Golden Apricot Daily: 2008, N 1

N1

RA Ministry of Culture

ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝ

“Sobesednik Armenii” weekly

§Ð³Û³ëï³ÝÇ ½ñáõó³ÏÇó¦ ܳ˳·ÇÍÝ Çñ³Ï³Ý³óíáõÙ ¿ ´³ó ѳë³ñ³ÏáõÃÛ³Ý ÇÝëïÇïáõïÇ ³ç³ÏóáõÃÛ³Ùµ (´áõ¹³å»ßïÇ ·ñ³ë»ÝÛ³Ï)

Open Society Institute (OSI) -Budapest

The project is realized with the support of Open Society Institute (OSI), Budapest

ÞÜàðвìàð²Üøܺð

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гۭϳ­Ï³Ý ÏÇ­ÝáÝ í»­ñ³­Ï»Ý­¹³­Ý³ó­Ý»­ Éáõ ѳ­Ù³ñ å»ïù ¿ Çñ³­Ï³­Ý³ó­Ý»É µ³½­ Ù³­ÃÇí ÏÇ­Ýá­Ý³­Ë³·­Í»ñ, ÙÇ­³­íá­ñ»É г­ Û³ë­ï³­ÝáõÙ »õ ë÷Ûáõé­ùáõÙ ·áñ­ÍáÕ ÏÇ­Ýá­é»­ÅÇ­ëáñ­Ý»­ñÇ Ý»­ñáõ­ÅÁ, ѳÛï­ÝÇ ÷³­é³­ïá­Ý»­ñáõÙ ýÇÉ­Ù»ñ Ý»ñ­Ï³­Û³ó­Ý»­Éáí ÙïÝ»É ÙÇ­ç³½­·³­ÛÇÝ ßáõ­Ï³: ¸³ ϳ­ñ»­õáñ ¿ µá­ Éáñ Ýñ³Ýó ѳ­ Ù³ñ, áí­ ù»ñ ·Ç­ ï³Ï­ óáõÙ »Ý ÏÇ­ Ýá­ ÛÇ Ñ½áñ áõ­ ÅÁ »õ ³½­ ¹»­ óáõ­ ÃÛáõ­ÝÁ: ¸ñ³Ý ѳë­Ý»­Éáõ ³é³­çÇÝ ù³ÛÉÝ ³ÝáõÙ ¿ §àë­Ï» ÍÇ­ñ³Ý¦ ÑÇÝ­·»­ñáñ¹ ÏÇ­ Ýá­÷³­é³­ïá­ÝÁ` Ùß³­ÏáõÛ­ÃÇ Ý³­Ë³­ñ³­ñáõ­ ÃÛ³Ý Ñ»ï Çñ³­Ï³­Ý³ó­Ý»­Éáí §Ð³­Ù³­Ñ³Û­ ϳ­Ï³Ý ݳ­Ë³­·Çͦ Íñ³­·Ç­ñÁ: ºÃ» ϳ­ñá­Õ³­Ý³Ýù ÙÇ ù³­ÝÇ ï³­ñÇÝ Ù»Ï ÏÇ­ Ýá­Ý³­Ë³·­Í»ñ Çñ³­Ï³­Ý³ó­Ý»É, ³í»­ÉÇ Ù»Í Ñ»­ï³ùñù­ñáõ­ÃÛáõÝ Ï³­é³­ç³ó­Ý»Ýù ³ñ­ï³­ë³Ñ­Ù³­ÝáõÙ ³å­ñáÕ Ñ³Û é»­ÅÇ­ëáñ­Ý»­ ñÇ Ýϳï­Ù³Ùµ, ÇëÏ Ñ³­Û³ë­ï³Ý­óÇ ÏÇ­Ýá­ é»­ÅÇ­ëáñ­Ý»­ñÇÝ Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ Ïï³Ýù ýÇÉ­Ù»ñ Ýϳ­ñ³Ñ³Ý»Éáõ: ê÷Ûáõé­ùáõÙ áõ­Ý»Ýù Ññ³­ß³­ÉÇ ÏÇ­Ýá­·áñ­ ÍÇã­Ý»ñ, áñáÝù Çñ»Ýó ³Ùáõñ ï»ÕÝ áõ­Ý»Ý ï³ñ­µ»ñ »ñÏñ­Ý»­ñÇ ÏÇ­Ýá­³ñ­ï³¹­ñáõ­ÃÛ³Ý Ù»ç, ׳­Ý³ã­í³Í »Ý áõ ·Ý³­Ñ³ï­í³Í Ñ»­ Õǭݳ­Ï³­íáñ ÷³­é³­ïá­Ý»­ñáõÙ: ÂíáõÙ ¿, û ÏÇ­ ÝáÝ Ù»Í ³ß­ ˳ñÑ ¿, µ³Ûó Çñ³­ ϳ­ ÝáõÙ ³ÛÝ ß³ï ÷áùñ ¿: ´á­Éáñ ɳí ÏÇ­Ýá­é»­ÅÇ­ëáñ­Ý»­ñÁ ׳­Ý³­ãáõÙ »Ý Çñ³ñ, ¹Ç­ïáõÙ »Ý ÙÇ­ÙÛ³Ýó ýÇÉ­Ù»­ñÁ: §àë­Ï» ÍÇ­ñ³­ÝÁ¦ »ñ­µ»ù г­Û³ë­ï³Ý ãÇ µ»­ñ»­Éáõ Ïá­Ù»ñ­óÇ­áÝ ýÇÉ­Ù»ñ, ³ëï­Õ³­ ÛÇÝ å³­ï»ñ­½³Ù­Ý»ñ, óáõ­ó³¹­ñ»­Éáõ ¿ ÙÇ­ ÙÇ­³ÛÝ ¹³­ë³­Ï³Ý »õ ³ñ­¹Ç ÏÇ­Ýá­³ñ­í»ë­ ïÇ É³­í³­·áõÛÝ ·áñ­Í»­ñÁ, Ññ³­íÇ­ñ»­Éáõ ¿ ³½­ÝÇí »õ ѳ­Ù³ñ­Ó³Ï ÏÇ­Ýá­³ñ­í»ë­ïÇ Ñ»ï­Ýáñ¹­Ý»­ñÇÝ, ù³­ñá­½»­Éáõ ¿ ѳ­Ù³­ Ù³ñ¹­Ï³­ÛÇÝ ³ñ­Å»ù­Ý»ñ¦:

§àëÏ» ÍÇñ³Ý¦ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ ïÝûñ»Ý гñáõÃÛáõÝ Ê²â²îðÚ²Ü

N1, 13 ÑáõÉÇëÇ 2008

æ»ñ­Ùá­ñ»Ý áÕ­çáõ­ÝáõÙ »Ù §àë­Ï» ÍÇ­ñ³Ý¦ ÙÇ­ç³½­ ·³­ÛÇÝ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ Ï³½­Ù³­Ï»ñ­åÇã­Ý»­ñÇÝ, Ù³ë­Ý³­ÏÇó­Ý»­ñÇÝ »õ ÑÛáõ­ñ»­ñÇÝ: §ø³­Õ³­ù³Ïñ­Ãáõ­ ÃÛáõÝ­Ý»­ñÇ »õ Ùß³­ÏáõÛíݻ­ñÇ Ë³ã­Ù»­ñáõϦ Ýß³­Ý³­ µ³ÝÝ ÁÝï­ñ³Í ÷³­é³­ïáÝÝ Çñ³­¹³ñ­Óáõ­ÃÛáõÝ ¿ Ù»ñ »ñÏ­ñÇ Ùß³­Ïáõ­Ã³­ÛÇÝ Ï۳ݭùáõÙ: ²ÛÝ Ï³­ñá­Õ³­ ó»É ¿ Ç ÙÇ µ»­ñ»É ï³ñ­µ»ñ ³½­·³­ÛÇÝ, Ïñá­Ý³­Ï³Ý áõ ·»­Õ³­·Ç­ï³­Ï³Ý ³ß­Ë³ñ­Ñ³­Û³óù áõ­Ý»­óáÕ ³ñ­í»ë­ ï³­·»ï­Ý»­ñÇ, áñáÝù ÏÇ­Ýá­³ñ­í»ë­ïÇ ÙÇ­çá­óáí Ëá­ ëáõÙ »Ý ºñ­ÏÇñ Ùá­Éá­ñ³­ÏÇ »õ 21ñ¹ ¹³­ñÇ Ù³ñ­¹áõ ϳ­ñ»­õá­ñ³­·áõÛÝ ËݹÇñ­Ý»­ñÇ Ù³­ëÇÝ: §àë­Ï» ÍÇ­ñ³­ ÝǦ ѳ­Ù³­·áñ­Í³Ï­óáõ­ÃÛáõ­ÝÁ »í­ñá­å³­Ï³Ý »õ ³ëÇ­ ³­Ï³Ý Ñ»­Õǭݳ­Ï³­íáñ ÏÇ­Ýá­÷³­é³­ïá­Ý»­ñÇ Ñ»ï »õ ·áñ­Íáõ­Ý»­áõ­ÃÛáõ­ÝÁ ºí­ñá­å³­Ï³Ý Ùß³­Ïáõ­Ã³­ÛÇÝ ËáñÑñ­¹³­ñ³­ÝÇ Ñá­í³­Ýáõ Ý»ñ­ùá, ѳ­Ùá½­í³Í »Ù, Ýáñ áñ³Ï »õ ÑÝã»­Õáõ­ÃÛáõÝ ¿ ѳ­Õáñ­¹»­Éáõ ÷³­é³­ ïá­ÝÇÝ: ê³ Ý³­»õ ·»­Õ»­óÇÏ ³éÇà ¿ Ù»ñ »ñÏ­ñáõÙ ÑÛáõ­ñÁݭϳ­É»­Éáõ Ù»­Í³­Ñ³Ù­µ³í ÏÇ­Ýá­·áñ­ÍÇã­Ý»­ñÇ »õ г­Û³ë­ï³­ÝÁ ׳­Ý³­ã»­ÉÇ ¹³ñÓ­Ý»­Éáõ: Ðáõ­ëáí »Ù, Ù»ñ ÑÛáõ­ñ»­ñÁ ³ñ­í»ë­ï³­·»­ïÇ ³ã­ù»­ñáí Çñ»Ýó ѳ­ Ù³ñ Ýá­ñá­íÇ Ïµ³­ó³­Ñ³Û­ï»Ý г­Û³ë­ï³­ÝÁ, Ýñ³ Ñá­·»­õáñ ų­é³Ý­·áõ­ÃÛáõÝÝ áõ Ý»ñ­Ï³Ý: Ø»Ýù ϳ­ ñ»­õá­ñáõÙ »Ýù ÷³­é³­ïá­ÝÇ §Ð³­Ù³­Ñ³Û­Ï³­Ï³Ý Íñ³­·Ç­ñÁ¦, áñÁ Ïáã­í³Í ¿ ѳ­Ù³ËÙ­µ»­Éáõ ѳۭñ»­ÝÇ­ ùáõÙ »õ ³ñ­ï»ñÏ­ñáõÙ ·áñ­ÍáÕ Ñ³­Û³½­·Ç ÏÇ­Ýá­·áñ­ ÍÇã­Ý»­ñÇ áõ­Å»ñÝ áõ Ëó­Ý»­Éáõ ѳۭϳ­Ï³Ý ÏÇ­Ýá­ÛÇ ½³ñ­·³­óáõ­ÙÁ: ÎñÏÇÝ áÕ­çáõ­Ý»­Éáí 5-ñ¹ Ñá­µ»­É Û³­Ý³­ Ï³Ý ÏÇ­Ýá­÷³­é³­ïá­ÝÁ Ù³Õ­ÃáõÙ »Ù, áñ ³ÛÝ å³Ñ­ å³­ÝÇ áõ Ëá­ñ³ó­ÝÇ Çñ ³Ù»­Ý³­Ï³­ñ»­õáñ Ó»éù­µ»­ñáõ­ ÙÁ »õ ³ñ­Å³­ÝÇ­ùÁ:

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Ñ»­ï³Û­ëáõ »õë ³ç³Ï­ó»­Éáõ ¿ Ùß³­Ïáõ­Ã³­ÛÇÝ ³ÛÝ µá­Éáñ ݳ­Ë³­Ó»é­Ýáõ­ÃÛáõÝ­Ý»­ñÇÝ, áñáÝù Ýå³ë­ ïáõÙ »Ý Ñá­ ·¨­ áñ ϳ­ å»ñ ëï»Õ­ Í»­ ÉáõÝ ¨ ³Ù­ ñ³åÝ­¹»­ÉáõÝ: ø³­ÝÇ áñ Ù»ñ ÁÝ­Ï»­ñáõ­ÃÛáõ­ÝÁ Ëá­ñ³­å»ë ѳ­ í³­ïáõÙ ¿ Ù»ñ ѳۭñ»­ÝÇ­ùÇ ³å³­·³­ÛÇÝ, Ù»Ýù ѳ­Ùá½­í³Í »Ýù, áñ Ûáõ­ñ³­ù³Ý­ãÛáõñë å³­ï³ë­ ˳­Ý³­ïáõ ¿ ѳ­ë³­ñ³­Ïáõ­ÃÛ³­ÝÁ ¹»­åÇ ½³ñ­·³­ ó³Í Ùß³­ÏáõÛà áõ Ýáñ Ëáë­ùÇ, å³ï­Ï»­ñ³­óáõÙ­Ý»­ ñÇ ³ë­å³­ñ»½ ï³­Ý»­Éáõ ѳñ­óáõÙ, áñÇ Í³ñ­¹ÛáõÝ­ùáõÙ Ïëï»Õ­Í»Ýù Éáõ­ë³­íáñ ³å³­·³ Ù»ñ »ñ»­Ë³­Ý»­ñÇ Ñ³­Ù³ñ: Ø»Ýù å»ïù ¿ ÑÇ­ß»Ýù, áñ å³Ñ­å³­Ý»­Éáí áõ ½³ñ­·³ó­Ý»­Éáí Ù»ñ Ùß³­ÏáõÛ­ ÃÁ, å³Ñ­å³­ÝáõÙ ¨ áõ­Å»­Õ³ó­ÝáõÙ »Ýù Ù»ñ ѳۭ ϳ­Ï³Ý ÇÝù­Ýáõ­ÃÛáõ­ÝÁ¦:

§àëÏ» ÍÇñ³Ý¦ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ ·É˳íáñ Ñáí³Ý³íáñ §ìÇí³ë»É¦ ÁÝÏ»ñáõÃÛ³Ý ·É˳íáñ ïÝûñ»Ý è³Éý ÚÆðÆÎÚ²Ü

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Ýñµ»­ñ³Ý·­Ý»­ñÁ ¨, ³Ý­Ï³ë­Ï³Í, ÷³­é³­ïá­ ÝÇó Ñ»­ïá ¿É Ïß³­ñáõ­Ý³­Ï»Ý ÷Ýïñ»É ³ñ­í»ë­ ïÇ Ù³­ïáõó­Ù³Ý Ýáñ ³ñ­ï³­Ñ³Ûï­ã³­ÙÇ­çáó­ Ý»ñ: àÕ­çáõ­ÝáõÙ »Ù ÷³­é³­ïá­ÝÇ Ï³½­Ù³­Ï»ñ­åÇã­ Ý»­ñÇÝ áõ Ù³ë­Ý³­ÏÇó­Ý»­ñÇÝ, Ù³Õ­ÃáõÙ ëï»Õ­Í³­ ·áñ­Í³­Ï³Ý Ýá­ñ³­Ýáñ ËÇ­½³­ËáõÙ­Ý»ñ:

ÐÐ Ùß³­ÏáõÛ­ÃÇ Ý³­Ë³­ñ³ñ гëÙÇÏ äàÔà­êÚ²Ü

N1, 13 ÑáõÉÇëÇ 2008

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¶³Û³Ý» ȲȲڲÜ

µ³ñÇ ·³Éáõëï INTERNATIONAL FEATURE COMPETITION JURY Azize Tan Dariush Mehrjui Roghieh Mohammadyfar Mona Mehrjooei (2-year-old) Goran Paskaljevic Ulrich Maria Seidl Veronika Franz Ashot Adamyan INTERNATIONAL DOCUMENTARY COMPETITION JURY Carla Garapedian Michael Glawogger Andrea Glawogger Melek Ulagay Taylan

Sergey Bukovsky Vitaly Manskiy ARMENIAN PANORAMA JURY Anahid Nazarian Patrick Cazals Mikayel Dovlatyan Ruzan Zakaryan Zaven Ghookasian ECUMENICAL JURY Denyse Muller Jean-Pierre Muller Joseph Horemans Godelieve D’Hooghe Reverend Father Gevorg Saroyan

FIPRESCI JURY Alin Tasciyan Siranuysh Galstyan Sheila Johnston GUESTS Aaron Poole Alain Jalladeau Alex Sarkissian Axel Sarkissian Debbie Ohanian Anastasia Razlogova Andre Waardenburg Andrey Plakhov Yelena Plakhova Atom Egoyan Dickran Kouymjian Angele Kapoian Kirill Razlogov Enrica Antonioni

Claudio Gabriele Monica Pizzuti Piero Marsili Anna Zayarina Peter van Bueren Roman Balayan Vladimir Mashkov Oleg Kokhan Suren Balayan Werner Woll Tamta Gotschitaschwili Natia Mikeladse-Bachsoliani Yann Raymond Nino Anjaparidze Catherine Breillat Christophe Rocancourt Ziba Shahpouri Wim Wenders Donata Wenders Martin Schweighofer

Charles Cockey Helena Reznickova Ondrej Reznicek Faramarz Farazmand Reza Farazmand Mohammad Reza Sharifinia Detlef Gericke-Schönhagen Marie Clarissa Leonie Schönhagen Oleg Aksenov Svetlana Setunskaya Giorgi Gogiberidze Zviad Eliziani INTERNATIONAL FEATURE COMPETITION PARTICIPANTS Abolfazl Saffary Nahid Dousti Ali Akbar Fotohi Firoozabad

Masoud Atyabi Majid Asheghi Shang Jun Cai Ed Gass-Donnelly Kat Germain Jos Stelling Liane Stelling Anna Melikyan Ruben Dishdishyan INTERNATION DOCUMENTARY COMPETITION PARTICIPANTS Carl Valiquet Carles Bosch Meira Asher Lucian Muntean

INTERVIEW

No. 1, July 13 2008

Happy Birthday!

T

his year marks the 5th edition of the Golden Apricot International Film Festival, a festive occasion. A good moment to look back on the past and discuss the different programs with artistic director Susanna Harutyunyan.

When we started — and when I say we I mean Harutyun Khachatryan, the director of the festival, Mikayel Stamboltsyan, the program director and me — this was a totally private initiative.

We had no financial means. We started from our personal contacts and put our effort in. Latter different people started to come and offered their help. In a little country like Armenia with a lot of problems it is hard to explain why a film festival is necessary.

But I strongly believe that is important. For instance it is important to develop cinema, because you can present your country also through cinema. But it is also about culture in general, about developing professionalism. And we already can see results among film makers that started to produce more. And I am sure that in five years there will be even more films. The Armenian productions will then not be only screened here, but in many festivals around the world.

Victoria Coroban

Enrica Antonioni, the widow of Michelangelo Antonioni is already here. She refused all other invitations just to be with us.

Antonioni passed away in July 2007 and the wish to do something dedicated to this master came just from the heart. A day before the opening of the festival we will open the exhibition of Antonioni’s photos and pictures. And there is a retrospective of his films.

What special events are prepared for this anniversary edition?

There is already a tradition to have a day of French films to celebrate July 14th – the French national holiday. And this year we also have Dutch film day on July 16th, the birthday of Dutch director Jos Stelling, whose film Duska will premiere. We did not plan it, but it just happened that we have some birthdays during the festival: Catherine Breillat on July 13th and on the19th is the birthday of Atom Egoyan, president of the festival. His new film Adoration will be our closing film.

How difficult is it to make a film festival in Armenia? How do you manage to find the resources?

What is the difference between the 1st and the 5th edition of the festival?

The festival has become bigger and bigger. The first edition we had participants from 20 countries, now we have about 500 applications from 67 countries.

In the first edition the competition was restricted to Armenian films. Since the second edition we understood that it is really necessary to enlarge the area and to integrate Armenian cinema into an international environment. Since then we have two competitions, one for documentaries and one for feature films. And we made the Armenian panorama a special program, specific to our festival.

What is special about this edition?

We try to focus on regional cinema areas like the Caucasus, the Middle East and Eastern and Southern Europe. There are a lot of festivals in the world, but these areas are less covered and there is a big interest in them. Especially for this reason we initiated the Directors Across Borders program, in order to emphasize the cultural diversity of the region. For the same reason we developed the Regional Co-Production Forum. Filmmakers from the region have the opportunity to get funds for development and production of their projects here. Last year, when the Forum started, some of them got funds and went forward with their projects.

Another special thing is the Pan-Armenian Film Project. The idea came from a French project that consisted of making a film that incorporates several short films about France. This year about 15 film makers with Armenian roots will meet at Golden Apricot to discuss how this film should be done. A reason to make such a film is to create a common space, to encourage film production and coproduction between Armenians, and of course to present the image of Armenia to the world.

What are the selection criteria for the competition?

The criteria are to have good films, with that I mean art-house films with a strong cinematic approach. We also try to present new names, but it is really hard, because there are a lot of films from well known directors that our public is eager to see. However, next to known names we put new ones, like the Thai director Aditya Assarat (Wonderful Town) or the Dutch film maker David Verbeek (Shanghai Trance).

We also have the Directors Across Borders program, that focuses on films from the region. And Arabian Nights is a totally new program this year.

How are the members of the jury selected?

We try to choose the people that have approximately the same tastes as we have, and we also invite the winners of previous editions.

Who are the special guests this year?

Wim Wenders comes and there is a retrospective of his films. He also is going to give a master class for film students in Yerevan.

Catherine Breillat from France is also coming. She is almost unknown here, but she is a very important director in contemporary cinema. Two of her films will be screened.

welcome Nataša Stankovic Nishtha Jain Rokhsareh Ghaemmaghami Oscar Moreno Andres Faramarz K-Rahber Thomas Ciulei DOCUMENTARY WORLD PARTICIPANTS Magnus Jordheim Pavel Tikhonov Nicola Tranquillino Georgi Lazarevski Tatiana Daniliyants ARMENIAN PANORAMA PARTICIPANTS Arman Tadevosyan Eduard Badounts

David Badounts Eric Nazarian Nouritza Matossian Nora Martirosyan Martiros Panosyan Diana Mkrtchyan Khajag Soudjian Varante Soudjian Oleg Amirian PAN-ARMENIAN FILM PROJECT PARTICIPANTS Artyom Melkumyan Levon Minasian Audrey Estermann Minasian Loucine Minasian (2-years-old) Razmik Melkomian Norayr Keshishian

Britt Lautenbach Jack Boghossian Alex Baliev Norayr Kasper Hank Saroyan Chaga Uzbachian DAB FORUM JURORS Bianca Taal Janneke Langelaan Miroslav Mogorovic Hayet Benkara Kamran Shirdel Rohaneh Emami Cigdem Mater Utku Roberto Olla Camilla Larsson Sonja Heinen

ARABIAN NIGHTS PROGRAM PARTICIPANTS Chadi Zeneddine Kais Nashef PRESS Knarik Papoyan Olga Galitckaya Olga Sherwood David D’Arcy Elyse Topalian Shahla Nahid Joseph Chesnot Svetlana Hohryakova Liliya Valeeva Alexander Podkokha Alexander Konyukhov Marina Toropigina

CoE CONFERENCE PARTICIPANTS Alexander Shpilyuk Jonathan Davis Ewa Puszczyńska Milana Christitch Cecile Despringre Anna Trigona Ayaz Salaev Dumitru Marian Defne Gursoy Holly Aylett Okubo Kenichi Christian Zeender Shozo Ichiyama Irakli Metreveli CINEMA ACROSS BORDERS Janet Barış Evrim Kaya

Victoria Coroban Lucy Setian Nino Dzandzava DAB FORUM PARTICIPANTS Seyfettin Tokmak Serkan Cakarer Arin Inan Arslan Reza Majlesi Salome Jashi Andro Sakvarelidze Dmitro Konovalov DAB FILM PROGRAM PARTICIPANTS Mehmet Binay David Verbeek Ayca Damgaci

REVIEWS

No. 1, July 13 2008

Lessons in flying Roman Balayan’s Birds of Paradise – the opening film of the 5th Golden Apricot International Film Festival – is in essence a well-known story from the Soviet of the 80s, and beyond that it is a knot of familiar motifs repeating throughout the storyline. When it comes to conveying the atmosphere of the years just before Glasnost, trying to escape is always one of the biggest tensions. Here it is the driving force of the plot. To choose birds as the main metaphor in his story may not be very surprising, but Balayan deepens his symbolism by his

surrealist attempt to present the metaphorical literally.

The story evolves around Sergei Holoborodko, an idealist young man suffering from Soviet oppression: his phone is tapped by the KGB and listening to foreign broadcasts is forbidden. The kitchen is the only safe place to carefully express your opinions, but only if you whisper what you think. He is the writer of a brilliant but unwanted and unfinished novel. He meets his old mentor again, who has a beautiful young blond lover (played by Oksana Akinshina, the rising star

essence stay pure. Balayan creates a variation on the myth of paradise: in his film there can be only birds flying to paradise, but since paradise is a myth there are no birds of paradise. The film has various powerful ideas and images, but perhaps too many dramatic moments. The surrealist idea of flying in a realistic looking film leads to the key idea that is expressed in the film itself: All great writers know how to fly. EK Birds of Paradise (Roman Balayan, Ukraine, 2008). July 13: Moscow Cinema, Red Hall (21:00 and 23:00).

Sentenced to sing

Silence in Shanghai Trance is a mood, mainly characterized as the absence of response to external stimuli. In that sense David Verbeek’s film Shanghai Trance is really a dreamy manifest of trance and although told by a Dutch filmmaker it is also a trance story from and about Shanghai.

Verbeek focuses mainly on six young people, from teenagers to young adults suffering under dysfunctional human relations, emotional distances in the still changing face of Shanghai with karaoke clubs, techno bars, high rising skyscrapers, dizzying open spaces, and unending highways; in sharp contrast to the poverty and old slums of and earlier generation. Although his main attention is towards the young generation, he doesn’t neglect the world of the previous one and is very much aware of the gap between them. Verbeek’s reserved style captures Shanghai in impressionistic vignettes: in the early hours of the morning a father meets his daughter in the modest kitchen of their house, where she just arrived from a nightclub at the time he woke up. A rich girl secretly plays tennis with a boy she knows from her past, complaining about the new resort they moved to, but hesitating to invite him there at the same time.

A flighty girl arriving late at night to her impatient boyfriend, still talking on the phone to the man she just left and trying to cover the inconvenience with bold gestures of love. A mother finally praising her ‘useless’ son, just after he has been offered a position by a businessman – a friend of the family. A Dutch man in the house of his missing lover, sitting with guilt like a punished child, needy for a friendly gesture.

All these storylines flow side by side, completing a picture of brokenness and

known from Sisters and Lilja 4-ever). He tries to teach Sergei how to fly, in order to spare him from what he himself has been through as a young idealist writer once. Things get complicated when Sergei finds himself attracted to his mentors’ girlfriend. From that moment on the film starts to create an atmosphere of premonition. The young lovers overcome many obstacles and fly away to Paris, leaving the old man behind. But soon they realize that they won’t be able to fly anymore.

Birds of Paradise is the story of three unfortunate souls, but the film is also a hymn to characters that in

alienation; Verbeek doesn’t only use distant angles for his camera, sometimes making it hard to distinguish between the faces of main characters, in his narration he also stays deliberately distant. The tempo is measured, with many moments of silence. With his characters incapable of praying, loving, dreaming, talking and even fighting, it leaves a feeling of hopelessness. Not only is it a Chinese story from a Dutch filmmaker, it also manages to become universal. EK Shanghai Trance (David Verbeek, The Netherlands, 2008). July 13: Moscow Cinema, Red Hall (10:00); July 18: Nairi Cinema, Main Hall (20:00).

Love, passion, tears and smiles: the Spanish documentary Septembers is filled with emotions.

Septembers is directed by veteran television reporter Carles Bosch, who also made the Oscar nominated documentary Balseros (2002) The month September is a reason for joy and happiness, but also sadness and depression in Spanish prisons. In his film Bosch goes backstage behind the song festival that is held every September in the Soto del Real prison. Bosch uses the song festival as a starting point for his stories about eight prisoners, four women and four men. Among them are thieves, drug traffickers, lonely people, parents and people in love. Norma, mother of a 3 year old girl, wins the Grand Prize of Prison song festival every year.

Gardoqui from Madrid used to rob banks and now is in love with fellow prisoner Fortu, who says not to have been in love ever before. Patricia was always the black sheep of the family. Streets became her home: “I thought I would eat the world, but the world ate me”, she comments. Now Patricia has a wedding party in prison.

The best thing that can happen to most prisoners is a friendly meeting in so called ‘intimas’ a building with numbered bedrooms that look more like hospital rooms than a place for intimate meetings. Bosch shows their daily routines, but mainly focuses on their feelings and emotions through interviews with the eight inmates.

And a new September will come. The point to start the film is also the point to finish it. Three of the characters get out from the game. There will not be another September with a prison song festival for them. For the others September is going to repeat again and again, until the end of their sentence. VC Septembers (Carles Bosch, Spain, 2007). July 13: Puppet Theatre, Small Hall (10:00); July 18, Puppet Theatre, Small Hall (18:00).

A Woman’s Sin ‘I was born to be a feminist’, Indian director Nishtha Jain says at the beginning of her documentary Lakshmi and Me. Lakshmi is a 21-year-old maid in Mumbai, working hard to earn her living. She cleans in several households, more than ten hours per day. At her age she still has an unanswered question coming from inside: ‘What sin did I commit to be born a woman?’

One of Lakshmi’s employees is film maker Jain, who decides to document her maid’s life on film. Jain’s camera follows Lakshmi wherever she goes, whatever she does. It enters into the maid’s home, observes the strained relationship she has with her family (including a father who started drinking heavily after his wife died), is witness to a colorful ritual specific for her caste, then delves into the young Indian’s personal life, including her hidden pregnancy and even birth of the child.

Jain’s one-hour documentary depicts the problems Indian society faces, with the example of a young poor girl, one among many underpaid and underprivileged people, members of India’s lower castes. SP Lakshmi and Me (Nishta Jain, India, 2007).

July 14: Puppet Theatre, Small Hall (10:00); July 17: Puppet Theatre, Small Hall (20.00).

Ìð²¶Æð/PROGRAM

N1, 13 ÑáõÉÇëÇ 2008

No. 1, July 13 2008

ÏÇñ³ÏÇ 13 ÑáõÉÇëÇ / sunday july 13 ØáëÏí³ Ï/Ã, ϳåáõÛï ¹³ÑÉÇ×

ØáëÏí³ Ï/Ã, ϳñÙÇñ ¹³ÑÉÇ×

ØáëÏí³ Ï/Ã, ÷áùñ ¹³ÑÉÇ×

îÇÏÝÇÏ. óïñáÝ, ÷áùñ ¹³ÑÉÇ×

ܳÇñÇ Ï/Ã, Ù»Í ¹³ÑÉÇ×

ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ

Moscow Cinema, Blue Hall

Moscow Cinema, Red Hall

Moscow Cinema, Small Hall

Pupt. Theatre, Small Hall

Nairi Cinema, Large Hall

Naregatsi Art Center

10.00 Ðñ³ß³ÉÇ ù³Õ³ù/

Wonderful Town ². ²ë³ñ³Ã/A. Assarat, Tha, 92’, FC

10.00 Þ³ÝÑ³Û ïñ³Ýë/ Shanghai Trance

10.00 ÆÝùݳѳëï³ïáõÙ/ Self-Affirmation

¸. ì»ñµ»ù/D. Verbeek, Neth, 122’, DAB/EP

Ð. ²í»ïÇëÛ³Ý/H. Avetisyan, Arm, 62’, AP

21.00 ¸ñ³ËïÇ ÃéãáõÝÝ»ñ/ Birds of Paradise

à±í ¿ ØáÝûÝ/ Who is Monte?

Birds of Paradise è. ´³É³Û³Ý/R. Balayan, Ukr, 94’, OF

16.00 ²Ïí³ñÇáõÙ/The Aquarium

Î. ´áß/C. Bosch, Esp, 113’, DC

Ú. ܳëñ³ÉɳÑ/Y. Nasrallah, Egy/Ger/Fr, 111’, AN

12.00 ²å³Ñ³ñ½³Ý ³Éµ³Ý³Ï³Ý Ó¨áí/Divorce Albanian Style

². 仨³/A. Peeva, Bg, 66’, DC

¾. ´³¹áõÝó/E.Badounts, USA, 36’, AP

è. ´³É³Û³Ý/R.Balayan, Ukr, 94’, OF 23.00 ¸ñ³ËïÇ ÃéãáõÝÝ»ñ/

10.00 ê»åï»Ùµ»ñÝ»ñ/Septembers

14.00 ä³ïáõÙÝ»ñ` ³é³Ýó å³ïÙáõÃÛ³Ý/Stories Without History

ü.èáñ³ïá, ä.ü³ÏÏá/F.Rorato, P.Facco,It/Arm, 55’, DW

18.00 سñ¹-ù³ÙÇÝ/Wind Man

15.00 Üñ³Ýù ÇÝÓ Ù³ÛñÇÏ »Ý ÏáãáõÙ/They Call Me Mother

Ê. ²ËÙ»ïáí/Kh. Akhmetov, Rus, 98’, DAB 20.00 ¶É˳ïí³Í ³ù³Õ³ÕÁ/ The Beheaded Rooster

12.00 ä³ïÙáõÃÛ³Ý 36 å³Ñ³å³ÝÝ»ñÁ/ 36 Immortals

Ø.Úáñ¹Ñ»ÛÙ/M.Jordheim, Nor, 52’, DW

è. ¶³µñ»³/R. Gabrea, Aus/ Ger/Hun/Rom, 101’, EP

Ð.ì³ñ¹³ÝÛ³Ý/H.Vardanyan, Arm, 24’, AP

22.00 سëݳ·ÇïáõÃÛáõÝÁ` Éñ³Ñ³í³ù/ Profession: Reporter (The Passenger)

ºñÏñáñ¹ ßÝã³éáõÃÛáõÝ/ The Second Wind

ì. êáõçÛ³Ý/V. Soudjian, Fr, 18’, AP

Ø.²ÝïáÝÇáÝÇ/M.Antonioni, It/Fr, 120’, T

»ñÏáõß³µÃÇ 14 ÑáõÉÇëÇ / monday july 14 ØáëÏí³ Ï/Ã, ϳåáõÛï ¹³ÑÉÇ×

ØáëÏí³ Ï/Ã, ϳñÙÇñ ¹³ÑÉÇ×

ØáëÏí³ Ï/Ã, ÷áùñ ¹³ÑÉÇ×

îÇÏÝÇÏ. óïñáÝ, ÷áùñ ¹³ÑÉÇ×

Moscow Cinema, Blue Hall

Moscow Cinema, Red Hall

Moscow Cinema, Small Hall

Pupt. Theatre, Small Hall

10.00 ÎÇïñáÝÇ Í³é/ Lemon Tree

¾.èÇÏÉÇë/E.Riklis, Isr/ Ger/Fr, 106’, FC 12.00 øáÕ³ñÏí³Í ¹»Ùù»ñ/ Hidden Faces

Ð.Æ÷»ùãÇ/H.Ipekçi, Tur, 124’, FC 16.00 ÎÇïñáÝÇ Í³é/ Lemon Tree

¾.èÇÏÉÇë/E.Riklis, Isr/ Ger/Fr, 106’, FC 19.00 γñÙÇñ ÏáÙµ³ÛÝÁ/ The Red Awn

Þ.ò³Û/S.Cai, Chn, 101’, FC 22.00 Øßï³Ï³Ý ëÇñ»óÛ³ÉÝ»ñ/ Regular Lovers

ü.¶³ñ»É/Ph.Garrel, Fr, 178’, EP

10.00 Æ٠سñÉáÝÝ áõ ´ñ³Ý¹áÝ/My Marlon and Brando

Ð.γñ³µ»Û/ H.Karabey, Tur/Neth/ UK/Fr, 92’, DAB 15.00 ²Û¹ »ñ»ùÁ/ Those Three

Ü.ܻٳÃÇ/N.Nemati, Ir, 80’, DAB 17.00 üñ³ÝëÇ³Ï³Ý ÏÇÝáÛÇ ûñí³ µ³óáõÙ/French Film Day Opening êϳý³Ý¹ñÁ ¨ ÃÇûéÁ/The Diving Bell and The Butterfly

æ.Þݳµ»É/J.Schnabel, Fr/USA, 112’, YP 19.30 ê³ÝÃáõñ³Ñ³ñÁ/ Santouri

¸.Ø»ÑñçáõÇ/ D.Mehrjui, Ir, 106’, R 22.00 ²Ýï»ë³Ý»ÉÇ Ñ³Ýó³ÝùÝ»ñ/ Invisible Crimes

ì.ì»Ý¹»ñë/W. Wenders, Esp, 95’, R §´áõ»Ý³ ìÇëﳦ ³ÏáõÙµÁ/Buena Vista Social Club

ì.ì»Ý¹»ñë/W. Wenders, Ger/USA/ UK/Fr/Cub, 105’, R

10.00 øñÇëïáÝÛ³ г۳ëï³Ý/ Christian Armenia

².²ëɳÝÛ³Ý/A. Aslanyan, Arm, 83’, AP ÎÛ³ÝùÝ ÇÙ ³ãù»ñáí/ The Life As I See

².¶³ëå³ñÛ³Ý/A. Gasparyan, Arm, 10’, AP 12.00 ÐáõÛëÇ ù³ÙÇÝ»ñ/ Winds of Hope

ú.²ÙÇñÛ³Ý/O. Amiryan, USA, 27’, AP гí»ñÅ³Ï³Ý ÃéÇãù. Ðñ³Ýï ¸ÇÝù/Eternal Flight.

Hrant Dink

Ð.гÏáµÛ³Ý/H. Hakobyan, Arm, 25’, AP 18.00 γåáõÛï ųÙÁ/The Blue Hour

¾.ܳ½³ñÛ³Ý/E. Nazarian, USA, 93’, AP ê»ñ ϳÙ.../Maybe Love, Maybe Not

ì.ø³ëáõÝÇ/ V.Kassouny, Arm, 6’, AP 20.00 ä³ïÙáõÃÛ³Ý 36 å³Ñ³å³ÝÝ»ñÁ/36 Immortals

Ð.ì³ñ¹³ÝÛ³Ý/H. Vardanyan, Arm, 24’, AP ºñÏñáñ¹ ßÝã³éáõÃÛáõÝ/The Second Wind

ì.êáõçÛ³Ý/V.Soudjian, Fr, 18’, AP 21.00 1937

Ü. سñïÇñáëÛ³Ý/ N. Martirosyan, Arm/ Fr, 44’, AP

10.00 γݳÛù ß³ï µ³Ý »Ý ï»ëÝáõÙ/Women See Lots of Things

Ø.²ß»ñ/M.Asher, Neth, 65’, DC ȳùßÙÇÝ ¨ »ë/ Lakshmi and Me

Ü.æ³ÇÝ/N.Jain, Ind/ USA/Fin/Dnk, 59’, DC 12.00 γñÙÇñ ë³éݳñ³ÝÇ ×³­Ý³­å³ñ­Ñáñ­¹áõ­ ÃÛáõ­ÝÁ/Journey of a Red Fridge

È.ØáõÝïÛ³Ý, Ü.êï³ÝÏáíÇã/ L.Muntean, N.Stankovic, Srb, 52’, DC ÆÝãå»ë »Ù »ë/ How I Am

Æ.¸»Ù»ó, Î.ȳÛÃÝ»ñ/I.Demetz, C.Leitner, It, 49’, DC

îÇÏÝÇÏ. óïñáÝ, Ù»Í ¹³ÑÉÇ× Pup. Theatre, Big Hall

ܳÇñÇ Ï/Ã, Ù»Í ¹³ÑÉÇ×

ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ

³ï»ñ³Ï³Ý ·áñÍÇãÝ»ñÇ ÙÇáõÃÛáõÝ

Nairi Cinema, Large Hall

Naregatsi Art Center

Theatre Workers’ Union

15.00 îÇ·ñ³Ý ÎáõÛÙçÛ³Ý ì³ñå»ïáõÃÛ³Ý ¹³ë»ñ/ Dickran Kouymjian — Master Class

16.00 Ðݳñ³íáñ ÏÛ³Ýù/ Possible Lives

18.00 îáÝÇÝá ¶áõ»é³. ÏÇÝáÛÇ åá»ïÁ/ Tonino Guerra: A Poet in the Movies

18.00 êÇñ³í»å/Romance

Ü.îñ³ÝÏáõÇÉÇÝá/ N. Tranquillino, It, 52’, DW Üñ³Ýù ÇÝÓ Ù³ÛñÇÏ »Ý ÏáãáõÙ/They Call Me Mother

Ø.Úáñ¹Ñ»ÛÙ/M. Jordheim, Nor, 52’, DW 20.00 øñÇëïáÝÛ³ г۳ëï³Ý/ Christian Armenia

ê.¶áõ·ÉÇáï³/ S.Gugliotta, Arg/Ger, 80’, WCFP

Î.´ñ»Û³/C.Breillat, Fr, 99’, R 20.00 ÎáõÛñ ë³ñ/Blind Mountain

ÈÇ Ú³Ý/Li Yang, Chn, 102’, DAB

14.00 ÆÙ ³Ù»ñÇϳóÇ Ñ³ñ¨³ÝÁ/My American Neighbor

Æ.ä³ïϳÝÛ³Ý/ I.Patkanyan, USA/Rus/ Fr/Egy/It/Gr, 30’, DW

12.00 ì³ï ųٳݳÏÝ»ñÇ ×³Ù÷áñ¹Ý»ñÁ/ Wrong Time Travellers

².ö»ñ¹»çÇ/A.Perdeci, Tur, 134’, NAC

14.30 Ø»Í í³ñå»ïÁ ÝáñÇó ·»ñí³Í ¿/A Great Master Recaptured

èáõë³ëï³Ýг۳ëï³Ý. Ñ»éáõ, µ³Ûó ÙdzëÇÝ/ Russia-Armenia, Not Close, But Together

È³Ý ´ÇÝ, Ú» òÅÇÝ/ Lan Bing, Ye Jing,Chn, 83’, DW

ì.â³ïÇÝÛ³Ý/V. Chatinyan, Rus, 26’, NAC 15.00 ÂßݳÙÇÝ»ñÁ/ The Enemies

22.00 ¶Çß»ñ/The Night

Ø.²ÝïáÝÇáÝÇ/M. Antonioni, It/Fr, 122’, T

¸.سèáëÛ³Ý/D. Matevosyan, Arm, 27’, DAB ´³ó»ù ë³ÑÙ³ÝÁ/ Open the Border

².²ëɳÝÛ³Ý/A. Aslanyan, Arm, 83’, AP

¶.ì³ÝÛ³Ý, È.äáÕáëÛ³Ý/G. Vanyan, L.Poghosyan, Arm, 77’, DAB

17.00 ²ëù ѳÛáó ·ÇÝáõ Ù³ëÇÝ/The Story of Armenian Wine

²ýÕ³Ý³Ï³Ý Å³­Ù³­Ý³­Ï³·­ñáõ­ ÃÛáõÝ/Afghan Cronicles

Ð.úñ¹Û³Ý/H.Ordyan, Arm, 17’, AP

¸.ØáñÇë»ï/ D.Morissette, Can, 52’, DAB

æñ³é³ï, Ù³Ýñ³å³­ïáõÙ­Ý»ñ/ Jrarat, Miniatures

Ø. úѳÝÛ³Ý/ M.Ohanyan, Arm, 17’, AP 18.00 ê³Ý ê³ÝÇã/ San Sanych

¶. ²Õ³ç³ÝÛ³Ý/ G. Agadjanean, Mda, 52’, AP ºñÏáõ ³½·»ñÇ ëÇñïÁ. Ðñ³Ýï ¸ÇÝù/Heart of Two Nations: Hrant Dink

Ü.سÃáëÛ³Ý/ N.Matossian, Tur, 40’, AP 20.00 ÆÝùݳѳëï³ïáõÙ/ Self-Affirmation

Ð.²í»ïÇëÛ³Ý/H. Avetisyan, Arm, 62’, AP à±í ¿ ØáÝûÝ/Who is Monte?

¾. ´³¹áõÝó/E.Badounts, USA, 36’, AP

Colophon ܳ˳·ÇÍÝ Çñ³Ï³Ý³óÝáõÙ ¿ г۳ëï³ÝÇ ÏÇÝáùÝݳ¹³ïÝ»ñÇ áõ ÏÇÝáÉñ³·ñáÕÝ»ñÇ ³ëáódzóÇ³Ý Ü³Ë³·ÍÇ Õ»Ï³í³ñ` êáõë³Ýݳ гñáõÃÛáõÝÛ³Ý ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· гۻñ»Ý ¿ç»ñÇ ËÙµ³·Çñ` èáõ½³Ý äáÕáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý Èñ³·ñáÕÝ»ñ` Ä³Ý»ï ´³ñÇë, ìÇÏïáñÛ³ Îáñáµ³Ý, ¾íñÇ٠γ۳, ÈÛáõëÇ ê»ÃÛ³Ý, ²ÝÇ Ô³ñ³µ³ÕóÛ³Ý, ²ÝÇ Ð³ñáõÃÛáõÝÛ³Ý, ¶³Û³Ý» ȳɳ۳Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, è³ýÇÏ ØáíëÇëÛ³Ý, 껹³ ä³åáÛ³Ý, øñÇëïÇÝ» ÎÛáõñÏÉÛ³Ý, úý»ÉÛ³ ¼³ù³ñÛ³Ý

The project is realized by the Armenian Association of Film Critics and Cinema Journalists Project director: Susanna Harutyunyan Editor in chief: André Waardenburg Journalists (English pages): Janet Bariş, Victoria Coroban, Evrim Kaya, Lucy Setian General supervising manager: Peter van Bueren Editor Armenian pages: Rouzan Poghosian Journalists: Ani Gharabaghtsyan, Ani Harutyunyan, Kristine Kyurklyan, Gayane Lalayan, Rafik Movsisyan, Seda Papoyan, Davit Vardazaryan, Ofelia Zaqarian

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N1, 13 ÑáõÉÇëÇ 2008