Golden Apricot Daily - 2017, Day 7

SATURDAY JULY 15, 2017

DAILY

DAY 7

úð²ÂºðÂ

HISTORY IN THE PRESENT TENSE ՆԵՐԿԱ ՎԱՂԱԿԱՏԱՐ ՊԱՏՄՈՒԹՅՈՒՆ INTENT TO DESTROY - p.5 «ԲՆԱՋՆՋՄԱՆ ՄՏԱԴՐՈՒԹՅՈՒՆ»- էջ.5

вÚðºð ºì àð¸Æܺð ì²ðäºî²ò ¸²ê. ÂàØ ØøêàðÈÆ ¿ç 2-3

вðò²¼ðàôÚòܺð. ڲܲ ö²öºÜ´ðàø, Øàвز¸ è²êàôÈàü ºì ²ÚÈø ¿ç 4

æà ´ºèÈÆܶºð вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

JOE BERLINGER

INTERVIEWS: JANA PAPENBROOCK, MOHAMMAD RASOULOF, AND MORE p. 6-7

ARMENIAN SHORTS: FAMILY AFFAIRS MASTER CLASS TOM MCSORLEY p. 7

GOLDEN APRICOT DAILY DAY 7 | 15 JULY | 2017

2 Ìð²¶Æð/ PROGRAM

, MOSCOW CINEMA, BLUE HALL

15.07 Fra/Ita, 140’ T, 16+

Lang.: French Subt.: English and Armenian

12:00

/ . -

Le Cercle Rouge /dir. Jean-Pierre Melville

14:30

!"# ! / .

Revolution /dir. Hugh Hudson

UK, 124’ R, 16+

Lang.: English Subt.: Armenian

20:00

$ % & !"# ! / .`

Intent to Destroy/ dir. Joe Berlinger *Invitations Only

USA, 115’ CF 16+

Lang.: English Subt.: Armenian §êÇÙáÝÇ ×³Ù÷³Ý¦

,

MOSCOW CINEMA, RED HALL 20:00

$ % & !"# ! / .`

Intent to Destroy/ dir. Joe Berlinger *Invitations Only

USA, 115’ CF 16+

Lang.: English Subt.: Armenian

' ' ( )' ' + ( '

YEREVAN NIGHTS AT POGHOSYAN GARDENS 21:00

- % . / .

The Pacemaker/dir. Selah Hennessy 5 6 7 8 & 7./ .

Sunflower Inn/dir. Selah Hennessy

UK, 30’ BW, 12+ UK, 30’ BW, 12+

Lang.: English

Rus, 5’ AU, 12+ Arm, 82’ T, 12+

Lang.: Armenian

Rus, 5’ AU, 12+

Lang.: Armenian

Arm, 82’ T, 12+

Lang.: Armenian

Lang.: English

' ' ( )' ' 9 '

YEREVAN NIGHTS AT OPERA SQUARE 21:00

; !< ! = / .

Dr. Denis Mukwege/dir. Andrei Loshak 7 ! / .

White Dreams/dir. Sergey Israelyan

Lang.: Armenian

' ' ( )' '

YEREVAN NIGHTS AT CASCADE 21:00

!? & @ / .

Dr. Muhammad Darwish /dir. Andrei Loshak $ 5, ; / . ! " Hello, It is Me! /dir. Frunze Dovlatyan

' ' ( )' ' « » / ( YEREVAN NIGHTS AT HAYASTAN CINEMA GARDEN 21:00

Rus, 5’ Lang.: Armenian J " ! & 5 K ! XK / .

AU

12+ Fartuun Adan and Ilwan Elman/dir. Andrei Loshak [ \ % < < ] / . # $ Rus/Arm, 73’ Lang.: Armenian/Russian !

% YP, 12+ Subt.: English Six Musicians and the City/dir.Tatiana Daniliyants

' ' ( )' ' ' ( YEREVAN NIGHTS AT NANSEN GARDEN 21:00

^ K ] / . & '

Jamila Afghani /dir. Vardan Hovhannisyan ` " b K / . ( ) Khatabala/dir. Yuri Yerznkyan

Arm, 5’ AU, 12+ Arm, 69’ T, 12+

Lang.: Armenian

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Lang.: Armenian

-z

RUSSIAN-ARMENIAN UNIVERSITY 16:00

| / . *

:

; Arm/Geo/USA, Lang.: Armenian Red Apples /dir. George Sikharulidze 15’, AP, 16+ Subt.: English

§Î³ñÙÇñ ËÝÓáñÝ»ñ¦

GOLDEN APRICOT DAILY ÊÙμ³·ÇñÝ»ñ` Úáëà ´ñá»ñ»Ý-гÛï»Ý˳, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý ²ß˳ï³Ï³½Ù` ê³ß³ ÎáõïëÇñ, ÐÛáõ·á ¾Ù»ñ½³»É, γñ»Ý ²í»ïÇëÛ³Ý Ð»ÕÇݳÏÝ»ñª èá½³ ¶ñÇ·áñÛ³Ý, ¸Ç³Ý³ سñïÇñáëÛ³Ý Èáõë³ÝϳñÇ㪠سݻ ÐáíѳÝÝÇëÛ³Ý êñμ³·ñÇ㪠γñ»Ý ²ë³ïñÛ³Ý

³ñ·Ù³ÝÇãÝ»ñª ÈáõëÇÝ» ÐáíѳÝÝÇëÛ³Ý, ¼³ñÇÝ» ê³ý³ñÛ³Ý, γñÇÝ» ²ÉáÛ³Ý ¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý Ð»é³Ï³ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý îå³·ñí³Í ¿ §Üî ÐáɹÇÝ·¦ êäÀ-áõÙ

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

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

GOLDEN APRICOT DAILY 2017 | 15 JULY | DAY 7

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

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GOLDEN APRICOT DAILY DAY 7 | 15 JULY | 2017

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GOLDEN APRICOT DAILY 2017 | 15 JULY | DAY 7

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INTERVIEW 5

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What was it about the film The Promise that made you decide to make a documentary about it?

When I heard that The Promise was being made, I thought I now might be able to add something to the discussion and make soething more in the arena of how I like to make films. The production of The Promise gave me a present tense thread to tell a story about the genocide. From a filmmaking perspective the idea of embedding the making of a feature film about that subject seemed to be interesting and effective. Some people view it as just a behind-the-scenes movie, but I think that’s the wrong way of looking at it. I want to rise above that and reinvigorate that genre. The fact that The Promise was being filmed is historic and is part of the story that I’m trying to tell. It’s not just the genocide that’s interesting to me. It’s the 100 years of denial that followed and the aftermath of that denial.

It’s interesting that it took one hundred years to get this story out in a Hollywood film.

Well, you know, Turkey has intervened in U.S. moviemaking before and as a result nobody dared to tell this story through film. Still, no one in Hollywood dares to just take it on.

The Promise was independently financed. Even though it has many Hollywood players involved in it, it’s still an independent film, financed by an Armenian entrepreneur. The fact that this film got made with Hollywood talent is so historic in my view.

What surprised you the most when you were researching your documentary?

What I did know was kind of the basic story beats of the genocide. I was aware of the Armenian version, so to speak, of the genocide. What I did not know was just how strong the denial campaign has been over the last century. Some of my Armenian friends might not be happy when I say this, but one of the reasons I included a couple of genocide deniers in the film is that I want to understand the mechanism of denial. Many scholars will tell you that you can’t give airtime to people that deny the Holocaust because it legitimizes their point of view. So people also questioned my decision to include the denial narrative. However, I felt that it was very important to include those voices because you have to understand the mechanism of denial to understand how effective it is.

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How familiar were you with the subject of the Armenian Genocide before you started making Intent to Destroy?

I’ve always been aware of the Armenian Genocide and fascinated by the fact that it’s so contested throughout history, while it shouldn’t be contested at all. It’s a terrible atrocity that should be reckoned with. Still, I never thought of making a film about it, because I’m not a historical filmmaker. I tend to be more of a cinéma vérité filmmaker, following stories in the present tense.

JOE BERLINGER With Metallica: Some Kind of Monster (2004), a portrait of the American rock band at a moment of crisis, Joe Berlinger reinvigorated the genre of the fly-on-the-wall music documentary. The revealing film shows the iconic musicians battling their personal demons. Berlinger gets so close to his subjects that they give him all their raw and unfiltered emotions, shedding light on the extreme pressure they felt to excel in their creative process.

After having made numerous documentaries and productions for American television, Berlinger returns to the behind-the-scenes genre, although his latest film Intent to Destroy is one with a far weightier story.

The film is structured around the making of The Promise, a big-budget American film with an all-star cast that tells the story of the Armenian Genocide. Intent to Destroy places the production of The Promise in a bigger narrative: the struggle between those who are trying to get the story of the Armenian genocide told and those who want to stop that story from ever coming out.

The scenes with the genocide deniers are very weighty. How did you approach those people when they were in front of your camera?

I’m accepting them at face value, letting them voice their opinions. I think they’ve also been casualties of the Turkish campaign for the last century. Really, a lot of people don’t believe it’s genocide and certain Armenians think that every person that’s denying it in the film is doing so for some ulterior motive. I think it’s much more complicated than that.

I think the denial campaign has been so effective, sowing doubt and delivering their narratives, that these are just casualties of war. Still, the vast majority of genocide scholars do consider it a genocide. The thing is that Turkish officials have been very effective in spreading denial. Most people either don’t know the story or are contesting it. To me it is not contested history at all and I think we demonstrate that in the film.

In Intent to Destroy you show how actor Daniel Giménez Cacho was pressured by Turkish officials when he announced his involvement in The Promise. Did you experience the same kind of pressure?

While I was filming behind the scenes of The Promise, I kept it under the radar. I didn’t want any interference while making that part of the film. Once that material was shot I actually made a big effort to get Turkish officials to come for me. To my surprise I did not have an encounter like Daniel Giménez Cacho had. The ambassador reached out to him for a meeting and tried to pressure him. I was never confronted with that kind of pressure. Just the opposite: I tried really hard to get somebody to sit down for an interview and everybody declined. They only invited me to Turkey to speak with some officials of the ministry of foreign affairs, but it felt wrong to go to Turkey to get the official standpoint, without being allowed to film it. I chose not to accept that invitation. HE Intent to Destroy (Joe Berlinger, USA, 2017).

Closing Film. 16-7 22:00 Moscow Cinema Blue Hall, Red Hall (invitation only).

GOLDEN APRICOT DAILY DAY 7 | 15 JULY | 2017

6 INTERVIEWS

‘THEIR WISDOM SURPRISED ME’ In Why Is Mr. W. Laughing?, taking part in this year’s Documentary Competition, German filmmaker Jana Papenbroock explores the works, lives and minds of three Hamburg artists in a bracing portrait that is poetic both in form and content.

“They’re so un-dogmatic, they don’t have this preconceived idea of what their work is supposed to be like,” says Jana Papenbroock about Horst, Bernhard and Michael, the protagonists of her film.

The work she refers to is the art they make in a Hamburg atelier shared with 27 other artists. Horst and Bernhard are successful painters and Michael is a skilled crochet artist who can make just about anything out of thread.

What Papenbroock likes about their approach to art can also be said of the way she portrays them: she has allowed the story and style to be determined by theses artists’ interests, their work and their perception. Their slightly off-kilter view on the world – a trait you’d al-

ways hope to find in an artist’s mind – is partly formed by the mental disabilities they’ve lived with since they were born. But instead of approaching this as impairment, Papenbroock manages to reveal its intrinsic quality. “In films about disability there’s usually this distinction between the sane-and-sovereign filmmaker and the disabled other”, Papenbroock observes.

“Filmmakers rarely allow their coherence to be disturbed by the way of thinking and seeing of their subjects. We didn’t want to make a film about the socio-politics of participation; we wanted our film to be socio-political and inclusive.”

This led Papenbroock to co-write the film with her protagonists. “I asked them what they would like to present and what they’d like to do and they immediately had all kinds of ideas. I chose my protagonists by hanging around in the atelier with the camera and seeing who was open to it. These three came along and invited me to come into their houses, go to their favourite places and follow them through their life. There was a good connection between them

too, as they are really good friends. What surprised me was that although they had never been to school, they’re so wise. They have very realistic and philosophical views on life and their own chances in society. Moreover, they acknowledge every opportunity to be joyful. It’s a wisdom they have developed through a history of suffering and exclusion.”

Papenbroock is an insider to the art world as she’s been working as a video-artist, author and filmmaker for more than a decade. She confesses that the delicacy and care with which the members of this atelier treat one another is something she’d love to see adopted more widely: “They encourage and empower one another and they show interest in each other’s work. This atelier is a kind of a communist utopia: all the revenues are shared, even if some of the artists sell better than others. Of course this is all made possible because the state provides them with an income. In comparison, the commercial art world is so competitive and ego-driven.

I miss this kind of solidarity and community.” SK

‘YOU PAY WITH YOUR DIGNITY’ Mohammad Rasoulof is in Yerevan presenting his new film A Man of Integrity, having been absent from the film circuit since the 2013 premiere of Manuscripts Don’t Burn in Cannes. “I was arrested when I came back to Iran in 2013”, Rasoulof explains. This is the reality for many Iranian filmmakers.

‘WE WANTED TO TELL A TIMELESS STORY’ Czech-Dutch filmmaking couple Petr Lom and Corinne van Egeraat return to GAIFF with their latest film Burma Storybook, a portrait of the central role poetry plays in Birmese society. Lom: “Since the film is about poetry, the images had to be as beautiful as the words.”

While Burma Storybook was filmed during the run-up to the first democratic elections in Birma in 2016, the film’s focus is not on politics at all.

“We wanted it to be cinematic and beautiful”, Lom says. “And we wanted to tell a timeless story. If you only focus on politics you tend not to do that. Practically, making a film about politics would also be pretty hard in Myanmar. As foreigners, we couldn’t really film political stuff or the student protests that were happening; we’d get thrown out. But that wasn’t what we wanted to do anyway.”

Instead, the film paints a poetic picture of life in Burma as told through the poetry of its inhabitants.

Lom and Van Egeraat manage to get to the heart of the country’s spirit, avoiding the exoticism that’s always a risk for this type of film. “I’ve always made films in countries where I don’t speak the language, and I guess I’m a person who doesn’t believe in outsiders or insiders. Perhaps its a naive way to look at films, but I really believe in cosmopolitanism.” Van

Egeraat adds: “On a practical level, it’s about finding the right local collaborator. We spent several months trying to find someone to work with, and finally we thought of asking some of the local poets, who are well-respected and speak English. That was the key to gaining people’s trust.”

The most prominent among the poets in the film is Maung Aung Pwint, known as the people’s poet in his home country. Aside from his poetry, his fascinating life story also gives the film direction. “We filmed for 200 hours”, Lom says, “so the challenge was how to turn that into a story. We were introduced to Maung Aung Pwint through the organizers of the Human Rights Human Dignity film festival in Birma, which we attended with our film Back to the Square in 2013. Meeting him was sort of a miracle – he’s the kind of person that’s a great gift to a filmmaker. But we didn’t want to make the film only about him and his wife, that would have been too conventional and too small.”

While the onscreen couple became central to the story, the couple behind the camera had their own dynamic. “Officially Peter is the director and I’m the producer, but we’re married, so everything sort of runs together”, Van Egeraat says. “We start off by writing together, and we love editing together.

I think artistically we’re a really good team. We’re very different, but respectful about each other’s opinions and tastes.” JBH

Like his fellow countrymen Asghar Farhadi and Jafar Panahi, Rasoulof is lauded at international film festivals (A Man of Integrity won the prestigious Un Certain Regard Award at Cannes this year) but haunted in his homeland, where his films can't been shown on the big screen. As a matter of fact, Rasoulof had to shoot his most recent films in secret. “That’s also why the filming took longer: it had to be clandestine.”

It’s safe to say that Iranian officials don’t look kindly upon Rasoulof’s close scrutiny of the fabric of Iranian society. “When I came back from Cannes in 2013 I had some time on my hands, during which I studied the society around me”, Rasoulof explains when asked where A Man of Integrity originated. “The thing that struck me most was all this corruption.”

A Man of Integrity shows how inescapable this system of corruption is through the hardships of goldfish farmer Reza and his family. As a character in the film says: “In this country you’re either the oppressed or the oppressor.” Rasoulof has felt the effects of corruption in his own life as well. “Even

if you don’t want to, it will engross and overwhelm you. Personally, I don’t like lying, but I also have to present fake screenplays to get approved so I can film my actual, illegal screenplays. Censorship is part of the system itself and it makes you take those steps.”

One event in his life, which happened some twenty years ago, especially inspired this tale of greed and corruption. Rasoulof was filming on a last-minute job for the advertising agency he worked for at the time, when he was stopped by Iranian police. “I was very tired because I had been filming all day, and I wanted to get to the office to work on this important job, but the police wouldn’t let me go under any circumstance.” Even though his documents where in order, Rasoulof could only leave if he paid the officers. “Their offer wasn’t even that surprising to me, I just didn’t know what to do in this situation.”

Rasoulof was trying to do the right thing. In his office, before paying the officer that accompanied him, he quickly made photocopies of the bank notes. Later he brought those to the police captain to file a complaint. Rasoulof remembers: “The captain looked at me for a while and put the photocopies in his drawer. The next day after lunch they arrested me. While writing the screenplay for this film this memory was always on my mind. It shows the complexities of the system. If you want to withstand this form of corruption you have to pay, not only in cash but also in terms of your dignity and identity.” HE

GOLDEN APRICOT DAILY 2017 | 15 JULY | DAY 7

NEWS AND REVIEWS 7

‘MUSIC HAS ALWAYS BEEN A VITAL PART OF MY LIFE’ Tatiana Daniliyants’s Six Musicians and the City, which has its final of five festival screenings tonight, takes the audience on a trip through Yerevan’s music and history, as seen through the views and experiences of six renowned local musicians.

Although her father was half Armenian, Tatiana Daniliyants’ connection with Yerevan comes mainly from her love for the city and the friends that she met here over the last decade. “In 2007 a film of mine screened in the KIN festival in Yerevan.

I met Harutyun Khachartyan and he invited me to the Golden Apricot festival the next year. This started my love affair with this city, which only grew deeper over the following years. In Armenia I connect with people very easily and I’ve made really good friends here. This film is the result of my journey through the city, the characters and the music.”

Music is very important to Daniliyants, who studied

music since she was six. “My parents wanted me to become a concert pianist, but when I was 15 years old I decided I didn’t want to become a professional musician. Still, music has remained a vital part of my life.”

The idea for Six Musicians and the City originated ten years ago in the Poplavok jazz café, where the director saw popular Yerevan singer Forsh perform. “It was a very grey and cold day in December, but as soon as I arrived there I was on fire”, she recalls. Through meetings with others, the original idea to make a short film about this musician ended up becoming a city portrait through the eyes of some of Yerevan’s most iconic music performers. “I asked them to bring me to their favourite places.

These buildings and sites are important for the history of the city, but also for them personally.” SK

After giving a lecture at LOFT yesterday, Russian film critic Anton Dolin is presenting his new book Jim Jarmusch: Poetry and Music at the Art Bridge book store (20 Abovyan Street) today from 14:00-17:00. The book, the presentation and the following Q&A will all be in Russian.

Closing Time Preceding the screening of closing film Intent to Destroy (see page 5), this year’s competition winners will be announced during the celebratory Closing Ceremony in the Moscow Cinema Red Hall tonight at 19:00. See tomorrow’s daily for a complete overview of all winning films, many of which will get a celebratory screening.

A CINEMA OF BROKENHEARTED LOSERS McSorley also said that if American movies are usually success stories, then in Canadian cinema things are a bit different. “Our cinema is full of brokenhearted losers, people who cannot overcome life’s challenges. I’m not even sure if our film heroes can even be called heroes.” Canadians are more inclined to conform to the situation, McSorley said, rather than overcoming. “Unlike Americans, many of our film characters are unable to control the situation. And our stories usually have a bad ending or no ending at all.”

Throughout his Master Class McSorley screened clips from Canadian movies to illustrate his points, including scenes from Don McKellar’s Last Night (1998), Donald Shebib’s Goin’ Down the Road (1970), David Cronenberg’s Videodrome (1983), Xavier Dolan’s Mommy (2014), and Atom Egoyan’s Next of Kin (1984). Egoyan was sicussed at length; McSorley, who wrote a book dedicated to the Armenian-Canadian director’s 1991 film The Adjuster, spoke highly of the director’s art. “Egoyan is one the directors that discovered Canada.”

McSorley concluded his lecture with an astute observation of his country’s cinema. “Canadian filmmakers are always trying to tell their stories in unconventional ways. Avoiding traditions – that’s what they do.” RG

“American movies have been the lords and masters of our screens”, McSorley noted at the start of his Master Class. “Even now, the situation hasn’t changed. Most of films shown in Canadian cinemas are from Hollywood and Canadian cinema is basically invisible – only three percent are Canadian films. Even our young people are mostly watching American movies, and I reckon it’s the same in Armenia.”

McSorley stated that his home country never had major film studios and everything was created by individuals. Moreover, McSorley assumes that many Canadians haven’t even seen a Canadian film, although there are a few positive shifts in this regard. “In the last 30 years, many Canadian filmmakers have garnered international recognition and some of them continue to participate in international film festivals and get awards.”

FAMILY AFFAIRS All six of the shorts in this year’s Armenian Panorama carry in them the at times polarizing viewpoints of Armenian filmmakers from different countries about family relations, family crises, and the incompatibility of the traditional with the new.

Red Apples, by writer/producer Ofelya Harutyunyan and director George Sikharulidze, deals with the ancient Caucasus tradition of showing the bloody bedsheets after the first night of a marriage, thus proving that the bride was indeed a virgin. That is not the case for the film’s newlywed couple and considering their parents’ conservatism, this brings about a family conflict that endangers the young couple’s future. On the other end of the age spectrum, Erik Shahinian’s Head Above Water features a drama centered on an elderly couple. The wife is suffering from Alzheimer’s disease and cannot help her husband when he slips and falls in the bathroom. The result is a tragic comedy about fee-

ling helpless and the fact that help can come from very unexpected places.

In Edgar Baghdasaryan’s Simon’s Way a man must make a long and arduous journey just to get to his dying grandfather who lives only 300 meters away. They are separated by the ArmenianTurkish border, which has been closed since the early 1990’s. The two have to keep their binoculars at hand, since that’s the only way they get to see each other.

Traditional Armenian family values are at the center of young director Arj-Aspet Shermazanyan’s Salt and Bread. Inspired by the Biblical story of the prodigal son, the film is set in present-day Armenia, in the mountains of the Lori region where a unique system of values based on honor and dignity is still alive and vibrant. A parent-child relationship is also the basis for Arsen Agadjanyan’s He Said “Mommy”. Flavored with amusing Georgian traits, this is a story about a father who suddenly finds out that his youngest daughter has fallen in love. From that point on, he becomes ob-

Argentinian film critic Roger Koza, a member of this year's FIPRESCI press jury, will close the series of talks at AGBU today at 15:00 with a workshop on film criticism entitled “A Certain Glance: A Possible Outline for a Profession – Criticism, Biography & Aesthetics”. The workshop is accessible by registration only; the entry form can be found through GAIFF’s Facebook page.

Dolin on Jarmusch

Six Musicians and the City (Tatiana Daniliyants, Russia/Armenia, 2016). 15-7 21:00 Hayastan Cinema Garden.

This year’s final Master Class took place yesterday with film critic, Feature Compeition juror and director of the Canadian Film Institute Tom McSorley taking the stage at the AGBU center. He discussed modern Canadian cinema and seasoned his lecture with references to the past.

Workshop Roger Koza

sessed with figuring out who his daughter’s chosen one is.

Gariné Torossian’s Canadian-Armenian film The Structure Is Rotten, Comrade brings a phantasmagorical and somewhat absurd conclusion to the whole program. The main character, an architect named Frunz, cannot decide whether to follow in the footsteps of his cement-obsessed father and join the family business, or go his own way, which might bring to light political differences between the generations as well. This question of whether sticking to traditions or doing what you think is right is on the minds of most of these films, and every filmmaker has his or her own answer. DM

Into the Night Once the winners are known, it’s time for the festival’s final party. The aptly named Apricot Party will be held at Process Pub (1a Martiros Saryan Street) and starts at 23:30.

Jury Reports Led by festival director Harutyun Khachatryan, this year’s juries will discuss their motivations at a press conference tomorrow at noon in the Grand Hotel’s Vivaldi room.

The Founding Fathers of Punk Gimme Danger (Jim Jarmusch, USA, 2016).

Yerevan Premiere. 16-7 21:00 Moscow Cinema Red Hall.

While The Stooges only made three commercially unsuccessful albums in their brief existence between 1967 and 1973, the band’s musical influence can hardly be overstated. With the raw energy brought by the guitar-wielding Asheton brothers, and the confrontational lyrics spat out by front man Iggy Pop, the band inspired the punk movement of the late 1970s and 1980s, even though they were not around to reap the rewards of the seeds they had sown.

Director Jim Jarmusch relates the eventful history of The Stooges, as told by band itself, both in archival interviews and new conversations with the surviving members. As is to be expected, a central place is given to the band’s front man (and by this time its only surviving original member) Jim Osterberg, better known by his stage name Iggy Pop. Jarmusch paints an efficient portrait of the band’s history. He starts with the early beginnings as The Psychedelic Stooges in the late 1960s, following in the footsteps of bands like The MC5. What follows is a rock tale for the ages: early successes are followed by a rapid downfall caused by the pitfalls of fame and drugs. Then, after decades in which the band’s style and attitude took flight but the members themselves were floundering, there is the unexpected resurrection in the early 2000s.

The stories and anecdotes the band members tell are illustrated by a rich selection of archival materials. Rare photographs and concert footage, both from the early days and the more recent revival, form the spine of the film. But it’s given flesh and blood by a constant stream of other, more abstractly related images: clips from films and TV-shows, jumpy handwritten texts and rough animated sequences depicting the wild (mis)adventures that weren’t captured on tape.

They’re a welcome addition, injecting some of the band’s swagger and anarchism into what is in essence a fan-made love letter to The Stooges. JBH