Golden Apricot Daily: 2008, N 2

N2

15 JULY

úð ²è²æÆÜÅÛáõñÇÇ ³ëáõÉÇëÇó ÙÇÝ㨠§ºñ¨³ÝÛ³Ý 2 ·Çß»ñÝ»ñ¦ §²Õ»ï³ÉÇáñ»Ý ³Ýϳï³ñ ³Ûë ³ß˳ñÑáõÙ ²ÝïáÝÇáÝÇÝ ÙÝáõÙ ¿ñ Ýñµ³×³ß³Ï ¿ëûï, áñÝ ûëϳñáõ³ÛÉ¹Û³Ý å³ßï³ÙáõÝù áõÝ»ñ ·»Õ»óÇÏÇ Ñ³Ý¹»å¦:

3

üñ³ÝëÇ³Ï³Ý ýÇÉÙ»ñÇ Ý»ñËáõÅáõÙ...

4 Shang Jun Cai about his debut film The Red Awn

5 Reviews of Wonderful Town, Hidden Faces, The Red Awn, Revue

6

¾ÝñÇϳ ²ÝïáÝÇáÝÇÝ ÁݹáõÝ»ó ÌÇñ³ÝûñÑÝ»ù

15

Enrica Antonioni blessed by apricots

´²òØ²Ü úð

N2, 15 ÑáõÉÇëÇ 2008

س»ëïñá ²ÝïáÝÇáÝÇÝ` ³Ûëï»Õ »õ ÑÇÙ³ n ¸³­íÇà ì²ð­¸²­¼²­ðÚ²Ü Ð³­Û³ë­ï³­ÝÇ ²½­·³­ÛÇÝ å³ï­Ï»­ñ³ë­ñ³­ÑáõÙ ÷³­é³­ïá­ÝÇ ³é³­çÇÝ ûñÁ µ³ó­í»ó Çﳭɳ­óÇ Ù»­Í³­ÝáõÝ ÏÇ­Ýá­é»­ÅÇ­ëáñ ØÇ­ù»­É³Ý­ç»­Éá ²Ý­ïá­ ÝÇ­á­ÝÇÇ Éáõ­ë³Ý­Ï³ñ­Ý»­ñÇ ¨ Çñ` Ù³­»ëï­ñá­ÛÇ ·»­Õ³Ý­Ï³ñ­Ý»­ñÇ óáõ­ó³­Ñ³Ý­¹»­ëÁ: Ø»ñ ³ñ­í»ë­ ï³­ë»ñ­Ý»­ñÇÝ ²Ý­ïá­ÝÇ­á­ÝÇÇ Ù»­Íáõ­ÃÛ³ÝÝ ³éÝã­ í»­Éáõ ³Ûë µ³­ó³­éÇÏ Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝÝ ÁÝ­Ó»­ é»É »Ý ²Ý­ïá­ÝÇ­á­ÝÇÇ ³Û­ñÇÝ` ¾Ý­ñǭϳ ²Ý­ïá­ÝÇ­á­ÝÇÝ, ²Ý­ïá­ÝÇ­á­ÝÇÇ ÑÇ٭ݳ¹­ñ³­ÙÇ ïÝû­ñ»Ý, åñá­¹Ûáõ­ë»ñ Îɳ­áõ­¹Çá ¶³µ­ñÇ­»­ÉÇÝ áõ Éáõ­ë³Ý­Ï³­ñÇã äÇ­»­éá سñ­ëÇ­ÉÇÝ, áñáÝù ³Ûë ûñ»­ñÇÝ ºñ¨­³­ÝáõÙ »Ý: Ø»Ï ëñ³­Ñáõ٠ٻϭï»Õ­ í³Í ³Ûë ѳ½­í³­·Ûáõï óáõ­ó³­Ñ³Ý­¹»ëÁ Ïï¨Ç ÙÇݭ㨠÷³­é³­ïá­ÝÇ ³í³ñ­ïÁ` Ñáõ­ÉÇ­ëÇ 20-Á: ¸ñ³Ý­óÇó ³é³­çÇ­ÝÁ ÙÇÝ­ã»õ ºñ»­õ³Ý µ»ñ­í»­ÉÁ óáõ­ ó³¹ñ­ í»É ¿ ÙÇ­ ³ÛÝ Ðéá­ ÙáõÙ` 2006-ÇÝ, ÇëÏ 2-ñ¹Á Ý»ñ­Ï³­Û³ó­íáõÙ ¿ ³é³­çÇÝ ³Ý­·³Ù: äÇ­»­ éá سñ­ëÇ­ÉÇÝ ³Û¹ Éáõ­ë³Ý­Ï³ñ­Ý»­ñÁ ³Ý­í³­ÝáõÙ ¿ §Çë­Ï³­Ï³Ý Ññ³ßù­Ý»ñ¦, ù³­ÝÇ áñ ²Ý­ïá­ÝÇ­á­ ÝÇ­ÇÝ ûµÛ»Ï­ïÇ­íáí §áñ­ë³­ÉÁ¦ ÙÇßï ¿É Ñ³½­í³­ ¹»å å³Ñ ¿ »Õ»É. Ù³­»ëï­ñáÝ, Ù»ÕÙ ³ë³Í, ã¿ñ ëÇ­ñáõÙ Ï»ó­í³Íù­Ý»ñ ÁÝ­¹áõ­Ý»É, ³í»­ÉÇÝ` ³í»ÉÇÝ Ëáñ­ßáõÙ ¿ñ Éáõ­ë³Ý­Ï³­ñÇã­Ý»­ñÇó: ²Û¹ ³éáõ­Ùáí سñ­ëÇ­ÉÇÝ ÷³ë­ïá­ñ»Ý ÙÇ­³Ï Éáõ­ë³Ý­ ϳ­ñÇãÝ ¿, áñÇÝ ²Ý­ïá­ÝÇ­á­ÝÇÝ Ùáï ¿ Ãá­Õ»É: Èáõ­ë³Ý­Ï³ñ­Ý»­ñÁ Ù»Í Ù³­ë³Ùµ ë»õ áõ ëåÇ­ï³Ï »Ý, ÇÝ­ãÁ Éáõ­ë³Ý­Ï³­ñÇ­ãÁ µ³­ó³ï­ñáõÙ ¿ ¹ñ³Ýó ëï»ÕÍ­Ù³Ý Å³­Ù³­Ý³­Ï³ßñ­ç³­Ýáí` ³Ý­óÛ³É ¹³­ñÇ 80-³Ï³Ý­Ý»­ñÇ í»ñç: ¾Ý­ñǭϳ ²Ý­ïá­ÝÇ­á­ÝÇÝ Ñ³Û Ñ³Ý­¹Ç­ë³­ï»­ëÇÝ ¿ Ý»ñ­Ï³­Û³ó­ÝáõÙ ³Ùáõë­Ýáõ ýÇÉ­Ù»­ñÇ ÁÝï­ñ³­ÝÇÝ, áñ ³Ûë ûñ»­ñÇÝ óáõ­ó³¹ñ­íáõÙ »Ý ºñ»­õ³­ÝáõÙ: ²Ý­ïá­ÝÇ­á­ÝÇÇ ·Éáõ·­·áñ­Íáó­Ý»­ñÇ Ñ»­ï³­Ñ³­Û³ó óáõ­ó³¹­ñáõ­ÃÛáõ­ÝÁ ¨ë ½»ñÍ ã¿ µ³­ó³­éÇ­Ïáõ­ÃÛ³Ý ÏÝÇ­ùÇó. µ³ÝÝ ³ÛÝ ¿, áñ ³Ý­óÛ³É ï³­ñÇ Ñáõ­ÉÇ­ëÇÝ ³Ùáõë­ÝáõÝ Ïáñó­Ý»­Éáõó Ñ»­ïá ïÇ­ÏÇÝ ²Ý­ïá­ÝÇ­á­ ÝÇÝ Ññ³­Å³ñ­íáõÙ ¿ñ ÝáõÛ­ÝÇëÏ ³Ù»­Ý³­Ñ»­Õǭݳ­ ϳ­íáñ ÷³­é³­ïá­Ý»­ñáõÙ ³Ùáõë­ÝáõÝ Ý»ñ­Ï³­ Û³óÝ»­Éáõ Ññ³­í»ñ­Ý»­ñÇó: §àë­Ï» ÍÇ­ñ³­ÝǦ ³é³­ç³ñÏÝ ÁÝ­¹áõ­Ý»É ¿, ù³­ÝÇ áñ áõ­ÝÇ Ñ³Û áõ ѳ­Û³­ë»ñ ³ÛÝ­åÇ­ëÇ ÁÝ­Ï»ñ­Ý»ñ, ÇÝã­å»ë г­ñáõ­ ÃÛáõÝ Ê³­ã³ï­ñÛ³ÝÝ áõ îá­ÝÇ­Ýá ¶á­õ»­é³Ý: ´³ óÇ ³Û¹ ³Ûë­ï»Õ óáõ­ó³­µ»ñ­í³Í ç»ñ­Ùáõ­ÃÛáõ­ÝÁ á·¨­á­ñáõÙ ¿ Çñ»Ý: §àë­Ï» ÍÇ­ñ³­ÝǦ µ³ó­Ù³Ý ų­Ù³­Ý³Ï ѳ­Ù³­ ß³­Ë³ñ­Ñ³­ÛÇÝ ÏÇ­Ýá­ÛáõÙ áõ­Ý»­ó³Í í³ë ­ï³ ÏÇ Ñ³­Ù³ñ ëÇ­ÝÛáñ ²Ý­ïá­ÝÇ­á­ÝÇÇ Ñ»ï­Ù³­Ñáõ Ùñó³­Ý³­ÏÁ ëﳭݳ­ÉÇë ëÇ­ÝÛá­ñ³ ²Ý­ïá­ÝÇ­á­ÝÇÝ ³ë³ó, áñ ѳۭϳ­Ï³Ý ç»ñ­Ùáõ­ÃÛ³Ùµ Ù»Ýù ³ë»ë ëïÇ­åáõÙ »Ýù Ù³­»ëï­ñá­ÛÇÝ ¨ë Ý»ñ­Ï³ ·ïÝí»É` ³Ûë­ï»Õ ¨ ÑÇ­Ù³: ²ÛÝ­å»ë áñ, ²Ý­ïá­ÝÇ­á­ÝÇÇ ßáõÝãÝ áõ Ý»ñ­Ï³­Ûáõ­ÃÛáõ­ÝÁ ºñ¨­³­Ýáõ٠ѳ­í³ë­ ïáõÙ ¿ ݳ¨ ³ß­Ë³ñ­ÑáõÙ Ýñ³ ³Ù»­Ý³Ù­ï»­ñÇÙ Ù³ñ­¹Á...

Èáõë³ÝϳñÁ` ¼³í»Ý ê³ñ·ëÛ³ÝÇ

N2, 15 ÑáõÉÇëÇ 2008

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üð²ÜêÆ²Î²Ü ÎÆÜà

N2, 15 ÑáõÉÇëÇ 2008

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INTERVIEW

No. 2, July 15 2008

‘I don’t like pure reality’

C

hinese director Shang Jun Cai is best known as the scriptwriter of award winning films like Spice Love Soup (1992), Shower (1999) and Sun­ flower (2005). The Red Awn is his debut as director and in Yerevan part of the competition for feature films.

How did you come to the idea to direct your own script?

During my many years of writing scenarios I

believed in words. But during the years I found real life more interesting and impressive than anything I wrote. So I thought about a way to use images, to more directly express what I want and have in mind.

Are you satisfied with the way your previous scripts were directed?

When you work as script writer, you just focus on the characters and the story. Sometimes I discussed everything with the director. We try to find what the characters should do, what they talk

about. But to make the actual film is still the work of a director. So, when you work as script writer you can not do much more. You just give them some suggestions. As a director you consider every aspect of the film making process, which for me is more challenging and rewarding. I liked doing it.

What kind of visual style did you use?

I like the calm style I use in my film, because of it the story became more silent. And since this is a cruel story, the cruelty is almost silent now. But because this is my first film as director I think I am

still looking for a way to form and develop my style, I’m still trying to find my visual approach. In this film there is not really a style. In general I like films to be between dreams and reality. I don’t like pure reality.

What is your film about?

The Red Awn is a film about people facing injuries and pain, and how to deal with this in everyday life. It is also a story about a father and son, but this is not what I was most interested in.

Parents give birth and support you, maybe up to about 18 years. Then you go out to live on your own. When young animals get mature, mother and father kick them away. That is their role, that is nature. The essence of being a father is to let your children go. But having a father figure as a child is crucial. He is a role model your life, either good or bad. It can be a bad one, but it is still a role model.

And he gives you a special direction.

How is the production and distribution of Chinese films at the moment?

In production we made a big progress. Last year about 400 films were made. But the distribution situation is so bad. Each year we get 20 Hollywood movies on the Chinese market. Each film plays for two weeks in the cinemas. So, 20 movies go for 40 weeks. There remains only several weeks for domestic films. Some of the Chinese films are big budget movies and these kinds of films also occupy a lot of cinemas for several weeks. The result is that there is maybe just one week left for art-house films. You have just one chance to show your film.

That is the problem. And the big budget films have also big budgets for promotion and distribution.

Art-house films have small budgets and in most cases you do not have enough money for advertising. To keep a film for a longer period in the cinemas would be a solution. But in China there’s no chance this will happen, you get only one week.

Victoria Coroban The Red Awn (Shang Jun Cai, China, 2007).

July 15: Moscow Cinema, Blue Hall (12:00).

Abstract Antonioni The Armenian National Art Gallery houses the exhibition dedicated to the famous Italian director Michelangelo Antonioni, who died last year. It opened last Sunday.

The retrospective is curated by Antonioni’s widow Enrica. In her opening speech she retraced the strong bond between her husband and Armenia.

Unfortunately her opening remarks were only translated in Armenian, making it difficult for foreign guests to understand her. Luckily they could look at photos of Antonioni and Enrica, shot by the Italian photographer Piero Marsali, and admire the abstract paintings made

by Antonioni in the last years of his life. LS

Welcome to Armenia!

God Bless One of the most beautiful moments of the Golden Apricot International Film Festival is the blessing of the apricots.

The yearly ritual was held in the charming St. Sargis Church, not far away from Yerevan city center. By virtue of the sonorously sung blessing from five priests the warm atmosphere was like a family gathering. The ceremony was followed by handing out the blessed apricots and having a toast – with apricot brandy — in the name of the festival in front of the old church. LS

On July 13th the Golden Apricot Film Festival unfurled its red carpet in front of the Moscow Cinema in order to welcome the nearly 200 participants that attend the 5th edition of the festival.

The opening ceremony retraced the beginning of the festival by showing glorious moments from its past issues.

Awards were received by well known names, among them famous German director Wim Wenders, Iranian film maker Dariusz Mehrjui and posthumously Michelangelo Antonioni. LS

REVIEWS

No. 2, July 15 2008

A post-traumatic love affair

A

ditya Assarat’s Wonderful Town, set in Thailand after the tsunami of 2004, opens with waves, peaceful and calm. Ton, a young architect from Bangkok arrives in a small town. He is going to work for a new resort hotel by the coast, where the destructive waves took everything away. It is a place in recovery after the big trauma, in a way the central action has already happened before the film starts. Ton is a lonely nice young man, who prefers the silent humble atmosphere of the small town hotel to the new fancy ones on the outskirts of the town. The hotel is run by Na, a pretty young woman. Her old, empty hotel is also a symbol for the abandonment of the town after the disaster.

Soon, the two are attracted to each other and a love story full of hesitation, shyness, purity and innocence starts. Na carefully touches Ton’s sheets, Ton brings her oranges, and then they even hold hands.

But this ‘wonderful’ ghost town is a very small one. Starting with Na’s gangster brother; people are watching and talking about the daring new guy in town. We see the waves for a second time, larger, stronger and wilder. The soft romantic music is gone. Like a tsunami, all of a sudden something bad happens and, carried away with the water, it is gone. Then everything is calm again.

Assarat tells his beautiful sad story in an elegant, reserved and almost silent way, sensitive to minor gestures, subtle sounds and

Back to the USSR Russian cinema is reborn! The tragicomic genre will never be the same again after the prehistorically referenced documentary Revue.

In a collage of clips from Russian cinema, mainly from the 50s and 60s, Belarusian director Sergei Loznitsa decides to dip into the slush of Soviet communism in a very successful pathetic way, although an analysis of the political side of the propaganda is almost missing.

Lenin comes out from the screen straight into the cinema hall under the sounds of a triumphal pioneer marsh. His face is on every possible place — on trains, memorials, stages, whatever could be wished for, followed by a hypnotized crowd. There are enemies everywhere, spying through the keyhole and kids are making fun of American songs, making a puppet show of ‘decadent’ western rock ‘n’ roll. Scenes change like in a soap opera and jump from town to town, factory to factory, from one party section to another, almost like the variety in the stage program of the communist theater.

The revue–musical plays a key part between the edited film fragments, reminding that even the real communist deserves a rewarded rest from the daily hardships. Many scenes focus on hard work and the life of the expanding Soviet country is examined from all sides: from tirelessly toiling Russian girls to endless rows of metallurgists who are in a wild rush for the first place in the contest, dedicated to the cause. In communism nothing stays either unvalued or hidden. Some Russian citizens deserve public encouraging, some punishment by publicly scolding them for wasting food on animals.

The almighty Soviet policeman is the pride of the community, responsible for all questions and even solving the most difficult personal problems of his village neighbors.

But as the Lenin philosophy tells, children build the new communist power. Clean children and young pioneers proudly recite poems about the star-hiking Strong of the Day, staring at the approving dictator’s image on the wall.

Viva la communism! LS Revue (Sergei Loznitsa, Russia, 2008). July 15: Puppet Theatre, Small Hall (12:00); July 17: Puppet Theatre, Main Hall (20:00).

expressive eyes. All extravagancies are avoided. He pays attention to all of his few characters, and very carefully keeps the same distance to both his characters in the love story. In an alternating montage he slowly shows the parallel lives of Na and Ton, covering many details – more through suggestion than showing them. In the same way he touches upon the post-traumatic atmosphere in the almost forgotten small town, where only a few locals are left. EK Wonderful Town (Aditya Assarat, Thailand, 2007). July 15: Moscow Cinema, Blue Hall (20:00).

Behind the Silence After writing scripts for films like Sunflower (2005) and Shower (1999), Shang Jun Cai makes his directorial debut with The Red Awn. The film describes the conflict and reconciliation between a father and son. The father abandoned his family to go to the city, only to return 5 years later. His son refuses to accept him back.

Father and son need time to understand each other. There is more tension than action. They both fear not being understood. However, they prefer not to talk about it, or they are just not able to do this. The tension gathers bit by bit and frustrations are released from time to time, for example in the fighting scene between father and son. But the son eventually overcomes the tense situation and manages to be content with his father.

The Red Awn (Shang Jun Cai, China, 2007). July 15: Moscow Theatre, Blue Hall (12:00).

A documentary detective story Hidden Faces, the third feature film of the Turkish director Handan Ipekçi, handles a controversial subject, honor killings, using visual and narrative elements from two different genres: documentary and detective story. It starts in a small village in eastern Anatolia with the young self-conscious girl Zuhre and her large family. Through complicated events we follow the family and Zuhre to Istanbul, Izmit and Germany. The young girl survives many attempts to kill her, the ultimate punishment for the extramarital affair she had in the little village. She tells her story in a documentary, a brave decision that unfortunately will lead her fanatical uncle to detect her hiding place.

One by one Ipekci solves many puzzles, trying to keep the curiosity awake till the end. By using the conventions of the thriller, she aims to get the attention of a wider audience who might not usually be interested in seeing a film about honor killings. EK Hidden Faces (Handan Ipekci, Turkey, 2007). July 15: Moscow Cinema, Blue Hall (18:00).

Ìð²¶Æð/PROGRAM

N2, 15 ÑáõÉÇëÇ 2008

No. 2, July 15 2008

»ñ»ùß³µÃÇ 15 ÑáõÉÇëÇ / tuesday july 15 ØáëÏí³ Ï/Ã, ϳåáõÛï ¹³ÑÉÇ×

ØáëÏí³ Ï/Ã, ϳñÙÇñ ¹³ÑÉÇ×

ØáëÏí³ Ï/Ã, ÷áùñ ¹³ÑÉÇ×

îÇÏÝÇÏ. óïñáÝ, ÷áùñ ¹³ÑÉÇ×

îÇÏÝÇÏ. óïñáÝ, Ù»Í ¹³ÑÉÇ×

ܳÇñÇ Ï/Ã, Ù»Í ¹³ÑÉÇ×

ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ

³ï»ñ³Ï³Ý ·áñÍÇãÝ»ñÇ ÙÇáõÃÛáõÝ

Moscow Cinema, Blue Hall

Moscow Cinema, Red Hall

Moscow Cinema, Small Hall

Pupt. Theatre, Small Hall

Pup. Theatre, Big Hall

Nairi Cinema, Large Hall

Naregatsi Art Center

Theatre Workers’ Union

10.00

10.00

10.00

10.00 ÆßáõÏÁ ȳÑáñáõÙ/ Donkey in Lahore

15.00

16.00

14.00

12.00

ü.ø»Û-è³Ñµ»ñ/ F.K-Rahber, Aut, 117’, DC ¸áõßϳ/Dushka

Ú.êï»ÉÇÝ·/J.Stelling, Neth/Rus/Ukr, 110’, FC

سñ¹-ù³ÙÇÝ/ Wind Man

Ê.²ËÙ»ïáí/ Kh.Akhmetov, Rus, 98’, DAB

12.00 16.00 êÏǽµÁ/ The Beginning

γñÙÇñ ÏáÙµ³ÛÝÁ/ The Red Awn

²ÝóÛ³ÉÇ ³ñÓ³·³ÝùÝ»ñÁ/ Echoes From the Past

´.êÇÙáÝÛ³Ý/ B.Simonyan, Arm, 27’, AP

².ö»É»ßÛ³Ý/ A.Peleshyan, USSR (VGIK), 10’, T

ê.Þ³Ù³/C.Sciamma, Fr, 85’, EP 16.00

ì.Ø»ÉùáÝÛ³Ý/ V.Melkonyan, Arm, 18’, T

î³ñí³ »Õ³Ý³ÏÝ»ñ/ The Seasons

².ö»É»ßÛ³Ý/ A.Peleshyan, Arm, 29’, T

21-ñ¹ ¹³ñÇ í³Ý¹³ÉÝ»ñÁ/ Vandals of the 21st Century

².ØáíëÇëÛ³Ý/ A.Movsisyan, Arm, 10’, AP ä³ïÙáõÃÛáõÝ ½·»ëïÇ Ù³ëÇÝ/ Dress Story

ê.سÝáõÏÛ³Ý/ S.Manukyan, Arm, 7’, AP ÐÇÝ ëÇñáõÑÇÝ/ The Last Mistress

Î.´ñ»Û³/C.Breillat, Fr/It, 114’, R 20.30

12.00 γåáõÛï ųÙÁ/The Blue Hour

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

²Ù»Ý³óáõñï ÓÙ»éÁ` 1854 Ãí³Ï³ÝÇó Ç í»ñ/The Coldest Winter Since 1854

ì.Ø»ÉùáÝÛ³Ý/ V.Melkonyan, Arm, 18’, T

²Ùå»ñÇó ³ÛÝ ÏáÕÙ/ Beyond the Clouds

Ø.²ÝïáÝÇáÝÇ, ì.ì»Ý¹»ñë/ M.Antonioni, W.Wenders, It/Fr/Ger, 112’, T

ì.ø³ëáõÝÇ/ V.Kassouny, Arm, 6’, AP

Ø.ì³ñų­å»­ïÛ³Ý/ M.Varzhapetyan, Arm, 48’, T

Ê.êáõçÛ³Ý/ Kh.Soudjian, Fr, 52’, AP

².ØÏñïãÛ³Ý/ A.Mkrtchyan, Arm, 30’, AP 20.30 ²ÝóÛ³ÉÇ ³ñÓ³·³ÝùÝ»ñÁ/ Echoes From the Past

´.êÇÙáÝÛ³Ý/ B.Simonyan, Arm, 27’, AP

î³Ý Ë³Õ³Õ ÑáíïáõÙ/The Warm, Quiet Valley of Home

Ú.Øáõñ³¹Û³Ý/ Y.Muradyan, Arm, 9’, T 18.00

øáÕ³ñÏí³Í ¹»Ùù»ñ/ Hidden Faces

Ð.Æ÷»ùãÇ/H.Ipekçi, Tur, 124’, FC 20.00 Ðñ³ß³ÉÇ ù³Õ³ù/ Wonderful Town

².²ë³ñ³Ã/A.Assarat, Tha, 92’, FC

¶ÛáõÙñÇÇ §²ñ¨áñ¹Ç¦ ¿Ïá-³ÏáõÙµ/Gyumri Sunchild Eco-Club, Arm, 19’, SCP àÕç³µ»ñ¹/ Voghjaberd

¶³éÝÇ-¶áÕà §²ñ¨áñ¹Ç¦ ¿Ïá-³ÏáõÙµ/ Garni-Goght Sunchild Eco-Club, Arm, 8’, SCP гÙñ ×Çã/ Silent Scream

àõñͳÓáñÇ §²ñ¨áñ¹Ç¦ ¿Ïá-³ÏáõÙµ/Urtsadzor Sunchild Eco-Club, Arm, 14’, SCP

21-ñ¹ ¹³ñÇ í³Ý¹³ÉÝ»ñÁ/ Vandals of the 21st Century

².ØáíëÇëÛ³Ý/ A.Movsisyan, Arm, 10’, AP 21.00

ÐáõÛëÇ ù³ÙÇÝ»ñ/ Winds of Hope

ú.²ÙÇñÛ³Ý/ O.Amiryan, USA, 27’, AP Ðñ³Å»ßï Ø»ñÇÝ»ÇÝ/ Good-Bye to Merine

î.ä»ïñáëÛ³Ý/ T.Petrosyan, Arm, 10’, AP

àõÉñÇË ¼³Û¹É— ì³ñå»ïáõÃÛ³Ý ¹³ë»ñ/ Ulrich Seidl — Master Class 18.00

úñÝ áõñÇß Ï»ñå ¿ ÏñÏÝíáõÙ ³Ûëûñ/ Today, the Same Day is Different

Ê.´³Ç·, ú.Øáñ»Ýá/ X.Baig, O.Moreno, Esp, 98’, DC 20.00

10-ñ¹ ûñí³ Ñ³çáñ¹ ûñÁ/One Day After the Tenth Day

Ü. ²µÛ³ñ/N. Abyar, Ir, 24’, DW

àãÇÝã ãÇ Ùݳ/ Nothing Will Stay

Ð.ø»ßÇßÛ³Ý/ H.Keshishyan, Arm, 90’, NAC

14.30

18.00

ø³ñ» ÍáíÇ Í³ñ³íÁ/The Thirst of a Stone Sea гÙáõÝ/Hamoon

¸.Ø»ÑñçáõÇ/ D.Mehrjui, Ir, 120’, R

ì. ä»­ñáíÇã/ V. Perović, Mne/Srb, 80’, DW

л勉ÝùÝ»ñ/ Consequence

².´³ÉǨ/A.Baliev, USA, 18’, NAC гí³ï³Ùù/Credo

².²ñß³ÏÛ³Ý/ A.Arshakyan, Arm, 40’, NAC

20.00

15.00 γåï³Ëï/ Cyanosis

è.Ô³»ÙÙ³Õ³ÙÇ/ R.Ghaem Maghami, Ir, 30’, DC

ä³ñïíáÕÝ»ñ ¨ ѳÕÃáÕÝ»ñ/ Losers and Winners

ÐÕÏí³Í ·»ï³ù³ñÇ Ñ³Ûñ»ÝÇùÁ/ The Motherland of a Pebble

àõ.üñ³Ýù», Ø.ÈÛáù»Ý/U.Franke, M.Loeken, Ger, 100’, EP

².Þ³éáÛ³Ý/ A.Sharoyan, Arm, 11’, SCP 17.00

ü³ñá. çñ»ñÇ ³ëïí³ÍáõÑÇÝ/ Faro: Goddess of the Waters

ê.îñ³áñ»/S.Traoré, Fr/Can/Ger/Mli/Bfa, 95’, WCFP

Ø»ñ ·»ïÁ/Our River

ê.¸³ñ³Ëí»ÉÇÓ»/ S.Darakhvelidze, Geo, 40’, DAB

22.00 üáõïµáÉÇó ³ÛÝ ÏáÕÙ/Beyond Soccer

².¶áÙ»ë/H.Gomes, Bra, 22’, DC

18.00 ÐáõÉÇëÁ È׳÷áõÙ/ July in Ltchap

¶»Õ³ñ¹/Geghard

л¯Û, á±í ϳ ³Û¹ï»Õ/ Hello Out There

15.00 úÕ³ÏÇó Ý»ñë/ Inside the Circle

¶Í»ñÇó ³ÛÝ ÏáÕÙ/ Beside the Tracks

18.00

ì³ñë³íÇñÁ, áñÇ ù»éáõ ·ÉáõËÁ ÏñÍ»É-åáÏ»É ¿ñ í³ñÅ»óñ³Í í³·ñÁ/ The Barber Whose Uncle Had His Head Bitten off by Circus Tiger

ê.Èá½ÝÇó³/ S.Loznitsa, Ger/Rus/ Ukr, 82’, DC

¸ÇÉÇç³ÝÇ §²ñ¨áñ¹Ç¦ ¿Ïá-³ÏáõÙµ/Dilijan Sunchild Eco-Club, Arm, 16’, SCP

Þ.ò³Û/S.Cai, Chn, 101’, FC 14.00 Ìáí³Ññ»ßÝ»ñÇ ÍÝáõݹÁ/Water Lilies

12.00 гݹ»ë/Revue

γñÙÇñ ³Ý³å³ï/ The Red Desert

¶³Ã³/Gata

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

ØáËÇñÝ»ñÇó í»ñ³ÍÝí³Í/ Born Out of Ashes

¸.ØÏñïãÛ³Ý/ D.Mkrtchyan, Rus, 33’, AP

¾.èǽ³/E.Riza, Tur, 57’, DAB ²½³ïáõÃÛ³Ý Ñ³Ù³ñ ÙÇßï áõß ¿/ It s Always Late For Freedom

ê»ñ ϳÙ.../Maybe Love, Maybe Not

ì.ø³ëáõÝÇ/ V.Kassouny, Arm, 6’, AP 18.00 ²å³Ñ³ñ½³Ý ³Éµ³Ý³Ï³Ý Ó¨áí/ Divorce Albanian Style

².仨³/A.Peeva, Bg, 66’, DC 20.00 гí»ñÅ³Ï³Ý ÃéÇãù. Ðñ³Ýï ¸ÇÝù/Eternal Flight.

Hrant Dink

Ð.гÏáµÛ³Ý/ H.Hakobyan, Arm, 25’, AP öá˳ϻñåáõÙ/ Transformation

².³¹¨áëÛ³Ý, Â.´³ÉÏ»ÝÑáÉ/ A.Tadevosyan, T.Balkenhol, Arm, 10’, AP ¸»åÇ ¿ñ·Çñ/ Towards Ergir

².¶³ëå³ñÛ³Ý/ A.Gasparyan, Arm, 22’, AP

Ø.ú½Ïáõ»Ç/M.Oskouei, Ir, 53’, DAB

Colophon ܳ˳·ÇÍÝ Çñ³Ï³Ý³óÝáõÙ ¿ г۳ëï³ÝÇ ÏÇÝáùÝݳ¹³ïÝ»ñÇ áõ ÏÇÝáÉñ³·ñáÕÝ»ñÇ ³ëáódzóÇ³Ý Â»ñÃÁ ÉáõÛë ¿ ï»ëÝáõÙ §Ð³Û³ëï³ÝÇ ½ñáõó³ÏÇó¦ ß³µ³Ã³Ã»ñÃÇ ³ç³ÏóáõÃÛ³Ùµ

The project is realized by the Armenian Association of Film Critics and Cinema Journalists This paper is published with the support of Sobesednik Armenii Weekly.

Project director: Susanna Harutyunyan

ܳ˳·ÍÇ Õ»Ï³í³ñ` êáõë³Ýݳ гñáõÃÛáõÝÛ³Ý

Editor in chief: André Waardenburg

¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ·

Journalists (English pages): Janet Bariş, Victoria Coroban, Evrim Kaya, Lucy Setian

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

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

Ò¨³íáñáõÙÁ` ¶áé ¶ñÇ·áñÛ³ÝÇ

Design: Gor Grigorian

Èáõë³ÝϳñÇã` ²Éµ»ñï äáÕáëÛ³Ý

Photographer: Albert Poghosyan

Ðàì²Ü²ìàðܺð

N2, 15 ÑáõÉÇëÇ 2008