Golden Apricot Daily: 2008, N 3

N3

16 ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝ ´³ó ѳë³ñ³ÏáõÃÛ³Ý ÇÝëïÇïáõï (´áõ¹³å»ßïÇ ·ñ³ë»ÝÛ³Ï)

§Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ ¾ñÇù ܳ­½³­ñÛ³­ÝÁ ³ß­Ë³ñ­ÑÇ ³Ý­Ñ³­ Õáñ­¹³Ï­óáõ­ÃÛ³Ý, ²Ý­ïá­ÝÇ­á­ÝÇÇ ¨ Ñ³Û ÇÝù­ÝáõÃÛ³Ý Ù³­ëÇÝ

2 §¶Ç­ë³°ëïÕ, ó³°Í ϳ­ÃÇñ, ³Ù­µáÕç áõ­ Åáí¦,- ÑÝãáõÙ ¿ üÇÉÇå ¶³ñ»ÉÇ ýÇÉÙáõÙ:

3

úñí³ Ë׳Ýϳñ

4 Living the fast life in China: David Verbeek on his first feature film Shanghai Trance 5 Reviews of Duska, How I Am and End of the Earth

6

RA Ministry of Culture

Open Society Society Institute (OSI) Institute (OSI), Open Budapest -Budapest

Æñ³Ý³Ï³Ý ÏÇÝáÛÇ Ù»Í í³ñå»ï ¸³ñÛáõß Ø»ÑñçáõÇÇ Ñ»ï³Ñ³Û³óÁ

JULY

16

Dariush Mehrjui, the master of Iranian cinema, Retrospective

вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð

2 N3, 16 ÑáõÉÇëÇ 2008

§²ñ­¹Ûá±ù Ù»Ýù ѳ­Õáñ­¹³Ïó­íáõÙ »Ýù¦ ÎÇÝáµ»Ù³¹ñÇã ¾ñÇù ܳ½³ñÛ³ÝÁ ³ß˳ñÑÇ ³ÝѳÕáñ¹³ÏóáõÃÛ³Ý, ²ÝïáÝÇáÝÇÇ ¨ Ñ³Û ÇÝùÝáõÃÛ³Ý Ù³ëÇÝ n ²ñÍ­íÇ ´²Ê­âÆ­ÜÚ²Ü

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²Ûë ýÇÉ­ÙáõÙ, ³í»­ÉÇ ù³Ý »ñ­µ¨¿, ¶³ñ­ñ»­ÉÁ ѳݭ ¹»ë ¿ ·³­ÉÇë ¹Ç­Ù³Ý­Ï³ñ­ãÇ Çñ ѳ­ïáõÏ ³ñ­í»ë­ïáí: ºÃ» Çñ ³é³­çÇÝ ýÇÉ­Ù»­ñÇ ßÝáñ­ÑÇí ݳ ß³ï ³ñ³· ³ñ­Å³­Ý³­ó³í ϳ­Ý³­óÇ ¹Ç­Ù³Ý­Ï³ñ­Ý»­ñÇ é»­ÅÇ­ëá­ñÇ Ñéã³­ÏÇÝ, ³å³ §ûñǭݳ­Ï³Ý ëÇ­ñ³­Ñ³ñ­Ý»­ñÁ¦ ÙÇ ë»ñÝ­¹Ç ¹Ç­Ù³Ý­Ï³ñÝ ¿: ²Ûë Ï»ñ­å³ñ­Ý»­ñÁ` Éáõë­ Ýáï óÇ­Ýǽ­Ùáí ¨ »ñ»­ñáõÝ ù³ÛÉ­í³Íù­Ý»­ñáí, í³é­ íáÕ, ·áõ­Ý³ï ¹»Ù­ù»­ñáí, ϳ­ñáÕ »Ý Ãí³É ų­Ù³­ ݳ­Ï³í­ñ»å, ÇÝã-áñ ï»Õ ٳݭϳ­Ï³­Ýá­ñ»Ý ³Ý­í³ñÅ, µ³Ûó ûÅï­í³Í »Ý ½³ñ­Ù³­Ý³­ÉÇ Ó·á­Õ³­ ϳ­Ýáõ­ÃÛ³Ùµ: àã ÙÇ å³Ñ ýÇÉ­ÙÁ ãÇ ¹³é­ÝáõÙ Ñáõ­ ß³ñ­Ó³Ý, å³ï­Ï»ñ­Ý»­ñÁ ßÝãáõÙ »Ý ˳­Õ³ó­ÏáõÝ, å³­ñáÕ ÙÇ ï³­ñ³­Íáõ­ÃÛáõ­ÝáõÙ, áñ­ï»Õ ѳխó­ ѳñ­í³Í ¿ ϳ­ñá­ï³Ë­ïÁ, ѳ­Û³ó­ùÁ, ãݳ­Û³Í Ý»ñ­ ó­÷³Ý­óáõÙ­Ý»­ñÇ Ëáñ­ùáõÙ »ñ­ñáñ¹ ѳ­Û³óùÝ ¿, ¨ ³é­Ï³ ¿ Ñ»·­Ý³Ý­ùÁ, »Ã» ÑÇ­ß»Ýù, ûñǭݳÏ, г­í»ñ­ ų­Ï³Ý л­Õ³­÷á­Ë³­Ï³­ÝÇ ³ÛÝ Ï»ñ­å³­ñÇÝ, áñ å³ñ­µ»­ñ³­µ³ñ ѳ­ïáõÙ ¿ ï»­ë³Ë­óÇ­ÏÇ ï³­ñ³­Íáõ­ ÃÛáõ­ÝÁ. §²ëáõÙ »Ý` л­Õ³­÷á­Ëáõ­ÃÛáõÝ ¿ å³ï­ ñ³ëï­íáõÙ¦: ¶³ñ­ñ»­ÉÇÝ Ñ³­í³­ë³­ñ³Ïß­éáõ­ÃÛáõÝ­ Ý»­ñÇ µÝ³½­¹³­Ï³Ý ½·³­óá­Õáõ­ÃÛ³Ùµ ѳ­çáÕ­íáõÙ ¿ áñ­ ë³É ³ÛÝ Ï»­ ïÁ, áñ­ ï»Õ ѳ­ Û³ó­ ùÁ Ý»ñë ¿ áõ ¹áõñë, ÃñÃéáõÝ, áñ­ï»Õ ÑÇ­ßá­Õáõ­ÃÛ³Ý ïñá­÷ÛáõÝÝ ¿, áõ Ñ»Ýó ϳ­ñá­ï³Ë­ïÇ Ù»ñ­ÅáõÙÝ ¿ ³Û¹ ÃñÃÇ­éÁ, áñáí­Ñ»­ï¨ ÁÝ­¹³­Ù»­ÝÁ ÙÇ ù³­ÝÇ ÙÇ­ÉÇ­Ù»ï­ñÇ ï³ñ­ µ»­ñáõ­ÃÛ³Ùµ` ÝáõÛÝ å³ï­Ï»ñ­Ý»­ñÁ Ϲ³é­Ý³­ÛÇÝ Í³Ýñ áõ 峭û­ïÇÏ, Éóí³Í Íǭͳ­Õ»­ÉÇ áõ ãѳ­Ùá­½áÕ ÙÇ Ñ»­ùÇ­³­Ã³Û­Ýáõ­ÃÛ³Ùµ: ...ÐÇ­ßá­Õáõ­ÃÛáõ­ÝÁ Ù³­ùáõñ, ³Ý٭ݳ­óáñ¹ ÙÇ ÇÝù­ ݳۭñáõÙ ¿, ¨ çÝçíáõÙ »Ý ë³Ñ­Ù³Ý­Ý»­ñÁ, ³Ý­Ñ»­ï³­ ÝáõÙ »Ý ³é³ç-Ý áõ Ñ»­ïá-Ý` Ñ»Õ­í»­Éáí µ³­ó³ñ­ Ó³Ï Ý»ñ­Ï³­ÛÇ` ³Ïݭóñ­ÃÇ Ù»ç, ½ïí³Í å³ï­Ï»ñ­Ý»ñÝ áõ ѳ½­í³­¹»å µ³­é»­ñÁ Ù³­ùáõñ ¿Ùá­óÇ­³­ÛÇ Ëï³­ÝÛáõÃÝ »Ý, ϳ å³ï­Ù³­Ï³Ý ÑÇ­ßá­ Õáõ­ÃÛ³Ý Ó¨­³­Ï»ñ­å»­ÉÇ Å³­Ù³­Ý³­ÏÁ áõ Ý»ñ­ùÇÝ ÑÇ­ ßá­Õáõ­ÃÛ³Ý Å³­Ù³­Ý³­ÏÁ, áñÁ ãÇ µ³­Ý³­Ó¨­íáõÙ: ¶³ñ­ñ»­ÉÇÝ Ñ³­ïáõÏ »Ý, ³Ûá, Ùﳭ먭»­éáõÙ­Ý»ñÝ áõ ÏñÏÝáõ­ÃÛáõÝ­Ý»­ñÁ, ÇÝã­å»ë Ýñ³ »ñÏ­ñáñ¹ ßñç³­ ÝÇ ýÇÉ­Ù»­ñáõÙ Ñ»­ñáë­Ý»­ñÇ Ï³Ù Ñ»­ñá­ëÇ ÏñÏÝíáÕ ÇÝù­Ý³ë­å³­Ýáõ­ÃÛáõ­ÝÁ ϳ٠Ïá­ñáõ­ëÛ³É ëÇ­ñá å³ï­ Ï»­ñÁ, áñ­ï»Õ ³ÏݭѳÛï ¿ ÑÕáõ­ÙÁ ÜÇ­Ïá­ÛÇÝ, áõ é»­ ÅÇ­ëá­ñÇ Ó»­é³·­ñÇ ³Ûë ³Ý­í³ñÅ ï³ñ­ñ»­ñÁ Ýñ³Ý ¹³ñÓ­ÝáõÙ »Ý Ëá­ó»­ÉÇ, µ³Ûó å³Û­Í³é, Éóí³Í í³Û­ ñÇ, ãßïÏíáÕ ÙÇ Ù³Ý­Ïáõ­ÃÛ³Ùµ - ³Ï³­Ù³ ÑÇ­ßáõÙ »Ýù ¶³ñ­ñ»­ÉÇ í»ñ­Ý³·­ñ»­ñÇó Ù»­ÏÁ. §ì³Û­ñÇ ³Ý­­ Ù»­Õáõ­ÃÛáõݦ: ²Ûë­å»ë »ñ­µ»ÙÝ ùÝÇ Ù»ç Íǭͳ­ÕáõÙ »Ý §³ñ­­ ¹³ñ­Ý»­ñÁ¦: ²Ûë­å»ë ³Ý­Ñ³Ý­·Çëï ·Ç­ë³ëï­Õ»­ñÁ ϳ­ÃáõÙ »Ý ó³Í:

úðì² ÊÖ²Üβð ºñÏËáëáõÃÛáõÝ ³é³Ýó ë³ÑÙ³ÝÇ §è»­ÅÇ­ëáñ­Ý»ñ ³é³Ýó ë³Ñ­Ù³Ý­Ý»­ñǦ(è²ê) Íñ³­·Ç­ñÁ Ù»ñ ³Ù»­Ý³­÷áùñ, µ³Ûó ³Ù»­Ý³­ëÇ­ñ»­ÉÇ Íñ³­·ÇñÝ ¿, áñáí áñá­ß»É »Ýù ׳­Ý³­å³ñÑ Ñ³ñ­Ã»É é»­ÅÇ­ëáñ­Ý»­ñÇ Ñ³­Ù³ñ¦,-Ýß»ó §àë­Ï» ÍÇ­ñ³Ý¦ ÷³­é³­ïá­ÝÇ Ð³­ñáõ­ÃÛáõÝ Ê³­ã³ï­ñÛ³­ÝÁ è²ê »ñÏ­ñáñ¹ ýá­ñáõ­ÙÇ µ³ó­Ù³Ý Ëáë­ùáõÙ: ºéû­ñÛ³ ýá­ñáõ­ÙÇ Áݭóó­ùáõ٠ϳÝóϳóí»Ý ¹³­ëÁݭóó­Ý»ñ, é»­ ÅÇ­ëáñ­Ý»­ñÁ ÏÝ»ñ­Ï³­Û³ó­Ý»Ý Çñ»Ýó ݳ­Ë³·­Í»­ñÁ, ¨ ÅÛáõ­ñÇÇ ÁÝï­ñáõ­ ÃÛ³Ùµ ɳ­í³­·áõÛÝ­Ý»­ñÇÝ ÏßÝáñÑ­íÇ Ùñó³­Ý³Ï` ýÇ­Ý³Ý­ë³­Ï³Ý ÙÇ­ çáó­Ý»ñ, ݳ­Ë³­·ÇÍÝ Çñ³­Ï³­Ý³ó­Ý»­Éáõ ѳ­Ù³ñ: Àëï åñÝ. ʳ­ã³ï­ñÛ³­ÝÇ, ³Ûë ï³­ñÇ ã»Ý ë³Ñ­Ù³­Ý³­÷³Ï­í»­Éáõ 2-3 Ùñó³­Ý³­ Ïáí, »Ã», ÇѳñÏ», ÉÇ­Ý»Ý É³í ݳ­Ë³·­Í»ñ: ØñóáõÛ­ÃÇÝ Ù³ë­Ý³Ï­óáõÙ ¿ 12 é»­ÅÇ­ëáñ` Æñ³­ÝÇó, ìñ³ë­ï³­ÝÇó, Âáõñ­ùÇ­³­ÛÇó, ØáÉ­¹á­í³­ÛÇó, àõÏ­ñ³­Ç­Ý³­ÛÇó ¨ Ð³­Û³ë­ï³­ÝÇó: γ Ù»Ï Ñ³­Ù³­ï»Õ` г­Û³ë­ï³Ý-èáõ­ë³ë­ï³Ý-üñ³Ý­ëdz Íñ³­·Çñ ¨ »ñ­Ïáõ ݳ­Ë³­·ÇÍ Ð³­Û³ë­ï³­ÝÇó, áñáÝù ÙñóáõÛ­ÃÇÝ ã»Ý Ù³ë­Ý³Ï­óáõÙ:

4 N3, 16 ÑáõÉÇëÇ 2008

Øñó³­Ý³­Ï³­ÏÇñ­Ý»­ñÇÝ ÁÝï­ñ»­Éáõ »Ý ÑÇ٭ݳ¹­ñ³Ù­Ý»­ñÇ Ý»ñ­Ï³­Û³­óáõ­ óÇñ­Ý»­ñÁ, ÇÝã­å»ë ݳ¨` ³Ý­Ï³Ë é»­ÅÇ­ëáñ γ٭ñ³Ý ÞÇ­¹»ÉÝ Æñ³­ÝÇó: زÎ-Ç ¼³ñ­·³ó­Ù³Ý Íñ³­·Ç­ñÁ, º²ÐÎ ¨ ´³ó ѳ­ë³­ñ³­Ïáõ­ÃÛ³Ý ÇÝë­ ïÇ­ïáõ­ïÁ ѳ­ïáõÏ Ùñó³­Ý³Ï ÏѳÝÓ­Ý»Ý Ù»Ï Ñ³Û­Ï³­Ï³Ý ݳ­Ë³·­ÍÇ` §Ð³Ý­¹áõñ­Åá­Õ³­Ï³­Ýáõ­ÃÛáõÝ ³é³Ýó ë³Ñ­Ù³Ý­Ý»­ñǦ Ëá­ñ³·­ñáí: ²Ý­óÛ³É ï³­ñÇ è²ê ³é³­çÇÝ ýá­ñáõ­ÙÇ Ùñó³­Ý³­Ï³­ÏÇñ­Ý»ñ ¹³ñ Ó³Ý íñ³­ó³­Ï³Ý §êáõ­ë³¦ ݳ­Ë³­·Ç­ÍÁ ¨ ì³ñ­¹³Ý Ðáí­Ñ³Ý­ÝÇ­ ëÛ³­ÝÇ §ì»ñ­çÇÝ »ñ­Ïáõ ɳ­ñ³­Ë³­Õ³ó­Ý»­ñÁ¦: Üϳ­ñ³­Ñ³Ý­í³Í ýÇÉ­ Ù»ñÝ ³Ûë ï³­ñÇ Ù³ë­Ý³Ï­ó»­óÇÝ ï³ñ­µ»ñ ÙÇ­çá­ó³­éáõÙ­Ý»­ñÇ: §Üå³­ï³ÏÝ ¿, áñ ëï»ÕÍ­í»­ÉÇù ýÇÉ­Ù»­ñÁ Ù³ë­Ý³Ï­ó»Ý ݳ¨ ѳ­ çáñ¹ ï³­ñÇ­Ý»­ñÇ §àë­Ï» ÍÇ­ñ³Ý¦ ÷³­é³­ïá­ÝÇݦ,— ³ë³ó è²ê Íñ³·­ñÇ Õ»­Ï³­í³ñ, §àë­Ï» ÍÇ­ñ³Ý¦ ÷³­é³­ïá­ÝÇ ·»­Õ³ñ­í»ë­ï³­ Ï³Ý Õ»­Ï³­í³ñ êáõ­ë³Ý­Ý³ г­ñáõ­ÃÛáõ­ÝÛ³­ÝÁ:

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5 No. 3, July 16 2008

INTERVIEW

Photo: Albert Poghosyan

‘Every year in Shanghai is like ten years in Europe’ Young Dutch director David Verbeek spent more than a year in Shanghai to prepare and film Shanghai Trance, his first feature film. He was fascinated by the fast growth of the Chinese metropole, everything changes ten times faster there than in Europe.

As a director from Holland, how did you end up in Shanghai?

I read a lot about Shanghai in the newspapers in Holland but always from an economical perspective, covering how fast the city was growing and developing economically. I was interested in Shanghai both because I have read so much about it and because I’m interested in big cities, but actually the first time I ended up in Shanghai was for a TV film. I had to shoot a very small scene in Shanghai, so I was there for one week and I thought it was a very interesting place. I talked to many people of my age and I liked the positive energy that was there. People were talking about the future like it was a very exciting thing. I actually wanted to make a film about that. I moved to Shanghai, even though I didn’t have the script then. The only thing I knew was that I wanted to make a film about the generation between 20 and 30. The details changed but the theme of the film stayed the same: a generation — my generation — that was growing up in a city that was growing faster than they could grow up. I was really wondering what it would be like to grow up where between your childhood and your youth everything completely changes. I was interested in that because in Amsterdam nothing changes at all. Every year in Shanghai is like ten years in Europe. Ten times faster. That was my real fascination. For me the protagonist of the film was the city itself. And I want to show how different people are trying to connect and how they fail to succeed in different ways because of the same reason: the speed of the city. But these are not

If you want to tell a complete story about Shanghai, you have to include foreigners too. Because they are part of everyday life and it is unavoidable that they have affairs with locals, just like in the film. It is an extremely cosmopolitan city and I immediately decided to include a foreigner. And of course I put the foreigner in my own position; I used my own experience and my own feelings to portray him.

Are you inspired by Eastern culture and cinema?

I watch a lot of films from Asia, China and Taiwan, but also from Europe, mostly older films — especially from Italy. This festival has a tribute to Antonioni and he is a very big influence on me. I also believe that he started a style which was later copied in Asia by people like Hou Hsiao-hsien. I think they were also influenced by the way he thinks about cinema and the way he captures life. I am influenced by oriental filmmakers but I would say that the style originated from everywhere, also from Europe. romantic love stories; I use them as vehicles to express something about the urban landscape.

How was the film received in China?

The film was just released in China, but for censorship reasons there are twenty minutes cut, which is terrible. But the good thing is that people loved it, even without the twenty minutes. They are responding to the film much more personally and much more enthusiastically than they have responded in Europe so far. When I made it I wanted it to be a very authentic film about the life there, this is why I stayed there for a long time.

I lived with people there and tried to study the language. It turned into a film more interesting for people from Shanghai than for a Western audience.

They recognize things about their own city and their own life. It was like a mirror for them. It was a surprise, because the main audience in China is not really patient about art films. In Asia people

find these films usually boring and they watch dramatized TV series and Hollywood films.

Why did you include the Dutch character? Is it in a way to locate yourself or the Western audience within the story?

Evrim Kaya and Victoria Corboran Shanghai Trance (David Verbeek, The Netherlands, 2008). July 18: Nairi Cinema, Main Hall (20:00).

Armenia captured on film The Pan-Armenian Film Project, organized by the Ministry of Culture of the Republic of Armenia, together with Golden Apricot Yerevan International Film Festival is the answer to Armenia’s need to centralize the nation’s filmic creativity. Cultural enrichment of Armenia is the ultimate aim.

The main objective concerns the development of two film projects — a documentary and a feature film consisting of short films, to be made by several Armenian directors. The individual 10 minutefilms should capture the character of modern Armenian life. The two finished films will be shown during the 2010 edition of the festival.

Native and international scriptwriters, directors, cinematographers and actors will picture both a national and cultural view of Armenia, attracting the worldwide attention to the gates of the annual Golden Apricot’s film festival, and turning it into an indispensable part of the film industry. LS

REVIEWS

6 No. 3, July 16 2008

Getting rid of Duska J os Stelling’s absurd comedy Duska starts with a grotesque, crude parody of an Eastern-European film — a film within the film. A fat lady with huge breasts is about to give birth in a bizarre old crowded Russian bus. The child is born and they call him Duska, meaning ‘sweetie’. In about five minutes the scene is transported to Holland, standing in total contrast to the beginning. Colors are pale, streets are empty, and the people we see would not fill even a small Russian bus. This is the world of Bob, a lonely film critic who tends to fall asleep whenever he watches a film in his local cinema, He once attended a

Russian film festival, where he saw a film with a crowded Russian bus. After the screening he briefly met a mysterious, friendly loser, who only speaks Russian. His name is Duska. Years later he suddenly appears at Bob’s door, just at the night when Bob finally has the chance to bring his obsession home, the beautiful ticket girl of the movie theater across the street whom he secretly watches from the window of his house.

For the first half hour the film is almost a silent comedy with petit ironies and small absurdities.

With his arrival, Duska starts to dominate both the story and Bob’s life. All of Bob’s attempts to get

rid of Duska fail one after another. Meanwhile he is working on his own script, that includes the pretty ticket girl he likes to watch. After a row with her boyfriend she climbs into Bob’s bed, but again he only watches the curves of her naked back in the morning, just before she wakes up.

Bob is unable to kick Duska out; when shown the door, Duska waits outside with his wooden suitcase until Bob finds himself obliged to take him back again for another night on the sofa. The irrationality of the situation starts to drive both Bob and the viewer crazy. When he finally manages to break Duska’s heart, he’ll be gone for good.

More and more it appears that they were both depending on each other, and Bob realizes he misses the kindhearted Duska. Then he travels to Russia, and ends up in the by now familiar Russian bus. The circle is complete. The script is finished, left in the abandoned Dutch house waiting for the ticket girl to read it. Long story short, there is nothing beyond absurdity to illuminate the mystery of life. EK Duska (Jos Stelling, The Netherlands/Russia/ Ukraine, 2007). July 16: Moscow Cinema, Red Hall (19:00).

Normality is just a point of view

I

ngrid Demetz and Ingrid Leitner’s documentary How I Am tries to illuminate the world of a mentally challenged boy, also demonstrating that our notions of ‘normality’ are not so clearly defined as we’d like to think. Demetz and Leitner aim to show us how normal the daily life of a person who suffers from autism can be.

Autistic teenager Patrick’s inner thoughts are written within the film frame, and they leave you with feelings of impossibility, emptiness, limited existence, and the absence of one’s own will.

Nevertheless his reflections startle you with their wealth of ideas. In a normal conversation, the path to his inner life would be blocked by a quirky body language — an inability to control his body — and moans filled with the wish to share his emotions with the other ‘normal’ people. By ‘translating’ his thoughts, the film makers intend to give us access to his deepest feelings.

The documentary proves once again that, as they say, normality is just a point of view. Patrick reminds us: “I’d like to have that what others take for granted”. His written words and reflections about his life blossom out like lines from a book, defending the right of mentally challenged people to have the same wishes, ideas and existence as the greatest geniuses. This notion seems a bit exaggerated, but in the meantime it builds sympathy for Patrick, who

goes to a non-specialized school, enjoys playing with his brothers and types with the help of his mother on a keyboard.

Patrick’s harsh or gentle and clumsy or affectionate gestures reveal the boy’s sensibility and eagerness to relate to others. Acceptance is his desired wish. Simple things seem perfect in Patrick’s eyes — colours contain ‘breath of life’, nature is consoling and animals see without pitying him. If he feels agitated, he puts his hand on the coffee machine in his school. The buzzing sound of it calms him down.

The documentary explores strong family ties — like the one between Patrick and his little brother, who also suffers from communicational problems. The need for human warmth is obvious in everyone’s life, even when expressed in few words. Depending on someone else all the time may be the worst handicap, although the director’s message seems to be that faith in love should never quit, no matter what. LS How I Am (Ingrid Demetz & Caroline Leitner, Italy, 2007). July 16: Puppet Theatre, Main Hall (20:50).

The hermit and the fish

E

nd of the Earth is the story of Hojjat, an Iranian Robinson Crusoe. Hojjat is an elderly man who moved from the North of Iran to the South. He lives as a hermit in the free trade zone at the coast. Director Saffary tells the story of this lonely, crazy man mainly through the interactions between him and his various visitors: A young beautiful painter who uses him as a model, French documentary makers trying to find out the amazing story behind this weird guy from the Far East, a businessman fed up with the life he lives, a young woman who run away from abuse, and a politician who uses the picture of himself with Hojjat as his political campaign. All these people come to watch him, sometimes as if they are observing an exotic animal in the zoo. At the end Hojjat is alone in his cottage, trying to survive by catching fish with his hands. He knows that people call him crazy but at least they are nice to him…

Abolfazi Saffary is a young director from Iran.

During a conversation he emphasized the grotesque

depiction and the surreal atmosphere of the film, including jokes about the preconceptions of westerners about Iran (and the East in general). He explained that the friendly hermit is a symbol for Iran and for the third world in general. He visualizes the story that Hojjat tells to the French documentary makers purposely as real, like a flashback with a lot of exciting and almost surreal details, making the spectator believe it like the filmmakers do. Yet at the end Hojjat simply tells them he lied. For Saffary this is a way to make fun of the expectations of the western viewer.

According to Saffary, Hojjat’s life represents the contemporary situation of Iran, a country with a lot of riches. Iran gives all its oil and wealth to the western world, keeping nothing for itself, like a naked thin man catching fish with his bare hands and giving them to his guests. They need it less than he does. EK End of the Earth (Abolfazi Saffary, Iran, 2007) July 16: Moscow Cinema, Blue Hall (12:00 & 20:00)

Ìð²¶Æð/PROGRAM

7 N3, 16 ÑáõÉÇëÇ 2008

No. 3, July 16 2008

ãáñ»ùß³µÃÇ 16 ÑáõÉÇëÇ / wednesday july 16 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

²Ý³ÕÙáõÏ ÉáõÛë/ Silent Light

ÎáõÛñ ë³ñ/ Blind Mountain

Î.è»Û·³¹³ë/ C.Reygadas, Mex/Fr/ Neth/Ger, 142’, FC

ÈÇ Ú³Ý/Li Yang, Chn, 102’, DAB 15.00

12.00

²ß˳ñÑÇ »½ñÇÝ/ End of the Earth

².ê³ý³ñÇ/A.Saffary, Ir, 75’, FC 16.00

ÆÙ ëÇñïÁ É»éÝ»ñáõÙ ¿/ My Heart is in the Highlands

10.00 ÐáõÉÇëÁ È׳÷áõÙ/ July in Ltchap

Ê.êáõçÛ³Ý/ Kh.Soudjian, Fr, 52’, AP ¶»Õ³ñ¹/Geghard

².ØÏñïãÛ³Ý/ A.Mkrtchyan, Arm, 30’, AP 12.00 ä³ïÅÇã ѳÝÓݳÅáÕáí/ Executive Committee

Æ٠سñÉáÝÝ áõ ´ñ³Ý¹áÝ/My Marlon and Brando

Ä.γñëáõ/G.Carsoux, Fr, 7’, AP

È.¶ñÇ·áñÛ³Ý/ L.Grigoryan, Arm, 70’, T

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

Ð.úñ¹Û³Ý/H.Ordyan, Arm, 17’, AP

1937

л¯Û, á±í ϳ ³Û¹ï»Õ/ Hello Out There

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

Ü.سñïÇñáëÛ³Ý/ N.Martirosyan, Arm/ Fr, 44’, AP 18.00

سճ¹³ÝáëÇ ³Û·ÇÝ/ The Parsley Garden

Ð.ê³ñáÛ³Ý/ H.Saroyan, USA, 23’, T

ä³ï»ñ³½ÙÁ Ù»ñ ÷áÕáóáõÙ/War on Our Street

¶.سñïÇñáëÛ³Ý/ G.Martirosyan, Arm, 10’, T ÊáñÑáõñ¹Ý»ñ ³Ù»ñÇϳóÇ ×³Ý³å³ñÑáñ¹ÇÝ/ Pieces of Advice to the American Traveller

Ú.Øáõñ³¹Û³Ý/ Y.Muradyan, Arm, 9’, T 18.00 ²Ù»Ý ÇÝã Ý»ñí³Í ¿/ All is Forgiven

Ø.гÝë»Ý-ÈÛáí»/ M.Hansen-Løve, Fr, 105’, FC

19.00 Ðáɳݹ³Ï³Ý ÏÇÝáÛÇ ûñí³ µ³óáõÙ/Dutch Film Day Opening

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

².ê³ý³ñÇ/A.Saffary, Ir, 75’, FC

Î.è»Û·³¹³ë/C. Reygadas, Mex/Fr/ Neth/Ger, 142’, FC

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

12.00 ê³Ñ³ñ³Ý ³Ýó³Í Ù³ñ¹Á/The Man Who Crossed the Sahara

ø.Ø»ÃÛáõ½/ K.Matthews, Can, 53’, DC ²ñÛáõÝ ¨ ËáõÝÏ/ Blood and Incense

ºñÇ­ï³ë³ñ¹áõÃÛáõÝ` ³é³Ýó »ñÇï³ë³ñ­ ¹áõÃÛ³Ý/ Youth Without Youth

ü.üáñ¹ Îáåáɳ/ F.Ford Coppola, USA/ Ger/Fr/Rom, 124’, YP

14.00

¸ñ³ËïÝ ³Ûëûñ/ Paradise Now

à±í ¿ ØáÝûÝ/ Who is Monte?

¾.´³¹áõÝó/ E.Badounts, USA, 36’, AP 20.00 ä³ïÅÇã ѳÝÓݳÅáÕáí/ Executive Committee

Ä.γñëáõ/G.Carsoux, Fr, 7’, AP

γïñÇÝ ´ñ»Û³/ Catherine Breillat

ì³ñå»ïáõÃÛ³Ý ¹³ë»ñ/Master Class

Ð.²µáõ ²ë³¹/H.Abu Assad, Pse/Fr/Ger/ Neth/Isr, 90’, AN

ì.ìÇÝÛ³É/V.Vignal, Fr, 77’, DW

è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants Arm, 15’, NAC ´³Õ»ß/Baghesh

è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants, Arm, 13’, NAC

è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants, Arm, 15’, NAC 17.00 ä³ïÙáõÃÛ³Ý 36 å³Ñ³å³ÝÝ»ñÁ/36 Immortals

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

ì.êáõçÛ³Ý/V.Soudjian, Fr, 18’, AM 18.00 ÞßÝç³óáÕ Ñáõß»ñ/ Whispering Memories

̳ÍáõÏ å³ñ﻽/ Hidden Garden

î.¸³ÝÇÉÛ³Ýó/ T.Daniliyants, Rus/ Can, 52’, DW

18.00 15.00

ìÇÙ ì»Ý¹»ñë/ Wim Wenders

ì³ñå»ïáõÃÛ³Ý ¹³ë»ñ/Master Class 18.00 γåáõÛï ųÙÁ/ The Blue Hour

¾.ܳ½³ñÛ³Ý/ E.Nazarian, USA, 93’, AP ä³ïÙáõÃÛáõÝ ½·»ëïÇ Ù³ëÇÝ/ Dress Story ê.

ÎáíÁ/The Cow

гÛñÇÏÁ Ñ»é³ó»É ¿, ÇÝÓ ßí³ñ³Í ÃáÕ»É/ Daddy Has Gone and Left Me Puzzled

г۳ëï³Ý, µ³ó í»ñù/Armenia, an Open Wound

Ø.üñ³ÝÏ/M.Frank, Neth, 48’, DW

àõ.àõ»Çù/W.Weick, Swiss, 52’, NAC

¸.Ø»ÑñçáõÇ/ D.Mehrjui, Ir, 105’, R 20.00 ܳ, áí ׳Ù÷³ ÁÝϳí. ìÇÙ ì»Ý¹»ñëÇ í³Õ ï³ñÇÝ»ñÁ/One Who Set Forth - Wim Wenders’ Early Years

20.00 γñÙÇñ ë³éݳñ³ÝÇ ×³Ý³å³­ ñÑáñ¹áõÃÛáõÝÁ/ Journey of a Red Fridge

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

ø.ê³Õ³Ã»ÉÛ³Ý/ Q.Saghatelyan, Arm, 14’, NAC

Ø.ì»Ý/M.When, Ger, 100’, EP

15.00 22.00

ºññáñ¹ ÓdzíáñÁ/ The Third Rider

ø³áë/Chaos

Ú.Þ³ÑÇÝ, Ê.Úáõëáõý/Y.Chahine, Kh. Youssef, Egy/Fr, 124’, AN

¶.´³Õ¹³ë³ñÛ³Ý/ G.Baghdasaryan, Arm, 70’, DAB

È.ØáõÝïÛ³Ý, Ü.êï³ÝÏáíÇã/ L.Muntean, N.Stankovic, Srb, 52’, DC

Ö»åÁÝóó §îñ³Ýë²ëdz¦/ TransAsia Express

ÆÝãå»ë »Ù »ë/ How I Am

Ø.àõ»µ»ñë³Ï/ M. Uebersax, Swiss, 78’, DAB

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

20.00 ê³Ñ³ñ³Ý ³Ýó³Í Ù³ñ¹Á/The Man Who Crossed the Sahara

ø.Ø»ÃÛáõ½/ K.Matthews, Can, 53’, DC ²ñÛáõÝ ¨ ËáõÝÏ/ Blood and Incense

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

Ð.гÏáµÛ³Ý/ H.Hakobyan, Arm, 25’, AP

¸»åÇ ¿ñ·Çñ/ Towards Ergir

ʳí³ñáõÙ/ Darkening

سÝáõÏÛ³Ý/ S.Manukyan, Arm, 7’, AP

гí»ñÅ³Ï³Ý ÃéÇãù. Ðñ³Ýï ¸ÇÝù/Eternal Flight.

Hrant Dink

².¶³ëå³ñÛ³Ý/ A.Gasparyan, Arm, 10’, AP

üñáõݽÇÏ ØÏñïãÛ³Ý/ Frunzik Mkrtchyan.

Life On the Tape

Ð.úñ¹Û³Ý/H.Ordyan, Arm, 61’, NAC

15.30

Î.ì³ÉÇù»/C.Valiquet, Idn/Can, 17’, DC

21.00 ÎÛ³ÝùÝ ÇÙ ³ãù»ñáí/ The Life As I See

12.00

êï»É³/Stella

Î.ì³ÉÇù»/C.Valiquet, Idn/Can, 17’, DC

Ø.´ÇݳÛ/M.Binay, Tur, 42’, DAB

21.30

20.00 ²ß˳ñÑÇ »½ñÇÝ/ End of the Earth

22.00 ²Ý³ÕÙáõÏ ÉáõÛë/ Silent Light

ÆÝùݳѳëï³ïáõÙ/ Self-Affirmation

ÜéÝ»ÝÇÝ»ñÁ/The Pomegranate Trees

Ú.Øáõñ³¹Û³Ý/ Y.Muradyan, Arm, 9’, T

16.00

¶.س¹ÇÝ/G.Maddin, Can, 80’, DC

Øáõß/Mush

è.ʳٹ³Ùáí/ R.Khamdamov, Rus, 40’, T

11.00

15.00 îÇ·ñ³Ý³Ï»ñï/ Tigranakert

Ð.γñ³µ»Û/ H.Karabey, Tur/Neth/ UK/Fr, 92’, DAB 17.00 ÆÙ ëÇñïÁ É»éÝ»ñáõÙ ¿/ My Heart is in the Highlands

10.00 ÆÙ àõÇÝÇ÷»·Á/ My Winnipeg

§àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ ûñ»ñÇÝ ç»ñÙ ³ç³ÏóáõÃÛáõÝ ¿ óáõó³µ»ñáõ٠ݳ¨ ºñ¨³ÝÇ å»ï³Ï³Ý ïÇÏÝÇϳÛÇÝ Ã³ïñáÝÁ` ÏÇÝá¹ÇïáõÙÝ»ñÇ ¨ í³ñå»ïáõÃÛ³Ý ¹³ë»ñÇ Ñ³Ù³ñ ïñ³Ù³¹ñ»Éáí »ñÏáõ ¹³ÑÉÇ×Ý»ñÁ, áñÇ Ñ³Ù³ñ ÷³é³ïáÝÇ Õ»Ï³í³ñÝ»ñÁ »ñ³Ëï³·ÇïáõÃÛáõÝ »Ý ѳÛïÝáõÙ ·»Õ³ñí»ëï³Ï³Ý ջϳí³ñ èáõµ»Ý ´³µ³Û³ÝÇÝ ¨ ³ÙµáÕç ³ß˳ï³Ï³½ÙÇÝ:

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

N3, 16 ÑáõÉÇëÇ 2008