Golden Apricot Daily - 2016, Day 7

DAILY

SUNDAY JULY 16 2016

DAY

7

úð²ÂºðÂ

Doctor, Detective ´ÅÇßÏ, Ñ»ï³ËáõÛ½ ¸ÆîºÈàì ¸Æîàð¸ÜºðÆÜ ´ºèÀ öÊðàôÜ àôêºðÆÜ ÈàÞ²Î. ì²ðäºî²ò ¸²ê ¿ç 3

ÆðºÜò Ȳ첶àôÚÜ ¸ºðºðÀ вðβìàð ¾ ú¶Ü²Î²Ü вÊàôèÜ ¼¶²òØàôÜøܺð ¿ç 4

ijÏÉÇÝ ´Çë»Ã

A HELPING HAND FIERCE EMOTIONS TAMING THE BRIDE p. 6

вðò²¼ðàôÚò

¿ç/p. 5

INTERVIEW

Jacqueline Bisset

OBSERVING THE OBSERVERS FEMININE BUT NOT FEMINIST MASTER CLASS LOSHAK p. 7

GOLDEN APRICOT DAILY DAY 7 | 16 JULY | 2016

2 Ìð²¶Æð/ PROGRAM

, MOSCOW CINEMA, BLUE HALL 14:00

16:00

15.07

/ .

Logbook_Serbistan/dir. Želimir Žilnik !"# ! $ %# & " ' !(/ .

Murder on the Orient Express/dir. Sidney Lumet

¶ð²ÊàêàôÂÚàôÜܺð

Lang.: English/Arabic/Somali/ Serbian/French Subt.: English and Armenian Lang.: English/French/German/ Turkish/Italian/Swedish Subt.: English and Armenian

Srb, 94’ R UK, 128’ R

,

MOSCOW CINEMA, RED HALL 19:00

Bel/Fra, 113’ CF

) " !*+ / .

-

The Unknown Girl/dir. Jean-Pierre and Luc Dardenne *Invitations Only

Lang.: French Subt.: English and Armenian

вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð. βðֲغîð²Ä üÆÈغð §àëÏ» ÍÇñ³Ý¦ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ 2016 Ãí³Ï³ÝÇ §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ Íñ³·ñÇ Ù»ç Áݹ·ñÏí³Í »Ý ãáñë ϳñ׳ٻïñ³Å ýÇÉÙ»ñ èáõë³ëï³ÝÇó, üñ³ÝëdzÛÇó ¨ Ð³Û³ëï³ÝÇó

, . / 1 MOSCOW CINEMA, SMALL HALL 1 14:00 3%( $ & # / . ,

Olmo & the Seagull/dir. Petra Costa, Lea Glob

16:00

Dnk/Bra/Prt/ Lang.: French/English Fra/Ita, 82’ Subt.: English and Armenian DC

78 ' * # + / .

! " # Who Killed the Armenians?/dir. Mohamed Hanafy Nasr

Egy, 73’ FV

Lang.: Arabic Subt.: English and Armenian

;

CINEMA STAR 18:00

+ %+ , " =+ # / .

$ %

& My Good Hans/dir. Alexander Mindadze

Rus/Deu/UK, Lang.: German/Russian 124’ Subt.: English and Armenian YP

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GOLDEN APRICOT DAILY ÊÙμ³·ÇñÝ»ñ` Úáëà ´ñá»ñ»Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý

êñμ³·ñÇ㪠سñÇÝ» Ô³ñ³Ë³ÝÛ³Ý

²ß˳ï³Ï³½Ù` سñÇÏ» ÜÛáõ¹áñ÷, ÐÛáõ·á ¾Ù»ñ½³»É

³ñ·Ù³ÝÇãÝ»ñª γñÇÝ» ²ÉáÛ³Ý, ¼³ñáõÑÇ ê³ý³ñÛ³Ý

лÕÇݳÏÝ»ñª γñ»Ý ²í»ïÇëÛ³Ý, èá½³ ¶ñÇ·áñÛ³Ý, ¸Ç³Ý³ γñ¹áõÙÛ³Ý

¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý

Èáõë³ÝϳñÇ㪠سݻ ÐáíѳÝÝÇëÛ³Ý

îå³·ñí³Í ¿ §Üî ÐáɹÇÝ·¦ êäÀ-áõÙ

лé³Ï³ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

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

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

GOLDEN APRICOT DAILY 2016 | 16 JULY | DAY 7

Èàôðºð ºì ¶ð²ÊàêàôÂÚàôÜܺð 3

¸ÆîºÈàì ¸Æîàð¸ÜºðÆÜ §Ò³Ë ³÷Ç Ñ³Ý¹ÇÙ³ÝÁ¦ ýÇÉÙÇ Ñ³Ù³ñ èáõë³ëï³ÝÇ áõà ù³Õ³ù³óÇÝ»ñ Ýϳñ»óÇÝ Çñ»Ýó ѳÛñ»ÝÇ ¸áÝÇ èáëïáí ù³Õ³ùÇ ï»Õ³Ï³Ý Ñ»ñáëÝ»ñÇÝ: ²Ûë í³í»ñ³·ñ³Ï³Ý ýÇÉÙÁ, áñï»Õ ѳí³ùí³Í »Ý Ýñ³Ýó ϳñ׳ٻïñ³Å ýÇÉÙ»ñÁ, å³ïñ³ëïí»É ¿ áñå»ë §ø³Õ³ùÇ Ïá¹Á¦ ݳ˳·ÍÇ ÙÇ Ù³ëª §ÏÇÝáɳμáñ³ïáñdz¦, áñáõÙ »ñÇï³ë³ñ¹ ï»Õ³óÇÝ»ñÁ ϳñáÕ »Ý ÏÇÝá ëï»ÕÍ»Éáõ ÙÇçáóáí ½³ñ·³óÝ»É Çñ»Ýó ëï»Õͳ·áñÍ³Ï³Ý áõݳÏáõÃÛáõÝÝ»ñÁ: гٳϳñ·áÕÝ»ñ ºí·»ÝÇ ¶ñÇ·áñ¨Ý áõ ²Ýݳ ê»ÉÛ³ÝÇÝ³Ý å³ïÙ»óÇÝ Ù»½, û ÇÝãå»ë ¿ ³Û¹ ³Ù»ÝÁ ϳï³ñí»É. §Ø»½ ѳٳñ ÇëÏ³Ï³Ý Ñ»ñáëÝ»ñÁ Ù»ñ Ù³ëݳÏÇóÝ»ñÝ »Ý¦: ì³í»ñ³·ñ³Ï³Ý ÏÇÝáé»ÅÇëáñ, ÙáëÏí³óÇ ºí·»ÝÇ ¶ñÇ·áñ¨Ý áõ åñá¹Ûáõë»ñ ²Ýݳ ê»ÉÛ³ÝÇÝ³Ý ³Ûë ݳ˳·ÍÇ Ñ³Ù³Ï³ñ·áÕÝ»ñÝ »Ý: ê»ÉÛ³ÝÇÝ³Ý ³ëáõÙ ¿. §Ø»Ýù ÝٳݳïÇå ¹³ëÁÝóóÝ»ñ »Ýù ϳ½Ù³Ï»ñå»É ºÏ³ï»ñÇÝμáõñ·áõÙ: ´³Ûó ¹³ ³í»ÉÇ ß³ï §ùñáë-Ù»¹Ç³¦ ݳ˳·ÇÍ ¿ñ. Ùï³¹Çñ ã¿ÇÝù ³Û¹ å³ïÙáõÃÛáõÝÝ»ñÁ ýÇÉÙÇ í»ñ³Í»É¦: ²Û¹ ·³Õ³÷³ñÝ ³í»ÉÇ áõß ÍÝí»ó, »ñμ ¶ñÇ·áñ¨Ý áõ ê»ÉÛ³ÝÇÝ³Ý Ñ³ëϳó³Ý, áñ ݳ˳·ÇÍÁ, áñ ä»ñíááõñ³ÉëÏáõÙ ¿ÇÝ Çñ³Ï³Ý³óñ»É, áõñÇß ù³Õ³ùÝ»ñáõÙ ¿É ¿ Ñݳñ³íáñ ³Ý»É: ²ÛÝå»ë áñ, »ñμ Ýñ³Ýù ÏñÏÝ»óÇÝ Çñ»Ýó ÏÇÝáɳμáñ³ïáñÇ³Ý ¸áÝÇ èáëïáíáõÙ, ·Çï»ÇÝ, áñ ¹³ í»ñ³Íí»Éáõ ¿ Édzٻïñ³Å í³í»ñ³·ñ³Ï³Ý ýÇÉÙÇ: ¶ñÇ·áñ¨Á å³ïÙáõÙ ¿. §²Ûë ÃáÕ³ñÏÙ³Ý Ñ³Ù³ñ »ë Ý³Ë ÙÇ Íñ³·Çñ ¿Ç ·ñ»Éª ÑÇÙùáõÙ »ñÏáõ éáõë³Ï³Ý ³ë³óí³ÍùÝ»ñ, áñáÝó ÇÙ³ëïÝ ³ÛÝ ¿, áñ ùá ϳñÇùÁ ½·³óíáõÙ ¿ ³ÛÝ í³ÛñáõÙ, áñï»Õ ¹áõ ÍÝí»É »ëª ÝáõÛÝÇëÏ »Ã» ¹³ ϳï³ñÛ³É í³Ûñ 㿦: سëݳÏÇóÝ»ñÁ å»ïù ¿ ¹ÇÙáõÙÇ Ñ³Ù³ñ ï»ë³·ñáõÃÛáõÝ áõÕ³ñÏ»ÇÝ, áñÁ óáõÛó ¿ ï³ÉÇë Ýñ³Ýó ë»ñÝ Çñ»Ýó ù³Õ³ùÇ ÝϳïÙ³Ùμ áõ å³ï³ë˳ݳïíáõÃÛáõÝÝ ³Û¹ ù³Õ³ùáõÙ Çñ»Ýó ³å³·³ÛÇ Ñ³Ù³ñ: سëݳÏÇóÝ»ñÁ å»ïù ¿ ÃÇÙ³ÛÇÝ Ë³Õ³óáÕÝ»ñ ÉÇÝ»ÇÝ, áñáÝù ó³ÝϳÝáõÙ »Ý ëáíáñ»É ýÇÉÙ Ýϳñ³Ñ³Ý»Éª ÝáõÛÝÇëÏ »Ã» ÙÇÝã ³Û¹ »ñμ¨¿ ã¿ÇÝ ³ñ»É ¹³: §Ø»Ýù ݳ˳·ÍÇ Ñ³Ù³ñ

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GOLDEN APRICOT DAILY DAY 7 | 16 JULY | 2016

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Æñ³ÝóÇ é»ÅÇëáñ ²μ³ë ødzéáëóÙÇÝ, áí ٳѳó³í 76 ï³ñ»Ï³ÝáõÙ` ³Ûë ï³ñí³ §àëÏ» ÍÇñ³ÝǦ Ù»ÏݳñÏÇó Áݹ³Ù»ÝÁ ÙÇ ù³ÝÇ ûñ ³é³ç, 1997-ÇÝ áñáß ¹Åí³ñáõÃÛáõÝÝ»ñ áõÝ»ñ §´³ÉÇ Ñ³ÙÁ¦ ýÇÉÙÁ ѳÛñ»ÝÇùÇó ¹áõñë μ»ñ»Éáõ ѳñóáõÙ: üÇÉÙÁ å»ïù ¿ óáõó³¹ñí»ñ ³Û¹ ï³ñí³ Î³ÝÝÇ ÏÇÝá÷³é³ïáÝÇ ÙñóáõóÛÇÝ Íñ³·ñáõÙ, μ³Ûó »ñϳñ Å³Ù³Ý³Ï Æñ³ÝÇ Ï³é³í³ñáõÃÛáõÝÁ óáõó³¹ñÙ³Ý ÃáõÛÉïíáõÃÛáõÝ ã¿ñ ï³ÉÇë: Æ í»ñçá ødzéáëóÙÇÝ Ù»Í ¹Åí³ñáõÃÛ³Ùμ, μ³Ûó ϳñáÕ³ó³í ѳÕóѳñ»É μáÉáñ ù³Õ³ù³Ï³Ý ËáãÁݹáïÝ»ñÁ, ¨ Ýñ³ ÙÇÝÇÙ³ÉÇëï³Ï³Ý, μ³Ûó¨ ËáñÇÙ³ëï ¹ñ³Ù³Ý óÝóáÕ ÁݹáõÝ»ÉáõÃÛáõÝ áõÝ»ó³íª Ç í»ñçá ߳ѻÉáí ÷³é³ïáÝÇ ·É˳íáñ Ùñó³Ý³ÏÁª §àëÏ» ³ñÙ³í»ÝÇݦ: ²½Ýí³¹»Ù, ÙÇçÇÝ ï³ñÇùÇ ïÕ³Ù³ñ¹Á Ù»ù»Ý³ ¿ í³ñáõÙ ÙÇ ³Ý³ÝáõÝ ù³Õ³ùÇ ³ñí³ñÓ³ÝÝ»ñáõÙ: ä³ñáÝ ´³¹ÇÇÝ û·Ý³Ï³Ý ¿ áñáÝáõÙ ª ¹ñ³ ¹ÇÙ³ó Ù³ñ¹Ï³Ýó ³é³ç³ñÏ»Éáí áñá-

Æñ»Ýó É³í³·áõÛÝ ¹»ñ»ñÁ §úÉÙáÝ ¨ ׳ÛÁ¦ (ä»ïñ³ Îáëï³, È»³ ¶Éáμ, ¸³Ýdz/ ´ñ³½ÇÉdz/ äáñïáõ·³Édz/ üñ³Ýëdz/ Æï³Édz, 2015), ì³í»ñ³·ñ³Ï³Ý ÙñóáõÛÃ, 16.07ª 14:00, §ØáëÏí³¦ Ï/à öáùñ ¹³ÑÉÇ× 1 ²½³ï³ï»Ýã ¹»ñ³ë³ÝáõÑÇ úÉÇídzÛÇ ÏÛ³ÝùáõÙ ßáõïáí Ù»Í ßñç³¹³ñÓ ¿ ÉÇÝ»Éáõ: ä³ïñ³ëïí»Éáí â»ËáíÇ §Ö³ÛÁ¦ åÇ»ëÇ μ»Ù³Ï³Ý³óÙ³Ý Ù»ç ²ñϳ¹ÇݳÛÇ ¹»ñÇݪ ݳ ¨ Ýñ³ ëÇñ»ÉÇ ê»ñÅÁª ÝáõÛÝå»ë ¹»ñ³ë³Ý, ѳÝϳñÍ ÇÙ³ÝáõÙ »Ý, áñ ÑÕÇ ¿: ºÃ» ëϽμÇó ½áõÛ·Ý áõñ³Ë ¿, ³å³ ß³ï ßáõïáí çñÇ »ñ»ë »Ý ¹áõñë ·³ÉÇë í³ï ÏáÕÙ»ñÁ: Theatre du Soleil óï»ñ³ËÙμÇÝ Ëݹñ»É »Ý ÙÇ ù³ÝÇ ³ÙëÇó ϳï³ñ»É §Ö³ÛÁ¦ ÜÛáõ ÚáñùáõÙ, μ³Ûó ³é³Ýó úÉÇídzÛÇ. ³Û¹ Å³Ù³Ý³Ï ÷áñÝ ³ñ¹»Ý Ï»ñ¨³: §Þ³ï ó³í³ÉÇ ¿ ³ß˳ï»Éáõ Çñ³íáõÝùÁ ÏáñóÝ»ÉÁ¦,- ³ëáõÙ ¿ ݳ ϳ¹ñÇó ¹áõñë: ø³ÝÇ áñ Ýñ³ ÑÕÇáõÃÛáõÝÁ, Áëï »ñ¨áõÛÃÇÝ, éÇëϳÛÇÝ ¿, ݳ ëïÇåí³Í ¿ ÙÇ ù³ÝÇ ³ÙÇë ï³ÝÁ ÙݳÉ, ÙÇÝ㨠»ñ»Ë³Ý ÏÍÝíÇ: ²Ù»Ý ûñÁ ݳ ³åñáõÙ ¿ μ³Ýï³ñÏÛ³ÉÇ å»ëª ³é»ñ»ëí»Éáí Ù»Ý³Ï ³åñ»Éáõ Çñ í³ËÇÝ: ÆëÏ ê»ñÅÁ ß³ñáõݳÏáõÙ ¿ ÏÛ³ÝùÁ í³Û»É»É ³Û¹ 4 å³ï»ñÇó ¹áõñë: Üñ³Ýó ѳñ³μ»ñáõÃÛáõÝÝ»ñÁ ßáõïáí ×»ÕùíáõÙ »Ý: ´áÉáñ ³Ûë ³é³Ýóù³ÛÇÝ å³Ñ»ñÇ Å³Ù³Ý³Ï é»ÅÇëáñÝ»ñ ä»ïñ³ Îáëï³Ý ¨ È»³ ¶ÉáμÝ ³ÛÝï»Õ »Ýª ÝϳñáõÙ »Ý: ÊóÇÏÇ ³éç¨ ½³ñ·³ÝáõÙ »Ý ÏÛ³ÝùÁª ³Ù»Ý³ÇÝïÇÙ Ù³ÝñáõùÝ»ñáí: úÉÇíÇ³Ý ¨ ê»ñÅÁ å³ïÏ»ñáõÙ »Ý Çñ»Ýó ÏÛ³ÝùÁ ¹»ñ³ë³ÝÝ»ñÇ ÝÙ³Ý, áñáíÑ»ï¨ Çñáù ¹»ñ³ë³ÝÝ»ñ »Ý: üÇÉÙÁ Ýϳñ³Ñ³Ýí»É ¿ úÉÇídz ÎáñëÇÝÇÇ ¨ ê»ñÅ ÜÇÏáɳÛÇÇ Ñ»ï ѳٳ·áñͳÏóáõÃÛ³Ùμ, áíù»ñ ·áõó» ϳï³ñáõÙ »Ý Çñ»Ýó ÏÛ³ÝùÇ É³í³·áõÛÝ ¹»ñ»ñÁ: ʻɳÙïáñ»Ý ÏÇñ³éí³Í ³ÝÓÝ³Ï³Ý ³ñËÇí³ÛÇÝ ÝÛáõûñÝ áõ â»ËáíÇ ¹³ë³Ï³Ý »ñÏÇ ÷áñÓ»ñÇ ï»ë³·ñáõÃÛáõÝÝ»ñÁ ËáñÑñ¹³ÝßáõÙ »Ý μáÉáñ ³ÛÝ Ùïù»ñÝ áõ í³Ë»ñÁ, áñ úÉÇíÇ³Ý áõÝÇ Ù»Í³Ý³Éáõ ¨ Çñ »ñÇï³ë³ñ¹ ï³ñμ»ñ³Ïáí ÷á˳ñÇÝí»Éáõ Ñ»ï ϳåí³Í: ²Ûë ¹ñ³Ù³ïÇÏ, μ³Ûó ÷ÇÉÇëá÷³Û³Ï³Ý ýÇÉÙÁ ù³ÛÉáõÙ ¿ ˳ճñϳÛÇÝÇ áõ Çñ³Ï³ÝáõÃÛ³Ý ë³ÑÙ³Ýáí: î³ñûñÇÝ³Ï ¿, μ³Ûó ³Ûë ÑÇμñǹ³ÛÇÝ Ó¨Á å³ïÙáõÃÛáõÝÁ ¹³ñÓÝáõÙ »Ý ß³ï ³í»ÉÇ ßáß³÷»ÉÇ ¨ §Çñ³Ï³Ý¦: ØÜ

ß³ÏÇ ·áõÙ³ñ: ´³Ûó ÙdzÛÝ áñáß Å³Ù³Ý³Ï ³Ýó ¿ Ý³ μ³ó³Ñ³ÛïáõÙ Çñ ó³ÝÏáõÃÛáõÝÁ: ػɳٳÕÓáï å³ñáÝ ´³¹ÇÇÝ Íñ³·ñáõÙ ¿ ÇÝùݳëå³ÝáõÃÛáõÝ ·áñÍ»É áõ ÑáõÛë áõÝÇ, áñ ÇÝã-áñ Ù»ÏÁ Ïû·ÝÇ Çñ»Ý áõ ÑáÕÇÝ ÏѳÝÓÝÇ Çñ Ù³ñÙÇÝÁ, »ñμ Ç Ï³ï³ñ ³ÍÇ Çñ Ùï³¹ñáõÃÛáõÝÁ: ܳ ³ñ¹»Ý ÷áñ»É ¿ñ Çñ ѳٳñ ·»ñ»½Ù³Ý³÷áëª É»éÝ»ñáõÙ ÙÇ ï»Õ, áñï»Õ ݳ áõ½áõÙ ¿ñ ·ïÝ»É Çñ í»ñçÇÝ Ñ³Ý·ñí³ÝÁ: ´³Ûó ÙÇ »ñÏñáõÙ, áñï»Õ ÇÝùݳëå³ÝáõÃÛáõÝ ·áñÍ»ÉÝ ³ñ·»Éí³Í ¿, Ýñ³ Ëݹñ³ÝùÁ ß³ï μ³ñ¹ Çñ³·áñÍ»ÉÇ ¿: ødzéáëóÙÇÇ Ûáûñáñ¹ ˳ճñϳÛÇÝ ýÇÉÙÁ, Ýñ³ Ùݳó³Í ýÇÉÙ»ñÇ å»ë, ÉÇ ¿ Ù»ù»Ý³Ý»ñÇ ï»ë³ñ³ÝÝ»ñáí, áñï»Õ ´³¹ÇÇÝ ßñçáõÙ ¿ ù³Õ³ùáõÙ ¨ Çñ³Ý³Ï³Ý ³Ý³å³ï³ÛÇÝ ï»Õ³ÝùÝ»ñáí: ²Ûë ýÇÉÙÁ μ»ÏáõÙݳÛÇÝ ¿ñ ëÏëÝ³Ï ¹»ñ³ë³Ý ÐáÙ³ÛáõÝ ¾ñß³¹ÇÇ Ñ³Ù³ñ (³Ûë ï³ñí³ §àëÏ» ÍÇñ³ÝǦ ÑÛáõñÁ), áí Çñ³Ï³Ýáõ٠׳ñï³ñ³å»ï ¿ñ ÙÇÝ㨠ødzéáëóÙÇÝ å³ï³Ñ³μ³ñ ï»ë³í Ýñ³Ý ÷áÕáóáõÙ ¨ ³é³ç³ñÏ»ó ´³¹ÇÇ ¹»ñÁ: ÖÇßï ¿, ãÇ Ñëï³Ï»óíáõÙ, û ÇÝãå»ë ¿ å³ñáÝ ´³¹ÇÇÝ Ñ³ë»É ³Ûë íÇ׳ÏÇÝ, μ³Ûó ³ÛÝ ÁÝÏ×í³Í Ñá·»íÇ׳ÏÁ, áñÝ ¾ñß³¹ÇÝ ÷á˳ÝóáõÙ ¿ Çñ Ù³ñÙݳíáñ³Í Ñ»ñáëÇÝ, ½·³óÙáõÝù³ÛÇÝ ï»ë³Ï»ïÇó ÁÙμéÝ»ÉÇ áõ ѳëϳݳÉÇ ¿ ¹³ñÓÝáõÙ ³Ûë å³ïÙáõÃÛáõÝÁ: ødzéáëóÙÇÝ ùë³Ý ï³ñÇ ³é³ç ¿ ëï»ÕÍ»É Çñ ³Ûë ÷ÇÉÇëá÷³Û³Ï³Ý, åá»ïÇÏ áõ ·ñ³íÇã ¹³ë³Ï³Ý ýÇÉÙÁ, μ³Ûó ³ÛÝ ³é³Ûëûñ ãÇ Ïáñóñ»É Çñ ÑÙ³ÛùÝ áõ ³½¹»óáõÃÛáõÝÁ: ØÜ

GOLDEN APRICOT DAILY 2016 | 16 JULY | DAY 7

ƱÝãÝ ¿ Ò»½ ·ñ³íáõÙ ÏÇÝá³ß˳ñÑáõÙ: ºë Ù»Í ó³ÝÏáõÃÛáõÝ áõÝ»Ç μ³ó³Ñ³Ûï»É ³Ûë ËáñÑñ¹³íáñ ³ß˳ñÑÁ, áñáõÙ »ë ï»ë»É ¿Ç ٻͳٳë³Ùμ ýñ³ÝëdzóÇ ¹»ñ³ë³ÝáõÑÇÝ»ñÇ: ijÝݳ ØáñáÝ ÇÝÓ íñ³ ³é³ÝÓݳÏÇ ïå³íáñáõÃÛáõÝ ¿ ÃáÕ»É: Üñ³ ¹»ñ»ñÝ ³é³ÝÓݳå»ë ·»Õ»óÇÏ ÉÇÝ»Éáõ Ù³ëÇÝ ã¿ÇÝ, ݳ Ù³ñÙݳíáñ»É ¿ ˳ճÙáÉÇ, Ùáɳ·³ñÇ áõ »ñÏáõ ïÕ³Ù³ñ¹áõ Ñ»ï ϻݳÏóáÕ ÙÇ ÏÝáç: ܳ áõ ýñ³ÝëdzóÇ ÙÛáõë ¹»ñ³ë³ÝáõÑÇÝ»ñÁ Ýϳñ³Ñ³ÝíáõÙ ¿ÇÝ ØÇù»É³Ýç»Éá ²ïáÝÇáÝÇÇ, ÈáõÏÇÝá ìÇëÏáÝïÇÇ, ¾ñÇÏ èáÙ»ñÇ áõ üñ³Ýëáõ³ îñÛáõýáÛÇ ÝÙ³Ý í³ñå»ïÝ»ñÇ ýÇÉÙ»ñáõÙ, áñáÝù ÇÝÓ ß³ï »Ý Ñdzóñ»É: ÆÝãå»±ë Ùï³ù ÏÇÝá³ß˳ñÑ: ºë ÁݹѳÝñ³å»ë ÷áÕ ãáõÝ»Ç, ³ÛÝå»ë áñ ÷áñÓ»óÇ Ùá¹»É ÉÇÝ»É: ¸³ ÇëÏ³Ï³Ý Ñá·»í³ñù ¿ñ áõ »ë ³Û¹ ·áñÍÇÝ ã¿Ç ѳٳå³ï³ë˳ÝáõÙ, μ³Ûó »ë ѳçáÕ»óÇ »ñÏáõ ÷áùñ ·áñÍ ·ïÝ»É: ²Û¹ ÁÝóóùáõÙ ß³ï Éáõë³ÝϳñÇãÝ»ñÇ áõ é»ÅÇëáñÝ»ñÇ ¿Ç ѳݹÇåáõÙ áõ ß³ï ³ñ³· ëáíáñ»óÇ Éáõë³íáñáõÃÛ³Ý ·³ÕïÝÇùÝ»ñÁ: ºë ¹ñ³ áõÅ»Õ ½·³óáÕáõÃÛáõÝÁ áõݻǪ ÉáõÛëÁ ß³ï Ûáõñ³Ñ³ïáõÏ ÙÇ μ³Ý ¿ ѳÕáñ¹áõÙ Ó»½ áõ ¹»ñ³ë³ÝÝ»ñÁ ¹³ ½·áõÙ »Ý: ÈáõÛëÁ ë»ñ ¿: ¸³ ÙÇ ùÇã Ù³½³Éáõ ¿ ÑÝãáõÙ ·áõó», μ³Ûó »ë ³Û¹å»ë »Ù ½·áõÙ: Æñ³Ï³ÝáõÙ ß³ï ùÇã »Ý ³ÛÝ ûå»ñ³ïáñÝ»ñÁ, áñáÝó Ñ»ï ³ß˳ï»ÉÇë »ë ½·áõÙ ¿Ç, áñ Ýñ³Ýù ÇÝÓ Çñáù ï»ëÝáõÙ »Ý: Üñ³ÝóÇó É³í³·áõÛÝÁ ¶³μñÇ»É üÇ·»ñá³Ý ¿ñ, áõÙ Ñ»ï ³ß˳ï»É »Ù §Ø»Í Ññ³μáõËÁ¦ ýÇÉÙáõÙ (æáÝ ÐÛáõëÃáÝ, 1984 – ØÜ): ºë ½·áõÙ ¿Ç, áñ ݳ ï»ëÝáõÙ ¿ ÇÙ Ñá·ÇÝ áõ ß³ï Ñáõ½íáõÙ ¿Ç ¹ñ³ÝÇó: üÇ·»ñá³Ý ï³ÝáõÙ ¿ñ ÇÝÓ ¹áõñë, ϳݷݻóáõÙ ¹é³Ý ß»ÙÇÝ áõ ɳåï»ñ å³ÑáõÙ ÇÙ ³é³ç: ºë å»ïù ¿ Ñ»ï ù³ÛÉ»Ç, í»ñ¨ ݳۻÇ, ÙÇÝã ݳ ÉáõÛëÁ í»ñ¨ áõ Ý»ñù¨ ¿ñ ß³ñÅáõÙ: ܳ Çñáù ÇÝÓ ¹ÇïáõÙ ¿ñ: ê³, ó³íáù, ³Û¹ù³Ý ï³ñ³Íí³Í ã¿: γñáÕ »ë ųٻñ í³ïÝ»É ½·»ëï³å³Ñ³ñ³ÝÇ áõ ¹Çٳѳñ¹³ñÙ³Ý íñ³, μ³Ûó »Ã» Ýñ³Ýù ÉáõÛëÁ ëË³É ¹Ý»Ý, ³Û¹ ³Ù»ÝÁ ÏáñãáõÙ ¿: ºÃ» ã³÷Çó ß³ï Éáõë³íáñ»ù Ù³ñ¹áõݪ ã»ù ï»ëÝÇ Ýñ³ ¹»ÙùÇ ³ñï³Ñ³ÛïáõÃÛáõÝÝ»ñÁ, ÇëÏ »Ã» ëË³É å³ÑÇÝ ùÇã Éáõë³íáñ»ù Ýñ³Ý, å³ñ½³å»ë Ïëïí»ñ»ù Ýñ³ ¹Çٳ˳ÕÁ: ºÃ» ùë³Ý ï³ñ»Ï³Ý »ù, Ññ³ß³ÉÇ ï»ëù Ïáõݻݳù, μ³Ûó »Ã» ÇÙ ï³ñÇùÇÝ »ùª ß³ï ³í»ÉÇ Ù»Í Ï»ñ¨³ù, ù³Ý Ïáõ½»Çù: γñ»ÉÇ ¿ ѳٻٳï»É ÛáõճݻñÏÇ Ñ»ï. ÏáÕùÇó Éáõë³íáñ»Éáõ ¹»åùáõÙ ³ÛÝ ³ÙμáÕçáíÇÝ Ëáñ¹áõμáñ¹ Ï»ñ¨³: ´³Ûó »Ã» ³éç¨Çó ɳí Éáõë³íáñ»ù, ÏÁݹáõÝÇ ÝϳñãÇ áõ½³Í ï»ëùÁ:

INTERVIEW 5

ijÏÉÇÝ ´Çë»Ã ²Ûë ï³ñí³ §àëÏ» ÍÇñ³ÝǦ å³ïí³íáñ ÑÛáõñÁª ¹»ñ³ë³ÝáõÑÇ Ä³ÏÉÇÝ ´Çë»ÃÁ, Ýáñ ͳ·áÕ ³ëïÕ ¿ñ áõß 60-³Ï³ÝÝ»ñÇÝ áõ ³é³Ûëûñ ß³ñáõݳÏáõÙ ¿ ³ß˳ï»É û ºíñáå³ÛáõÙ, û ²Ù»ñÇϳÛáõÙ: Æñ ÏÇÝáϳñÇ»ñ³ÛÇ ëϽμáõ٠ݳ »ñ³½»É ³Ý·³Ù ã¿ñ ϳñáÕ, áñ »ñμ¨¿ ÝÙ³Ý Ñ³çáÕáõÃÛ³Ý ÏѳëÝÇ, »ñμ Ýϳñ³Ñ³ÝíáõÙ ¿ñ üñ³Ýëáõ³ îñÛáõýáÛÇ áõ ÎÉá¹ Þ³μñáÉÇ ÝÙ³Ý Ñéã³Ï³íáñ é»ÅÇëáñÝ»ñÇ ýÇÉÙ»ñáõÙª سñã»Éá سëïñáÛ³ÝÇÇ, ijÝ-äáÉ ´»ÉÙáݹáÛÇ áõ êÃÇí سÏùáõÇÝÇ ÝÙ³Ý ¹»ñ³ë³ÝÝ»ñÇ Ñ»ï: §ºë ß³ï í³Ëíáñ³Í ¿Ç ëÏëáõÙ ¹»ñ³ë³Ý³Ï³Ý ϳñÇ»ñ³Ý ¨ ³Ý·³Ù ã¿Ç ѳí³ïáõÙ, áñ ϳñáÕ »Ù ѳçáÕáõÃÛ³Ý Ñݳñ³íáñáõÃÛáõÝ áõÝ»Ý³É ÏÇÝáÛÇ ³Ûë ËáñÑñ¹³íáñ ³ß˳ñÑáõÙ¦: ØÇÝã Ýñ³ Ù³ÛñÁ ÑáõÛë áõÝ»ñ, áñ ´Çë»ÃÝ Çñ ÝÙ³Ý Ñ³Ù³Éë³ñ³Ý Ïѳ׳ËÇ, ѳÛñÁ, áõÙ ´Çë»ÃÁ ß³ï ¿ñ ѳñ·áõÙ, Ùï³ÍáõÙ ¿ñ, áñ ¹áõëïñÝ Áëï »ñ¨áõÛÃÇÝ å³ñ½³å»ë ϳÙáõëݳݳ: §¸» ÇÝã, ݳ ÇÝÓ ëË³É ¿ñ ѳëϳó»É¦: §àëÏ» ·ÉáμáõëǦ Ùñó³Ý³Ï³ÏÇñ ijÏÉÇÝ ´Çë»ÃÝ ³Ù»Ý³Ýáõñμ Ó¨áí å³ïÙáõÙ ¿ Éáõë³íáñáõÃÛ³Ý Ï³ñ¨áñáõÃÛ³Ý, Ù»ñ í³Ë»ñÁ ѳÕóѳñ»Éáõ áõ Ý߳ݳíáñ é»ÅÇëáñÝ»ñÇ Ñ»ï ³ß˳ï»Éáõ Ù³ëÇÝ:

î³ëݳÙÛ³ÏÝ»ñÇ ÁÝóóùáõÙ ÇÝãå»±ë »Ý ÷áËí»É ¹»ñ³ë³Ý³Ï³Ý Ù³ëݳ·ÇïáõÃÛ³Ý Ù³ëÇÝ Ò»ñ ï»ë³Ï»ïÝ»ñÁ: ƱÝã »ù ëáíáñ»É ³Ûë ÁÝóóùáõÙ áõ ÇÝãå»±ë »ù ï»ëÝáõÙ Ò»ñ ³å³·³Ý: ºë ÷áñÓáõÙ »Ù μáÉáñ ýÇÉÙ»ñáõÙ ÝáõÛÝ μ³Ý»ñÁ ã³Ý»É. ÇÝù¹ ù»½ ÏñÏÝ»ÉÝ áõ »ñÏñå³·áõÝ»ñÇÝ Ó³ÝÓñ³óÝ»ÉÁ ×Çßï ã¿: ÆÙ ó³ÝÏáõÃÛáõÝÝ»ñÁ ï³ñÇÝ»ñÇ ÁÝóóùáõÙ ÷áËí»É »Ý, μ³Ûó ÙÇ μ³Ý ÇÝÓ Ñ³Ù³ñ ³Ý÷á÷áË ¿ª Ûáõñ³ù³ÝãÛáõñ ¹»ñÇ Ñ»ï ÙdzëÇÝ »ë áõ½áõÙ »Ù ѳÕóѳñ»É ÇÝùë ÇÝÓ: ºñμ μ³ËíáõÙ »ë ËݹÇñÝ»ñǹ áõ ѳÕóѳñáõÙ ¹ñ³Ýùª ù»½ ³í»ÉÇ áõÅ»Õ »ë ½·áõÙ: ºë ûñÇÝ³Ï ë³ñë³÷»ÉÇ í³ï ÉáÕáñ¹ ¿Ç, ÙÇÝ㨠ãѳٳӳÛÝ»óÇ Ýϳñ³Ñ³Ýí»É §²Ý¹áõݹÁ¦ ýÇÉÙáõÙ (öÇûñ Ú³Ãë, 1977): ´³Ûó »ë »ñ»ù ³ÙÇë ß³ñáõÝ³Ï ëïÇåí³Í ¿Ç ëáõ½í»É çñÇ ï³Ï áõ ÙÝ³É çñÇ Ù³Ï»ñ»ëÇÝ: Þ³ï ¿Ç í³Ë»ÝáõÙ, μ³Ûó ѳÕóѳñ»óÇ ÇÝùë ÇÝÓ, ãÝ³Û³Í ³Û¹ ûñí³ÝÇó Ñ»ïá ³ÛÉ¨ë »ñμ»ù ·ÉáõËë çñÇ ï³Ï ã»Ù Ùïóñ»É: ØÜ

How did you break into the industry?

I had no money at all so I tried to do some modelling. It was agony and I was the wrong shape, but I managed to get two tiny little jobs. During that time I met al lot of photographers and filmmakers and I learned quickly about light. I had a strong sense of it; light brings something very specific to you and you feel that as an actor. Light is love. It sounds a bit cheesy I guess, but that’s how I feel.

There have been very few cinematographers who’ve actually made me feel that they saw me. The best of them was a man called Gabriel Figueroa, who I worked with on The Grand Vulcano [John Huston, 1984 - MN]. I felt he saw my soul and I was very moved by that. Figueroa took me outside, put me in a doorway and held a lamp in front of me.

I had to step back, look up, while he lifted the light up and down. He actually looked at me.

But that is not so common, unfortunately. You spend hours on your wardrobe and in make-up, but if they put the light in the wrong place, you still look exhausted. Overlight a person and you won’t see their expression; underlight them at the wrong moment and you’re not helping them act in any way. When you’re twenty, you will look all right, but if you’re my age you look much older than you need to look. You could compare it with an oil painting that’s lit from the side; it will look all lumpy-bumpy.

But if it’s lit well from the front it will look like the artist would have wanted.

Which directors did you most enjoy working with?

François Truffaut, for one, who I worked with on Day for Night in 1973. He was very much connected with his actors. Very shy, respectful, complementary and formal at the same time. But not just with the actors; he was pleasant with all people. He was not an aggressive director, but precise.

Some directors can be very authoritative. In those cases I just say: “Yes sir!” I won’t argue with them, because you try to waste as little time on set as possible and also to not hurt personal feelings if you can help it. You just have to figure out what is the best approach. You know, there’s so much pressure on them; scheduling, financing, filming – it’s a heavy job! Often they are already tired when they start shooting, so I always try to keep that in mind. Sometimes you just have to do as they say – whether you understand it or not. With Claude Chabrol for instance [who directed Bisset in La cérémonie in 1995], we were just told what to do; he had it all in his mind very precisely.

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What attracted you to cinema?

I had a great desire to discover this mysterious world in which I saw many French actresses portraying almost subversive characters. Jeanne Moreau especially impressed me. Her roles were not about being particularly pretty; she played a gambler, a pyromaniac and a woman living with two men. She and other French actresses where cast in films of masters like Michelangelo Antonioni, Luchino Visconti, Éric Rohmer and François Truffaut, films which excited me a lot.

Jacqueline Bisset This year’s honorary guest of GAIFF, British actress Jacqueline Bisset was a rising star in the late sixties and is still working steadily in both Europe and America today. When she started out, the actress never dreamed she would have such success, starring in films of veteran directors like François Truffaut and Claude Chabrol alongside actors like Marcello Mastroianni, Jean-Paul Belmondo and Steve McQueen, to name a few. Bisset: “I started acting very tentatively, not really believing I had a chance in this mysterious world of cinema.” While her mother hoped Bisset would attend university like she did, her father, who Bisset respected very much, thought his daughter would probably just get married. “Well... he got me wrong!” Golden Globe-winner Jacqueline Bisset about the importance of light, facing your fears and dealing with authoritative directors in the most gentle way.

You starred in and co-produced Rich and Famous in 1981. Why was this the only film you produced?

I had a hard time with director George Cukor. We were fine in a social setting, but he was 82 and very old-school.

He was not used to having actors involved in the process of production. I remember trying to change some things, but he didn’t like it at all. It was a devastating experience and it took me many years to recover, which was one of the reasons I did not produce again. At that time only Barbra Streisand also took a co-producing role, I think. The position of women has changed since then, fortunately. Many actors and actresses are producing now.

Is there a difference between filming in Europe and in Hollywood?

There’s a comfort level in America: a proper dressing room, a trailer. The machine runs more smoothly. Having said that, I like the slightly bohemian way of working in Europe, even though it’s less comfortable or sometimes even really uncomfortable. On those small productions, the set is like a “family affair”.

How have your views on acting changed over the decades? What did you learn along the way, and how do you see your future?

Overall, I try not to do the same thing in every film; we don’t want to repeat ourselves and bore our fans. My desires changed over the years, but one thing for me is a given: with every part I want to overcome a fear. If you face and beat your issues, you feel stronger at the end of it. I was, for instance, a terrible swimmer before saying yes to The Deep [Peter Yates, 1977]. But I had to dive and be in the water for three months. I was very frightened but I survived – although I haven’t put my head under water since! MN

GOLDEN APRICOT DAILY DAY 7 | 16 JULY | 2016

6 REVIEWS

Doctor Becomes Detective and Priest The Unknown Girl (Jean-Pierre & Luc Dardenne, Belgium/France, 2016). Closing Film. 16-7 19:00 Moscow Cinema Red Hall.

Church is a place to confess, the police station a place to disclose information and the doctor’s office a place to have your physique checked out. In this year’s closing film The Unknown Girl the practice of doctor Jenny becomes the place for all three of those things at once, with Jenny adding the roles of a priest and a detective toher work as a doctor.

At the start of the film, Jenny (Adèle Haenel) is simply a doctor, sternly teaching her intern the essentials of the job: be professional, be precise, and above all, don’t get emotionally involved. All of this changes when a girl rings the bell at the office after closing hours. Naturally, Jenny refuses to open the door. But the next day she is confronted with the fact that the girl was murdered only a few moments later, close to her office. Could she have saved her if she would have relied less on her strict principles?

Just like in their previous film Two Days, One Night (which screened at GAIFF in 2014), directing brothers Jean-Pierre and Luc Dardenne follow a woman who goes door to door, making the rounds in an attempt to get something from all kinds of people. This time the story is not about money though, but about another commodity which can be equally uncomfortable to discuss: information. Since Jenny feels a certain responsibility for the death of this girl, she wonders who this Jane Doe was, and what she can do to help her family.

Through her questioning we discover the secrets of many of Jenny’s patients. There’s something exciting about her interrogations, disguising her investigation as doctor’s check-ups. It can already be uncomfortable to share bodily secrets with a doctor, but in her quest for the truth Jenny makes things even more personal. By doing so the Dardennes unveil a darker and more frightening side of humanity. When pushed into a corner, every person can react in unexpected ways. So Jenny has to deal with sudden tears,

intimate confessions and hostile threats of violence.

At times, The Unknown Girl almost feels like a detective thriller, with Jenny going into the night to look for clues, skulking around the industrial sites of Liege – the Belgian city that has been the backdrop for most of the Dardennes’ films. But mostly this a typical Dardenne film, shot in naturalistic

long takes that patiently follow Haenel everywhere she goes. In the end, The Unknown Girl is a film about the things that people try to hide. As Jenny is no longer just a doctor, but now also a detective, she reads the lies on people’s bodies. And as she also takes up the role of a priest, she’s expected to be the one that absolves all their sins. HE

Iranian government refused to give permission for the film to be screened. In the end Kiarostami managed to make it work, and it was worth all the political hassle: his minimalist yet meaningful drama got rave reviews and won the festival’s main award, the Palme d’Or.

A noble-looking middle-aged man drives around in his car on city’s outskirts. This Mr. Badii is looking for someone to help him out, offering people the chance to earn some cash for doing him a service. But it’s only after a while that he reveals his wish. The melancholy Mr. Badii is planning to commit suicide, and hopes to find someone who will help him by burying his body after the fact. He has already dug an unofficial grave, somewhere in the mountains where he wants to take his final breath. But in a country where committing suicide is against the law, his request is a lot to ask. Badii finds himself getting rejected, first by a young Kurdish soldier and then by an Afghan seminarian, both of whom pose either moral or religious questions. Finally he finds a helping hand in an old

Turkish taxidermist, who has a sick son and has previously attempted suicide himself.

This seventh feature by Kiarostami is full of his trademark car scenes, with Badii driving around the city as well as the rocky Iranian desert landscapes. The film kick-started the career of main actor Homayoun Ershadi (a guest at GAIFF this year), who worked as an architect before Kiarostami plucked him off the street to play the part. Although it isn’t made clear how Mr. Badii came to this point in his life, the subdued way Ershadi portrays him makes it an emotionally understandable and relatable tale.

In the twenty years since Kiarostami made this philosophical, poetic and visually arresting classic, it hasn’t lost any of its powers. MN

In Search of a Helping Hand Taste of Cherry (Abbas Kiarostami, Iran/France, 1997). Tribute. 16-7 12:00 Moscow Cinema Blue Hall, 17-7 19:00 Moscow Cinema Red Hall.

Back in 1997, Iranian director Abbas Kiarostami, who passed away at the age of 76 only days before the start of this year’s festival, had some trouble getting his film Taste of Cherry out of his home country. The film was selected for the competition at that year’s Cannes Film Festival, but for a long time the

Taming the Bride Honeyless Moon (Dmitri Izmestiev, Russia, 2016). Yerevan Premiere. 17-7 12:00 Moscow Cinema Red Hall.

Fierce Emotions My Good Hans (Alexander Mindadze, Russia/Germany/UK, 2015). Yerevan Premiere. 16-7 18:00 Cinema Star, 17-7 16:30 Moscow Cinema Red Hall.

Can a budding friendship survive a fatal accident and a war? In this historic drama, the cautious bond between a German scientist and his Russian colleague in a Russian glass factory during World War II is put to the test. Their always fierce emotions keep pace with the dramatic events surrounding them.

In the spring of 1941, just before Germany at-

tacked the Soviet Union, Hitler and Stalin signed an economic pact to exchange specialist scientists and raw materials. During this time, with the war inevitably encroaching, German scientist Hans and three of his compatriots are working in a Russian glass factory making lenses. Frustration about the stagnating process of development, homesickness and mutual tensions affect the Germans. At the same time, Hans has made friends with a Russian colleague, despite their initial distrust. When Hans causes an explosion on the factory floor which kills several Russian workers, his fate is in the hands of his new friend.

But what will happen after the war begins, when Hans returns as an officer of the German military?

My Good Hans is the third feature film by Russian screenwriter and director Alexander Mindadze (1949).

Just as in his second film Innocent Saturday (2011), about the Chernobyl nuclear disaster, here too the disaster only happens when the film is already in full swing.

However, pent-up emotions are present right from the start in this historic drama based on true events.

Mindadze’s actors confidently wander through beautiful locations dressed in nearly flawless production design. The screenplay leaves room for mysterious elements and philosophical interpretation, tickling the brain, one could say. But in the end, the characters’ contemplating gazes throughout the film say just as much as their dialogue. MN

Honeyless Moon is a Russian comedy directed and co-written by Dmitri Izmestiev. The film tells the story of rebellious Alyona (Marina Vasilieva), who goes against the wishes of her stubborn millionaire father when she refuses to go into the family business. She wants to be a dancer instead, and has already arranged an audition in Berlin. Not even grounding her can make her change her mind and abide her dad’s wishes.

The father decides that the only way to “tame this shrew” is to force her to get married. So he randomly picks a young musician named Vanya (Ivan Shakhnazarov, the son of Russian-Armenian writer and director Karen Shakhnazarov). Being an aspiring musician, Vanya can’t refure the rich man’s offer to finance and promote him in exchange for marrying his daughter. Alyona decides to take her revenge by make her new hubby’s honeymoon a living nightmare. But is there a chance they might actually fall in love? Will the father eventually let his daughter be who she wants to be? Is the sky blue and are red roses red? All these questions will be answered in the farcical Honeyless Moon. AV

GOLDEN APRICOT DAILY 2016 | 16 JULY | DAY 7

NEWS 7

OBSERVING THE OBSERVERS For Across the Don eight young Russians filmed their local heroes in their home town Rostov-on-Don. The documentary combining their short films was made as part of the project City Code, a “cinema lab” in which young locals can develop their creative side through filmmaking.

Curators Evgeny Grigoriev and Anna Selyanina tell us how it all went down: “For me, the real heroes were our participants.”

Moscow-based documentary filmmaker Evgeny Grigoriev and producer Anna Selyanina are the curators of City Code, which made its first step elsewhere. Selyanina: “We organised a similar workshop in Pervouralsk, near Yekaterinburg. But that was more of a cross-media project; we didn’t intend to turn those stories into a movie.”

That idea only came later, when Grigoriev and Selyanina realized that the project they did in Pervouralsk had potential in other cities. So when they repeated their cinema lab in Rostov-onDon, they knew it had to become a documentary.

Grigoriev: “For this edition, I first wrote a treatment based on two Russian proverbs that more or less say you are needed in the place you were born – even if it’s not a perfect place.” Participants had to send in an application video showing their love for the city and commitment to their future in it.

The participants had to be team players, willing to learn and to study film – even though they had never made one before. Grigoriev: “We selected 18 people for the project, of which only 8 made it to the finish line.”

The participants got a crash course in handling a camera and writing a screenplay to help them tell a stronger story. The curators interviewed them on film twice, during a week in August and a week in September. The young storytellers spent the

Round Table

12:00, Silk Road Hotel (Aygedzor 53). The festival program Armenian Cinema: Modern Times, celebrating the 25th anniversary of Armenia’s independence, is closing today with a round table discussion on the past, present and future of Armenian Cinema. For festival guests. a bus to the location (hotel and folk art center Silk Road) will be waiting at Royal Tulip Grand Hotel from 11:00.

time in between filming their local heroes, helping each other out along the way: the director of one story would be a crew member on the others.

Grigoriev: “Because making a film entails al lot of team work.”

During the interviews, Grigoriev drilled them about their film plans as well as their own problems in life. “They had to be honest so we had to push them a little. They had to understand that it was crucial for them to open up in front of my camera; after all, their heroes would have to do the same in front of theirs.” Selyanina, laughing: “He called this interview room the torture room, or doc-therapy!”

Grigoriev continues: “During filming they where all on their own. We never met their heroes; the only footage we shot are some drone shots in which we present the directors. For me, the real heroes were our participants. We were observing the observers, so to say. Using their interviews in the film made their film stories more layered and richer.”

During the editing of the film, both curators made some small changes to the short films, without changing their basic ideas and with the permission of the young filmmakers. Selyanina: “It would make a better movie as a whole. They were making their story, but we were responsible for the film in the end.”

Following the two cinema labs, some of the participants are now working towards a career in film, whether as a cameraman, editor or screenwriter. Grigoriev and Selyanina have asked several of these youngsters to assist them in other projects, while they can stay in their home towns. This was the wish of the filmmakers to begin with, says Selyanina: “They develop themselves but stay in their territory. We are working with them when we need a second camera for instance, or some editing on a commercial we are producing.” Grigoriev concludes: “They can help us out, and they are making money in their territory.” MN

Closing Time Preceding the screening of closing film The Unknown Girl (see opposite page), the winners of the festival’s various competitions will be announced during the celebratory Closing Ceremony. The Red Carpet in front of Moscow Cinema opens at 18:00, and the ceremony starts at 19:00 in the theater’s Red Hall.

Jury Reports Sunday 17-7 12:00, Royal Tulip hotel, Vivaldi room. Led by festival director Harutyun Khachatryan, this year’s juries will discuss their motivations at a press conference tomorrow at noon.

FEMININE BUT NOT FEMINIST Nino Basilia’s social drama Anna’s Life tells the story of a single mom struggling through endless, desperate attempts to overcome social complications. An American visa seems to be the only light at the end of the tunnel.

There was a time when Georgian cinema had a great wave of filmmakers. Fortunately, it seems that at the moment a new generation is standing up. Nino Basilia, who makes her directing debut with Anna’s Life, is among them. “There was a long gap in our filmmaking. The country was in trouble, there were wars and much struggle. So our minds were not focused on cinema but on how to find some money for bread, how to survive. Now that the situation is more or less calm, people have a better life, and the time has come to process our memories and emotions in art. This new generation has really taken off, with directors like Levan Koguashvili, Nana Ekvtimishvili and many others. The international festivals know about Georgian cinema again.”

Basilia shows a female character in a fight for survival, confronted with a rude and arrogant society. “I feel lucky to have been born in Georgia; our past brings so many ideas. All of it can become a valuable heritage for a new generation, which hasn’t come across all this stuff. Women have became much stronger, more independent. Around seventy percent for the directors and writers in Georgian cinema today are female.” Basilia hopes that Anna’s Life will become the first part of a trilogy of films about strong women. “It will be feminine, but not feminist.”

The film is shot in a style that is very close to that of the Dardenne brothers, whose latest film The Unknown Girl is closing the festival today. “People have mentioned the similarities of my movie with the Dardenne’s signiture. It’s very flattering, although their films were not a direct inspiration. In fact, I adore filmmakers like John Cassavetes, Nuri Bilge Ceylan and Jim Jarmusch, but it’s hard to find anything of them in my cinema." A central theme in the film is Anna’s longing for the American

GOOD TRIUMPHS OVER EVIL Dream, which she sees as the only way to survive.

“Many Georgian women left home and could not come back because they were in America illegally.

In Georgia we call them ‘Skype mothers’, because they are raising their children via Skype.”

The finale of Anna’s Life nods to Fellini’s Nights of Cabiria. “We had a lot discussion about this final scene and came to conclusion that it must be a hopeful one. I wanted to show a unity between Anna and society. They are going to struggle on for their future and are moving toward changes. It became our dedication to Fellini. It was done by chance, but we realized the similarity and decided to keep it.” KA

Russian TEFI Award-winning reporter Andrey Loshak created a series of short films about the nominees of the Aurora Prize for Awakening Humanity. This humanitarian award was given on behalf of the victims of the Armenian Genocide, as a token of gratitude to those who reached out to the Armenian people during and after the massacre. The films were also screened during the Master Class that Loshak gave in the AGBU Center yesterday.

“The Aurora Prize acknowledges that there are people who show heroism at times of horror and crisis”, Loshak said. “This gives one hope that good can triumph over evil. There are people who were living in hard conditions but didn’t gave up their struggle and they prevailed.”

Loshak admitted that the theme of genocide is very close to his heart, because his father is Jewish.

He was very proud to tell the audience about the humanitarian work and incredible feats of the Aurora nominees – Syeda Ghulam Fatima (Pakistan), Dr. Tom Catena (Sudan), Father Bernard Kinvi (Central African Republic) and Marguerite Barankitse (Burundi) – who are doing this work despite the hardships in their countries. “All together, the series took two months to make. It was quite a challenge to squeeze all their achievements into just five minutes, because their lives are like epic stories.”

Loshak emphasized that despite the geographical distance between them, all these people are united in one aspect – they have hope. “Fatima believes in social change. She believes that people will build a new world. Bernard, Marguerite and Tom are sure that humanity will be saved. They all believe that people deserve to be saved. If they didn’t, they wouldn’t become heroes. I learned that one must have faith in people and in good. Faith can do wonders and move mountains.” RG