùï»Éáõ. ÙdzÛÝ Ñ³½í³¹»åª áñáß Ñ³ñó»ñ ï³Éáí ë³Ï³í³Ëáë ÓÏÝáñëÝ»ñÇÝ: ƱÝãÝ ¿ ¹ñ¹áõÙ Ù³ñ¹áõݪ ï³ëÝÛ³Ï ï³ñÇÝ»ñ ÝáõÛÝ Í³Ýñ ³ß˳ï³ÝùÝ ³Ý»É ïÝÇó áõ ë»÷³Ï³Ý ÁÝï³ÝÇùÇó Ñ»éáõ, μ³ó ÍáíáõÙ áõ Ñ³×³Ë ¿É íï³Ý·³íáñ å³ÛÙ³ÝÝ»ñáõÙ: ÒÏÝáñëÝ»ñÝ Çñ»Ýù ¿É ·Çï»Ý, ³Ý·³Ù Ù³ñÙÝÇÝ »Ý ¹³çáõÙ ª ÍáíáõÙ Ù»éÝáÕÁ ·»ñ»½Ù³Ý ãÇ áõÝ»ÝáõÙ: ²ñÏïÇÏ³Ï³Ý ³Ù³éí³ ûñ»ñÁ »ñϳñ »Ý áõ ³é³Ýó ·Çß»ñÝ»ñÇ, ³ß˳ï³ÝùÁ ß³ï ¿ áõ ¹Åí³ñ. μáÉáñÁ ã¿, áñ ¹ÇÙ³ÝáõÙ áõ ÙÝáõÙ »Ý ÍáíáõÙ ª ݳíÇ íñ³, áñï»Õ í³ËÝ áõ ÍáõÉáõÃÛáõÝÁ ï»Õ ãáõÝ»Ý: àÙ³Ýù ·³ÉÇë áõ ßáõïáí Ñ»é³ÝáõÙ »Ý, ÙÛáõëÝ»ñÝ ¿É ·³ÉÇë »Ý ¹»é 16 ï³ñ»Ï³ÝáõÙ áõ ÏÛ³ÝùÇ Ù»Í Ù³ëÝ ³ÝóϳóÝáõ٠ݳíÇ íñ³: Ò³ÝÓñ³ÉÇ Ãí³óáÕ Å³Ù»ñÁ ѳçáñ¹áõÙ »Ý Çñ³ñ: î»ë³ñ³ÝÝ ¿É Ñ³×³Ë ãÇ ÷áËíáõÙ. ï»Õï»Õ ë³é³Í Íáí, ³ÝѳݷÇëï Íáí³ÛÇÝ ÃéãáõÝÝ»ñ, ³ÉÇùÝ»ñ áõ ³Ùå»ñ: ƱÝãÝ ¿ ëïÇåáõÙ ÓÏÝáñëÝ»ñÇݪ í»ñ³¹³éÝ³É ³Ûëï»Õ, DZÝãÝ ¿ ëïÇåáõÙ áñ¹áõݪ Ñáñ å»ë ÓÏÝáñë ¹³éݳÉ, »ñμ ѳÛñÝ ³ñ·»ÉáõÙ ¿ Ýñ³Ýª Íáí³μݳÏÇ ÏÛ³ÝùÝ ÁÝïñ»É: ܳíÇ ÑݳμݳÏÝ»ñÇó Ù»ÏÁ å³ï³ë˳ÝÝ áõÝǪ í»ñ³¹³éÝáõÙ »Ý, »ñμ ó³Ù³ùáõÙ ã»Ý ·ïÝáõÙ ³ÛÝ, ÇÝã ÷ÝïñáõÙ »Ý: Üê

ȳïídzóÇ é»ÅÇëáñ ìÇ»ëïáõñë γÛñÇßëÝ ³é³çÇÝ Ñ³Û³óùÇó ï³ñûñÇÝ³Ï ³ÝáõÝ ¿ ïí»É Çñ í³í»ñ³·ñ³Ï³Ý ýÇÉÙÇÝ` §Ð³í³ÉáõëÝÁ ³Ý³å³ïáõÙ¦: ê³Ï³ÛÝ Ñ»Ýó ³é³çÇÝ ÇëÏ í³ÛñÏÛ³ÝÝ»ñÇ ïÇïñ»ñÁ å³ïÙáõÙ »Ý ÙÇ ÑÇÝ ë³ñë³÷³½¹áõ ³é³Ï, áñï»Õ ³Ý³å³ïÇ Ñ³í³ÉáõëÝÁ, ï»ëÝ»Éáí Çñ Ó³·áõÏÝ»ñÇ Í³Ûñ³ëïÇ×³Ý ëáíÁ, ëå³ÝáõÙ ¿ ÇÝùÝ Çñ»Ýª ù»ñûÉáí ë»÷³Ï³Ý áñáí³ÛÝÁ` ³ÛëåÇëáí Ñݳñ³íáñáõÃÛáõÝ ï³Éáí Ó³·»ñÇÝ áõï»É Çñ ÇëÏ ÙÇëÝ áõ ÷ñÏí»É: ÆÝùݳ½áÑáÕáõÃÛ³Ý Ñ³ë³Í Ù³Ûñ ѳí³ÉáõëÝÇÝ ýÇÉÙáõÙ ËáñÑñ¹³ÝßáõÙ ¿ »ñÏÇñÁª Ù³Ûñ Ñá-

â»ã»Ý³Ï³Ý ìáõ¹ëÃáù §¶ñá½ÝÇ ´ÉÛáõ½¦, é»Å.` ÜÇÏáɳ ´»ÉáõãÇ, Þí»Ûó³ñdz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, öáùñ ¹³ÑÉÇ× 1, 17.07 (12:00) ºñÏÇñ ÙáÉáñ³ÏÇ ³Ù»Ý³Ëݹñ³Ñ³ñáõÛó ï³ñ³Í³ßñç³ÝÝ»ñÇó Ù»ÏÁª â»ãÝdzݫ ¹³ñÓ³í ßí»Ûó³ñ³óÇ é»ÅÇëáñ ÜÇÏáɳ ´»ÉáõãÇÇ í³í»ñ³·ñ³Ï³Ý ѻﳽáïáõÃÛ³Ý ÝÛáõÃÁ: ´»ÉáõãÇÇ ¹Çï³Ï»ïÇó â»ãÝÇ³Ý »ñ¨áõÙ ¿ ÇÝãå»ë ÙÇçáõϳÛÇÝ ½»ÝùÇ ÙÇ ÷áñÓ³¹³ßï« áñï»Õ §å³ï»ñ³½Ù¦ ³ÝáõÝáí é³¹Çá³ÏïÇí å³ÛÃÛáõÝÝ Ç Ñ³Ûï ¿ μ»ñ»É Ï»ñå³÷áËáõÙÝ»ñ« áñáÝù ͳÏáõÙ »Ý ѳïϳå»ë ûï³ñ»ñÏñ³óÇ Ñ»ÕÇݳÏÇ Ã³ñÙ áõ ½ÇÝí³Í ³ãùÁ: λջùÇã Áݹí½áõÙÝ»ñÇ ÃÇñ³Ë ¹³ñÓ³Í »ñÏÇñÁ è³ÏáË»É ¿ ÙÇ Ýáñ ÷áõÉ« áñáõÙ í»ñç³å»ë ÇßËáõÙ ¿ ýáñÙ³É Ë³Õ³ÕáõÃÛáõÝÁ: ê³Ï³ÛÝ ýÇÉÙÇ Ñ»ÕÇݳÏÇÝ ³í»ÉÇ ß³ï Ñ»ï³ùñùñáõÙ ¿ áã û ˳ճÕáõÃÛáõÝÁ« ³ÛÉ ù³Õ³ù³óÇ³Ï³Ý ¨ Ñá·¨áñ Ý»ñ¹³ßݳÏáõÃÛáõÝÁ« áñÇ ³Ý¹³¹³ñ ÷ÝïñïáõùÝ»ñáõÙ ¿É ³ÝóÝáõÙ ¿ ³ÙμáÕç ýÇÉÙÁ: àñáÝáõÙÝ»ñáõÙ é»ÅÇëáñÇÝ û·ÝáõÃÛ³Ý »Ý ѳëÝáõÙ Ï»ñå³ñÝ»ñÁ ¨ ѳïϳå»ë ÙÇ ËáõÙμ ϳݳÛù« áíù»ñ é³½ÙÇ ï³ñÇÝ»ñÇÝ Çñ³Ï³Ý³óÝáõÙ ¿ÇÝ í³í»ñ³·ñ³Ï³Ý Ýϳñ³Ñ³ÝáõÙÝ»ñ« áñáÝù ³ÛÉ ùñáÝÇÏÝ»ñÇ Ñ»ï Ùdz˳éÝíáõÙ »Ý ´»ÉáõãÇÇ Ñ»ï³åáϳÉÇåïÇÏ í³í»ñ³·ñáõÃÛ³Ý Ñ»ïª ëï»ÕÍ»Éáí ó³ÛïáõÝ« åá»ïÇÏ« ï»Õ-ï»Õ ·ñáï»ëÏÇ Ñ³ëÝáÕ Ñ³Ùá½Çã ѳϳ¹ñáõÃÛáõÝÝ»ñ: лÝó ³Û¹ ·áõÝ»Õ Ñ³Ï³¹ñáõÃÛáõÝÝ»ñÇ íñ³ ¿É ÑÇÙÝí³Í ¿ ³ÙμáÕç ýÇÉÙÁª û ·»Õ³·Çï³Ï³Ý ¨ û μáí³Ý-

GOLDEN APRICOT DAILY | DAY 6 | 17 JULY | 2015

interview 5

Sean McAllister a film about secular Syrians. I’ve made films in the Middle East for a long time and I was curious about making one about a functioning dictatorship, instead of making a film about the Arab world. Syria seemed to be working under al-Assad. I met Amer there, who told me his wife Raghda was in jail. Whereas the other people I met weren’t really up for being filmed, he actually encouraged me to. No-one wants that spotlight under a dictatorship. I filmed them for over five years, and it ended up not being an Arab spring story, but more about a family in exile.

´ñÇï³Ý³óÇ í³í»ñ³·ñáÕ ÞáÝ Øù³ÉÇëûñÝ ³ÙμáÕçáíÇÝ Ññ³åáõñíáõÙ ¿ μáÉáñ ³ÛÝ å³ïÙáõÃÛáõÝÝ»ñáí, áñáÝù Ýϳñ³Ñ³ÝáõÙ ¿: Øݳó³ÍÁ Ýñ³ ѳٳñ »ñÏñáñ¹³Ï³Ý ¿: Øù³ÉÇëûñÝ ³Ù»Ý ÇÝã ³ÝáõÙ ¿ ÛáõñáíÇ. ÝáõÛÝÇëÏ BBC-Ç ËÙμ³·ÇñÝ»ñÁ Ñ³×³Ë å³ïÏ»ñ³óáõÙ ³Ý·³Ù ãáõݻݪ ÇÝãå»ë ¿ ݳ û·ï³·áñÍáõÙ Çñ»Ýó ÷áÕÁ, ¨ ÇÝãåÇëÇÝ ¿ ÉÇÝ»Éáõ ýÇÉÙÁ: ²é³Ûëûñ ³Ûë ³ß˳ï³á×Ý ³ñ¹³ñ³óñ»É ¿ Çñ»Ý. Ýñ³ª §Ö³åáÝdz. êÇñá ¨ ²ï»ÉáõÃÛ³Ý å³ïÙáõÃÛáõݦ (2008), §Ð³Ù³é ѻճ÷á˳ϳÝÁ¦ (2012) ¨ í»ñçÇݪ §êÇñÇ³Ï³Ý ëÇñ³í»å¦ ýÇÉÙ»ñÇó Ûáõñ³ù³ÝãÛáõñÝ ¿É ³ñųÝÇ ¿ ÝÙ³Ý éÇëÏÇ: Üñ³ Ý»ñϳ۳óñ³Í ËÇëï ³ÝÓÝ³Ï³Ý å³ïÙáõÃÛáõÝÝ»ñÝ ³ÛÝ Ñ³ë³ñ³ÏáõÃÛáõÝÝ»ñÇ ³ñÅ»ùÝ»ñÇ Ù³ëÇÝ »Ý, áñï»Õ ³åñáõÙ »Ý ³Û¹ ýÇÉÙ»ñÇ Ñ»ñáëÝ»ñÁ:

How do you “choose” your protagonists? When I started making documentaries everyone was interesting to me. Now that I’ve made a few, I’ve come to realize that very, very few people actually are. The reality is that most people are quite tedious. The other thing besides a gripping appearance is that I always try to find people I can help. The film should benefit them in some way.

ØÇÝã¨ Ø»Í ´ñÇï³ÝdzÛÇ ÏÇÝáÛÇ ¨ Ñ»éáõëï³ï»ëáõÃÛ³Ý ³½·³ÛÇÝ ¹åñáó ѳ׳˻ÉÁª áñáß Å³Ù³Ý³Ï ³ß˳ï»É »ù ·áñͳñ³ÝÝ»ñáõÙ: ¸áõù ÑÇÙ³± ¿É »ù å³Ñå³ÝáõÙ Ó»ñ Ñá·»Ï³Ý Ï³åÝ ³Û¹ ³ß˳ï³Ýù³ÛÇÝ ¹³ëÇ ³ñÙ³ïÝ»ñÇ Ñ»ï: ºë ³Ûë ýÇÉÙ»ñÁ ã»Ù ëï»ÕÍáõÙ ÇÝã-áñ Ùï³íáñ³Ï³ÝÝ»ñÇ Ñ³Ù³ñ: ºë ýÇÉÙ»ñ »Ù ëï»ÕÍáõÙ ÇÙ ÁÝÏ»ñÝ»ñÇ Ñ³Ù³ñ, áíù»ñ ³åñáõÙ »Ý гÉáõÙ, ¨ áñáÝó μ³ó³ñӳϳå»ë ã»Ý Ñáõ½áõÙ áã ºÙ»ÝÁ, áã ¿É êÇñdzÝ: ÆëÏ ÇÝãá±õ å»ïù ¿ Ñáõ½»Ý: ´³Ûó »ñμ Ýñ³Ýù ï»ëÝáõÙ »Ý §Ð³Ù³é ѻճ÷á˳ϳÝǦ Ñ»ñáëÇÝ, áí ËݹÇñÝ»ñ áõÝÇ Çñ ÏÝáç Ñ»ï ×Çßï ³ÛÝå»ë, ÇÝãå»ë Çñ»Ýù áõÝ»Ý ËݹÇñÝ»ñ Çñ»Ýó ϳݳÝó Ñ»ïª Ýñ³Ýó ëÏëáõÙ ¿ Ñ»ï³ùñùñ»É ³Û¹ ³Ù»ÝÁ: ºí ѳçáñ¹ ³Ý·³Ù ÝáñáõÃÛáõÝÝ»ñ Éë»ÉÇë ϳ٠ºÙ»ÝÇ Ù³ëÇÝ ÇÝã-áñ ï»ë³ÝÛáõà ¹Çï»ÉÇëª Ýñ³Ýù ³ñ¹»Ý ³ÛÉ Ï»ñå ÏÁÝϳɻÝ: âáñ Éñ³ïíáõÃÛáõÝÁ »ñμ»ù ãÇ Ñáõ½áõÙ Ù³ñ¹Ï³Ýó: ¸áõù ÑÇÙݳϳÝáõÙ Ýϳñ³Ñ³ÝáõÙ »ù ýÇÉÙ»ñª ù³Õ³ù³Ï³Ý ѳϳٳñïáõÃÛáõÝÝ»ñÇ áõ ѻճ÷áËáõÃÛáõÝÝ»ñÇ ³Ù»Ý³Ã»Å Ï»ï»ñáõÙ: ºë »ñμ»ù áãÇÝã ݳ˳å»ë ã»Ù Íñ³·ñáõÙ. Áݹ³Ù»ÝÝ áõ½áõÙ »Ù ýÇÉÙ Ýϳñ³Ñ³Ý»É: §êÇñÇ³Ï³Ý ëÇñ³í»åǦ ¹»åùáõÙ áõ½áõÙ ¿Ç ýÇÉÙ Ýϳñ»É ³ß˳ñÑÇÏ ëÇñdzóÇÝ»ñÇ Ù³ëÇÝ: ºñϳñ Å³Ù³Ý³Ï ýÇÉÙ»ñ »Ù ³ñ»É ØÇçÇÝ ²ñ¨»ÉùáõÙ, ¨ ÇÝÓ Ñ»ï³ùñùÇñ ¿ñ Ýϳñ³Ñ³Ý»É ÙÇ ÏÇÝáÝϳñ ·áñÍáÕ μéݳå»ïáõÃÛáõÝÝ»ñÇ, ³ÛÉ áã û ³ñ³μ³Ï³Ý ³ß˳ñÑÇ Ù³ëÇÝ: êÇñÇ³Ý ³Ûë ï»ë³Ï»ïÇó ß³ï ѳñÙ³ñ ¿ñ ÃíáõÙ: ºë ³ÛÝï»Õ ѳݹÇå»óÇ ²Ù»ñÇÝ, áí ÇÝÓ å³ïÙ»ó, áñ Çñ ÏÇÝÁª è³Õ¹³Ý, μ³ÝïáõÙ ¿: Æ٠ѳݹÇå³Í ÙÛáõë Ù³ñ¹ÇÏ ³Û¹ù³Ý ¿É ã¿ÇÝ Ó·ïáõÙ Ýϳñ³Ñ³Ýí»É, ÇëÏ Ý³ ѳϳé³ÏÁª ÇÝùÝ ¿ñ ÇÝÓ Ëñ³ËáõëáõÙ: àã áù ãÇ áõ½áõÙ áõß³¹ñáõÃÛáõÝ ·ñ³í»É, »ñμ ³åñáõÙ ¿ μéݳå»ïÇ Çß˳ÝáõÃÛ³Ý Ý»ñùá: ºë Ýñ³Ýó Ýϳñ³Ñ³Ý»É »Ù Ùáï³íáñ³å»ë ÑÇÝ· ï³ñÇ, ¨ Ç í»ñçá ëï³óí»ó å³ïÙáõÃÛáõÝ áã û §³ñ³μ³Ï³Ý ·³ñݳݦ, ³ÛÉ ³ùëáñí³Í ÁÝï³ÝÇùÇ Ù³ëÇÝ: ¸áõù ¨ Ó»ñ ï»ë³ËóÇÏÁ ÙÇßï ß³ï Ùáï »ù Ó»ñ Ñ»ñáëÝ»ñÇÝ: лÝó ëϽμÇó »ë ϳñÍáõÙ ¿Ç, áñ ß³ï ëË³É ¿, »ñμ Ù³ñ¹Ï³Ýó ³ÝÁݹѳï ßñç³å³ïáõÙ ¿ Ýϳñ³Ñ³ÝáÕ ³ÝÓݳϳ½ÙÁ: ºñμ 1997 Ã. Ýϳñ³Ñ³ÝáõÙ ¿Ç ÇÙ ³é³çÇݪ §²ß˳ï»Éáí ÃßݳÙáõ ѳٳñ¦ ýÇÉÙÁ, Ñ»ñáëÁª ÙÇ ·áñͳ½áõñÏ ïÕ³, ã¿ñ áõ½áõÙ Ýϳñ³Ñ³Ýí»É: ºë ϳñáÕ³ó³ Ýñ³Ý ѳÙá½»É, ù³ÝÇ áñ Ù»Ý³Ï ¿Ç ³ß˳ïáõÙ, áõ ݳ ã¿ñ ½·áõÙ ÇÙ Ý»ñϳÛáõÃÛáõÝÁ: ê³ ¿ ·³ÕïÝÇùÁ: лñáëÝ»ñÁ ½·áõÙ »Ý, áñ »ë Çñáù ³Ýï³ñμ»ñ ã»Ù Çñ»Ýó ÝϳïÙ³Ùμ: ºÃ» áõ½áõÙ »ù ýÇÉÙ ëï»Õͻɪ å»ïù ¿ ÇÝùݳÙáé³ó ïñí»ù Ó»ñ ·áñÍÇÝ: ¸áõù ß³ï Ñ³×³Ë Ó»½ íï³Ý·áõÙ »ùª ýÇÉÙÇ Ñ³Ù³ñ... §´³Õ¹³¹Ç ³½³ï³·ñáõÙÁ¦ ýÇÉÙÇ Ýϳñ³Ñ³ÝáõÙÝ»ñÇ Å³Ù³Ý³Ï Ï³ñ ÙÇ å³Ñ, »ñμ Ãí³ó, áñ ÇÝÓ Ï³é¨³Ý·»Ý: Æñáù í³Ë»ó³Í ¿Çª ãÝ³Û³Í ³Û¹ ï»ë³ñ³Ýáõ٠ϳñáÕ »ù Éë»É ÇÙ ÍÇͳÕÁ: ÆѳñÏ», áã ÙÇ ÝÙ³Ý μ³Ý ãå³ï³Ñ»ó: ´³Ûó »ñμ ù»½ μéÝáõÙ »Ý, ÇÝãå»ë êÇñdzÛáõÙ ¿ÇÝ ÇÝÓ Ó»ñμ³Ï³É»É, ³ÛÉ¨ë ³Ý½áñ »ë áñ¨¿ μ³Ý ³Ý»É: Üñ³Ýù ÇÙ ·ÉËÇÝ ïáåñ³Ï ¿ÇÝ Ñ³·óñ»É, ÷³Ï»É ËóáõÙ, ¨ »ë ÉëáõÙ ¿Ç, û ÇÝãå»ë ¿ÇÝ Ñ³ñ¨³Ý ë»ÝÛ³ÏÝ»ñáõÙ Í»ÍáõÙ Ù³ñ¹Ï³Ýó: ²ë»ë û¹³Ý³íÇó í³Ûñ ÁÝÏÝ»ÉÇë ÉÇÝ»ë. ¹áõ ³Ûɨë

You and your camera always get very close to your subjects. From the very beginning I thought the idea of a crew that crowded the people was the wrong way around. When I made my first film Working for the Enemy in 1997 the protagonist, a jobless guy, did not really want to be filmed. But it worked because I was on my own. That was the whole lesson of access. Why does someone, against his or her better wishes, choose to tell you stuff? It’s because they like and trust you. It’s a reciprocal issue; they feel like I really care.

áãÇÝã ã»ë ϳñáÕ ³Ý»É ϳ٠í»ñ³ÑëÏ»É Çñ³íÇ׳ÏÁ: ´³Ûó Çñ³Ï³ÝáõÙ »ë í³Ë»ó³Í ã¿Ç: ºë ѳçáÕ³óñÇ Ùï»ñÙ³Ý³É å³Ñ³ÏÝ»ñÇ Ñ»ï, áõ ßáõïáí Ýñ³Ýù ÇÝÓ ³½³ï ³ñӳϻóÇÝ: êáíáñ³μ³ñ ³í»ÉÇ ß³ï í³Ë»ÝáõÙ »Ù ³ÛÝ Ù³ñ¹Ï³Ýó ѳٳñ, áõÙ ÝϳñáõÙ »Ù: Ò»ñ μáÉáñ Ñ»ñáëÝ»ñÁ ß³ï ³ÝÏ»ÕÍ »Ý áõ μ³ó: ÆÝãå»±ë »ù ϳñáÕ³Ýáõ٠ѳñ·³ÉÇó Ý»ñϳ۳óÝ»É Ýñ³Ýó: ä»ïù ¿ ß³ï ½·áõÛß ÉÇÝ»É, Ýñ³Ýó íëï³ÑáõÃÛáõÝÁ ã³ñ³ß³Ñ»ÉÁ ß³ï Ñ»ßï ¿: úñÇݳϪ §êÇñÇ³Ï³Ý ëÇñ³í»åáõÙ¦ Ï³Ý μ³½Ù³ÃÇí ϳ¹ñ»ñ, áñáÝù ã»Ýù û·ï³·áñÍ»É: ØÇ ³Ý·³Ù è³Õ¹³Ý ã³÷³½³Ýó ß³ï μ³Ý»ñ ¿ñ Ëáë»É ï»ë³ËóÇÏÇ ³éç¨, ÇÝãÁ ß³ï Ù»Í ïå³íáñáõÃÛáõÝ ÏÃáÕÝ»ñ, »Ã» û·ï³·áñÍ»ÇÝù ýÇÉÙáõÙ: ´³Ûó Ù»Ýù ѳݻóÇÝù ³Û¹ Ù³ëÁª Ç Ýß³Ý Ýñ³ ÝϳïÙ³Ùμ Ù»ñ ѳñ·³ÝùÇ: ²Û¹ ï»ë³ñ³ÝÁ ÙÇ ï»ë³Ï ³Ýå³ñÏ»ßï ¿ñ, ³ë»ë μ³Ý³Éáõ ³ÝóùÇó ݳÛáõÙ »ë ÇÝã-áñ Ù»ÏÇÝ: Ò»½ ÙÇßï ѳçáÕíáõÙ ¿ ³ñӳݳ·ñ»É ³Ù»Ý³Ï³ñ¨áñ å³Ñ»ñÁ: âϳ ³í»ÉÇ ë³ñë³÷»ÉÇ μ³Ý, ù³Ý ë»Õ³ÝÇÝ ¹ñí³Í ï»ë³ËóÇÏÝ ³ÛÝ å³ÑÇÝ, »ñμ Ù³ñ¹ÇÏ ëÏëáõÙ »Ý áñ¨¿ Ñ»ï³ùñùÇñ μ³Ý Ëáë»É, ù³ÝÇ áñ ÙÇÝ㨠ï»ë³ËóÇÏÁ Ó»éù¹ »ë í»ñóÝáõÙ, å³ÑÝ ³ñ¹»Ý Ïáñ³Í ¿ ÉÇÝáõÙ: ¸ñ³ ѳٳñ ¿É »ë ëáíáñ³μ³ñ Ó»éùÇë å³ÑáõÙ »Ù ÇÙ ÷áùñÇÏ ï»ë³ËóÇÏÁ, ãÝ³Û³Í ³ÛÝ áã ÙÇßï ¿ Ùdzóí³Í ÉÇÝáõÙ: ²ë»ë Ýáñ ѳñ³μ»ñáõÃÛáõÝÝ»ñ »ë ëÏëáõÙ. ½ñáõÛóÇ ÙÇçáóáí ׳ݳãáõÙ »Ù ÇÙ Ñ»ñáëÝ»ñÇÝ ¨ ³ÝÑñ³Å»ßï å³ÑÇÝ å³ñ½³å»ë ë»ÕÙáõÙ Ïá׳ÏÁ: ÆëÏ »Ã» ÇÝã-áñ Ñ»ï³ùñùÇñ μ³Ý ¿ å³ï³ÑáõÙ, »ñμ ï»ë³ËóÇÏë Ó»éùÇë ã¿, »ë ÷áËáõÙ »Ù Ëáë³ÏóáõÃÛ³Ý Ã»Ù³Ý ¨ í»ñëÏëáõÙ ³ÛÝ, »ñμ ÝáñÇó å³ïñ³ëï »Ù ÉÇÝáõÙ: лÝó ë³ ¿ í³í»ñ³·ñ³Ï³Ý ýÇÉÙÁ: ¸³ ³ë»ë Çñ³Ï³Ý ÏÛ³ÝùÁ ÉÇÝÇ, áñÁ ¹ÇïáõÙ »ë, μ³Ûó¨³ÛÝå»ë ³Ù»Ý ÇÝã ùá í»ñ³ÑëÏáÕáõÃÛ³Ý ï³Ï ¿: ¸ñ³ ѳٳñ ÝáõÛÝå»ë áñáß³ÏÇ Ñá·»μ³Ý³Ï³Ý ÑÙïáõÃÛáõÝ ¿ å³Ñ³ÝçíáõÙ: ê³ Ñ»ßï³óÝáõÙ ¿ é»ÅÇëáñÇ ·áñÍÁ: ØÜ §êÇñÇ³Ï³Ý ëÇñ³í»å¦, Ø»Í ´ñÇï³Ýdz, (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, öáùñ ¹³ÑÉÇ× 1, 17.07 (20:00)

British documentary filmmaker Sean McAllister completely engages with every story he films. Everything else is secondary. McAllister always marches to the beat of his own drum – even his commissioning editors at the BBC often have no idea what the director is doing, how he’s using their money, and what will become of the film he promised to make. And yes, that can be dangerous, for McAllister as well as for the people he films. Until now, it’s worked: films such as Japan: A Story of Love and Hate (2008), The Reluctant Revolutionary (2012) and his latest film A Syrian Love Story all seem worth the risk. His highly personal stories speak volumes about the societies his protagonists live in. Before attending the National Film and Television School in the UK you worked in factories for a while. Did you have a goal in life? Yes, to not be in the factory! But in a way I did feel free at that time. And I still miss the camaraderie. But on the other hand, now I’m liberated. And I appreciate every morning I wake up at 10:30 with a hangover. (Laughs) Do you still feel connected to those working class roots? My main target audience are my mates at home. I’m not making these films for some intellectuals. I’m making them for my friends in Hull, who don’t give a fuck about Yemen or Syria. Why would they? But when they see Kais in The Reluctant Revolutionary, who has problems with his misses just like they’ve got with their ladies – then they get it. So the next time they watch the news and they see something about Yemen, they connect with it, 'cause the regular news is not connecting with people. Most of the time you end up filming in the midst of political conflicts and revolutions. How do you find these historical moments? There’s no plan really – just a plan to make a film. With A Syrian Love Story, I wanted to make

What does that do for your own state of mind? You have to loose yourself in order to make a film. For instance with Japan: A Story of Love and Hate, Naoki found me when I was fucked up. He kind of took me in at home. For me, struggle is key. A friend told me that I don’t need to fucking die every time I make a film. But then they wouldn’t be the same. Indeed, you often take big risks during shooting. When were you most scared? When filming The Liberace of Baghdad there was a moment when it seemed like I would be kidnapped. I was really afraid, but you can hear me laughing in the scene. In the end nothing happened. But when you do get caught, like when I was arrested in Syria, you just let go. They took me with a bag over my head, locked me up and I could hear people getting beat up in neighbouring rooms. It’s like dropping from an airplane: you do not have control anymore. But I wasn’t actually scared. I managed to kind of befriend the guards and they soon let me go. I’m usually more scared for the people I’m filming. Since all your protagonists have been very open, how do you go about portraying them respectfully? You have to be careful, it’s easy to misuse that trust. For instance there was a lot more in A Syrian Love Story that we did not put in. Raghda did kind of loose it one time. She had a crazy breakdown on camera, which would be dramatically memorable in the film. But we cut it out of respect for her. It wasn’t graceful to watch, it was almost voyeuristic. You always seem to be recording the key moments. What’s your method? There’s noting worse than having the camera laying on the table when they start talking about something interesting, because the moment is gone as soon as you pick it up. So I usually have my small camera in my hand, although it’s not always running. It’s like stepping into a new relationship: I’m getting used to them while were talking. And with just a push of the button I can be recording. That’s when you get that moment. If something does happen when the camera isn’t at hand, I change the conversation and park it somewhere until I’m ready to bring it up again. That’s what I call making documentary: it seems to be kind of vérité in an observational way, but it’s all very controlled. There’s some psychology to it, definitely. It’s about making filmmaking look easy. MN

GOLDEN APRICOT DAILY | DAY 6 | 17 JULY | 2015

6

reviews

Life Keeps Happening Taxi (Jafar Panahi, Iran, 2015), 17-7 20:30, Moscow Cinema, Red Hall, 19-7 14:00, Moscow Cinema, Blue Hall On December 20, 2010, the Iranian Revolutionary Court convicted filmmaker Jafar Panahi (1960) to six years in prison and banned him from filming for twenty years. The carge: “Assembly and colluding with the intention to commit crimes against the country’s national security and propaganda against the Islamic Republic.” He was released from prison after going on a hunger strike, which drew outrage from the international film community. This apparently scared the authorities, who did not want to let him die in fear of tainting Iran’s international image. But while it did get Panahi out of prison, his passport was confiscated, preventing him from leaving the country. The twenty-year ban on filming also remained in place, and any violation would be punishable with twenty years in prison. Despite all this, a new film by Panahi was screened at the Cannes film festival in 2011: This Is Not a Film, made in complete secrecy and shot entirely in Panahi’s own house. The film was smuggled to France on a USB stick hidden in a cake. Also in 2011, Panahi was a jury member at the Berlin film festival, even though he was forbidden to actually go to the festival. An empty chair was put on stage as a reminder of his absence. Two years later, Closed Curtain (2013), again shot in his home, had its premiere in Berlin. When the authorities kept quiet after these two “forbidden films”, Panahi felt strong enough to venture outside his house to make Taxi. For the first time since his arrest in 2010, he dared to film outdoors again for this documentary-like road movie featuring regular people playing themselves in staged situations that feel utterly real. Panahi roams his home town Teheran in a yellow cab,

acting like a proper taxi driver. The only difference is the small camera on his dashboard, and the conversations he intiates while he drives. He meets several inhabitants ofthe city, who all have their own stories about life in Iran. They speak about the illegal dvd-market (the only way Taxi is likely to be seen in Iran), Sharia law, or people who’ve been imprisoned, but also about memorable old traditions and family life. The encounters range from life-anddeath serious to comical or even slapstick-like. And even knowing Panahi’s own back story, it’s more than obvious that this film was made by a positive man with a great love for the Iranian spirit.

Life keeps happening during these taxi rides: passengers have conversations and take telephone calls, and people get involved from outside the car. Although Panahi’s camera is mostly pointed at himself and his passengers, he also has it turn its gaze outside when there’s something important happening there. When his wisecracking young niece gets in the car, she offers an additional point of view, using her own camera to film Panahi while they talk about her school film project. Her teacher told her to show reality but never show anything negative. It’s a little detail that speaks volumes – one of many moments to

Consoling the Living

Gift of Nature

A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson, Sweden/ Norway/France/Germany, 2014), 17-7 19:00, Hayastan Cinema, Big Hall

Corn Island (George Ovashvili, Georgia/ Germany/France/Czech Republic/Kazakhstan, 2014), 17-7 17:00, Hayastan Cinema, Big Hall

Swedish master of comic absurdity Roy Andersson again presents a wonderfully strange film with A Pigeon Sat on a Branch Reflecting on Existence. The director finds comedy in the most painful topics: death, aging, unpaid debts and unrequited love, all captured in brilliant, absurd vignettes about “what it’s like to be human”. It’s pretty bad, but thanks to Andersson at least we can laugh about it. Andersson films like a painter, carefully composing his exquisitely stylized tableaux, which are entirely created in a studio. By using the painting technique of trompe l’oeil, he suggests depth and perspective on a flat surface. His long takes drained of any colour are unsurpassed in their precision and detail, as Andersson observes the behavior of vulnerable humanity. It’s like a master class in comic timing, in which he gives us ample time to carefully watch his characters. Like Sam and Jonathan, two friends who sell plastic vampire teeth and and other jokey party items, even though they themselves look as though they haven’t smiled in a good long while. In other vignettes a man gets a heart attack while wrestling to uncork a bottle of wine, and a cruise passenger collapses in front of the lunch buffet – all the more tragic because he had just paid for his meal. Cruelty and entertainment are entwined in most scenes, while some gentle social critiques about racism also find their way into the film. But however sad life is, as Andersson shows in his winner of the Golden Lion in Venice, it all could have been much worse. By emphasizing the tragedy he consoles us, the living. MG

Fresh Meat Sanctuary (Marc Brummund, Germany, 2015), 17-7 10:00 and 18:00, Moscow Cinema, Blue Hall Freistatt was regarded as one of the toughest juvenile corrective training institutions in Germany. By the 70’s, there were some 3.000 such homes run by the state and the church, together housing over 800.000 girls and boys. Marc Brummund’s riveting debut feature Sanctuary is based on true events, shot on the gloomy original locations. Fourteen-year-old Wolfgang gets sent to this foster home for difficult children for no other reason than being a bit rebellious. He arrives as "fresh meat", standing naked in the run-down laundry room, and getting only half portions of his meals. The boys are forced to do heavy digging work every day. “I’m outdoors a lot”, he understatedly writes to his mother. As the youth conquers the Paris streets in 1968, rebelling against the previous generation, old authorities still prevail in this German province. Eventually, Wolfgang stands up to the harsh working conditions and the system of oppression and violence. First by stealing tomatoes and by singing out loud (“Sometimes I feel like a motherless child”). Then by openly fighting against the scandalous educational methods the wardens use. “Reform schools aim to develop Christian personalities by raising children to believe and molding the entirety of the child with all his natural abilities in the service of love.” So reads the real-life guideline for educators at the former Freistatt Welfare Institution, a text which is shown to be perfidious by Brummund’s film. “Everybody forgot us”, a friend of Wolfgang says, and that’s a more appropriate characterization of this horrifying place. But that insight only came much later: it was 2010 before the German parliament approved compensation payments. MG

During springtime, the Georgian river Inguri offers up fertile soil which accumulates into small islands. For the poor local farmers, these rich grounds are a gift of nature. They each claim an island for a spring and a summer, to grow just enough corn to survive the next winter. An elderly man steps onto one of those islands. He estimates the fertility of the soil and marks the land. The next day he returns with tools and starts building a wooden cabin. His beautiful granddaughter – a girl, not yet a woman – joins him when he’s finished, to sow the corn. Day after day they farm in silence. Their labour-intensive work is captured in beautiful, wide shots that honour the natural, almost fairylike surroundings of the river and nearby forest. The two hardly use words to communicate; only the sounds of nature surround them. This peaceful quiet is spora-

show us what it’s like to live in a country where censorship is the norm. After Panahi finished the film, his wife was given permission to attend the premiere of Taxi in Berlin, again without Panahi. That Panahi can keep on filming despite his conviction is partly due to the international appreciation of his work. Filmmakers like the Coen brothers, Steven Spielberg and Martin Scorsese all shouted for his release back in 2010. In addition Panahi circumvents the Iranian censorship system by not adding credits to his films. With this he protects is cast and crew; he is solely responsible for the end result. MG/MN

dically interupted by the sounds of farawy gunshots. Every now and then soldiers sail along, bringing a hint of danger to the otherwise serene situation. Corn Island was this year’s Georgian candidate for the foreign-language film category at the Oscars. The almost wordless tale also won several prizes on the international film festival circuit. Director George Ovashvili shows an ancient practice in modern-day times, against the backdrop of the ethnic conflict along the borders of this small former Soviet nation. But mostly, this atmospheric, almost meditative tale speaks of the passing of seasons, of time and of life itself. The camera only pictures the protagonists on or around the small island; we never see where they came from, nor where they will go. The civilized world seems far, far away. MN

Dwellers of the Sea Sons of Barents (David Kremer, France, 2014), 17-7 10:00 and 16:00, Moscow Cinema, Small Hall 1 In his previous short films, French filmmaker David Kremer already showed a great deal of passion for the sea. In his first documentary feature Sons of Barents Kremer, also the film’s cinematographer, again shows a special talent for depicting the element of water. The film documents the daily routine of lonely fishermen on the Barents Sea. Kremer simply shows their life, only sporadically engaging in conversation with the taciturn men. What makes a man leave his home and family to do the same hard work for decades and decades on the dangerous open sea? The fishermen know very well that those who die at sea have no grave – they even tattoo it onto their bodies. The arctic summer days are long, the nights are non-existent, the work is hard and unending. Not everybody can stand the pressure of life

on these weltering ships, where there’s no place for fear or laziness. Many come and go, but some show up at 16 and stay for the rest of their lives. As dull hours pass, it seems the seamen don’t measure time in weeks or months, but rather in sea voyages. Land is a diffwerent world. At sea, the scenery doesn’t change – the half-frozen sea, some birds, waves and clouds. What makes these fishermen come back every time? What makes a son want to be become a fisherman like his dad, even though the father forbids him to devote his life to the sea? One of the oldest ship dwellers has an answer: “They come to the sea when they can’t find what they were searching for on land.” NS

GOLDEN APRICOT DAILY | DAY 6 | 17 JULY | 2015

news and reviews 7

Documenting from Sea to Sea Yesterday saw the presentation of the Baltic to Black Sea documentary network, or B2B Doc in short. The project was presented by filmmaker Alex Schiriaeff, born in Russia but now living in Sweden. At the presentation he discussed the complexities of co-productions and distribution. “Because Scandinavian countries have such a high standard of living, nothing interesting really happens there”, Schiriaeff claimed. “There are no border conflicts, no drama, so there’s basically nothing to film.” From this point of view it makes sense to make movies in more troubled areas. “I really want to create an open platform that will help to easily establish relations and make movies together, from Scandinavia and the Baltic countries to Armenia and Georgia. And with combined effort we might have a chance of getting our films out to the international market.” Schiraeff had been thinking of creating an international network for a long time. “When documentary students at the Swedish Film

Institute are preparing to graduate they are encouraged to travel to other countries, to find themes, interesting characters and make their graduation films about that. So even at this

early stage of their careers, the institute wants film students to learn how to cooperate.” To start with, the network will do the same: by bringing filmmakers together, it gives them the opportunity

to openly share their ideas and experiences in an informal environment. But it won’t stop there, if Schiraeff gets his way. “Everybody knows that the biggest problem for documentary filmmakers is finding the money to make their films. I’m hoping that our platform will help us solve that, as well as some technical issues. As is done all over the world, we will start by organizing pitch sessions. Selected projects will get financing and continue their journey. Professionals will help develop the projects, and when everything is prepared, we can start shooting.” Schiraeff gives great importance to the seminars, discussions, master classes, and round tables that the network hopes to organize. This process will make clear the artistic and production issues that filmmakers are facing and help them find ways of solving them. Nevertheless, Schiraeff noted in closing, making multinational co-productions should not mean assimiliating to one another completely, or losing any sense of national identity. Indeed, local or national traits should be preserved and fostered. MT

Not Just Fun and Games Yesterday Nuno Sena gave a master class at TUMO. He is one of the founders and the program director for IndieLisboa, an international festival dedicated to independent films which is in its 11th year.

Bring the Light

At a ceremony held at the Gevorkian Seminary of Holy Etchmiadzin in Vagarshapat, director Robert Guédiguian was yesterday awarded this year’s Let There Be Light Award. The award was established in 2012 by the Armenian Apostolic church, to promote spiritual, cultural and humanitarian values and celebrate filmmakers who have made a significant contribution to global cinematography. Guédiguian thus follows in the footsteps of three illustrious previous winners: Russian master Alexander Sokurov, Armenian director Artavazd Peleshian and Polish filmmaker Krzysztof Zanussi. FrenchArmenian Robert Guédiguian is the director of this year’s opening film Don’t Tell Me the Boy Was Mad, which has its final festival screening this Sunday. JB

Sena studied communications at university, only later specializating in film. He has worked in the organizations of several festival and film forums, as well as working as a film producer. He has worked at the Portuguese Film Institute, film archives, and the film museum, and is also lecturer on film history and theory. “A festival is not just fun and games±, Sena said of his work as a festival programmer and director. ±It’s not just a celebration. It’s also perplexing and stressful organizing work. A lot of responsibility. But it has to be done very smoothly so that all the hard work isn’t visible for the audience.” Sena also gave his views on cinema. For him, film is like a box and every generation has to fill it with something new, give new meaning to it. “The best films were made more than a hundred years ago. These were the silent, primitive movies, which are as new as they are old, because they have concealed in themselves the breath of those times.” Sena suggests watching these movies over and over again, being open to them,

as one should never lose the ability to be in awe of something. He compared the two schools that are traditionally considered to have formed all of cinema: the Lumière school (documentary) and the Méliès school (fiction). Sena advizes everyone to start with the beginning, the roots of cinema, so that they’ll be able to understand modern cinema and evaluate its innovations and experiments accordingly, without having to reinvent the wheel. Sena noted that the Lord of the Rings trilogy could

Behind Soviet Stereotypes

Talk to GAIFF: Vahram Mkhitaryan 17:30, Tumo Center for Creative Technologies (16 Halabyan St.). Today’s talk at the Tumo Center will feature Armenian director Vahram Mkhitaryan, whose short documentary Shepherd’s Song (see Yerevan Nights, below) is selected for the Armenian Panorama.

White Town (Harutyun Khachatryan, Armenia, 1988), 17-7 15:00, Moscow Cinema, Red Hall In celebration of festival director Harutyun Khachatryan’s 60th birthday this year, GAIFF is screening his 1988 film White Town. Khachatryan wrote the film about his native Akhalkalaki with film critic and screenwriter Mikael Stamboltsyan. Located in Georgia, this provincial Armenian town is presented here as a tragicomic model of Soviet reality. Looking at the film with the knowledge of what would happen in the following years, one feels the filmmaker captured the anxiety that preceded the collapse of the Soviet empire and the subsequent ethnic conflicts in the Caucasus region. Khachatryan manages to capture a rarely seen image of that time. We see a Lenin monument in the central square of a small town, and other stereotypes of Soviet times. But, as film critic Susanna Harutyunyan noted at the time, all this is perceived as a stage: “Behind these stereotypes we see the real lives of real people, with their real pains and concerns.” Khachatryan simply shows these lives; as in all

be said to be simply a more sophisticated and polished version of Méliès’s early trick films. A big subject for Sena was cinephilia. “In the last century a huge wave of film lovers arose. They watched movies for hours every day and they just couldn’t get enough of it. And yet today we are witnessing a great paradox: despite all our modern technologies, people don’t watch that many movies anymore. Even if they do they don’t enjoy the experience as much.” MT

Yerevan Nights 21:00, Poghosyan Gardens. For tonight’s final open air screening of the festival, Mkhitaryan’s short documentary Shepherd’s Song, about the blind goatherd Khachik, will be accompanied by another film from the Armenian Panorama, The Sandwich Island Man by Levon Minasian. Also selected for the Apricot Stone competition, the short fiction films tells the story of a boy who goes out in search of his absent father. of his films, there is no voice-over and very little dialogue. “I prefer the story to be told visually”, the director has said. “For me, there is only one type of directing – the directing of faces, objects, gestures, montage and rhythm.” The film was shown at film festivals around the world, winning the Silver Sesterce Prize at

the International Documentary Film Festival in Nyon. Speaking of Khachatryan’s The Voices of the Neighborhood as well as White Town, Russian film critic Andrei Plakhov wrote: “Here we see the conflict between a modeled official ideology and real life, laid bare with the accuracy of a documentarian and the emotionality of a poet.” SG

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 6 | 17 JULY | 2015

8

Ñáí³Ý³íáñÝ»ñ

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.