Golden Apricot Daily - 2016, Day 6

Page 1

DAILY

FRIDAY JULY 15 2016

DAY

6

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Night and Day ¶Çß»ñ ¨ ó»ñ»Ï Ðä²ðî ´²êÎÀ βäºÈàì êºðàôܸܺðÆÜ ¾ðÞ²¸Æ. ì²ðäºî²ò ¸²ê

سçǹ ´³ñ½»·³ñ

GRAVEYARD PLAYGROUND A WHALE OF A TIME THE IMPOSSIBILITY OF DEATH

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ʲԺ𠶺ðº¼Ø²ÜàòàôØ Ø²Ðì²Ü ²ÜÐܲðÆÜàôÂÚàôÜÀ ø²ì²ð²ÜÆ ºì ¸ð²ÊîÆ ØÆæºì ¿ç 4

p. 6 вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

Majid Barzegar

PROUD TO BE BASQUE CONNECTING GENERATIONS ERSHADI MASTER CLASS p. 7

GOLDEN APRICOT DAILY DAY 6 | 15 JULY | 2016

2 ĂŒð²œĂ†Ă°/ PROGRAM , MOSCOW CINEMA, BLUE HALL 10:00 12:30

/ . Full Contact/dir. David Verbeek / . Immortal/dir. Seyed Hadi Mohaghegh

15.07 Nld/Hrv, 105’ FC Irn, 90’ FC

Lang.: English Subt.: Armenian Lang.: Persian Subt.: English and Armenian

! " #$/ . Deadlock/dir. Harutyun Khachatryan

Arm, 94’ 25

Lang.: Armenian Subt.: English

17:00

% & $ / . Ungiven/dir. Branko Schmidt

Hrv, 83’ FC

Lang.: Croatian Subt.: English and Armenian

19:00

/ . Immortal/dir. Seyed Hadi Mohaghegh

Irn, 90’ FC

Lang.: Persian Subt.: English and Armenian

21:00

' ( ) " * # * +$/ . ! " #

A Very Ordinary Citizen/dir. Majid Barzegar

15:00

Irn/Cze, 100’ Lang.: Persian YP Subt.: English and Armenian

12:00

Homo Sapiens/ . [ ? ) * ? Aut/Deu/Che, Lang.: no dialogues Homo Sapiens/dir. Nikolaus Geyrhalter 94’DC Subt.: no subtitles

14:00

K 8$ [ ) 8 \ / . + ? + ? Kenedi Goes Back Home/dir. Želimir Žilnik ^# [ # & K 8$ " $ "/ . + ? + ? Kenedi Lost and Found/dir. Želimir Žilnik $Q & X/ . X U # The Archipelago/dir. Benjamin Huguet K $ - ( "- * / . U W The Other Life Charon/dir. Ioana Turcan

16:00

18:00 20:00

21:30

Srb, 75’ R

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

Srb, 26’ R

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

UK, 41’ DC Rom/USA, 40’ DC

+ + "/ . )? ' ?% Salto Mortale/dir. Borislav Kolev - ( " # / . [ The Other Side of Home/dir. NarÊ Mkrtchyan . 8$ & / . = ) < ] Radioreceiver/dir. Lusine Papoyan ` j \- q$ &\ /- / . # $ X Leopard’s Silence/dir. Viken Armenian

Lang.: Faroese/English Subt.: English and ARmenian Lang.: Romanian Subt.: English and Armenian

Bgr, 80’ DC USA, 40’ AP Arm, 18’ AP Fra, 42’ AP

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

, ! K 2 MOSCOW CINEMA, SMALL HALL 2 % (" " X 8 " II/ . U # = , @? ^ * ) ? ) $ ) Pelota II/dir. Jørgen Leth, Olatz Gonzålez Abrisketa x / . )

In a Better World/dir. Susanne Bier

Esp, 71’ BNC

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

Dnk, 113’ DNC

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

17:30

. ' 4 { &$ / . _ ` - ?? Romeo and Juliet/dir. Franco ZeďŹƒrelli

UK/Ita, 138’ SH

Lang.: English Subt.: Armenian

20:00

& / . = ) @? Hamlet/dir. Laurence Olivier

UK, 161’ SH

Lang.: English Subt.: Armenian

13:00

15:00

, MOSCOW CINEMA, RED HALL 10:00

% $ & -(/ . $ $ %& Good Morning/dir. Anna Arevshatyan

Arm, 104’ AP

Lang.: Armenian Subt.: English

P

CINEMA STAR 18:00

/ . + { ?|(

Anna/dir. Jacques Toulemonde

20:00

% &$// . 6 U ) Bullitt/dir. Peter Yates

Fra/Col, 96’ FNC USA, 114’ R

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

KINOPARK 18:30 .$/ 4 8;< = / . ' () " Rhythm & Intervals/dir. Comes Chahbazian ) / . * # Aurora/dir. Gor Margaryan K #+ ) $*/ . + " - 6 7 ; Sweets/dir. Joseph Pitchhadze

Bel, 52’ AP

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

Deu, 13’ AP Isr, 132’ R

Lang.: no dialogues Subt.: no subtitles Lang.: Hebrew Subt.: English and Armenian

17:00

P " . ;, " / . < = Two Remis, Two/dir. Pierre LĂŠon

Fra, 66’ FNC

Lang.: French Subt.: English and Armenian

19:00

$ ($ / . $ ? About Love/dir. Anna Melikian

Rus, 115’ AP

Lang.: Russian Subt.: English and Armenian

12:30

14:30

21:00

K / . @"! $?O

Memories of the Wind/dir. Ozcan Alper

Lang.: German Subt.: English and Armenian Lang.: Italian Subt.: English and Armenian

13:00

14:30

Egy, 73’ ^) " + - $ / . X

FV - [ )

Who Killed the Armenians?/dir. Mohamed Hanafy Nasr #4 /- &$ - / .

Fra, 60’ FV Journey in Anatolia/dir. Bernard Mangiante - $ # /- / . # * # Arm, 18’ Blood Memory/dir. Bagrat Grigoryan FV

Lang.: Arabic Subt.: English

Lang.: Armenian/Turkish/French/ Deutsh/Russian/ English Subt.: English Lang.: Armenian Subt.: no subtitles

Tur/Fra/Deu/ Lang.: Turkish/Russian Geo, 126’ YP Subt.: English and Armenian 16:00

, ! K 1 MOSCOW CINEMA, SMALL HALL 1 10:00

Deu, 102’ GFD Ita/Fra, 108’ YP

P P HENRIK MALYAN THEATRE OF CINEMA ARTISTS

15:30

21:30

24 | // . $ } 7

24 Weeks/dir. Anne Zohra Berrached ) \ q ) / . ~ - " Fire at Sea/dir. Gianfranco Rosi

K $ - ( "- * / . U W The Other Life Charon/dir. Ioana Turcan $Q & X/ . X U # The Archipelago/dir. Benjamin Huguet

Rom/USA, 40’ DC UK, 41’ DC

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

Tur, 95’ FV

~- ) $ / # ( / . U ) Â ) ? Gavur Neighbourhood/dir. Yusuf Kenan BeysĂźlen

Lang.: Turkish Subt.: English

P P ~ P P € ~ P YEREVAN NIGHTS AT POGHOSYAN GARDENS 21:00

! / $"/ . ~ X The Tempest/dir. Derek Jarman

UK, 92’ SH

Lang.: English Subt.: Armenian

GOLDEN APRICOT DAILY ĂŠĂ™Ο³¡Ă‡ĂąĂ?ù` ĂšĂĄĂŤĂƒ ´ùåùĂ?, ²ùĂƒåþù ϳùšĂ‡Ă?Û³Ă?

êùΟ³¡ùÇãª Ă˜³ùÇĂ?Âť Ă”³ù³Ă‹ÂłĂ?Û³Ă?

²Ă&#x;Ă‹³ï³Ă?³½Ă™` Ă˜³ùÇĂ?Âť ĂœĂ›åþšåùá, Ă?Ă›åþ¡å žĂ™ù½³Ă‰

Ă‚³ù¡Ă™ÂłĂ?ÇãĂ?ùª ĂŽ³ùÇĂ?Âť ²Ă‰ĂĄĂ›ÂłĂ?, Ÿ³ùåþÑÇ ê³ý³ùÛ³Ă?

Ă?ÕÇĂ?ÂłĂ?Ă?ùª ĂŽ³ùĂ? ²íïÇÍÛ³Ă?, ²ùĂ?íÇ ´³Ă‹ĂŁĂ‡Ă?Û³Ă?, èå½³ ϝÇ¡åùÛ³Ă?, ꝡ ÎÇù³Ă?åÍÛ³Ă?, ð³ýýÇ Ă˜ĂĄĂ­ĂŤĂ‡ĂŤĂ›ÂłĂ?

¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă?

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

Îü³¡ùí³Ă? Âż §ĂœĂŽ Ă?åɚÇĂ?¡Œ êäĂ€-åþÙ

Ă?Ê³Ă?Âł ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ?

Editors: Joost Broeren & Artur Vardikyan Staff: Maricke Nieuwdorp, Hugo Emmerzael Contributors: Karen Avetisyan, Artsvi Bakhchinyan, Roza Grigoryan

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

GOLDEN APRICOT DAILY 2016 | 15 JULY | DAY 6

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

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GOLDEN APRICOT DAILY DAY 6 | 15 JULY | 2016

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Âáõñù é»ÅÇëáñ ú½ç³Ý ²É÷»ñÝ ³é³çÇÝ ³Ý·³Ù ã¿, áñ ýÇÉÙ ¿ Ý»ñϳ۳óÝáõÙ §àëÏ» ÍÇñ³ÝÇݦ: ¸»μÛáõï³ÛÇÝ §²ßáõÝÁ¦ 2009-ÇÝ ³ñųݳó»É ¿ñ ¨° ÄÛáõñÇÇ Ñ³ïáõÏ Ùñó³Ý³ÏÇÝ, ¨° üÆäðºêêÆ Ùñó³Ý³ÏÇÝ, ÇëÏ 2012-ÇÝ §²å³·³Ý Ó·íáõÙ ¿ ѳí»ñŦ ýÇÉÙÝ Áݹ·ñÏí³Í ¿ñ ʳճñϳÛÇÝ ÙñóáõÛÃáõÙ: ì»ñçÇݪ §ø³Ùáõ Ñáõß»ñÁ¦ ýÇÉÙáõÙ ·áñÍáÕáõÃÛáõÝÝ»ñÁ ï»ÕÇ »Ý áõÝ»ÝáõÙ ºñÏñáñ¹ ³ß˳ñѳٳñïÇ Å³Ù³Ý³Ï: ²ñ³ÙÁ (úÝáõñ ê³Ûɳù) Éñ³·ñáÕ ¿, ÝϳñÇã ¨ åá»ï, áõÙ ëå³éÝáõÙ »Ý Ãáõñù³Ï³Ý Çß˳ÝáõÃÛáõÝÝ»ñÁ ëáí»ï³Ù»ï Ñá¹í³ÍÝ»ñÇ Ñ³Ù³ñ: ö³Ëã»Éáí êï³ÙμáõÉÇó` ѳÛïÝíáõÙ ¿ ÂáõñùdzÛÇ ¨ ÊáñÑñ¹³ÛÇÝ ìñ³ëï³ÝÇ ë³ÑÙ³ÝÇÝ ·ïÝíáÕ ÙÇ ·ÛáõÕáõÙ: ²ÛÅ٠ݳ Áݹ³Ù»ÝÁ å»ïù ¿ ëå³ëÇ, ÙÇÝ㨠ϳñÙÇñÁ Ýß³Ý ï³Ý, áñ ³ÝóáõÙÝ ³Ýíï³Ý· ¿: ²ÝóÝáõÙ »Ý ûñ»ñ, ß³μ³ÃÝ»ñ, ·áõó» ³ÙÇëÝ»ñ, μ³Ûó ²ñ³ÙÁ ¹»é ëå³ëáõÙ ¿ª ³ë»ë ù³í³ñ³ÝÇ ¨ ¹ñ³ËïÇ ÙÇç¨: §ø³Ùáõ Ñáõß»ñÁ¦ Ýϳñ³Ñ³Ý»É ¿ Â»á ²Ý·»ÉáåáõÉáëÇ í»ñçÇÝ ýÇÉÙ»ñÇ Ý߳ݳíáñ ÑáõÛÝ ûå»ñ³ïáñ ²Ý¹ñ»³ë êÇݳÝáëÁ: ²Ûëï»Õ ݳ ÝáõÛÝå»ë Ç óáõÛó ¿ ¹ÝáõÙ ³Ñé»ÉÇ μݳå³ïÏ»ñÝ»ñ Ýϳñ»Éáõ Çñ ï³Õ³Ý¹Á: ²ñ³ÙÝ ³ë»ë ÏáñãáõÙ ¿ ³Ûë »ñ»ñáÕ Ùáõ· ϳݳãÇ Ù»ç: ²ÝѳÛïÇ í³ËÁ Ñ»ï½Ñ»ï» ·ñ³íáõÙ ¿ Ýñ³Ý: º±ñμ ¿ ·Ý³Éáõ: ¶Ý³Éá±õ ¿ ³ñ¹Ûáù: ²ñÅ»± ·Ý³É: Æ í»ñçá ³Ýï³éÁ §çÝçáõÙ ¿¦ Ýñ³Ý ³Ûë ѳñó»ñÇ Ñ»ï: ²ì

GOLDEN APRICOT DAILY 2016 | 15 JULY | DAY 6

¸áõù Ç ëϽμ³Ý» ÙﳹDZñ ¿Çù »é³å³ïáõÙ Ýϳñ³Ñ³Ý»É ûÑñ³ÝÛ³Ý ï³ñμ»ñ ë»ñáõݹݻñÇ Ù³ëÇÝ: àã, ëϽμáõÙ Ùï³¹Çñ ¿Ç Ç٠ݳËáñ¹ »ñÏáõ ýÇÉÙ»ñÝ ³Ûë Ù»Ïáí ³Ù÷á÷»É ϳ٠óáõÛó ï³É Ù³ñ¹áõ ÏÛ³ÝùÇ ï³ñμ»ñ ÷áõÉ»ñÁ: ØdzÛÝ Ýϳñ³Ñ³ÝáõÙÝ»ñÇ Å³Ù³Ý³Ï Ñ³ëϳó³, áñ ¹³ í»ñ ¿ ³ÍíáõÙ »é³å³ïÙ³Ý: ÆÙ ³é³çÇÝ ýÇÉÙÇ Ñ³Ù³ñ »ë ã¿Ç áõ½áõÙ ³ß˳ï»É åñáý»ëÇáÝ³É ¹»ñ³ë³ÝÝ»ñÇ Ñ»ï, ³ÛÝå»ë áñ áñáß»óÇ ýÇÉÙ ëï»ÕÍ»É ¹»é³Ñ³ëÝ»ñÇ Ù³ëÇÝ: Ø»Ýù Ýϳñ³Ñ³Ý»É »Ýù »Ññ³ÝÇ Ñ³Ýñ³Ñ³Ûï óճٳë»ñÇó Ù»ÏáõÙ, áñÝ ³ë»ë ³í³Ý ÉÇÝÇ ù³Õ³ùÇ Ý»ñëáõÙ: î»ÕÇ μݳÏÇãÝ»ñÁ Ù»ÏÁ ÙÛáõëÇó Ù»Ïáõë³óí³Í »Ý ³åñáõÙ: ²Ûë Ù»ÝáõÃÛáõÝÁ ÙÇßï Ñ»ï³ùñùñ»É ¿ ÇÝÓ: ÆÝÓ Ñ³Ù³ñ ß³ï Ñ»ï³ùñùÇñ ¿ Ù³ñ¹Ï³Ýó Ùáõà ÏáÕÙÁ áõ ³ÛÝ, û ÇÝãå»ë »Ý Ýñ³Ýù ³ñÓ³·³ÝùáõÙ áñáß³ÏÇ ëáóÇ³É³Ï³Ý Çñ³íÇ׳ÏÝ»ñáõÙ: ä³ñáÝ ê³ý³ñÇÇ Ó»éݳ÷³ÛïÇ ÃËÏÃËÏáóÁ ųٳóáõÛóÇ ³ß˳ï³Ýù ¿ ÑÇß»óÝáõÙ: ØÇ Ï³¹ñáõÙ ¸áõù ÝáõÛÝÇëÏ óáõÛó »ù ï³ÉÇë, û ÇÝãå»ë ¿ ݳ ßñç³åïáõÛï ϳï³ñáõÙ ÙÇ Ï³éáõÛóÇ ßáõñç, áñÝ ³ë»ë ó³Ù³ù³Í ß³ïñí³Ý ÉÇÝÇ: ²Û¹ ϳ¹ñáõ٠ݳ ³ë»ë ϻݹ³ÝÇ Å³Ù³óáõÛó ÉÇÝÇ: ¸³ ëïÇåáõÙ ¿ Ù»½ Ùï³Í»É Æñ³Ýáõ٠ųٳݳÏÇ Ñ³ëϳóáõÃÛ³Ý Ù³ëÇÝ: ijٳݳÏÝ ³ÛÝï»Õ ϳ±Ý· ¿ ³éÝáõÙ, û ã³÷Çó ³ñ³· ¿ ÑáëáõÙ: Æñ³ÝÁ ß³ï ³ÕÙÏáï áõ Ù³ñ¹³ß³ï »ñÏÇñ ¿: ØÇßï ϳ ³ñ³·áõÃÛáõÝ áõ ù³ñá½ãáõÃÛáõÝ, μ³Ûó¨³ÛÝå»ë Ù³ñ¹Ï³Ýó ѳñ³μ»ñáõÃÛáõÝÝ»ñáõÙ ÙÇßï ë³éÝáõÃÛáõÝ Ï³: üÇÉÙáõÙ Ù»Ýù ï»ëÝáõÙ »Ýù, áñ ê³ý³ñÇÝ Çñ ï³ÝÁ áã ÙÇ ³ß˳ïáÕ Å³Ù³óáõÛó ãáõÝÇ, áñáíÑ»ï¨ Ýñ³Ý ųٳóáõÛó å»ïù ã¿, ųٳݳÏÁ Ýñ³ ѳٳñ áã ÙÇ Ý߳ݳÏáõÃÛáõÝ ãáõÝÇ: §ö³ñíǽáõÙ¦ ¹áõù ³ÝÁݹѳï ÉëáõÙ »ù ·É˳íáñ Ñ»ñáëÇ Ó³ÛÝÁ: ²Ûë ýÇÉÙáõÙ ¹áõù ÉëáõÙ »ù Ó»éݳ÷³ÛïÇ Ó³ÛÝÁ: ºë ß³ï Éáõñç »Ù í»ñ³μ»ñíáõÙ ÇÙ ýÇÉÙ»ñáõÙ ÑÝãáÕ Ó³ÛÝ»ñÇÝ: ºñμ»ù »ñ³ÅßïáõÃÛáõÝ ã»Ù ·áñͳÍáõÙ, áõ ß³ï Ù»Í áõß³¹ñáõÃÛáõÝ »Ù ¹³ñÓÝáõÙ, û ÇÝã »ù ¹áõù ÉëáõÙ ÇÙ ýÇÉÙ»ñáõÙ ª ݳ¨ ϳ¹ñÇó ¹áõñë:

INTERVIEW 5

سçǹ ´³ñ½»·³ñ Æñ³ÝóÇ é»ÅÇëáñ سçǹ ´³ñ½»·³ñÝ ³Ûë ï³ñÇ §àëÏ» ÍÇñ³ÝÇݦ ÏñÏݳÏÇ å³ñï³Ï³ÝáõÃÛáõÝÝ»ñ áõÝÇ: §²ÝÙ³ÑÁ¦, áñÇ åñá¹Ûáõë»ñÝ ¿, Ý»ñϳ۳óí³Í ¿ ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃáõÙ, ÇëÏ Ýñ³ Ñ»ÕÇÝ³Ï³Í §²Ù»Ý³ëáíáñ³Ï³Ý ù³Õ³ù³óǦ ýÇÉÙÝ ³Ûëûñ Ïóáõó³¹ñíÇ ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³ Íñ³·ñÇ ßñç³Ý³ÏáõÙ: ì»ñçÇÝÁ ûÑñ³ÝÛ³Ý ÏÛ³ÝùÁ å³ïÏ»ñáÕ »é³å³ïÙ³Ý í»ñçÇÝ Ù³ëÝ ¿. ´³ñ½»·³ñÇ Ë³Õ³ñϳÛÇÝ ¹»μÛáõïÁª §²ÝÓñ¨áï »Õ³Ý³ÏÝ»ñÁ¦, ÙÇ ¹»é³Ñ³ëÇ Ù³ëÇÝ ¿ñ, áñÁ å³Ûù³ñáõÙ ¿ Çñ ÍÝáÕÝ»ñÇ ³ÙáõëݳÉáõÍáõÃÛ³Ý ¹»Ù, ÇëÏ ¹ñ³Ý ѳçáñ¹³Í §ö³ñíǽÁ¦ óáõÛó ¿ ï³ÉÇë ÙÇ 50-³ÙÛ³ ïÕ³Ù³ñ¹áõ, áõÙ íéݹ»É »Ý ѳÛñ³Ï³Ý ï³ÝÇó: Üñ³ í»ñçÇÝ ýÇÉÙÁª §²Ù»Ý³ëáíáñ³Ï³Ý ù³Õ³ù³óÇݦ, ï³ñ»ó å³ñáÝ ê³ý³ñÇÇ Ù³ëÇÝ ¿, áí ï³é³åáõÙ ¿ ²ÉóѳÛÙ»ñÇ ÑÇí³Ý¹áõÃÛáõÝÇó: ´³ñ½»·³ñÁ ýÇÉÙÇ ëó»Ý³ñÁ ·ñ»ÉÇë ѳٳ·áñͳÏó»É ¿ Ý߳ݳíáñ æ³ý³ñ ö³Ý³ÑÇÇ Ñ»ï, áñÇ ýÇÉÙ»ñÝ Æñ³ÝáõÙ ³ñ·»Éí³Í »Ý: ²Û¹áõѳݹ»ñÓ, ýÇÉÙÇ Ó»é³·ÇñÝ ³í»ÉÇ ß³ï ´³ñ½»·³ñÇÝÝ ¿: ²Ûë »é³å³ïáõÙáí ݳ óáõÛó ¿ ï³ÉÇë Ù»½ ÏÛ³ÝùÇ ÷áõÉ»ñÝ áõ ³ÛÝ Ù»Ïáõë³óáõÙÁ, áñÁ ï³ñμ»ñ ë»ñáõݹݻñ ½·áõÙ »Ý Çñ»Ýó ÏÛ³ÝùÇ ÁÝóóùáõÙ: §Æñ³ÝÁ ß³ï Ù³ñ¹³ß³ï »ñÏÇñ ¿: ²ÛÝï»Õ ÙÇßï ³ñ³·áõÃÛáõÝ áõ ù³ñá½ãáõÃÛáõÝ Ï³: ´³Ûó¨³ÛÝå»ë Ù³ñ¹Ï³ÛÇÝ Ñ³ñ³μ»ñáõÃÛáõÝÝ»ñáõÙ ë³éÝáõÃÛáõÝ ¿É ϳ¦:

¸áõù ÝáõÛÝå»±ë ÝÙ³Ý ë³Ñٳݳ÷³ÏáõÙÝ»ñÇ »ù μ³Ëí»É: Æñ³Ý³Ï³Ý áëïÇϳÝáõÃÛ³Ý ¹»ñÁ Ò»ñ Ýáñ ýÇÉÙáõ٠ѳϳë³Ï³Ý ³ñÓ³·³Ýù ϳñáÕ ¿ñ ³é³ç³óÝ»É: ÆÙ ³é³çÇÝ ýÇÉÙÁ Æñ³ÝáõÙ ãÇ óáõó³¹ñí»É: ºñÏñáñ¹ ýÇÉÙÇë ѳٳñ »ë ëïÇåí³Í ¿Ç ãáñë ï³ñÇ ëå³ë»É ÙÇÝ㨠³ÛÝ Ïóáõó³¹ñí»ñ ÇÙ »ñÏñáõÙ: üÇÉÙÇ ³í³ñïÇ, áëïÇϳÝáõÃÛ³Ý Ý»ñϳÛáõÃÛ³Ý áõ æ³ý³ñÇ Ñ»ï Ç٠ѳٳ·áñͳÏóáõÃÛ³Ý å³ï׳éáí ³Ûë Ýáñ ýÇÉÙÇ óáõó³¹ñáõÙÁ ÝáõÛÝå»ë ³ñ·»Éí»É ¿: о

Mr. Safari’s walking cane taps on the floor, which sounds like a ticking clock. In one shot you even show him walking around a circular, concrete structure that looks like a dried up fountain. In that shot he looks like a living clock. It made me wonder about the passage of time in Iran. Is time standing still in or is it going too fast? Iran is a very crowded country, there’s always speed and agitation. But underneath all that there is coldness in people’s relationships. In the film we see that Safari has not a single working clock in his house, because he doesn’t need one – time doesn’t mean anything for him. In my previous film Parviz the sound you constantly hear is the breathing of the main character. In this film it’s the sound of the cane. I’m very invested in the sound of my films. I never use music, and I pay a lot of attention to what you hear from outside the frame as well. It’s not only the cane but also the sound of airplanes flying over Safari’s apartment. Does that symbolize the fact that he’s very close to leaving Iran to visit his son in Canada, and yet he never leaves? He lives very close to the airport, but he never goes there. He also starts his car every day out of habit, but he never drives anywhere. Every day he buys blessed bread and gives it to a man, but we don’t know who that man is and why Safari gives him the bread. Even for me as the director, there are a lot of things that I don’t know about him. That’s why this was a very difficult film for me to make. I refrained from using any sudden cuts from medium or wide shots to close-ups. I didn’t want to sensationalize anything, I just wanted to be a spectator of this man’s life. I wanted to be like the audience, I didn’t want to know everything about him. Alzheimer’s is very much like death itself. When someone gets Alzheimer’s he or she moves on to some other place and nobody recovers from it in order to tell us what it feels like to suffer from this illness. So I could only see it from the outside and I tried to capture that reality in my film.

üÇÉÙáõÙ áã ÙdzÛÝ Ó»éݳ÷³ÛïÇ Ó³ÛÝÝ ¿, ³Ûɨ ê³ý³ñÇÇ μݳϳñ³ÝÇ íñ³Ûáí ÃéãáÕ û¹³Ý³í»ñÇ: ܳ ß³ï Ùáï ¿ ³åñáõÙ û¹³Ý³í³Ï³Û³ÝÇÝ, μ³Ûó »ñμ»ù ³ÛÝï»Õ ãÇ ·ÝáõÙ: ܳ ݳ¨ ëáíáñáõÃÛáõÝÇó ¹ñ¹í³Íª ³Ù»Ý ûñ ·áñÍÇ ¿ ¹ÝáõÙ Çñ Ù»ù»Ý³Ý, μ³Ûó »ñμ»ù ãÇ í³ñáõÙ: ²Ù»Ý ûñ ·ÝáõÙ ¿ ѳó áõ ï³ÉÇë ÙÇ Ù³ñ¹áõ, μ³Ûó Ù»Ýù ã·Çï»Ýùª áí ¿ ³Û¹ Ù³ñ¹Á ¨ ÇÝãáõ ¿ ê³ý³ñÇÝ Ýñ³Ý ѳó ï³ÉÇë: ÜáõÛÝÇëÏ »ë Ýñ³ Ù³ëÇÝ ß³ï μ³Ý»ñ ã·Çï»Ù: ²Ñ³ û ÇÝãáõ ë³ ÇÝÓ Ñ³Ù³ñ μ³í³Ï³ÝÇÝ ¹Åí³ñ ýÇÉÙ ¿ñ: ºë Ëáõë³÷»É »Ù ó³Ýϳó³Í ³Ýëå³ë»ÉÇ ÷á÷áËáõÃÛáõÝÇóª ÙÇçÇÝ Ï³Ù É³ÛÝ Ï³¹ñ»ñÇó ÙÇÝ㨠Ëáßáñ åɳÝÝ»ñ: ºë ã¿Ç áõ½áõÙ ß»ßï»É áñ¨¿ μ³Ý, å³ñ½³å»ë áõ½áõÙ ¿Ç ³Ûë Ù³ñ¹áõ ÏÛ³Ýùáõ٠ѳݹÇë³ï»ë ÉÇÝ»É: àõ½áõÙ ¿Ç ¹ÇïáÕÇ ¹»ñáõÙ ÉÇÝ»É, ã¿Ç áõ½áõÙ ³Ù»Ý ÇÝã ÇÙ³Ý³É Ýñ³ Ù³ëÇÝ: ²ÉóѳÛÙ»ñÁ ß³ï ÝÙ³Ý ¿ Ñ»Ýó Ù³Ñí³Ý: ºñμ ÇÝã-áñ Ù»ÏÁ ÑÇí³Ý¹³ÝáõÙ ¿ ²ÉóѳÛÙ»ñáí, ݳ ÇÝã-áñ ³ÛÉ ³ß˳ñÑ ¿ ï»Õ³÷áËíáõÙ, áõ ¹ñ³ÝÇó áã áù ãÇ μáõÅíáõÙ, áñå»ë½Ç ϳñáճݳ å³ïÙ»É Ù»½, û ÇÝã ¿ñ ½·áõÙ, »ñμ ï³é³åáõÙ ¿ñ ³Û¹ ÑÇí³Ý¹áõÃÛáõÝÇó: ²ÛÝå»ë áñ »ë ϳñáÕ ¿Ç ¹³ ÙdzÛÝ ¹ñëÇó ï»ëÝ»É áõ »ë ÷áñÓ»É »Ù å³ïÏ»ñ»É ³Û¹ Çñ³Ï³ÝáõÃÛáõÝÝ ÇÙ ýÇÉÙáõÙ: êó»Ý³ñÇ Ñ³Ù³Ñ»ÕÇÝ³Ï ö³Ý³ÑÇÇÝ Æñ³ÝáõÙ ³ñ·»É»É »Ý ýÇÉÙ Ýϳñ³Ñ³Ý»É: Îå³ïÙ»±ù Ýñ³ Ñ»ï Ò»ñ ѳٳ·áñͳÏóáõÃÛ³Ý Ù³ëÇÝ: êó»Ý³ñÇ ëϽμÝ³Ï³Ý ï³ñμ»ñ³ÏÁ ÇÝùë »Ù ·ñ»É áõ Ñ»ïá »Ù Ëݹñ»É, áñ ݳ ѳٳ·áñͳÏóÇ ÇÝÓ Ñ»ï: æ³ý³ñÝ ÇÙ ÑÇÝ áõ Ùáï ÁÝÏ»ñÝ ¿, μ³Ûó ݳ˨³é³ç ݳ ÏÇÝá·áñÍÇã ¿, ³ÛÉ áã û ù³Õ³ù³Ï³Ý ·áñÍÇã: ܳ ÏÇÝá·áñÍÇã ¿, áí ·áñÍ áõÝÇ ëáóÇ³É³Ï³Ý ËݹÇñÝ»ñÇ, ·³Õ³÷³ñÝ»ñÇ áõ ·³Õ³÷³ñ³ËáëáõÃÛ³Ý Ñ»ï, ³ÛÝå»ë áñ áã áù Ýñ³Ý ãÇ Ï³ñáÕ Ï³Ý·Ý»óÝ»É: æ³ý³ñÁ ϳß˳ïÇ ó³Ýϳó³Í ѳݷ³Ù³ÝùáõÙ, ù³ÝÇ áñ ëÇñáõÙ ¿ ÏÇÝáÝ: ܳ ÏÇÝá ¿ñ Ýϳñ³Ñ³ÝáõÙ, »ñμ Ýñ³Ý ³ñ·»É»É ¿ÇÝ, ѳٳ·áñͳÏó»É ¿ áõñÇßÝ»ñÇ Ñ»ï áñå»ë ÙáÝï³ÅáÕ, ·ñáÕ ¨ ³ÛÉÝ: ܳ ³ñí»ëï³·»ï ¿ áõ ëÇñáõÙ ¿ ëï»Õͳ·áñÍ»É: ºë ϳñÍáõÙ »Ù, áñ ß³ï ¹³Å³Ý ¿ Ýñ³ ÝÙ³Ý Ù»ÏÇÝ ³ñ·»É»É ³ß˳ï»É, μ³Ûó Ù»Ýù å»ïù ¿ ÷áñÓ»Ýù ³Ûë å³ÛÙ³ÝÝ»ñáõÙ ³é³í»É³·áõÛÝë û·áõï ù³Õ»É ÏÇÝá ³Ý»Éáõ Ýñ³ ·Çï»ÉÇùÝ»ñÇó: ö³Ý³ÑÇݪ ødzéáëóÙÇÇ áõ ß³ï áõñÇßÝ»ñÇ ÝÙ³Ý, ѳٳß˳ñѳÛÇÝ ÏÇÝáÛÇ ³é³ç³ï³ñ ¹»Ùù»ñÇó ¿, ³ÛÝå»ë áñ ÇÝÓ Ñ³Ù³ñ Ù»Í å³ïÇí ¿ñ Ýñ³ Ñ»ï ѳٳ·áñͳÏó»ÉÁ:

Did you intend to make a trilogy about different generations in Teheran from the start? No, at first I hadn’t considered concluding my previous two films with this film, or showing the different steps of the cycle of human life. It was only during the filming of A Very Ordinary Citizen that I realized it had become a trilogy. For my first film I didn’t want to work with professional actors, so I decided to make a film about adolescents. So that’s why that film is about the Iranian youth. We shot the film in one of the famous areas of Teheran. There are these small cities within the city, where people live in chains of big apartment blocks. I made the film there because its inhabitants are seperated from the rest of the people. This loneliness was my subject, and it still is. The darker side of humanity and how we react in a certain social situations, that is very interesting to me.

Is that also why you left out a lot of facts and details, leaving Mr Safari as slightly unknowable, even for the audience? Yes, that was deliberate. After I wrote the screenplay with Jafar Panahi, I wanted to direct the film like a person who has Alzheimer’s. So I deliberately don’t explain too much, I just put some pieces out for the spectator to wander through the film. Although we watch mister Safari for a hundred minutes, there are still pieces of the puzzle missing for us.

Majid Barzegar Iranian filmmaker Majid Barzegar is doing double duty at GAIFF this year. The film Immortal which he produced (see page 6) is playing in the Feature Competition, and his own film A Very Ordinary Citizen will have its Yerevan Premiere today. The latter is the final part in a trilogy about life in Teheran. Barzegar’s feature debut Rainy Seasons followed a teenager struggling with his parents’ divorce, and follow-up Parviz showed a 50-year-old man who gets kicked out of his father’s house. His latest film A Very Ordinary Citizen is about the elderly Mr. Safari who suffers from Alzheimer’s. Barzegar collaborated with the great Jafar Panahi, who has been banned from making films in Iran, on the film’s screenplay. Still, this is very much a Barzegar film. With this trilogy he shows us the cycle of life and the isolation that each generation can experience throughout. “Iran is a very crowded country, there’s always speed and agitation. But underneath all of that there is coldness in people’s relationships.”

Panahi has been banned from making films in Iran. Can you talk about your collaboration with him? I wrote the first draft of this script myself and then I asked him to collaborate on it with me. Jafar is my oldest and best friend, but most of all he is a filmmaker. He’s not a politician; he’s not into politics. He’s a filmmaker who deals with social problems, ideas and ideology, so no-one can stop him. He will work under any circumstance, no matter what, because he loves cinema. He has been making films during his ban from filmmaking, and he has also collaborated with others as an editor, writer and much more. He’s an artist and he has to create. I think that it’s very cruel to forbid someone like him from working, but we have to make the most of it and profit from his knowledge of filmmaking. Panahi, just like Kiarostami and many others, is one of the gems of world cinema so it was an honour for me to work with him. Have you experienced these kinds of restrictions as well? The role of the Iranian police in this film could be controversial. My first film was not screened in Iran. For my second film I had to wait four years before it was shown in my country. Because of the ending, the presence of the police and my collaboration with Jafar, this new film is also banned from screening. HE

GOLDEN APRICOT DAILY DAY 6 | 15 JULY | 2016

6 REVIEWS

Between Purgatory and Heaven Memories of the Wind (Özcan Alper, Turkey/Germany/France/Georgia, 2016). Yerevan Premiere. 15-7 21:30 Moscow Cinema Red Hall.

Night and Day Fire at Sea (Gianfranco Rosi, Italy/France, 2016). Yerevan Premiere. 15-7 21:00 KinoPark. Gianfranco Rosi shot his documentary Fire at Sea over the course of several months on the Italian island of Lampedusa. This Mediterranean island made headlines in recent years as the landing site for hundreds of thousands of African and Middle Eastern refugees. The contradictory image of burning water in the film’s title – which is drawn from a World War II story in the film – symbolizes the current refugee crisis at the southern borders of Europe. The film itself hinges on another contradiction: that between night and day. In the nighttime scenes, we see refugees being rescued from rickety boats carrying dozens or even hundreds of starving and dehydrated people. We

The Impossibility of Dying Immortal (Seyed Hadi Mohaghegh, Iran, 2015). Feature Competition. 15-7 12:30, 19:00 Moscow Cinema Blue Hall. This feature film explores some of the cruelest phenomena of life – the relations of an ill man and his caregiver, as well as people’s suicidal tendencies – with a documentary’s rigor. Ayaz feels guilty for the death of his family and is constantly searching for ways to end his mental and physical suffering. But again and again, his suicide attempts are thwarted by his grandson Ebrahim’s timely interventions. Ebrahim is suffering too – he sacrifices all he can, afraid to lose another relative, even though Ayaz is alive only physically. Ebrahim is even ready to marry Narges, a teenager like him, believing that

follow rescue operations, with the first responders wrapped in masks and coveralls to protect themselves from the diseases and dangerous substances which are rampant on the ships. We see the refugees being registered, catalogued, photographed and cared for by a local doctor. In sharp contrast, Lampedusa by day is a much more tranquil place. The night’s terrors seem far away on the languid little island, where fishing is the primary occupation. The daytime scenes follow 12-year-old Samuele as he navigates life on Lampedusa. He mopes around the harbor shooting his slingshot, goes to sea with his fisherman father, and reluctantly does the homework for his English class. Rosi doesn’t shy away from intervening in the world he’s depicting. The most obvious example is perhaps the song “Fuocoammare” which gives the film it’s original Italian title. In one scene, Samuele’s

the marriage will bring some positivity to their miserable family life. The primal environment of an isolated Iranian village, far from the developed world, and the rigorous natural panoramas surrounding it only emphasize the tragedy of the film. The Iranian semi-desert reality, which might be familiar to some from Abbas Kiarostami’s Taste of Cherry (which also explores the subject of suicide), becomes a character in itself. The image of a lone tree which is repeatedly brought on screen truly reflects the themes of solitude, fate and resistance. There are many other objects which are used by the director as active agents in the drama: the deceased wife’s voice coming from a walkman; a strand of her hair kept in a pillow; Narges’ needlework. Immortal depicts the habits and lifestyle of the people living in the mountains. The detailed wedding scene of Ebrahim and Narges, the healing rituals, the final rites for the dying man: they all add authenticity and credibility to this feature film. AB

Graveyard Playground

A Whale of a Time The Archipelago (Benjamin Huguet, United Kingdom, 2016). Documentary Competition. 15-7 10:00, 16:00 Moscow Cinema Small Hall 1. Tired of waiting for Google Streetview to map their archipelago, the inhabitants of the Faroe Islands are using a sheep with a camera to do the job themselves. In a beautiful play on words they call their project “Sheepview”. This unusual relationship between old methods and new technology is at the heart of the remote islands, a self-governing country that is part of Denmark. It’s also the main subject of The Archipelago, an exciting mid-length documentary capturing the clash between old and new, local and global. Sheep only play a minor part in The Archipelago though, as director Benjamin Huguet has found a more sensitive subject to capture on film: the hunting of pilot whales for their precious meat. In a scene that animal lovers might find too gruesome to watch, Huguet shows us how the Faroese hunt the whales on the shores of their picturesque island. The camera is just inches away when the

grandmother calls the local radio station to request this song, dedicating it to the island’s fishermen. But in fact the song was written specifically for this film by composer Giuseppe Fragapane. The film also employs a very deliberate shooting style, which at times feels like fiction much more than documentary. But these fictional or fiction-like elements only work to further enhance the very real drama of the refugees and Samuele’s much more trifling troubles. Because we get to know him and his family, Samuele’s lazy eye has just as big an impact as the “fire at sea”. By spending so much time with the relatively insignificant worries of a 12-year-old boy, Rosi confronts us with what we all seem to do in the face of the overwhelming magnitude of the refugee crisis: look away. By reducing the refugee crisis to numbers – however overwhelming those numbers are – we take away these refugees’ humanity, choosing to see them as a group instead of as individuals. But that’s turned on its head in the film’s gut-wrenching final half hour, when Samuele ventures into the night and Rosi shows us the refugee crisis in the harshest light of day. JB

Turkish director Özcan Alper is no stranger to the Golden Apricot IFF. His first film Autumn won both a Special Jury Prize and the FIPRESCI award at the 2009 festival, and his film Future Lasts Forever screened in Feature Competition in 2012. His latest film Memories of the Wind takes place during World War II. Aram (Onur Saylak) is a journalist, painter and poet who’s being threatened by the Turkish government for his pro-Soviet writings. Fearing for his life he flees Istanbul and ends up in a village in the border between Turkey and Soviet Georgia. Now all he has to do is wait for the Reds to give him a sign that it’s safe to cross. Days pass, weeks, maybe even months, and Aram is still waiting, stuck between purgatory and heaven, haunted by flashbacks of the massacre that took place in his youth. Memories of the Wind was shot by Greek cinematographer Andreas Sinanos, renowned for his masterful work on latter-day Theo Angelopoulos films. Here he also displays his talent of painting with enormous landscapes. Aram’s figure seems lost in this staggering dark green wilderness, making him nearly indistinguishable in the frame. The fear of the unknown slowly creeps up on him. When will he leave? Will he leave at all? Should he leave? Eventually the woods erase him along with these questions, making him its own. AV

The Other Life of Charon (Ioana Turcan, Romania/USA, 2015). Documentary Competition. 15-7 10:00, 16:00 Moscow Cinema Small Hall 1. blood starts gushing and people bring in their haul. Huguet never judges his subjects though. In fact, he shows that the people of the archipelago have a very conscious relationship with nature. It’s other people that do the accusing. The international NGO Sea Shepherd takes notice of the killing of the whales and invades the island with a bunch of volunteers to put pressure on the Faroese. The volunteers never speak to the filmmakers, but their presence makes for an interesting image: with pirate-like black clothes and flags they represent the modernised world, encroaching on the traditional views of the island’s inhabitants. Just as they did with Sheepview, they have to find a way to deal with the new, while respecting the old. Maybe a play on words will not be enough for them this time. HE

Romanian filmmaker Ioana Turcan had long felt the urge to make films that would humanize a marginalized community in her country. She wanted to move away from showing the Roma as the wellknown stereotype, often described with the derogatory term “gypsies”, and give them a human face instead. The graduate student manages to do so in a calm, observational way in her film The Other Life of Charon. She doesn’t use interviews, nor does she comment on the situations she shows or explain anything. Turcan exclusively uses slow pans or fixed shots, so there is a lot of time to dive into the meaningful images. Turcan sets up her camera at a cemetery in a small town, where four Roma men dig graves day

in, day out – sometimes sober, sometimes not so much. It’s wintertime, so they try to keep warm by drinking moonshine. The ominous soundtrack and grim, perpetually grey and misty skies signal their harsh circumstances. They live with their families at the edge of the graveyard, sometimes turning this sad place into a playground for their kids. They run around the gravestones giggling and ask mourning visitors for some candy. Sometimes they’re lucky, but they’re also confronted with blatant racism. “They spread like rabbits”, a lady grumbles. “I came to visit the dead, not to give them stuff!” But there’s also the other side of their existence: in the safety of their small home, the strength of their family life shines through. Their loved ones are obviously the most valuable things in their lives. The beauty of it is shown in a small scene of a toddler wandering around the house, with the older family members obviously enjoying the antics of the little one. Similarly, when the men are working the rockhard soil, their families gather for a break, enjoying each other’s company. Just for a minute, being looked down on by society seems far away. MN

GOLDEN APRICOT DAILY 2016 | 15 JULY | DAY 6

NEWS 7

PROUD TO BE BASQUE With Amama: When a Tree Falls, Basque director Asier Altuna has made a realistic drama with fable-like elements about a struggling peasant family. The depopulation of the Basque countryside and the growing generation gap are dominant themes in the film. “There’s a crisis in present-day Basque agriculture. All the young people are moving to the city to work.” The Basque region, a semi-autonomous part of northern Spain, forms the beautiful backdrop for Altuna’s drama, which was inspired by a poem by Basque writer Kirmen Uribe. This poem describes a clash between a farmer and his daughter who is moving to the city. Altuna: “This impressive tale of a traditional, rude and violent man opposing his freespirited daughter touched me deeply. It says a lot about us as a people. I was born in the Basque countryside myself, so I looked for a farm that had the same atmosphere I remember from my childhood.” However, Altuna did not want the film to be a recreation of his own past, so he chose a young woman as the central character: “Just like in the poem.” Amama: When a Tree Falls is a mix of realistic elements and fable-like, symbolic sequences, in which

Altuna uses animated sequences and powerful Super8images. “My whole team tried to dissuade me from working with Super8 at first. They thought it was too much hassle, but I fought for it. Shooting on Super8 is fantastic, you feel so free! It was a very important experience. Not only the shooting itself but also the editing, with one part very narrative, and the Super8 sequences playing more with freedom and fantasy.” Altuna feels privileged because he can make films in both Spanish and the Basque language, even more so because there are very few people left who speak Basque. “I do identify myself as a Basque citizen. I grew up in a Basque family and I studied there, so I feel proud to be from there.” But his film reflects what is happening in real life: “All the young people are moving to the city to work.” Up until ten years ago, the same was happening with Basque filmmakers. “Big names in Basque cinema, such as Imanol Uribe and Julio Médem, ended up working in Madrid. The new generation is staying in Basque Country to make films, although there’s little money to do so.” There is no big TV channel around ordering commercial comedies to support the industry, but this might be a blessing in disguise, says Altuna. “Artistically, we are very free: we can still film from the heart.” MN

CONNECTING GENERATIONS With Ungiven, Croatian director Branko Schmidt has created a drama about an elderly couple trying to get out of a crisis in their relationship. Schmidt invites the audience to watch their behavioral and emotional metamorphosis throughout four seasons. Schmidt has been working as a director since 1981, and thus forms a link between different generations of filmmakers. “There was a foreign film critic who watched all my films and wrote a book about me – the only book about Croatian cinema written by a foreign author. He described me as a connecting link between three generations of Croatian filmmakers, which was a great compliment. I developed under the great masters who worked in the 1950s and 1960s, but I’m also lucky enough to continue into the digital era.” When we think of cinema from the former Yugoslav countries, we often think of political movies or films with topics connected to war.

Schmidt: “This is terrible stereotype: we also have a lot of great comedies and social dramas. Perhaps the stereotype stems from the fact that some of the bestknown films have this background, but it is certainly not a general tendency.” With Ungiven, Schmidt becomes one of the few directors to focus on elderly characters. “Besides

Ungiven my screenwriter and me are also developing a screenplay about a 6-year-old girl. Both the elderly and children are not filmed so often, maybe because these film would not be as successful as those with adult characters having sex or something sensational like that. Also, it is very difficult to work with children, as well as with old men! If

WHEN CINEMA AND ARCHITECTURE COLLIDE During yesterday's Master Class, Iranian actor Homayoun Ershadi spoke on his collaboration with director Abbas Kiarostami and the connection between his two careers in cinema and architecture. Before he was discovered by Kiarostami, the Iranian actor was an accomplished architect. His acting career only started late in his life, after he became famous playing the lead role in Kiarostami’s 1997 Palm d’Or winner Taste of Cherry. Ershadi is a member of this year’s GAIFF Feature Competition jury, and also plays one of the leading roles in Armenian Panorama contestant The Last Inhabitant. “I’m very touched to be here, in this city that my grand master Kiarostami visited often.” Speaking of his doscovery by Kiarostami, Ershadi explained: “He saw me when I was in my car in traffic. He taught me that film is an endlessly large medium. Everything must be learned from the bottom up, so to work in film one must be very knowledgeable and understand a thing or two about art. There is definitely a similarity between film and architecture: in both cases we’re dealing with locations and light.” RG

you make a wrong choice, nobody can help you. Not even God.” Another recent film to observe the relationships between an older couple was Michael Haneke’s Love, which won both the Palme d’Or and an Oscar for Best Foreign Film. But Schmidt was in no way intimidated by the high standard set by Haneke. “Love is a great film, for sure, but I only saw it after I made Ungiven. There were a lot of inventors who worked on the same things simultaneously without knowing about each other, too. Besides, we used very different approaches. For example, Haneke’s camera is static while I shot the film from the shoulder.” Ungiven takes place over four seasons, which is a common task for students at film schools. Does Schmidt have any advice for young filmmakers faced with this challenge? “Pray to God”, he laughs. “There can be no four-season film without luck.” KA Ungiven (Branko Schmidt, Croatia, 2015). Feature Competition. 15-7 17:00 Moscow Cinema Blue Hall.

Master Class: Andrei Lashak 15:00, AGBU Center. Russian reporter Andrey Loshak will give today’s Master Class. He is the host of the investigative TV show Profession: Journalist and directed several short films about the nominees of the Aurora Prize for Awakening Humanity, a humanitarian award founded in memory of the victims of the Armenian Genocide.

Yerevan Night 21:00, Boghosyan Gardens. This year’s final open-air screening at the “Lover’s Park” will be another film from the Shakespeare Lives in Film program: Derek Jarman’s punky adaptation of The Tempest.

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

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