Golden Apricot Daily - 2015, Day 6

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¡Çù/program ÑåþÉÇÍÇ 17 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γüåþÛï š³ÑÉÇ×/ Moscow Cinema, Blue Hall 10:00, 18:00

/Sanctuary

/Marc Brummund

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γùÙÇù š³ÑÉÇ×/ Moscow Cinema, Red Hall 10:00

/ Corn Island ! /George Ovashvili

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, ÜåÚù š³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00, 16:00

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

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, ÜåÚù š³ÑÉÇ× 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? ¡ÇĂ&#x;ùĂ?ù äåÕåÍÛ³Ă? ³Û¡ÇĂ?ùåþÙ/ 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 ĂŤĂƒÂłĂą/ 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

ÂŤ- $ Âť.

$ /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 ÊÙΟ³¡ÇùĂ?ù` ĂšĂĄĂŤĂƒ ´ùåùĂ?, Â˛ĂąĂƒĂĄĂľĂą ϳùšÇĂ?Û³Ă? ²Ă&#x;˳ï³Ă?³½Ù` Ă˜ÂłĂąĂ‡ĂŤĂ?Âł œùÛíɝĂ?š, Ă˜ÂłĂąĂ‡Ă?Âť ĂœĂ›ĂĄĂľÂšĂĄĂąĂˇ

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

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

Contributors: Siranush Galstyan, Nane Sahakyan, Maria Tokmajyan

êùΟ³¡ùÇãĂ?ùª Ă˜ÂłĂąĂ‡Ă?Âť Ô³ù³Ë³Ă?Û³Ă?, èÇÙ³ ²ÕĂ?Û³Ă?

% /A Syrian Love Story 9 ) % /Sean McAllister

Photographer: Mane Hovhannisyan, Mickael Petrosyan

³ù¡Ù³Ă?ÇãĂ?ùª ĂˆĂĄĂľĂŤĂ‡Ă?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă?, Ÿ³ùåþÑÇ ê³ý³ùÛ³Ă?

Design: Gayane Grigoryan

UK, 80’/DC

œÉ˳íåù ËåùÑùš³ïåþ` äÇïù í³� ´Ûåþù�

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

21:00

Lang.: French, Subt.: English and Armenian

Ă?ÕÇĂ?ÂłĂ?Ă?ùª γùĂ? ²íïÇÍÛ³Ă?, Ă˜ÂłĂąĂ‡Âł 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, 101â&#x20AC;&#x2122;/ DAB

Arm, 26â&#x20AC;&#x2122;/AP

Lang.: French, Subt.: English

Lang.: Russian, Subt.: English

/ Blood Brothers / Kees Schaap

/ Corn Island ! /George Ovashvili

Fra, 26â&#x20AC;&#x2122;/SC

Rus, 116â&#x20AC;&#x2122;/DAB

15:00

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

USA, 82â&#x20AC;&#x2122;/AP

Che, 142â&#x20AC;&#x2122;/DC

14:00

Ă?ÂłĂ&#x203A;³Íï³Ă? Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, Ă&#x2DC;ÂťĂ? š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014;/ Hayastan Cinema, Big Hall 17:00

1915 # $ 1

, + ) 1 3 /Garin Hovhannisian, Alec Mouhibian

Lang.: Russian/Chechen, Subt.: English

/Aferim!

/Radu Jude

Ă?ÂłĂ&#x203A;³Íï³Ă? Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, ÜåÚù š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014;/ Hayastan Cinema, Small Hall

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

¸Ă&#x2021;½³Ă&#x203A;Ă?ù` œ³Ă&#x203A;ÂłĂ?Âť ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ? Îü³¡ùí³Ă? Âż §Ă&#x153;ĂŽ Ă?ĂĄĂ&#x2030;šĂ&#x2021;Ă?¡Œ êäĂ&#x20AC;-ĂĄĂľĂ&#x2122;

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

GOLDEN APRICOT DAILY | DAY 6 | 17 JULY | 2015

Éáõñ»ñ »õ ýÇÉÙ»ñ 3

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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.

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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

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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

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