Golden Apricot Daily - 2017, Day 6

Page 1

FRIDAY JULY 14, 2017

DAILY

DAY 6

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DON'T BE A SQUARE «ՔԱՌԱԿՈՒՍԻ» ԸՆԿԱԼՈՒՄ

THE SQUARE - p.6 «ՔԱՌԱԿՈՒՍԻ» - էջ.4 ì²ðäºî²ò ¸²ê. êÆèà ¶ºè² §ºÔÆòÆ ÈàôÚê¦` îƶð²Ü زÜêàôðÚ²ÜÆÜ ¿ç 3

²Üîºê²ÜºÈÆ ´²ÜìàðÆ ÎÚ²ÜøÀ زð¸À زð¸àôÜ ¶²ÚÈ ¾ ¿ç 4

ÚàôæÆÜ øàð вðò²¼ðàôÚò

THE LIFE OF AN INVISIBLE WORKER DOG EAT DOG WORLD ¿ç/p. 5

INTERVIEW

EUGENE CORR

p. 6

CIRO GUERRA MASTER CLASS LET THERE BE LIGHT FOR TIGRAN MANSURYAN p. 7

GOLDEN APRICOT DAILY DAY 6 | 14 JULY | 2017

2 ĂŒð²œĂ†Ă°/ PROGRAM Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐŠ Ő…Ő? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, BLUE HALL 10:00 / . ,

ArĂĄbia/dir. Affonso UchĂ´a, JoĂŁo Dumans

14.07 Bra, 96’ FC, 16+

Lang.: Portuguese Subt.: English

21:00

; 8 / . | $ " Voices of Light /dir. Hrant Vardanyan ÂŤ! Âť/ . ' ( " He Said “Mommyâ€?/dir. Arsen Đ?gadjanyan

12:30

/ . The Nest of the Turtledove /dir. Taras Tkachenko

Ukr, 103’ FC, 18+

Lang.: Ukrainian/ Italian Subt.: English

< ?X ~ > CINEMA STAR

14:30

/ . ,

ArĂĄbia/dir. Affonso UchĂ´a, JoĂŁo Dumans

Bra, 96’ FC, 16+

Lang.: Portuguese Subt.: English

18:00

„

/ . } Z$ ~ " Those from the Shore/dir. Tamara Stepanyan

16:30

/ . Western /dir. Valeska Grisebach

Deu/Bul/Aut, Lang.: German/Bulgarian 119’, FC,16+ Subt.: English and Armenian

20:00

19:00

/ . Sarajevo Songs of Woe /dir. Fred Kelemen

BiH/Deu, Lang.: Bosnian/English 140’, FC, 16+ Subt.: English and Armenian

Â…

/ . : & In the Fade /dir. Fatih Akin

21:00

/ . ! " The Other Side of Hope /dir. Aki Kaurismäki

Fin/Deu, 98’ Lang.: Finnish/English/ FC, 16+ Arabic/Swedish Subt.: English and Armenian

Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, ÔżÔąŐ?Ő„ÔťŐ? Ô´ÔąŐ€ÔźÔťŐƒ MOSCOW CINEMA, RED HALL 10:00 / . # $ " Donald Cried/ dir. Kris Avedisian 12:30

/ . % & " Stranger/dir. Panos Aprahamian ÂŤ! Âť/ . ' ( " He Said “Mommyâ€?/dir. Arsen Đ?gadjanyan

15:00

Deu/Ita, 15’ DC, 12+ Rus/Geo, 17’, AP, 12+

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

Fra/Arm/ Lbn, 84’, DC, AP, 12+ Deu/Fra, 106’, YP, 16+

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

-< "= >KINOPARK 20:30

Fra, 107’ AP, 18+

Lang.: French Subt.: English and Armenian

Rus, 5’ AU, 12+ UK, 109’ BW, 12+

Lang.: Armenian

X + ! % / . " ` Dr. Muhammad Darwish /dir. Andrei Loshak

Rus, 5’ AU, 12+

Lang.: Armenian

½/ . = # Arto ½/dir. Armen Ronov

Arm, 24’ DC, 12+

Lang.: Armenian Subt.: English

Rus, 5’ AU 12+ Arm, 82’ T , 12+

Lang.: Armenian

Arm, 5’ AU, 12+ Arm, 137’ T, 12+

Lang.: Armenian

Arm, 5’ AU, 12+

Lang.: Armenian

? ! / . ^ The Double Lover/dir. François Ozon

?>? @ *<F?> ?> ="Q" @ @*< ?>"UX YEREVAN NIGHTS AT POGHOSYAN GARDENS USA, 85’ AP, 18+

Lang.: English Subt.: Armenian

Lbn, 28’ AP, 12+

Lang.: Armenian Subt.: English

21:00

X # / . " ` Dr. Denis Mukwege /dir. Andrei Loshak < [\ ] . %. + / . q = : How to Change the World/dir. Jerry Rothwell

Lang.: English

Rus/Geo, Lang.: Russian/Georgian 17’, AP, 12+ Subt.: English and Armenian

" # !/ . * - ' " Where Are We Going/ dir. Grigor Poghosyan

Arm, 21’ AP, 12+

Lang.: Armenian Subt.: English

/ . : . ! The Heart of Nuba/dir. Kenneth sA. Carlson

USA, 85’ AU, 12+

Lang.: English Subt.: Armenian

# # / . ; ( USA/Cub, Ghost Town to Havana/dir. Eugene Corr 86’, YP, 12+ 19:00 $ % # # & / . Rus/Arm, $" " < 73’, YP Six Musicians and the City/ dir. Tatiana Daniliyants 12+ 21:00 ' ( / . = > : Swe/Deu/ The Square/ dir. Ruben Ă–stlund Fra/Dnk, 42’ YP, 12+ Ő„ŐˆŐ?ÔżŐŽÔą ÔżÔťŐ†ŐˆÔšÔąŐ?Ő?ŐˆŐ†, Ő“ŐˆŐ”Ő? Ô´ÔąŐ€ÔźÔťŐƒ 1 MOSCOW CINEMA, SMALL HALL 1 10:00 ) & / . ; " -

Dom/Fra, Jeffrey /dir. Yanillys PÊrez 78’, DC, 12+ 17:00

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

Lang.: Spanish Subt.: English and Armenian

?>? @ *<F?> ?> =?> @< > = > -"UX YEREVAN NIGHTS AT OPERA SQUARE 21:00

?>? @ *<F?> ?> - - "UX YEREVAN NIGHTS AT CASCADE 21:00

` < z ! / . " ` Fartuun Adan and Ilwan Elman/dir. Andrei Loshak | ! } / . Z * " { " " White Dreams/dir. Sergey Israelyan

Lang.: Armenian

?>? @ *<F?> ?> ÂŤ @ Âť -/~ @*"UX YEREVAN NIGHTS AT HAYASTAN CINEMA GARDEN 21:00

12:00, *

/ . ?# $ * @ 19:00 Village People /dir. Tzvetan Dragnev ' +!

/ . M ! N Walking Spark /dir. Marcin Kopeć 15:00 + / . (- N $ X " Salt and Bread /dir. Arch-Aspet Shermazanyan - ! . 8 / . * Z [ Red Apples /dir. George Sikharulidze

Lang.:Bulgarian Subt.: English and Armenian Lang.: Polish Subt.: English and Armenian Lang.: Armenia Subt.: English Lang.: Armenian Subt.: English

Bul, 66’ DC, 12+ Pol, 51’ DC, 12+ Arm/Rus, 20’, AP, 12+ Arm/Geo/ USA, 15’ AP, 12+

) ! & / . | #& " Jamila Afghani /dir. Vardan Hovhannisyan , ! / . # :" Hello, It is Me! /dir. Frunze Dovlatyan

Lang.: Armenian

?>? @ *<F?> ?> ? < @*"UX YEREVAN NIGHTS AT NANSEN GARDEN 21:00

~ ! ' / . | #& " Dr Tom Catena /dir. Vardan Hovhannisyan $ % # # & / . $" " < Six Musicians and the City/dir.Tatiana Daniliyants

Rus/Arm, 73’, YP 12+

Lang.: Armenian/Russian Subt.: English

) & / . ; " -

Jeffrey /dir. Yanillys PĂŠrez Meeting with the director

Dom/Fra, 78’, DC 12+

Lang.: Spanish Subt.: English and Armenian

UK, 100’ BW , 12+

Lang.: English

~"UX" TUMO 19:45

17:00

; % / . & \ $ " Strokes of Light/ dir. Vahe Khachatryan / . $ " # Daniel/ dir. Anastazja DÄ…browska ) & / . ; " -

Jeffrey /dir. Yanillys PĂŠrez

Lang.: Armenian Subt.: English

USA, 57’ AP, 12+ Pol, 24’ DC, 12+ Dom/Fra, 78’, DC, 12+

Lang.: Polish Subt.: English and Armenian Lang.: Spanish Subt.: English and Armenian

@-‚"U - X ; > RUSSIAN-ARMENIAN UNIVERSITY 16:00

< [\ ] . %. + / . q = : How to Change the World/dir. Jerry Rothwell

GOLDEN APRICOT DAILY ĂŠĂ™r³¡Ă‡ĂąĂ?ù` ĂšĂĄĂŤĂƒ ´ùåùĂ?-Ă?³ÛïĂ?Ă‹Âł, ²ùĂƒåþù ϳùšĂ‡Ă?Û³Ă? ²Ă&#x;Ă‹³ï³Ă?³½Ă™` ĂŞÂłĂ&#x;Âł ĂŽåþïÍÇù, Ă?Ă›åþ¡å žĂ™ù½³Ă‰, ĂŽ³ùĂ? ²íïÇÍÛ³Ă? Ă?ÕÇĂ?ÂłĂ?Ă?ùª èå½³ ϝÇ¡åùÛ³Ă?, ²ùĂ?íÇ ´³Ă‹ĂŁĂ‡Ă?Û³Ă? ĂˆåþͳĂ?Ă?³ùÇãª Ă˜ÂłĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă? ĂŞĂąr³¡ùÇãª ĂŽ³ùĂ? ²Í³ïùÛ³Ă?

Ă‚³ù¡Ă™ÂłĂ?ÇãĂ?ùª ĂˆåþÍÇĂ?Âť Ă?ĂĄĂ­Ă‘ÂłĂ?Ă?ÇÍÛ³Ă?, Ÿ³ùÇĂ?Âť ê³ý³ùÛ³Ă? ¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă? Ă?Ê³Ă?Âł ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ? Îü³¡ùí³Ă? Âż §ĂœĂŽ Ă?åɚÇĂ?¡Œ êäĂ€-åþÙ

Editors: Joost Broeren-Huitenga & Artur Vardikyan Staff: Hugo Emmerzael, Sasja Koetsier, Karen Avetisyan Contributors: Roza Grigoryan, Artsvi Bakhchinyan

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

GOLDEN APRICOT DAILY 2017 | 14 JULY | DAY 6

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3 §²íñáñ³ÛǦ ýÇÉÙ»ñÁ ²é³çÇÝ ³Ý·³Ù 2016-ÇÝ ßÝáñÑí³Í §²íñáñ³¦ Ùñó³Ý³ÏÁ ïñíáõÙ ¿ ³ÛÝ ³ÝѳïÝ»ñÇÝ, áíù»ñ, íï³Ý·»Éáí Çñ»Ýó, áõñÇßÝ»ñÇÝ ³åñ»Éáõ Ñݳñ³íáñáõÃÛáõÝ »Ý ÁÝÓ»éáõÙ: ö³é³ïáÝÁ ϳñ׳ٻïñ³ÅÝ»ñ ¿ óáõó³¹ñáõÙ Ùñó³Ý³ÏÇ ráÉáñ 6 ѳí³ÏÝáñ¹Ý»ñǪ æ³ÙÇɳ ²ýÕ³ÝÇÇ, ÂáÙ ø³ÃÇݳÛÇ, Øáõѳٳ¹ ¸³ñíÇßÇ, ¸»ÝÇë ØáõÏí»·»Ç, ü³ñÃáõÝ ²¹³ÝÇ ¨ ÆÉí³¹ ¾ÉÙ³ÝÇ Ù³ëÇÝ: ´³óÇ ³Û¹ª 15:00-ÇÝ §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³ñÙÇñ ¹³ÑÉÇ×áõÙ Çñ »ñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³Ý Ïáõݻݳ §Üáõr³ÛÇ ëÇñïÁ¦ Édzٻïñ³Å í³í»ñ³·ñáõÃÛáõÝÁ, áñÁ å³ïÙáõÙ ¿ ³Ûë ï³ñÇ Ùñó³Ý³ÏÇÝ ³ñųݳó³Í rÅÇßÏ ÂáÙ ø³ÃÇݳÛǪ êáõ¹³Ýáõ٠ϳï³ñ³Í ³ß˳ï³ÝùÇ Ù³ëÇÝ:

§ÎÆÜàÜ ØƲÚÜ ä²îØàôÂÚàôÜ ä²îغÈÀ ⾦ ʳճñϳÛÇÝ ÅÛáõñÇÇ ³Ý¹³Ù êÇéá ¶»é³Ý, áí »ñ»Ï í³ñå»ï³ó ¹³ë í³ñ»ó дÀØ ¹³ÑÉÇ×áõÙ, Çñ ¹»rÛáõï³ÛÇÝ §Â³÷³éáÕ ëïí»ñÝ»ñ¦ ýÇÉÙáí Ù³ëݳÏó»É ¿ ÁݹѳÝáõñ ³éÙ³Ùr 60 ÏÇÝá÷³é³ïáÝÇ, ³Û¹ ÃíáõÙª ê³Ý ê»r³ëïdzÝáõÙ, γñó˻ݳÛáõÙ, ì³ñß³í³ÛáõÙ: ²Û¹ ÏÇÝáÝϳñáí »ñÇï³ë³ñ¹ ÏáÉáõÙrdzóÇ é»ÅÇëáñÁ ѳñûó ׳ݳå³ñÑÝ Çñ ѳçáñ¹ »ñÏáõ ýÇÉÙ»ñÇ ëï»ÕÍÙ³Ý Ñ³Ù³ñ: ì»ñçÇÝÁª §úÓÇ ·ñÏáõÙ¦-Á, áã ÙdzÛÝ 2015-ÇÝ ³ñųݳó³í §àëÏ» ÍÇñ³ÝǦ ·É˳íáñ Ùñó³Ý³ÏÇÝ, ³Ûɨ Ñ»ïá ³é³ç³¹ñí»ó ³Ù»ñÇÏÛ³Ý úëϳñ Ùñó³Ý³ÏÇÝ: ê³Ï³ÛÝ, ·áõó»¨, »Ã» ãÉÇÝ»ñ r³ËïÇ ùٳѳ×áõÛùÁ, ³Ûë ³Ù»ÝÁ ϳñáÕ ¿ñ ¨ ãÇñ³Ï³Ý³Ý³É. í³ñå»ï³ó ¹³ëÇ ÁÝóóùáõÙ é»ÅÇëáñÁ Ëáë-

ïáí³Ý»ó, áñ ¹»rÛáõï³ÛÇÝ ýÇÉÙÁ Ýϳñ³Ñ³Ý»É ¿ ß³ï ÷áùñ rÛáõç»áí, ÇëÏ ýÇÉÙÇ ëï»ÕÍÙ³Ý Ñ³Ù³ñ ·áõÙ³ñ ¿ ß³Ñ»É §à±í ¿ áõ½áõÙ ¹³éÝ³É ÙÇÉÇáݳï»ñ¦-Ç ÝÙ³Ý Ñ³Õáñ¹³ß³ñáõÙ: §3000 ¹áɳñ ߳ѻóÇ, áñÝ áõÕÕ»óÇ ýÇÉÙ Ýϳñ³Ñ³Ý»Éáõݦ,³ë³ó ݳ: §ÐÇÙÝ³Ï³Ý ù³Õ³Í ¹³ëë ³ÛÝ ¿ñ, áñ »ñr Ù³ñ¹ÇÏ Ë³Ý¹³í³é »Ý ³ë»ÉÇùÇ ÝϳïÙ³Ùr ¨ ýÇÉÙÁ »Ï³Ùáõï ëï³Ý³Éáõ ѳٳñ ã»Ý ëï»ÕÍáõÙ, ³å³ Ûáõñ³Ñ³ïáõÏ ³ñ¹ÛáõÝù ¿ ëï³óíáõÙ: гÕóѳñ»óÇ ½ñá rÛáõç»áí ýÇÉÙ Ýϳñ³Ñ³Ý»Éáõ ÷áñÓ³éáõÃÛáõÝÁ` ÙÇ r³Ý, áñ ã»Ù áõ½»Ý³ ÏñÏÝ»É: ´³í³Ï³Ý ͳÝñ íÇ׳ÏáõÙ ¿Ç, r³Ûó áõñ³Ë ¿Ç, áñ ϳñáÕ³ó³ ß³ï ϳñ¨áñ r³Ý å³ïٻɦ: è»ÅÇëáñÁ ÷³ëïáõÙ ¿, áñ Ñ³×³Ë ³Ûë ϳ٠³ÛÝ Ù³ñ¹áõÝ ³ëáõÙ »Ý, û ÇÝãåÇëÇÝ åÇïÇ Ý³ ÉÇÝÇ, ÇÝãå»ë å»ïù ¿ ³ß˳ïÇ, ë³Ï³ÛÝ ³Û¹åÇëáí ѳݷÇëï ϳñ»ÉÇ ¿ ß»Õí»É ÁÝïñ³Í áõÕáõó: §ä»ïù ¿ ë»÷³Ï³Ý áõÕÇÝ Ï»ñï»É, ³Ý»É ³ÛÝ, ÇÝã Ý»ñëÇó¹ ¿ ·³ÉÇë¦,-íëï³Ñ»óñ»ó ݳ:

¶»é³Ý Ù»Í ÉñçáõÃÛ³Ùr ¿ í»ñ³r»ñíáõÙ Çñ Ûáõñ³ù³ÝãÛáõñ Ýáñ ýÇÉÙÇ á×Ç Ó¨³íáñÙ³ÝÁ. §àõ½áõÙ »Ù, áñ ¹ñ³Ýù ³ñï³ùݳå»ë ß³ï ï³ñr»ñ ÉÇÝ»Ý, r³Ûó Ýñ³Ýó ÙÇç¨ Ï³åÁ ÉÇÝÇ ß³ï Ëáñ áõ áã ³ÏÝѳÛï¦: ²å³ ¶»é³Ýª ѳí»É»ó. §ÆÝÓ Ñ³Ù³ñ Ñ»ï³ùñùÇñ ãÇ ÉÇÝÇ ÙdzÝÙ³Ý ýÇÉÙ»ñ Ýϳñ»ÉÁ: ÆÙ å³ñ³·³ÛáõÙ ³Ù»Ý ýÇÉÙ Ýáñ áõÕÇ, ³ñϳÍ, ÷áñÓ³éáõÃÛáõÝ å»ïù ¿ ÉÇÝÇ: ÎÇÝáÝ ï³ñr»ñ ï³ññ»ñÇó ¿ r³Õϳó³Í, ¨ ¹ñ³Ýù ï³ñr»ñ Ï»ñå ѳٳ¹ñ»ÉÝ ÇÝÓ Ñ³Ù³ñ ß³ï Ñ»ï³ùñùÇñ ¿: ÆÝÓ Ññ³åáõñáõÙ ¿ ÏÇÝáÝ, ù³ÝÇ áñ ³ÛÝ ÃáõÛÉ ¿ ï³ÉÇë å³ïÙ»É å³ïÙáõÃÛáõÝÝ»ñ: ê³Ï³ÛÝ ÏÇÝáÝ ÙdzÛÝ å³ïÙáõÃÛáõÝ å³ïÙ»ÉÁ ã¿. ³ÛÝ ³Ýëå³é Ñݳñ³íáñáõÃÛáõÝÝ»ñ áõÝǦ: ²Ý¹ñ³¹³éݳÉáí Çñ ѳÛñ»ÝÇùÇ ÏÇÝá³ñí»ëïÇ ½³ñ·³óÙ³Ý ÙÇïáõÙÝ»ñÇݪ é»ÅÇëáñÁ ϳñÍáõÙ ¿, áñ §ÏáÉáõÙrÇ³Ï³Ý ÏÇÝáÝ ¹»é »ñÇï³ë³ñ¹ ¿, Çñ §»ë¦-Ç ÷ÝïñïáõùÇ Ù»ç ¿: ²Ù»Ý ÇÝã ¹»é ³éç¨áõÙ ¿¦: è¶

ì³ñå»ï³ó ¹³ë ÎÇÝá·»ï, γݳ¹³ÛÇ ÏÇÝáÛÇ ÇÝëïÇïáõïÇ ïÝûñ»Ý ÂáÙ ØùëáñÉÇÇ í³ñå»ïáõÃÛ³Ý ¹³ëÁ ϳÝóϳóíÇ ³Ûëûñª ųÙÁ 15:00-ÇÝ, дÀØ Ï»ÝïñáÝáõÙ (Ø»ÉÇù-²¹³ÙÛ³Ý 2/2):

¸³ë³ËáëáõÃÛáõÝ. ²ÝïáÝ ¸áÉÇÝ ì³ÕÁª »ñ»ÏáÛ³Ý 19:00, §Èáýï¦-áõÙ (ØáëÏáíÛ³Ý 3) ѳÝñ³Ñ³Ûï éáõë ÏÇÝáùÝݳ¹³ï ²ÝïáÝ ¸áÉÇÝÁ ÏÝ»ñϳ۳ݳ §21-ñ¹ ¹³ñÇ ÏÇÝáݦ í»ñݳ·ñáí ¹³ë³ËáëáõÃÛ³Ùr:

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

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ºñ»Ïª »ñ»Ïá۳ݪ ÷³é³ïáÝÇ åñ»ë-ÏáÏï»ÛÉÇ Å³Ù³Ý³Ï, §Ð³Û÷áëïÁ¦ Ý»ñϳ۳óñ»ó Ýáñ ݳٳϳÝÇߪ ÝíÇñí³Í é»ÅÇëáñ гÙá ´»Ïݳ½³ñÛ³ÝÇ 125-³ÙÛ³ÏÇÝ: Æñ ѳëáõÝ ÏÛ³ÝùÁ ëÏë»Éáí áñå»ë åñáý»ëÇáÝ³É ÁÙrß³Ù³ñïÇÏ ¨ ¹»ñ³ë³Ýª ´»Ïݳ½³ñÛ³ÝÁ 1920-³Ï³ÝÝ»ñÇÝ ¹³ñÓ³í Ýáñ³ÍÇÝ Ñ³Û ÏÇÝá³ñí»ëïÇ ³Ù»Ý³³Ïݳéáõ ¹»Ùù»ñÇó: Üñ³ §Ê³ë ÷áõߦ (1927) ýÇÉÙáí ¿ r³óí»É ³Ûë ï³ñí³ ÷³é³ïáÝÁ: Þñç³Ý³éáõÃÛ³Ý Ù»ç ÏÙïÝ»Ý ´»Ïݳ½³ñÛ³ÝÇ ¹»ÙùÁ å³ïÏ»ñáÕ 40 000 ݳٳϳÝÇߪ Ûáõñ³ù³ÝãÛáõñÁª 170 ¹ñ³Ù ³ñÅáÕáõÃÛ³Ùr:

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GOLDEN APRICOT DAILY 2017 | 14 JULY | DAY 6

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INTERVIEW 5

ÚàôæÆÜ øàð ÚáõçÇÝ øáñÇ Ï³ñÇ»ñ³ÛáõÙ Ù»Í ¹³¹³ñ ¿ »Õ»É úëϳñÇ Ñ³Ù³ñ ³é³ç³¹ñí³Í §àõ³É¹á êáÉÃ. ëó»Ý³ñÇëïÇ áõÕÇݦ (1990) ¨ §Ð³í³Ý³ÛÇ áõñí³Ï³Ý ù³Õ³ùÁ¦ (2015) ýÇÉÙ»ñÇ ÙÇç¨, r³Ûó ¹³ ãÇ Ý߳ݳÏáõÙ, áñ øáñÝ ³Û¹ ÁÝóóùáõÙ áãÝãáí ãÇ ½r³Õí»É. r³½Ù³ÃÇí ëó»Ý³ñÝ»ñ ¿ ·ñ»É ³Ù»ñÇÏÛ³Ý Ñ»éáõëï³ï»ëáõÃÛ³Ý Ñ³Ù³ñ, áõ ÇÝãÝ ³í»ÉÇ Ï³ñ¨áñ ¿` ·ñ»Ã» Ù»Ï ï³ëݳÙÛ³Ï Çñ Ýáñ ýÇÉÙÇ Ñ»ñáëÝ»ñÇÝ Ñ»ï¨»É ¿ û° Îáõr³ÛÇ Ð³í³Ý³ ù³Õ³ùáõÙ, û° γÉÇýáñÝdzÛÇ úùɻݹáõÙ£ ²ñ¹ÛáõÝùáõÙ ëï³óí»É ¿ ï»ë³ñÅ³Ý ýÇÉÙ r»ÛëráÉÇ, ¹³ëïdzñ³ÏáõÃÛ³Ý áõ »ñÇï³ë³ñ¹³Ï³Ý ÏÛ³ÝùÇ ¹Åí³ñáõÃÛáõÝÝ»ñÇ Ù³ëÇÝ£ ´»ÛëráÉÇ Ù³ñ½ÇãÇ áñ¹Ç áõ 1950-³Ï³ÝÝ»ñÇ Î³ÉÇýáñÝdzÛáõ٠ٻͳó³Í øáñÁ ·ÇïÇ, û ÇÝã ¿ Ý߳ݳÏáõ٠ɳí áõëáõóÇã áõݻݳÉÁ£ ܳ Ùßï³å»ë Ù³ñ½íáõÙ ¿ñ Ù³ñ½³¹³ßïáõÙ, áñï»Õ åñáý»ëÇáÝ³É r»ÛëráÉ Ë³Õ³óáÕÝ»ñÁ Ýñ³Ý ëáíáñ»óÝáõÙ ¿ÇÝ Ë³ÕÇ Ï³ÝáÝÝ»ñÁ£ Øáï 10 ï³ñÇ ³é³ç Îáõr³ÛáõÙ ù³ÛÉ»ÉÇë ݳ ÑÇß»ó ëåáñïÇ å³ïÙáõÃÛ³Ý Ù»ç ³Û¹ Ý߳ݳϳÉÇ Å³Ù³Ý³ÏÇ áõ í³ÛñÇ Ù³ëÇÝ ¨ í»ñóñ»ó ÏÇÝáËóÇÏÁ, áñå»ë½Ç å³ïÙÇ »ñÏáõ Ù³ñ½ÇãÝ»ñǪ èáëÏáÛÇ (úùɳݹáõÙ) áõ ÜÇÏáɳëÇ (гí³Ý³) å³ïÙáõÃÛáõÝÁ£ Üñ³Ýó r³Å³ÝáõÙ ¿ ûíÏdzÝáëÁ, r³Ûó Ýñ³Ýù ÁݹѳÝáõñ ÝÏñïáõÙÝ»ñ áõݻݪ ëåáñïÇ ÁݹѳÝáõñ É»½íáí ϳå ѳëï³ï»É ³Õù³ï »ñ»Ë³Ý»ñÇ Ñ»ï£

üÇÉÙáõÙ ¸áõù ³Ý¹ñ³¹³éÝáõÙ »ù é³ëë³Û³Ï³Ý ³Ýѳí³ë³ñáõÃÛ³Ý ËݹñÇÝ: ÐÇÙ³ íÇ׳ÏÝ ³í»ÉÇ ¿ í³ï³ó»É áõ ·áõó» ¹»é ³í»ÉÇ Ïí³ï³Ý³£ ÆÝ㨿, »Ã» ¹áõù ɳí Ù³ñÙݳٳñ½ÇÏ »ù, Ó»½ r³ó³Ñ³Ûï»Éáõ ÙÇ ³ÙráÕç ٻ˳Ýǽ٠ϳ£ ÆëÏ ÏáÝÏñ»ï ÇÝÓ Ñ»ï³ùñùñáõÙ »Ý ëáíáñ³Ï³Ý »ñ»Ë³Ý»ñÁ£ ºë áõ½áõÙ »Ù, áñ Ýñ³Ýù ÝáõÛÝå»ë Ñݳñ³íáñáõÃÛáõÝÝ»ñ áõݻݳݣ Îáõr³Ûáõ٠ѳñÛáõñ³íáñ ÝÙ³Ý »ñ»Ë³Ý»ñ ϳÝ, áõ Ýñ³Ýù ϳñÍ»ë ѳçáÕáõÃÛáõÝÝ»ñÇ »Ý ѳëÝáõÙ£ ²ÛÝå»ë áñ ÇÙ »½ñ³Ï³óáõÃÛáõÝÁ Ñ»ï¨Û³ÉÝ ¿ª Îáõr³Ý, áõݻݳÉáí ³Û¹ù³Ý ùÇã, ³ÛÝù³Ý ß³ï ¿ ³ÝáõÙ£ ÆëÏ Ù»Ýù, áõݻݳÉáí ³Û¹ù³Ý ß³ï, ³ÛÝù³Ý ùÇã »Ýù ³ÝáõÙ:

§Ð³í³Ý³ÛÇ áõñí³Ï³Ý ù³Õ³ùÁ¦ (ÚáõçÇÝ øáñ ¨ èár»ñïá §âÇÉǦ ä»ñ»ë, ²ØÜ/ Îáõr³, 2015), ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³, 14.07ª 17£00, §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×

Roscoe, the Oakland coach, is a remarkable character indeed. How did you approach him? So many films have been made in his neighbourhood. Ghost Town, as they call it, is a very violent place. It’s all about drugs, gangs, pimps, and prostitution. These are very negative and dark stories. Roscoe said to me: “Okay, I’ll be in your film, but I don't want to see any of that.” He said this a hundred feet from one of the busiest drug corners in Oakland. Thanks to Roscoe we never show that corner. He wanted these young kids to be in the film in baseball uniforms rather than in a hoodie. He didn’t want them to be represented in a thuggish way. Every couple of minutes there’d still be a drug deal happening around us. So there’s this whole parallel universe outside of the film that you don’t see. But you make your agreements with your documentary subjects, and I honoured those ground rules. Besides the stories of the coaches and their pupils, the film also includes your own youth as the son of a famous baseball coach. How did you find a balance between your own story and those of the people you where filming? It was entirely intuitive. I felt that some part of it was necessary to tell the history of what happened in the bay area, because it’s hard to understand any moment in history when you don’t know what came before it. Some people love that personal story, some don’t. But this is not an academic study in which I compare and contrast Cuba and the U.S.; it’s a personal film and I didn’t want to fool anyone into thinking otherwise. My father was a coach and I’m making a story about coaches. Frankly I wanted to come to peace with a part of my past and I did. This film was very cathartic for me. Your filmmaking style also feels very intuitive. How did you want to construct your film visually? I don’t start with any preconceived notion of how to tell a story. I’ve always liked a quote which is attributed to American president Abraham Lincoln. He had very long legs and somebody once asked him: “How long should a man’s legs be?” And Abe said: “Long enough to reach the ground.” I apply that thinking to my films. These stories are linked in part through my imagination. I think in a way if you want to know what Richmond was like in the 1950s and what baseball was like in those communities back in the day, you have to go to Havana today. It’s family-oriented and cohesive. There’s a sense of joy that’s hard to find in my city right now. Our community is really struggling.

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²Ýѳí³Ý³Ï³Ý ¿, áñ ¹áõù §àõñí³Ï³Ý¦ ù³Õ³ùǦ ³Ûë »ñ»Ë³Ý»ñÇÝ ï³ñ»É »ù Îáõr³, áñå»ë½Ç ³ÛÝï»Õ Ùñó»Ý£ èáëÏáÝ ¿ñ ³Û¹ Ùï³ÑÕ³óÙ³Ý Ñ»ÕÇݳÏÁ£ ºë Ýñ³Ý ³ë³óÇ, áñ ¹³ ³ÝÑݳñ ÏÉÇÝÇ æáñç ´áõßÇ Ý³Ë³·³ÑáõÃÛ³Ý ûñáù£ ºë ³åûñÇÝÇ ×³Ý³å³ñÑáí »Ù Ù»ÏÝ»É Îáõr³ áõ Ùï³¹Çñ ã¿Ç ráÉáñ ³Û¹ »ñ»Ë³Ý»ñÇÝ ¿É ³Û¹ ÝáõÛÝ Ó¨áí ï³Ý»É ³ÛÝï»Õ£ лïá úr³Ù³Ý ÁÝïñí»ó, áõ èáëÏáÝ ½³Ý·³Ñ³ñ»ó ÇÝÓª áõñ³Ëáõñ³Ë »ñ·»Éáí. §úr³Ù³°, úr³Ù³°: Ø»Ýù Îáõr³ »Ýù ·ÝáõÙ¦£ Æ í»ñçá »ë í׳ñ»óÇ ³Û¹ ׳ݳå³ñÑáñ¹áõÃÛ³Ý ÙÇ Ù³ëÝ ³ÛÝ ÑÇ÷áûùáí, áñÁ í»ñóñ»É ¿Ç ÇÙ rݳϳñ³ÝÇ Ñ³Ù³ñ£ ì³í»ñ³·ñáÕÝ»ñÇ ßñç³ÝáõÙ ë³ Ï³ñáÕ ¿ ¿ÃÇϳÛÇ Ë³ËïáõÙ Ãí³É, ù³ÝÇ áñ ¹áõ ³½¹áõÙ »ë Çñ³Ï³ÝáõÃÛ³Ý íñ³ª ѳÝáõÝ ùá ýÇÉÙÇ£ ¸³ ÇÝÓ Ñ³Ù³ñ »ñr»ù ËݹÇñ ãÇ »Õ»É, ù³ÝÇ áñ ѳϳé³Ï ¹»åùáõÙ ¹³ å³ñ½³å»ë »ñr»ù ï»ÕÇ ã¿ñ áõݻݳ£ ²Ûë »ñÇï³ë³ñ¹ ïճݻñÁ ٻͳÝáõÙ »Ý ³Ûë ÷áùñ ï³ñ³ÍùáõÙª ѳÝó³ËÙr»ñÇ Ñ³ñ¨³ÝáõÃÛ³Ùr£ àõëáõóÇãÝ»ñ Ï³Ý Ûáõñ³ù³ÝãÛáõñ ѳë³ñ³ÏáõÃÛáõÝáõÙ, r³Ûó ³Ûë ¹»åùáõÙ ³Û¹ ¹»ñÁ ëï³ÝÓÝáõÙ »Ý ÃÙñ³¹»Õ í³×³éáÕÝ»ñÁ: ¸ñ³ ѳٳñ ¿É »ë Ùï³Í»óÇ, áñ ϳñ¨áñ ¿ í׳ñ»É ³Ûë ׳Ù÷áñ¹áõÃÛ³Ý Ñ³Ù³ñ£ ¸Åí³ñ ¿ ³ë»É, û ÇÝã ¿ ë³ ï³Éáõ ³Û¹ »ñ»Ë³Ý»ñÇÝ, r³Ûó ·Çï»Ù, áñ ÙÇ r³Ý ѳëï³ï Ïï³£ о

You’ve been working on this project since 2007. What was the initial spark for making this documentary? It all started on a baseball field in Havana. I went to Cuba because I was angry at George Bush for the Iraq war. In Havana I stumbled upon a baseball field and saw kids playing. Coach Nicolas immediately took me back to my childhood, I saw the same kind of joy, the same sort of family environment. Instantly I had the idea to make a movie about this coach in Havana and another in Richmond; eventually I found one in Oakland. They’re both extraordinary people, unheralded and unknown.

EUGENE CORR In Eugene Corr’s documentary filmmaking there’s been a big hiatus between the Oscar-nominated Waldo Salt: A Screenwriter’s Journey (1990) and hos latest film Ghost Town to Havana (2015), but that doesn’t mean Corr has not been busy. He wrote and directed for American television and, more importantly, he’s been following the subjects of his new film in both Havana, Cuba and the inner city of Oakland, California for almost a decade. The result is an insightful film about baseball, mentorship and the hardships of youth. Growing up in the 1950s in California as the son of a famous baseball coach, Corr knows what it means to have mentors. He used to be a regular at the stadium, where professional baseball players would teach him the rules of the game. While stumbling through Cuba more than a decade ago, he was reminded of that specific time and place in sports history, so he picked up the camera to tell the story of two coaches: Roscoe in Oakland and Nicolas in Havana. They’re separated by an ocean but share a common ambition to connect with impoverished children through the shared language of sports.

The film does touch on a great deal of racial inequality. It’s gotten really bad, and maybe it will get even worse before it gets better. However, if you’re a great athlete from the inner city there’s a whole mechanism to find you. So for me, it’s the ordinary kids I care about. I want to see that they have opportunities as well. There’s hundreds of them in Cuba as well and they seem to be thriving. So my conclusion is: Cuba does so much with so little. And we do so little with so much. It’s incredible that you got these children from Ghost Town to travel to Cuba. How did you make that happen? Roscoe pushed the idea of going on this trip. I told him it would be impossible under George Bush’s presidency. I went to Cuba illegally and I wasn’t going to take all these kids with me that way. Then Obama got elected and Roscoe called me, singing: “Obama! Obama! We are going to Cuba!” I was able to raise a little bit of money and I did some crowd funding. Finally I paid part of that trip myself through a home equity loan. In some more pure documentary circles this is seen as a violation of ethics, because you’re changing reality for your film. That was never an issue for me. The trip was an extension of what Roscoe always does. When he gets a group of new kids he puts them in a van and drives them across the bay bridge. Some of these kids have never been to San Francisco, even though the city is only seven miles away from Ghost Town! These boys are growing up on this little postage stamp of gang turf. Mentorship takes place in every society, but who does the mentoring there? Right now it’s the drug dealers. That’s why I thought it was important to pay for this trip. It’s hard to know what it means in the lives of these kids, but I know it means something. HE Ghost Town to Havana (Eugene Corr & Roberto “Chile” Perez, USA/Cuba, 2015). Yerevan Premiere. 14-7 17:00 Moscow Cinema Red Hall.

GOLDEN APRICOT DAILY DAY 6 | 14 JULY | 2017

6 REVIEWS

Donþt Be a Square

The film tells the story of Christian, a virtuous and kind curator of a contemporary art museum. He and his crew are preparing a new installation called “The Square”. The museum’s PR department is also making preparations, organizing a grand advertising campaign. One day, after losing his phone, Christian

its own that has become the style of choice for this kind of subject matter, it’s refreshing to see directors Affonso Uchoa and João Dumans boldly abandon this convention, even if that decision risks losing the audience’s interest at times. Their film not only removes every inkling of blue-collar romanticism that we might harbour, but its indirect narration also reminds us of the invisibility of these lives. Cristiano’s story is the account of a life getting

stuck before it even really got started. Still in his early thirties, hard manual labour has already made him old, tired and worn-out. Though he encounters fellow labourers at all of the places he works, he seems unable to build real friendships, let alone a romantic relationship. Even though the workplace conditions are screaming out for solidarity and organised action, Arábia shows us the isolation and apathy that actually engulfs the workers’ existence. SK

After being honored with a Retrospective in 2016, director and cinematographer Fred Kelemen returns to GAIFF to compete in this year’s Feature Competition with his new film Sarajevo Songs of Woe. As the title implies, the film offers a triptych of rather downbeat stories set in the city of Sarajevo, showing how its inhabitants are still recovering from the civil war that gripped Bosnia in the 1990’s. The film’s first section, shot in luminous black-andwhite and given the title “Blue Ballad for Lovers” in the film’s end credits, centers on a young couple. Since the girl is a paraplegic she is stuck in their small apartment, while her foreign boyfriend goes out to shoot material for an experimental film he’s working on. The third and final part of the film, titled “Blue Rondo for Survivors”, shows a traumatized man who returns to his old home city after years of absence. He tells people he left before the war, but the truth turns out to be rather more shocking. These two fictional stories were developed during workshops at the Sarajevo Film Festival in 2014 and 2015 by Kelemen and a cast and crew of young Bosnian filmmaking talents. The two segments are linked by a mesmerizing section of documentary footage called “Blue Psalm for Wolves”. Shot by Kelemen himself, it shows the nighttime life of the city’s stray dogs, many of them descendants of the pets that were abandoned during the war. Like the humans in the stories surrounding them, these animals are scarred both physically and psychologically. By carefully linking this footage to both the preceeding and following sections, both thematically and stylistically, Kelemen succeeds in creating a sustained mood piece showing the ravages of war. JBH

Dreaming of Fame

Haunted Path

Jeffrey (Yanillys Pérez, Domican Republic/ France, 2016). Documentary Competition. 147 10:00, 17:00 Moscow Cinema Small Hall 1.

Walking Spark (Marcin Kopec, Poland, 2016). Documentary Competition. 14-7 12:00, 19:00 Moscow Cinema Small Hall 1.

Even though none of the shiny cars waiting at the traffic lights in Santo Domingo’s Lincoln Street appear to be in need of it, Jeffrey will wipe their windows hoping to earn a few pesos. It’s his contribution to the family earnings on which his mother, brothers and sister have to eat and pay the rent for their apartment in the poor neighbourhood Los Abrazos. But 11-year-old Jeffrey doesn’t want to spend his days cleaning car windows. He dreams of a better future as a reggaeton star, a career that his eldest brother Jeyson is pursuing as well. He helps Jeffrey record his own song and encourages him to promote it on the streets. When that doesn’t garer much interest, Jeffrey applies for a popular TV show. By showing Jeffrey as he works, plays, cares and dreams, director Yanillys Pérez portrays him as a go-getting individual whose outlook on his own situation demonstrates a mixture of childlike playfulness and adult insights beyond his age. At the same time it’s clear that many kids in this neighbourhood, in the country and in the whole of Latin America share both his life circumstances and his exact dreams. When does Jeffrey manage to get on TV, it becomes apparent that it’s not so different from Lincoln Street. The presenter immediately recognises that the story of this cute, poor kid who aspires to transcend his background will sell on TV, but as soon as the novelty wears off, attention runs dry. Sadly, a scene of violence-inspired street play in the middle of the film points to a more realistic expectation for what the future will hold for many of these kids, instead of their universal dreams of fame. SK

It takes some courage to invite a former convict and member of the mafia into your home for interviews. That’s what Magda does in Marcin Kopec’s debut documentary Walking Spark. Interested in his life story, she interviews Piotr, a man who committed horribly violent acts around the city of Warsaw in the past. These interviews will be the source material for a stop motion film Magda is making about Piotr’s life. It must even take more courage for Piotr to open himself up to Magda and talk about his dark past. It seems he hasn’t fully come to terms with what he’s done, which makes for reviting scenes as he's unsure how all of this makes him feel. Still, Piotr is surprisingly frank in his discussions of drug deals, assassinations and interrogations, while Magda listens carefully in an environment that’s open, welcoming and intimate. In its brief 50-minute running time, Walking Spark manages to capture what it must be like to try to repent for a life lived in sin. Piotr does this not through religion, but through contemplation, openness and intimacy. “I tried to remember my mother’s love”, he says in a vulnerable moment Magda’s harrowing stop motion short, which concludes Walking Spark, shows that there wasn’t necessarily too much rage in Piotr, but that a lack of love lead him down this haunted path. HE

The Square (Ruben Östlund, 2017, Sweden/ Germany/France/Denmark). Yerevan Premiere. 14:07 21:00 Moscow Cinema Red Hall. In 2005, desperate film selectors of the Moscow International Film Festival traveled to the Swedish city of Göteborg looking for good films. They were advised to meet a local director named Ruben Östlund, the author of some weird short films with weird titles in which non-professional actors play equally weird characters. That’s how the unknown Östlund’s feature film debut The Guitar Mongoloid was selected for the Moscow festival, where it surprisingly won the FIPRESCI prize. A year later The Guitar Mongoloid was shown at the third Golden Apricot festival. This started Östlund’s festival path, which eventually lead him to Cannes, where his latest film The Square won the Palme d’Or earlier this year.

Life of an Invisible Worker Arábia (Affonso Uchoa and João Dumans, Brazil, 2017). Feature Competition. 14-7 10:00, 14:30 Moscow Cinema Blue Hall. Arábia’s protagonist Cristiano is one of the foot soldiers of the Brazilian economy, an army of uneducated labourers going from one temporary job to the next, often working with no formal contract, let alone any workers’ rights. Cristiano’s story is told in the diary that he kept before he was killed in an accident in the aluminium factory where he worked – at the beginning of the film, a teenage boy growing up in the area around this factory discovers Cristiano’s notebooks. In a style that subverts the maxim “show, don’t tell”, Arábia is a remarkably lethargic film about working class life. Instead of seeing important events in Cristiano’s life play out on screen, we mostly hear about them, either through the voice-over narrating his diary or from his former colleagues, who recount the incidents during a lunchtime break or a dead moment at work. In these scenes, the characters remain almost as static as the camera. Now that realism has established an aesthetic of

Prisoners of Time Village People (Tzvetan Dragnev, Bulgaria, 2016). Documentary Competition. 14-7 12:00, 19:00 Moscow Cinema Small Hall 1. The life of the heroes of Tzvetan Dragnev’s unflinching Village People will never change, because nobody visits their God-forsaken corner of the world. Their region in the north-west of Bulgaria is considered one of the poorest in the whole E.U. and these people have nowhere else to go. Surviving on a miserly pension, they inhabit a village where time seems to have stopped – Lenin’s portrait is still hanging on the wall of the local train station. Villagers get water from the well, they go work on the fields and go fishing. The village poet is also the undertaker, and he’s concerned how he will make a living if people stop dying. The local cinema’s projectionist joyfully thinks back on crowded scree-

Dog Eat Dog World

starts finding himself involved in one absurd situation after the other. Soon both Christian and his whole museum are in an existential crisis, which is an opportunity for Östlund to satirically touch upon some of the most urgent questions of contemporary European society – tolerance, communication, and the trouble to keep those going. Östlund is merciless in mocking everyone and everything, turning The Square into an extremely grotesque film and thus showing the dual nature of those issues. Contemporary art also gets a piece of his satirical mind as he targets not only it ever-evolving forms, but also it’s essence – the duality of its perception and the square thinking of some. It’s evident that The Square in some places owes an ideological debt to the Danish Dogma movement and an aesthetic debt to fellow Swedish filmmakers such as Roy Andersson. In any case, with this film Östlund ultimately established himself as a torchbearer for European film traditions and as one of the most original commentators on the most burning issues of our day. While he’s certainly already an accomplished director, he remains one of the most promising ones as well. KA

nings of Indian films. The shepherd dreams of tasting ice cream, while the village philosopher espouses his views on existentialism and Jean-Paul Sartre. Everyone here is old, except the mentally handicap youngster who dreams of having a beautiful girlfriend. Dragnev doesn’t explain why this village, that once had a population of about 2,000 people, was abandoned over the years. But it’s obvious from the villagers’ conversations that these permanent prisoners of time and place are the victims of social shocks and a cruel system that punishes the misdemeanors of the poor while turning a blind eye to corruption on a higher level. But Village People is not a journalistic investigation, and Dragnev tries to convey these people’s state of mind as artistically and poetically as possible. Scenes of them talking intertwine with images of nature and slow-motion shots of the town. The striking camerawork slightly softens the harsh edges of this sad reality, where Dragnev strives to find some beauty. AB

Sarajevo Songs of Woe (Fred Kelemen, Bosnia and Herzegovina/Germany, 2016). Feature Competition. 14-7 19:00 Moscow Cinema Blue Hall.

GOLDEN APRICOT DAILY 2017 | 14 JULY | DAY 6

NEWS AND REVIEWS 7

‘MAKING A FILM IS MORE THAN JUST TELLING A STORY’ Filmmaker and Feature Competition jury member Ciro Guerra gave a Master Class yesterday at the AGBU Center, discussing among others his surprising career trajectory which led from a quiz show to the Oscars. *XHUUD SDUWLFLSDWHG LQ RYHU ÂżOP IHVWLYDOV ZLWK KLV GHEXW ÂżOP The Wandering Shadows. The VXFFHVV RI WKDW ÂżOP SDYHG WKH ZD\ IRU WKH PDNLQJ RI WKH \RXQJ &ROXPELDQ GLUHFWRUÂśV QH[W WZR ZRUNV WKH ODWWHU RI ZKLFK Embrace of the Serpent, won the 2015 Golden Apricot Grand Prize and was VXEVHTXHQWO\ QRPLQDWHG IRU DQ $FDGHP\ $ZDUG %XW LW VHHPV WKDW LI QRW IRU WKH JUDFH RI IDLWK DOO RI WKLV might not have come to be. 'XULQJ WKH 0DVWHU &ODVV PRGHUDWHG E\ ÂżOP FULWLF Roger Koza who is giving a Workshop at AGBU tomorrow, Guerra told the audience that his debut ZDV PDGH RQ D YHU\ ORZ EXGJHW +H IXQGHG LW ZLWK money which he won participating in a Who Wants to Be a Millionaire?-like TV quiz show. “I won 3,000 GROODUV ZKLFK DOO ZHQW LQWR WKH PDNLQJ RI WKH ÂżOP´ the director admitted. “The main thing I learned was WKDW ZKHQ SHRSOH DUH H[FLWHG DERXW DQ LGHD WKH\ KDYH DQG DUH QRW PDNLQJ WKH ÂżOP IRU WKH VDNH RI PRQH\ WKHQ WKH UHVXOW FDQ EH TXLWH H[WUDRUGLQDU\ , OLYHG WKURXJK WKH H[SHULHQFH RI PDNLQJ D ]HUR EXGJHW movie, which I would not like to relive. It was tough, but I’m happy we managed to make something PHDQLQJIXO ´ Âł&RORPELDQ FLQHPD LV VWLOO \RXQJ´ WKH GLUHFWRU VDLG ZKHQ DVNHG DERXW WKH GHYHORSPHQW RI WKH ÂżOP LQGXVWU\ LQ KLV KRPH FRXQWU\ Âł,WÂśV VWLOO VHDUFKLQJ IRU LWV LGHQWLW\ 6R HYHU\WKLQJ LV \HW WR FRPH ´ The director said that many people will give you advice or opinions about how you should be or how you should work, but that’s an easy way to lose track RI WKH SDWK \RXÂśYH FKRVHQ Âł<RX PXVW SDYH \RXU RZQ URDG DQG GR ZKDW FRPHV IURP WKH LQVLGH ´ Guerra is very serious about the style he chooses IRU HDFK RI KLV ÂżOPV Âł, ZDQW WKHP WR EH YHU\ GLIIHUHQW

Aurora Prize Films

First awarded in 2016, the Aurora Prize for Awakening Humanity is a new Yerevan-based global award given annually to individuals who put themselves at risk to enable others to survive. The festival is screening short films about all five finalist for the 2017 prize: Jamila Afghani, Tom Catena, Muhammad Darwish, Denis Mukwege, and Fartuun Adan & Ilwad Elman. In addition, the feature-length documentary The Heart of Nuba, about the work of this year’s Aurora Prize winner Dr. Tom Catena in Sudan, is getting its Yerevan Premiere today at 15:00 at Moscow Cinema Red Hall.

Master Class Tom McSorley Film critic, academic and executive director of the Canadian Film Institute Tom McSorley will give a Master Class at AGBU at 15:00.

Lecture by Anton Dolin Renowned Russian film critic Anton Dolin is giving a lecture entitled “21st Century Cinema� this evening at 19:00 at LOFT (3 Moskavyan Street).

Into the Night IURP RQH DQRWKHU RQ WKH RXWVLGH´ KH VD\V ÂłEXW GHHSO\ FRQQHFWHG LQ D OHVV REYLRXV ZD\ ´ /DWHU RQ in the discussion he added: “Making similar movies WR PH ZRXOG EH D ERUH )RU PH HYHU\ QHZ ÂżOP LV D QHZ SDWK DQ DGYHQWXUH D WRWDOO\ XQLTXH H[SHULHQFH

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

TIGRAN MANSURYAN RECEIVES LET THERE BE LIGHT AWARD At a ceremony yesterday afternoon, this year’s Let There Be Light award was handed to Armenian composer Tigran Mansuryan. The award was established by the Armenian Apostolic church in 2012 to promote spiritual, cultural and humanitarian values and for significant contributions to global cinematography. Mansuryan, who has been active as a composer since the early 1960s, was awarded for the film scores he created, including the music for Sergei Parajanov’s classic The Color of Pomegranates (1969).

During the festival’s Press Cocktail yesterday evening, Armenian postal service HayPost presented a new stamp commemorating the 125th birthday of filmmaker Hamo Beknazarian. Following early careers as a professional athlete and an actor, Beknazarian became one of the leading lights in the fledgling Armenian film industry in the 1920s. His fourth Armenian film Khas-Push was screened as this year’s opening film. 40,000 stamps bearing Beknazarian’s portrait, each worth 170 dram, will be put into circulation. Philatelists among the GAIFF guests who are interested in the stamps, are advised to turn to HayPost’s Philatelic Corner at 28 Nalbandyan Street, right on Republic Square.

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