Golden Apricot Daily - 2015, Day 7

DAILY

DAY 7, SATURDAY, JULY 18

GOLDEN APRICOT DAILY | DAY 7 | 18 JULY | 2015

ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ×/ Moscow Cinema, Blue Hall

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1

13:00

14:00

/Cruel /Eric Cherriere Fra, 108’/FNC

Lang.: French, Subt.: English and Armenian 16:00

/Nostalgie ! /Frunze Dovlatyan Arm, 136’/WE

Lang.: Armenian, Subt.: English

§¾ëå»ë¦, é»Å.ª î³ÝÇï ü»éݳݹ»ë, Æë³³Ï èá¹ñÇ·»ë, Æëå³Ýdz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ) ä³ñ½ áõ ÑÙ³ÛÇã: ²Ûëå»ë ϳñ»ÉÇ ¿ Ýϳñ³·ñ»É Çëå³Ý³óÇ é»ÅÇëáñÝ»ñ î³ÝÇï ü»éݳݹ»ëÇ ¨ Æë³³Ï èá¹ñÇ·»ëÇ §¾ëå»ë¦ ³ÝáõÝáí ѳٻëï 10 ñáå» ï¨áÕáõÃÛ³Ùμ í³í»ñ³·ñ³Ï³Ý ÏÇÝáÝϳñÁ, áñÁ ѳí³Ý³μ³ñ §àëÏ» ÍÇñ³ÝǦ ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃáõÙ »ñμ¨¿ Áݹ·ñÏí³Í ³Ù»Ý³Ï³ñ× ýÇÉÙÝ ¿: ijå³í»ÝÁ ëÏëíáõÙ ¿ ÃéãáõÝÝ»ñÇ ×éíáÕÛáõÝáí: ²å³ Ù»ñ ³ãù»ñÇ ³é³ç ѳÛïÝíáõÙ ¿ ³ñ³·áÝÛ³Ý äÇñ»Ý»ÛÝ»ñáõÙ ÁÝÏ³Í ¾ëå»ë ÷áùñÇÏ, ¹³ï³ñÏ ·ÛáõÕ³ù³Õ³ùÁ: ²é³íáï ¿: ¼³é³ÙÛ³É Ó³ÛÝ»ñÁ å³ïÙáõÙ »Ý, û ÇÝãå»ë ÙÇ Å³Ù³Ý³Ï ³Ûëï»Õ ß³ï Ù³ñ¹ ¿ñ ³åñáõÙ, ë³Ï³ÛÝ Å³Ù³Ý³ÏÇ ÁÝóóùáõÙ ¾ëå»ëÁ Ñ»ï½Ñ»ï» ¹³ï³ñÏí»ó: Ø»Ýù ã»Ýù ï»ëÝáõÙ ËáëáÕÝ»ñÇ ¹»Ùù»ñÁ, ÙdzÛÝ ÉëáõÙ »Ýù ¾ëå»ëÇ í»ñçÇÝ μݳÏÇãÝ»ñÇ Ëéåáï,

ï³ï³ÝíáÕ, μ³Ûó¨ª μáóÏÉïáõÝ, óËÇÍáí ÉÇ Ó³ÛÝ»ñÁ: ¾Ïñ³ÝÇÝ ¿É ÙdzÛÝ ¹³ï³ñÏ ù³Õ³ùÝ ¿ª ٻݳÏÛ³ó ·»Õ³ï»ëÇÉ ßÇÝáõÃÛáõÝÝ»ñÁ, ɳÝç»ñáí ÷éí³Í ³Ù³ÛÇ ÷áÕáóÝ»ñÁ: ºí ³Û¹å»ëª ³ÙμáÕç ûñÁ: ¶³ÉÇë ¿ »ñ»ÏáÝ: ²ÛñíáõÙ ¿ ɳåï»ñÁ, μ³Ûó Ù³ñ¹ ãϳ, áñ áõÕáñ¹íÇ ³Û¹ ÉáõÛëáí: Àݹ³Ù»ÝÁ 10 ñáå»Ç ÁÝóóùáõÙ é»ÅÇëáñÝ»ñÇÝ Ñ³çáÕíáõÙ ¿ Ï»ñï»É É»éÝ»ñáõÙ Ïáñ³Í ù³Õ³ùÇ ¹ÇÙ³å³ïÏ»ñÁª Ñáõ½Çã, ëñï³×ÙÉÇÏ ¨ í»Ñ: ²ì

16:00

/Blood Brothers

/Kees Schaap

Artmenians/Artmenians " # $%

/Ricardo Espírito Santo

Nld, 45’/WE

Prt, 108’/WE

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

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

17:00

È»Ñ³Ï³Ý ¹³ë

/Morgenthau /Max Lewkowicz USA, 110’/NA

Lang.: English, Subt.: Armenian 19:30

ÐáõÉÇëÇ 18ÇÝ` ųÙÁ 15:00, öáùñ óïñáÝáõÙ í³ñå»ïáõÃÛ³Ý ¹³ë ϳÝóϳóÝÇ É»Ñ Ñ³ÛïÝÇ é»ÅÇëáñ, ÙÇ ß³ñù ѳٳÉë³ñ³ÝÝ»ñÇ å³ïí³íáñ ¹áÏïáñ, §àëÏ» ÍÇñ³Ý¦ ÷³é³ïáÝÇ ËáñÑñ¹Ç ³Ý¹³Ù øßÇßïáý ¼³ÝáõëÇÝ, áí ³é³çÇÝ ï³ñÇÝ ã¿, áñ ë³ï³ñáõÙ ¿ »ñ¨³ÝÛ³Ý ÷³é³ïáÝÇÝ:

ö³ÏÙ³Ý ³ñ³ñáÕáõÃÛáõÝ

/The Pearl Button

/Patricio Guzman Fra/Chl/Spa, 82’/NA

Lang.: Spanish, Subt.: English and Armenian

àñù³Ý ¿É ïËáõñ ¿ª ³Ûë ï³ñí³ áëÏ» ïáÝÁ ³ëïÇ׳ݳμ³ñ Ùáï»ÝáõÙ ¿ Çñ ³í³ñïÇÝ: ²ÛÝ, ÇÝãå»ë ÙÇßïª Ï»½ñ³÷³ÏíÇ ýÇÉÙÇ óáõó³¹ñáõÃÛ³Ùμ: ²Ûëûñ §ØáëÏí³¦ Ï/à γñÙÇñ ¹³ÑÉÇ×áõÙ ÷³ÏÙ³Ý ³ñ³ñáÕáõÃÛáõÝÇó Ñ»ï᪠ųÙÁ 21:00, ¿Ïñ³Ý Ïμ³ñÓñ³Ý³ Ñ³Û Ù»Í³ÝáõÝ é»ÅÇëáñ гÙá ´»Ïݳ½³ñÛ³ÝÇ §Ü³ÙáõëÁ¦ (ÙáõïùÁª Ññ³íÇñ³ïáÙë»ñáí):

GOLDEN APRICOT DAILY ÊÙμ³·ÇñÝ»ñ` Úáëà ´ñá»ñ»Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý ²ß˳ï³Ï³½Ù` سñÇëϳ ¶ñ»Ûíɻݹ, سñÇÏ» ÜÛáõ¹áñ÷

Editors: Joost Broeren & Artur Vardikyan

Staff: Mariska Graveland, лÕÇݳÏÝ»ñª ²ñÍíÇ ´³ËãÇÝÛ³Ý, سñdz ÂáùÙ³çÛ³Ý Maricke Nieuwdorp Èáõë³ÝϳñÇ㪠سݻ ÐáíѳÝÝÇëÛ³Ý, ²ÝÇ Ê³ãÇÏÛ³Ý Photographer: Mane êñμ³·ñÇãÝ»ñª سñÇÝ» Ô³ñ³Ë³ÝÛ³Ý, èÇÙ³ Hovhannisyan ²Õ»ÏÛ³Ý Design: Gayane Grigoryan ³ñ·Ù³ÝÇãÝ»ñª ÈáõëÇÝ» ÐáíѳÝÝÇëÛ³Ý, ¼³ñáõÑÇ ê³ý³ñÛ³Ý General Coaching Adviser: ¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý Peter van Bueren ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý Printer: "NT Holding" Ltd. îå³·ñí³Í ¿ §Üî ÐáɹÇÝ·¦ êäÀ-áõÙ

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GOLDEN APRICOT DAILY | DAY 7 | 18 JULY | 2015

Ðñ³Å»ßï Ù³ÝÏáõÃÛ³ÝÁ §ÒÙ»é³ÛÇÝ ³ëå³ï³ÏÝ»ñÁ¦ ¹ñ³Ù³Ý Ýϳñ³Ñ³Ý»Éáõ ѳٳñ ëÏëÝ³Ï é»ÅÇëáñ ü³ñáõù гçÁѳýÁ½ûÕÉáõÝ ¨ Ýñ³ ÃÇÙÁ ëïÇåí³Í ¿ÇÝ ¹ÇÙ³Ý³É »Õ³Ý³Ï³ÛÇÝ Ëëï³·áõÛÝ å³ÛÙ³ÝÝ»ñÇ: Üϳñ³Ñ³ÝáõÙÝ»ñÁ ÙÇÝ㨠27 ³ëïÇ×³Ý óñïÇ å³ÛÙ³ÝÝ»ñáõÙ ¿ÇÝ, ¨ ³ÝÓݳϳ½ÙÇ ³Ý¹³ÙÝ»ñÇó ß³ï»ñÁ ÑÇí³Ý¹³ó³Ý. §´áÉáñÇ Ñ³Ù³ñ ¿É ë³ñë³÷»ÉÇ ¹Åí³ñ ¿ñ, μ³Ûó ³ñ¹ÛáõÝùáõÙª ³ë»ë ÙÇ Ï³Ë³ñ¹³Ï³Ý ³ß˳ñÑáõÙ ÉÇÝ»ÇÝù¦: Ô³ñë ù³Õ³ùáõÙ μݳÏíáÕ »ñ»ù ïճݻñ Ùï³¹Çñ ¿ÇÝ í³Û»É»É Çñ»Ýó ³ñÓ³Ïáõñ¹Ý»ñÁª 1981 Ã. ë³ñë³÷»ÉÇ óáõñï ÓÙé³ÝÁ: Ø»Ï ï³ñÇ ³é³ç ï»ÕÇ áõÝ»ó³Í é³½Ù³Ï³Ý Ñ»Õ³ßñçÙ³Ý μ³ó³ë³Ï³Ý ѻ勉ÝùÝ»ñÁ ¹»é Ýϳï»ÉÇ »Ý ³Û¹ ï³ñ³ÍùáõÙ, ¨ ³ÍáõËÁ, áñÇ Ï³ñÇùÝ ³Û¹ù³Ý ß³ï ¿ñ, Ñ»ï½Ñ»ï» ëå³éíáõÙ ¿ñ: îÕ»ÏÝ»ñÁ áñáßáõÙ »Ý ëÏë»É ³Û¹ ë¨ áëÏáõ áñáÝáõÙÝ»ñÁª ¹ñ³Ýáí ÇëÏ ³Ý»Éáí Çñ»Ýó ³é³çÇÝ ù³ÛÉ»ñÁ ã³÷³Ñ³ë ÏÛ³ÝùáõÙ: Èñ³·ñáÕ ¨ Éáõë³ÝϳñÇã ü³ñáõù гçÁѳýÁ½ûÕÉáõÝ, áí ³Ûë ýÇÉÙÇ ëó»Ý³ñÇ Ñ»ÕÇݳÏÝ ¿, åñá¹Ûáõë»ñÝ áõ é»ÅÇëáñÁ, Ùï³Í»É ¿, áñ ³Ûë å³ïÙáõÃÛáõÝÁª Ù³ë³Ùμ á·»ßÝãí³Í Çñ ÇëÏ Ù³ÝÏáõÃÛáõÝÇó, å»ïù ¿ Ý»ñϳ۳óíÇ ·»Õ³ñí»ëï³Ï³Ý ųÝñáí. §Úáõñ³ù³ÝãÛáõñ å³ïÙáõÃÛáõÝ å³Ñ³ÝçáõÙ ¿ Çñ ÙÇç³í³ÛñÁ¦: è»ÅÇëáñÁ áñáᯐ ¿ñ Ýϳñ³Ñ³Ý»É ýÇÉÙÝ Çñ Ù³ÝÏáõÃÛ³Ý ÷áÕáóÝ»ñáõÙ. §ºë ٻͳó»É »Ù Ô³ñëáõÙ, áñÁ Ûáõñ³Ñ³ïáõÏ ù³Õ³ù ¿: ²ÛÝ Ñ³ñáõëï å³ïÙáõÃÛ³Ùμ, μ³½Ù³Ùß³ÏáõóÛÇÝ ¨ μ³½Ù³ÏñáÝ ù³Õ³ù ¿, ÇÝãÁ »ñ¨áõÙ ¿ ݳ¨ ù³Õ³ùÇ ×³ñï³ñ³å»ïáõÃÛ³Ý μ³½Ù³½³ÝáõÃÛ³Ý Ù»ç: Ô³ñëÝ ³ë»ë ëï»ÕÍí³Í ¿ª ýÇÉÙ Ýϳñ³Ñ³Ý»Éáõ ѳٳñ: ø³Õ³ùÝ Çñ ³é³ëå»É³Ï³Ý Ï»ñå³ñ³Ýùáí ٻͳå»ë Ýå³ëï»É ¿ Ýϳñ³Ñ³ÝáõÙÝ»ñÇÝ: Ô³ñëÁ ݳ¨ ÂáõñùdzÛÇ ³Ù»Ý³óáõñï í³ÛñÝ ¿: ¸ñ³ ѳٳñ ¿É »ë Ñ»Ýó ëϽμÇó ·Çï»Ç, áñ ýÇÉÙÇ Ñ³Ù³ñ å»ïù ¿ ÁÝïñ»É ï»Õ³μݳÏÝ»ñÇÝ, ù³ÝÇ áñ Ýñ³Ýù ëáíáñ »Ý »Õ³Ý³Ï³ÛÇÝ ³Û¹ ËÇëï å³ÛÙ³ÝÝ»ñÇÝ: êï³ÙμáõɳμÝ³Ï »ñ»Ë³Ý»ñÁ Ù»Í ¹Åí³ñáõÃÛáõÝÝ»ñ ÏáõݻݳÛÇÝ ³Û¹ ë³éݳٳÝÇùáõÙ Ýϳñ³Ñ³Ýí»ÉÇë¦:

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GOLDEN APRICOT DAILY | DAY 7 | 18 JULY | 2015

they want something else out of life. The mother has always given a bad example: “We are all the same, we go to prison, that’s how we live.” Now some other role model says to them: “No, you’re better than that.”

§îáïáÝ ¨ Ýñ³ ùáõÛñ»ñÁ¦ í³í»ñ³·ñ³Ï³Ý ýÇÉÙÁ å³ïÙáõÙ ¿ éáõÙÇݳóÇ »ñ»ù »ñ»Ë³Ý»ñÇ Ù³ëÇÝ, áñáÝù ÷áñÓáõÙ »Ý ÇÝùÝáõñáõÛÝ ·á۳層É, »ñμ Ýñ³Ýó Ù³ÛñÁ ÃÙñ³¹»Õ»ñÇ ï³ñ³ÍÙ³Ý Ñ³Ù³ñ Ûáà ï³ñí³ ³½³ï³½ñÏÙ³Ý ¿ ¹³ï³å³ñïíáõÙ: ´áõ˳ñ»ëïÇ Í³Ûñ³Ù³ëáõÙ ·ïÝíáÕ Ýñ³Ýó ïáõÝÁ í»ñ³ÍíáõÙ ¿ Ñ»ñáÇݳÙáÉÝ»ñÇ ³ÏáõÙμÇ: ØÇÝã îáïáÝ ÑÇ÷-Ñá÷Ç ï³Õ³Ý¹ ¿ ¹ñë¨áñáõÙ, Ýñ³ ùáõÛñ ²Ý³Ý ÃÙñ³¹»Õ»ñ ¿ ÁݹáõÝáõÙ áõ ³Ýϳé³í³ñ»ÉÇ ÏÛ³Ýùáí ³åñáõÙ: ²Û¹ ÁÝóóùáõÙ ÙÇçÝ»Ï ùáõÛñ ²Ý¹ñ»³Ý ¹³éÝáõÙ ¿ ÷áËÝ³Ï (ëáõéá·³ï) Ù³Ûñ: ¶»ñٳݳóÇ-éáõÙÇݳóÇ é»ÅÇëáñ ²É»ùë³Ý¹ñ ܳݳáõÝ, áñÝ Çñª §²ß˳ñÑÁ` Áëï ÆáÝ ´-Ǧ ýÇÉÙÇ Ñ³Ù³ñ §¾ÙÙǦ Ùñó³Ý³Ï ¨ §àëÏ» ÍÇñ³Ý¦ ¿ ëï³ó»É 2011-ÇÝ, ѳݷÇëï ¹ÇïáõÙ ¿ Çñ»Ýó ³ß˳ñÑáõÙ ³åñáÕ »ñ»Ë³Ý»ñÇÝ: Üñ³Ýù ëïÇåí³Í »Ý ѳñÙ³ñí»É ³Û¹ ³ß˳ñÑÇÝ, ë³ Ñ³ÙÁݹѳÝáõñ ¿. »ñ»Ë³Ý»ñÝ áõÕÕ³ÏÇ ÷áñÓáõÙ »Ý ÇÝùÝáõñáõÛÝ »Éù ·ïÝ»É:

What was your role as a director? Were you just a spectator, keeping your distance, or were you a role model as well, perhaps unintentionally?

When you enter a child’s life you become a role model, for sure. When the camera was off I was also a friend. I think this long theoretical discussion about documentary filmmaking – what is observational, do you influence the subject of your film – is passé. We already know from physics that an object changes as soon as it is observed, because the atoms move immediately – the uncertainty principle of Heisenberg. So of course you interfere.

If you see Toto playing on the same bed where a guy is shooting up heroin, what do you do as a filmmaker?

For the audience the impact of that scene is very high, but living with the children for such a long time made me realize that this was normal to them. For me it was important to film from their perspective, to shoot it from their point of view.

The kids were so good in taking care not to get pricked by the needles, so if I would have said, “Don’t do that”, then I would be an educator, a judge. And although is seems very harsh when he’s playing next to the junkies, in reality this was actually one of the real soft things that happened there. At least Toto is not alone; from his perspective it was a nice family scene. His friends were there, so why would I interfere in a situation that he perceives as familiar. The aim in the long run is that he learns by himself that this is not a normal situation. I had a huge discussion with someone who said that you have to stop the camera and help the kid. I think that’s a narrowminded way of looking at it. Helping on the spot is not better than helping in the long run, when you are really there for him.

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The documentary Toto and His Sisters shows how three Romanian siblings try to survive on their own while their mother is sentenced to seven years in jail for drug smuggling. Their house in the Bucharest slums has become a clubhouse for heroin addicts. And while Toto has discovered a talent for hip-hop dance, his oldest sister Ana is using drugs and has gone adrift.

Middle sister Andreea, meanwhile, acts as a surrogate mother. German-Romanian director Alexander Nanau, who won an Emmy Award and the Golden Apricot Award with The World According to Ion B. in 2011, calmly observes the siblings in their own world, to which they have adapted reluctantly. A universal story about children trying to restore normality and find a way out.

The children take a lot of responsibility at a very early age. What effect does that have on a child’s psychology?

It depends a lot on your personality, whether you resist your living conditions and don’t get involved in the dark side, don’t get trapped by it. These children have the kind of personalities that help them make something new out of life. But without any help from the outside world it’s not working. I think the youth club that takes care of them, can help them escape the situation by opening a door and showing them new horizons and new role models. They need an image to live up to. Give them a choice and they will find the strength somehow.

One thing that I didn’t expect was the way the film ends. When the mother comes out of prison they actually make the choice not to live with her.

They understand that it might be better for them to show their mother that they are different, that

You use the camera without judgment, as a medium to show this story to the world. Andreea also has a camera herself, is that her way to escape?

Yes, I think so. I wondered what would happen if the kids could show their own environment, so I decided to give a three-month film workshop in the youth club. We watched films by Kiarostami, and then I trained them to shoot. Andreea was very eager to have a camera, she used it as a diary, as a powerful tool. As you see in the film, she’s just incredibly talented. The youth club is a private initiative, not governmental. The guy who founded the club, Valerio, is a Roma himself, he comes from a very poor background but he was clever enough to get out to study abroad. He worked for IBM and then decided to come back to Romania and help his people. Before I started filming I was introduced to Valerio because he knew the area of the slums, and he let the drugs lords know that I was okay and wouldn’t do any harm to their business. There have been dozens of boys like Toto in the club and they all became really powerful, talented human beings. The mayor of Paris now wants to use the model of this youth club in France.

How are Toto and his sisters doing now?

Ana is in prison, but we arranged it so that she gets really good HIV treatment. The prison is actually a good, protective environment for her. I’m afraid that when she’ll get out she will destroy herself.

Toto is fine, and Andreea lives outside the ghetto with her boyfriend. They have their own lives now and they’re not dependent on the attitude of their mother. They freed themselves. But probably they have to deal with it later, when they look for their roots or have children of their own. They will have to deal with the past, but at least they have a good starting point now. MG

GOLDEN APRICOT DAILY | DAY 7 | 18 JULY | 2015

Closing Film: Namus (Hamo Beknazaryan, Armenia, 1925), 18-7 21:00, Moscow Cinema, Red Hall In 1925 an advertisement was placed in many USSR newspapers, promoting the first ever Armenian feature film: Namus. “The biggest thrill film of the season”, the Russian papers said, in the same year that Sergei Eisenstein’s masterpiece Battleship Potemkin came out. Compared to that classic, Namus is rather more melodramatic.

The title can be translated as describing a mix of honour and dignity. Based on the novel by Armenian writer Alexander Shirvanzade, the film is a cautionary tale on how perverted perceptions of honour can bring love to a tragic end. Seyran and Susan have loved each other ever since they were caught in the rubble of an earthquake together. It was then that Seyran accidentally saw the mole just above Susan’s left breast.

Years have passed, and it has long been decided that the two are going to marry. According to tradition the groom cannot see the bride before the wedding, but passion is burning Seyran from the inside.

So he secretly meets Susan at night, yet they are spotted by her father Barkhudar. As a title card suggests: “The spindle goes round and round, just like gossip around town.” The family is dishonoured; the wedding is cancelled. Susan is given to another

man, Rustam. Devastated and drunk, Seyran tells Rustam: “Remember me when you look at the mole on your wife’s left breast.” Rustam rushes home to kill his supposedly unfaithful wife.

Namus was directed by Hamo Beknazarian, not only the first Armenian director, but also one

of the best. To say he had an illustrious life would be an understatement. In the the late 1900’s young Beknazarian was a champion of Greco-Roman wrestling. Because of his physical fitness and acrobatic skills, he was offered to star in Russian movies in 1914. He was handsome and strong, so naturally he got the parts of romantic lovers and tragic heroes.

But then came the revolution of 1917 and a year later Beknazarian was out of a job. So he became a shoemaker, and a good one at that. At last in the early of the 20’s he got involved in founding film studios in the newly formed Soviet Republics. His first stop was Georgia, where he directed some of the first Georgian features. Then he came to Armenia, and a bit later Namus hit the screens.

The new Soviet ideology wanted to get rid of the old traditions and create a new social system. So it’s only natural that the first ever Armenian film not only depicted a conflict that was quite typical of this region, but also explored how old morals are an impediment on the road to achieving individual freedom. That very same year Beknazarian directed another film in Georgia called Natella, set in the 19th century, and with all its exotic scenery and glamorous characters it feels like something straight out of the Arabian Nights. Namus, on the other hand, is considered to be one of the first films to depict the East not in an exotic or fairy-tale-like way, but more gritty and realistic. AV

The Clinch (Sergey Puskepalis, Russia, 2015) In a Moscow suburb with high-rises as far as the eye can see, it’s been just another exhausting day for timid high school teacher Federov. He’s just finished a double shift and all he wants as he’s walking home is some vodka to blur his mind. But then all of a sudden, a strange young woman comes up from behind him and snatches his bag. Federov takes off after her, in hopes of retrieving his possessions, but the girl does not give up easily.

This is the start of an odd game of cat and mouse, with the girl most definitely in control. She hurls all kinds of accusations into Federov’s face, and threatens him with the certain wrath of her gangster boyfriend.

And then she laughs out loud, although it’s not clear why. Federov thinks she’s absolutely bonkers. Insane!

And dragging her along to his family, who are in the midst of rebuilding their apartment, doesn’t help matters much either. There, the craziness spirals out of control even more, and his bemused son and confused, scared wife become fresh paws in their nutty game.

This tragicomic, slickly executed Russian drama marks the directorial debut of theatre director and actor Sergey Puskepalis. He wisely cast Russian actor Aleksei Serebryakov, who already made a big impression earlier this year as the protagonist in Leviathan, the Russian submission for the Oscars.

Here, too, Serebryakov carries the film. MN

Aferim! (Radu Jude, Romania/Bulgaria/ Czech Republic/France, 2015)

Cruel (Eric Cherriere, France, 2014), 18-7 14:00, Moscow Cinema, Blue Hall Is he married? No. Does he have kids? No. An emergency contact? No. It seems forty-year-old Pierre Tardieu is a rather lonely person, judging by his application for an employment agency. Indeed, Pierre lives alone with his elderly father, whose Alzheimer’s disease has left him catatonic. Pierre still talks to him and reads him stories, but he doesn’t respond in any way.

It turns out there’s one more person in the house, though. Hidden away downstairs is the girl Pierre kidnapped. “I’ve put her in the cellar”, he tells his unresponsive father, “where grandpa hid the Jews during the war.” Slowly it becomes clear that this is far from his first time Pierre has done something

like this. The girl offers her body to him if he’ll let her live – but that’s not what he’s after.

So now we know what we’re dealing with: Pierre is a serial killer, hidden in plain view. The rules he has set for himself (never kill someone you know; never run a red light), have made him a transparent person. On the surface, he is unremarkable in every way. Director and writer Eric Cherriere takes the time to delve underneath Pierre’s surface in his slow-burn film noir Cruel, screening in the New French Cinema program. He captures Pierre’s unconventional life in carefully constructed images, helped immensely by inventive sound design which brings us into the taciturn killer’s head.

Just when you think you have him figured out, the director pulls the rug from under your feet with a double twist. First, Pierre throws caution to the wind and ditches his rules, deciding he wants to be seen by the world. And then he falls in love with Laure. Can he still be transparent when he’s in love? JB

Radu Jude opens his fourth feature film Aferim! with a classic western-style landscape shot, with the scope growing wider and wider.

Into view comes the hilly landscape of Wallachia, a region in Romania, where slavery was rampant back in 1835. In lush black-and-white images the film (this year’s winner of the Silver Bear for Best Director at the Berlin film festival) rides along with the Ottoman lawman Constandin and his obedient son as they track down an escaped Gypsy slave who stole from the “boyar”, the local landowner.

Constandin’s mind is fuelled by racism, which still resonates in the present day. In some morbidly funny parallels, Jude (The Happiest Girl in the World, Everybody in Our Family) searches for the roots of intolerance by looking closely at this typical bully who’s constantly spouting obscenities.

“Gypsies are human, Jews are not; they’re beasts”, Costandin bluntly declares. Some narrative pieces and vulgar, profane dialogue have been taken from historical documents and texts.

The gypsies are treated like filth, they work like animals for a piece of bread. Even the monks beat them all the time. “We’re nothing, we’re like a spark. The rich look in the mirror, the poor look

Master Class Krzysztof Zanussi

The Creation of Meaning (Simone Rapisarda Casanova, Canada/Italy, 2015) 14-7 10:00, Moscow Cinema, Small Hall 1 In the picturesque Tuscan Alps, many stories are floating around, like the thick clouds that surround the mountains. Especially stories about the events locals went trough during the German occupation during WWII in this part of Italy. But this pleasantly slow-paced documentary also tells the story of an elderly farmer, showig how his lifestyle differs from that of most modern Italians.

Pacifico lives his life day by day. He works hard and takes what nature is willing to give him. He lives alone, with just a few animals to keep him company, but he is far from lonely. Visitors regularly drop by his little house. Some come from afar, others seem to be neighbourhood friends. Their conversations are filmed in long, calm scenes that bring perspective to Pacifico’s situation. But it also gives

onto their plates”, a slave says. Nobody is able to shape his life according to his own will, not even the rich. “We live how we can, not how we want”, Constandin says. They live in a treacherous world, first sweet than bitter.

Aferim! means “bravo!”, an ironic title for a road movie about a world in moral crisis. Its stark, absurdist take on the western genre can also be read as a critique of Romania’s shameful modern-day treatment of its Roma minority. In one commentary scene, in a reference to this future, Constandin asks his son: “A hundred years from now, will folks speak highly of us? Will they say we paved the way for them?” MG

15:00, Small Theatre (11 Abovyan St.). In this year’s final Master Class, Polish filmmaker Krzysztof Zanussi (receipient of the Let There Be Light Award at GAIFF last year) will discuss his views on cinema.

Closing Ceremony

glimpses on how Italians are handling political and economical crises nowadays. And how they dealt with them in the past.

A lot remains open for interpretation in director Simone Rapisarda Casanova’s observational filming style. He alternates almost meditative sequences of

local nature with several stories, as a way to show the poetical elements of life in relation to humanity’s daily struggles. Some stories that are told

by Pacifico or other people return in fictional segments, playfully woven through the documentary, as though they are echoes of other stories. MN

19:00, Moscow Cinema, Red Hall.

Preceding the screening of closing film Namus (see opposite page), the winners of the festival's various competitions will be announced during the Closing Ceremony of GAIFF 2015. After the ceremony, a closing reception (by invitation only) will be hosted by the Mayor of Yerevan.

GOLDEN APRICOT DAILY | DAY 7 | 18 JULY | 2015

Leaving Childhood Behind To make his stylish coming-of-age drama Snow Pirates, first-time director Faruk Hacihafizoglu and his crew had to endure extreme temperatures. Several crewmembers ended up getting sick after filming in minus 27 degrees. “It was exhausting for everyone involved, but it looks mythical.”

In Snow Pirates, three boys from the Turkish city of Kars are about to enjoy their vacation during the extremely cold winter of 1981. The repercussions of the military coup of the previous year can still be felt throughot the region, and the much-needed coal is getting scarce. The friends decide to go searching for this black gold, their first steps into manhood.

“Every story demands it’s own medium”, says journalist and photographer Faruk Hacihafizoglu (1965). For this tale, which wrote, produced and directed inspired by his own childhood memories, fiction was the right way to go. Hacihafizoglu decided to shoot on his childhood streets with locals as his cast. “I grew up in Kars, which is a special city.

It’s very historical, multicultural and multi-religious, which also shows in the mixture of architecture. It almost looks like a film set. It helped the shooting a lot because of its mythical look. It is also the coldest place in Turkey, so I knew early on that the cast had to be local – they are used to the extreme climate. Children from Istanbul would have had problems with shooting during the cold.”

Around two thousand children auditioned. Hacihafizoglu was specifically on the lookout for children that seemed very passionate about the project: “I chose the kids that really wanted to do it. Otherwise, I would risk them getting fed up with it midway through filming. Those three guys ended up being the best choice. It was surprisingly easy working with them, because they play instinctively. It comes from the inside.”

He ended up casting family and friends for the adult parts. “At first I wanted the adults to be professional actors, but later on I changed my mind. The children did not work with a camera before and I thought the mixing up of those two groups would not be a good thing. So, in the end most of them are my childhood friends, neighbours and relatives.” That wasn’t always easy, Hacihafizoglu laughs: “Working with family was hard sometimes. They’d be sitting there, getting involved in my decisions. They tried to be the director or decided on their own that it would be enough for the

day. Some of them even thought they where Brad Pitt and expected to be treated that way!”

Shooting the film was especially hard because of the severe weather conditions. “Most of the time it was about minus 20 degrees, sometimes even as low as 35 below zero! Consequently most of the crew got sick. One of them even had to stay in the hospital for four days. Shooting during that extreme weather was exhausting for everyone involved.”

The story unfolds during a historical time in Turkey: “The military coupe happened in 1980 and

everything changed after that. The military came, more than a million people where arrested, hundreds of people were tortured and killed, and many disappeared. The constitution changed. It was a disastrous time for Turkey and for us as well.

However, I wanted it to be just the backdrop to the main story. The story about that special age when you’re about to leave your childhood behind. I tried to focus on that time and show what a kid sees and what’s going on around them. I wanted to explain the situation from their point of view.” MN

"They destroyed these children" Sanctuary was shot in the original location of Freistatt, one of the toughest juvenile corrective training institutions in Germany.

Eventually, fourteen-year-old Wolfgang stands up to the harsh working conditions and the system of oppression and violence.

German director Marc Brummund, who was educated in psychology and journalism, talks about the real story behind his film.

“In the 70’s parents used to threaten their kids saying: ‘If you’re not a nice boy you will be sent to an orphanage.’ I recalled that when I read a book about Freistatt. I was especially struck by the descriptions of the orphanage boys working really hard in the swamps, which turned out to be only four kilometers from the town where I was born.

For my film I had extensive conversations with

those who were sent to Freistatt. I also met the educators, but it was harder to talk to them. At first they claimed that it wasn’t so harsh as it is written in the book, but then hesitantly they admitted what happened, sometimes getting very emotional. In a way they are victims too, because they didn’t stand a chance amidst so many boys. They didn’t know why those boys were locked up; maybe one boy killed his father or maybe another boy just skipped class for a few days. To make sure that no one was attacking them, they treated the kids like sheep, like animals. In the end I was able to understand why they acted like that.”

“There was this closed structure, a closed system, and some of the leaders were former Nazi’s. Some of those educators came directly from the war to work in institutions like that. These things will happen again and again, whenever you have secluded places without any control from the outside world.

When there’s no civilized structure, and if you have the power and nobody is keeping you back, it can happen to the nicest people.”

“In the more provincial towns of Germany there was this old structure and old authority thinking in the 70’s; they trusted what the church and state said.

In Freistatt it took so long before the boys got a better life. Only five days ago the German government raised the amount of compensation payment for the victims. They are not organized and very shy; they're all living with their past on their own.”

“Every screening in Germany was attended by former victims describing their life in Freistatt or other orphanages that were even harsher. They are kind of lost. For them it’s very hard to build up and keep relationships, because they have a feeling of mistrust and fear of being pushed away. They destroyed those boys and girls.”

“I met a man, he’s 65 now, who was talking about his past in a remarkably calm way. He told me about a range of sexual abuse from one orphanage to another. He was describing in every detail what happened there, which was really hard for me to hear. What a dirty world that was. But he was not pressing it away and was very open about it. I used his story in the script, in the scenes about the paedophile educator and the red-haired boy. There is a perverse sense that maybe this paedophile relation is better for the boy than getting no love at all in a place like that. This is one of those strange things I wanted to tell. During one screening half of the audience, partly consisting of former victims, was crying. One man walked to the actors and tightly embraced them, one after the other, and especially the red-hair boy. We all knew why.” MG

GOLDEN APRICOT DAILY | DAY 7 | 18 JULY | 2015