Golden Apricot Daily: 2008, N 4

N4 ´³ó ѳë³ñ³ÏáõÃÛ³Ý ÇÝëïÇïáõï (´áõ¹³å»ßïÇ ·ñ³ë»ÝÛ³Ï) ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝ

Open Society Society Institute (OSI) Institute (OSI), Open Budapest -Budapest RA Ministry of Culture

17 JULY

Úáë êï»ÉÇÝ·Ç §¸áõßϳݦ ¨ §²ñ³µ³Ï³Ý ·Çß»ñÝ»ñÁ¦

2 ÆÙ ýÇÉÙ»ñáõÙ áõÕ»ñÓÝ»ñ ãϳÝ. ³í»ÉÇ ×Çßï ϳ ÙdzÛÝ Ù»ÏÁª Ûáõñ³ù³ÝãÛáõñ Ù³ñ¹ ϳñáÕ ¿ ÷áË»É Çñ ׳ϳﳷÇñÁ:

ìÇÙ ì»Ý¹»ñë

3 úñí³ Ë׳Ýϳñ

4 Catherine Breillat talks about passion, love, cruelty and hate

5

Reviews of The Mermaid, Today, the Same Day is Different, Cyanosis and Woman See Lot of Things

6

ÎÇÝáÛÇ í³ñå»ï ìÇÙ ì»Ý¹»ñëÁ ³Ùå»ñÇó ³ÛÝ ÏáÕÙ` ºñ¨³ÝáõÙ

17

Master Wim Wenders went beyond the clouds to be in Yerevan

ÐàȲܸ²Î²Ü ÎÆÜàÚÆ úð

2 N4, 17 ÑáõÉÇëÇ 2008

Úáë êï»ÉÇÝ·. 볭ϳ­í³­Ëáë Ñá­É³Ý­¹³­óÇÝ

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ñáõÏ-ÏÇ­Ýáݭϳ­ñáõÙ, áñÝ Áݹ·ñÏ­í³Í ¿ §àë­Ï» ÍÇ­ ñ³­ÝǦ Ùñóáõ­Ã³­ÛÇÝ Íñ³·­ñáõÙ: êï»­ÉÇÝ­·Û³Ý ÏÇ­Ý»­Ù³­ïá·­ñ³­ýÇÏ óÝáñù­Ý»­ñáõ٠ѳݭ¹Ç­ë³­ï»­ëÁ ѳ­í³­ïáõÙ ¿ ¹Ç­å³­ß³­ñÇ ³Ù»­ ݳ­³Ý­Ñ³­í³­Ý³­Ï³Ý, ³Ý­Ï³Ý­Ë³­ï»­ë»­ÉÇ ßñç³­ ¹³ñ­Ó»­ñÇÝ: ´³­í³­Ï³Ý ¿ ëÏëíÇ ¹Ç­ïáõ­ÙÁ, ¨ ѳݭ ¹Ç­ë³­ï»ëÝ ³ñ­¹»Ý ϳñ­Í»ë ͳ­Ýáà ¿ ˳­ÕÇ Ï³­ÝáÝ­Ý»­ñÇÝ: ä³ï­Ï»­ñÇ ³Ý­×³­é»­ÉÇ ½·³­Û³­Ï³Ý Ëáñ­Ñáõñ­¹Á µ³­ó³­Ñ³Û­ïáÕ, µ³½­Ù»­ñ³Ý· ·áõÛ­Ý»­ ñáí áõ ëïí»­ñ³­Ë³­Õáí ѳ­·»­ó³Í, ³Ý­Ã»­ñÇ ÏáÙ­ å᭽ǭóÇ­³­Ûáí, »ñ­µ»ÙÝ ³é»ÕÍ­í³­Í³­ÛÇÝ Ýñ³ ϳ¹­ ñ»ñÝ áõ­Õ»Ïó­íáõÙ »Ý ³ñ­ï³­ëá­íáñ, ѳ­×³Ë »Ý­Ã³­ï»ùëï ÏñáÕ ÑÝãÛáõ­Ý³­ß³­ñáí: §ÎÇ­ÝáÝ ³í»­ÉÇ Ùáï ¿ »ñ³Åß­ïáõ­ÃÛ³­ÝÁ, ù³Ý ·ñ³­Ï³­Ýáõ­ ÃÛ³­ÝÁ, áñáí­Ñ»­ï¨ »ñ³Åß­ïáõ­ÃÛáõÝÝ áõÕÕ­í³Í ¿ ëñïÇÝ: ºñÏ­Ëá­ëáõ­ÃÛáõÝ­Ý»­ñÁ µ³­Ý³­Ï³Ý »Ý, ÇëÏ ÏÇ­Ýá­Ñ³Ý­¹Ç­ë³­ï»ëÝ áõ ÏÇ­Ýá­é»­ÅÇ­ëá­ñÁ å»ïù ¿ ëñïÇó »É­Ý»­Éáí ëï»Õ­Í»Ý ýÇÉ­ÙÁ¦: àõ­ñ»ÙÝ` ³ñ³­ ñáõ­ÙÁ ß³­ñáõ­Ý³Ï­íáõÙ ¿ ¨ ³ÛݭųÙ, »ñµ ³í³ñï­ í³Í »Ý ëï»ÕÍ­Ù³Ý ³ß­Ë³­ï³Ýù­Ý»­ñÁ:

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Èáõë³ÝϳñÁ` ²Éµ»ñï äáÕáëÛ³ÝÇ

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3 N4, 17 ÑáõÉÇëÇ 2008

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4 N4, 17 ÑáõÉÇëÇ 2008

ÙÇç³½·³ÛÇÝ ÙñóáõÛÃ- í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñ

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ä³ï­ñ³ë­ï»ó úý»­É Û³ ¼²ø²ðÚ²ÜÀ

5 No. 4, July 17 2008

INTERVIEW/BACKGROUND

Photo: Albert Poghosyan

My films are like the Japanese kitchen: raw and sophisticated at the same time

F

amed French director Catherine Breillat came to Yerevan just two days after her birthday on July 13th. Two of her films are screened at the Golden Apricot film festival: Romance and The Last Mistress. A premiere for Yerevan: never before one of her films was screened in Armenia. Yesterday, she also gave a master class.

Catherine Breillat walks on the stage of the Red Hall in the Moscow Cinema. She wears jeans, a black T-shirt and a white jacket. Her wild and young eyes twinkle below her untidy haircut. She looks like a shy, but rebellious girl. She exudes youth exactly like the characters in her latest film The Last Mistress. Even the grandmother in the

film looks young and childish. To be more precise: it is not about a young face, it is about a young spirit. Words to define her new film are: passion, love, cruelty, hate and, most importantly, credibility.

It is credible because it is real. She puts real emotions in her work. Breillat: ‘I made the film for myself and not for the approval of an audience. If I would be a politician, I would do politics. But I am artist and I make art.’

Freedom of emotions In her opinion the process of making films is an intimate one: ‘When I am shooting I say to my crew, you are the one that work. I do nothing.

Because I am the film’. She just feels her films.

The script is not the bible for Catherine. It can be totally changed during the shooting: ‘Film is about freedom of emotions’. ‘Films and books do not exist to tell stories, but to take us into stories’, says Breillat. But there is nothing autobiographical in her films, ‘my biography is not interesting material for me’.

Pornographic In cinema Bergman is her father, but Japanese films also had a big influence on her: ‘Japanese are like their kitchen, both raw and sophisticated, and this applies to me too’. Then she smiles. Her smiles are generous and shy at the same time.

She is sometimes accused of making

pornographic films – especially when she made Romance with porn star Rocco Siffredi – but she describes herself as a romantic and puritan person: ‘I do not think people make pornography when they make love’. She just wants to bring the viewer closer to the intimacy of the characters: ‘I do not want people to stay in front of a couple in my film, but want to put them in between the lovers’. She wants to make people think about who they are. Not to learn about themselves from prejudiced stereotypes, but to challenge them. The same way her films are challenging notions of sexuality, power and traditional relations between men and women.

Victoria Coroban

Cultural Sisterhood: Directors Across Borders ‘Directors Across Borders’ (DAB) is one of the most ambitious film projects in the Armenian cultural area. It came to life as a seminar on Cinema as Means of Cross-Cultural Dialogue held within the framework of the second Golden Apricot International Film Festival.

The first DAB Regional Co-Production Forum was established in 2007 as a natural result of the program that was started in 2005. The idea to develop a network of film professionals from the Caucasus district and countries like Armenia, Georgia, Azerbaijan, Russia, Kazakhstan and Turkey has as its purpose the crossing of all political, ideological, ethnical or religious frontiers. Directors Across Borders tries to find the best approach to determine the common problems typical for states in transition, to facilitate film co-production projects and to address the issues of multiculturalism.

Proving itself an important film industry happening in the area, it gives the chance of better communication, creates new contacts between film professionals and an equal, but competitive starting point to all beginning film professionals.

In 2005 the idea for the project was developed by the famous Iranian director Mohsen Makhmalbaf. In the same year the European Cultural Parliament declared its patronage to the initiative. In January 2007 a declaration of cooperation was signed between the film festivals of Yerevan, Rotterdam (The Netherlands) and Pusan (South Korea), an agreement that not only opened the doors to the European, but also the Asian film market. Within the Kyiv Initiative Regional Program of the Council of Europe DAB worked out the Cross-Border Cinema Culture project, ratified by the Directorate of Culture and Cultural and Natural Heritage of the Council of Europe.

The strong bond with the Hubert Bals Fund of the Rotterdam film festival and Pusan creates a sustained cultural environment, and good opportunities for the development of feature-length fiction films and feature-length documentaries, low budget and arthouse films. Bianca Taal, Head of Hubert Bals Fund of the Rotterdam Film Festival, attends the DAB meetings in Yerevan. She says: ‘The similar approach of the three film festivals was the reasons to establish our sisterhood. We all look for exciting, innovative films; that is why we try to help independent cinema from countries that are not yet recovered from the 1990s economic crisis. Our aim is to give professionals from those countries a chance, give them a good starting platform and help them to gain more experience in order to continue with the development of their project. I love participating in DAB 2008’.

The first issue of DAB attracted 61 participants from Europe and the Caucasus. The two winning projects were Susa by Giorgi Chalauri (Georgia) and The Last Two Tightrope Dancers by Inna Sahakyan (Armenia).

This years second Forum received 32 film projects, among which 12 have been chosen to compete in the program. The international jury has representatives from the Hubert Bals of the International Film Festival Rotterdam, the World Cinema Fund, the Göteborg International Film Festival Fund, Eurimages, the Goethe Institut and many more. Among the selected projects are: Transformation by Dmitro Konovalov, Alpin Violet

by David Matevossian and October Fear by Arin Inan Arslan. Bianca Taal can not announce the winning projects yet: ‘The decision will be taken at the end of the day’, she says with a smile. LS

REVIEWS

6 No. 4, July 17 2008

Disturbing memories

T

May your wish come true?

T

old as a fairytale from 21st century Russia, The Mermaid, this years Fipresci Award winner at the Berlin film festival, creates a positive dreamy atmosphere until its surprising end. It tells the story of Alisa, starting with the day her mother meets a sailor; the biological father for whom Alisa will wait until the day she gives up talking. Through the extraordinary story of this young girl, who has a special gift to make wishes come true, director Anna Melikyan shows the changing face of Russia.

Alisa keeps walking through the Moscow streets in a colorful costume that advertises for a cell phone company. When she meets a suicidal young man, her life is about to change.

Melikyan approaches the new capitalist Russia of poverty and injustice with a great sense of humor and the positive tone of a romantic comedy. She made a film filled with happiness and energy, despite her depiction of the chaotic streets, depressing apartments, and the ever-growing contrast between the colorful world of consuming and advertisement and the grayness of everyday

he seductive title Woman see lot of things comes from the name of one of the three protagonists of Meira Asher’s experimental documentary. Mahade Pako is a young woman who has been through lot of things during the Liberian and Sierra Leonean civil wars in the 1990s; along with Anita Jackson and Chris Conteh, she tells a dreadful story: many young girls and children were raped, tortured, abducted, forced to fight, and enslaved, and the discrimination and sexual crimes against women had what seemed like legal protection. After the war, the survivors are still rejected as rebels or junta supporters, and stigmatized along with their ‘rebel babies’. Yet with any means they can find, they deal with poverty, including prostitution.

Asher completes the women’s side of this disturbing picture with the perspectives of three young women from different social backgrounds.

They express themselves through performances

and by aggressive and emotional storytelling.

Memories of the past are awakened and powerfully visualized with animations and symbolic reenactments (with puppets standing in for the junta), to find a way toward reconciliation and hope for the future in postwar Sierra Leone. EK Woman See Lot of Things (Meira Asher, Netherlands, 2006) July 17: Puppet Theatre, Main Hall (18:00)

life. An ironical motif runs throughout the film: the role of the advertisement slogans foreshadow the events of the plot. EK The Mermaid (Anna Melikyan, Russia, 2007) July 16: Moscow Cinema, Blue Hall (12:00 and 20:00)

Kicking the habit

T

Diagnosis: Cyanosis

C

yanosis: a bluish-purple disco­ lo­ ration of skin and mucous membranes usually resulting from a deficiency of oxygen in the blood.

The protagonist of the Iranian documentary Cyanosis is the subject of somewhat more than just a scary medical diagnosis. And the condition itself is something totally different, or at least as the director interprets and approaches the material. The story consists of a mere half hour footage of poor and disdained Iranian artist Jamshid Aminfar’s life. Jamshid lives in the streets and dreams of earning a million just to buy his favorite books. He is misunderstood by his wife and left by his French muse Alice, whose notion of love looks more like hatred.

A stranger admiring his art calls Aminfar the modern Iranian equivalent of the famous Dutch master Vincent Van Gogh. In her short film, the filmmaker tells a lifelong story from A to Z, within just 30 minutes.

She masterly combines reality with some crazy animation sequences, based on Jamshid’s paintings. The neutrality of the director towards her subject and the extravagancy of Aminfar’s character make this 30 minute representation of a destiny so complete and exciting, that afterwards the only thing one lacks seems to be oxygen. DV Cyanosis (Rokhsareh Ghaem Maghami, Iran, 2007). July 17: Puppet Theatre, Small Hall (12:00).

oday, the Same Day is Different is the story of someone who ruined his own existence. With brutal realism directors Xavier Baig and Oscar Moreno capture the confessions of 49 year-old Toni, who for more than 30 years calls himself a junky.

In perfect conjunction with the grayness of the image and the occasional black and white is Toni’s sallow, shriveled face. Detailed close-ups of his face remind us of the enduring mistakes from his past. His drug addiction leads to AIDS, tuberculosis and many more illnesses.

Even the very visible results of 30 years of heroin addiction are not enough to make Toni quit his daily routines, which includes smoking more than ten joints per day. His bad physical condition is not helped by his insomnia, and once in a while Toni requires oxygen inhalations that somehow remind him of his past drug ‘rides’.

Baig doesn’t need to encourage the living corpse to speak his mind, first in his house and later, more honestly, during his visits to the hospital, the only way to isolate him from his bad habits and to clean his body. Although his frankness is already very ‘in your face’, his eyes and way of expression add more to the picture.

In the dirt and chaos of Toni’s life, the atmosphere becomes more and more depressing, with the focus on the junky’s neurotic gestures, needle memories and marihuana smoke. In his past, Tony took adventurous trips to Africa and the Middle East, but the need for narcotics was only a front for his taste for promiscuous sex and new experiences.

His criminal past – he spent four years in prison – is a logical outcome of his addictions – and the way they slowly changed his mind and body.

The dying Toni has almost no regrets about the failure of his so-called ‘life’. LS

Today, the Same Day is Different (Xavier Baig and Oscar Moreno, Spain, 2007). July 17: Puppet Theatre, Small Hall (10:00).

Ìð²¶Æð/PROGRAM

7 N4, 17 ÑáõÉÇëÇ 2008

No. 4, July 17 2008

ÑÇÝ·ß³µÃÇ 17 ÑáõÉÇëÇ / thursday july 17 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 ²Ù»Ý ÇÝã Ý»ñí³Í ¿/ All is Forgiven

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

10.00 ²Û¹ »ñ»ùÁ/ Those Three

Ü.ܻٳÃÇ/N.Nemati, Ir, 80’, DAB

10.00 ê³Ý ê³ÝÇã/ San Sanych

¶.²Õ³ç³ÝÛ³Ý/ G.Agadjanean, Mda, 52’, AP

15.00 12.00

ºñÏáõ ³½·»ñÇ ëÇñïÁ. Ðñ³Ýï ¸ÇÝù/Heart of Two Nations: Hrant Dink

æñ³Ñ³ñëÁ/ The Mermaid

øá ÏÛ³ÝùÇ Å³Ù»ñÁ/ The Time of Your Life

².Ø»ÉÇùÛ³Ý/ A.Melikyan, Rus, 115’, FC

¾Ûã êÇ öáûñ/ H.C.Potter, USA, 109’, T

14.00 ¶»ñÙ³Ý³Ï³Ý ÏÇÝáÛÇ ûñí³ µ³óáõÙ/German Film Day Opening

¼µáë³ßñçÇÏÝ»ñÁ ·³ÉÇë »Ý í»ñçáõÙ/And Along Come Tourists è.³ÉѳÛÙ/ R.Thalheim, Ger, 85’, EP

17.00

سñ¹Ï³ÛÇÝ Ï³ï³Ï»ñ·áõÃÛáõÝ/ The Human Comedy

ø.´ñ³áõÝ/C.Brown, USA, 118’, T

16.00 ì»ñçÇÝ Ñ»Ã³ÝáëÁ/ The Last Pagan

².Ø»ÉÇùÛ³Ý./A. Melikyan, Rus, 115’, FC 22.00 üÇÉÙ Ýϳñ»ÉÝ ÇÝÓ Ñ³Ù³ñ Ý߳ݳÏáõÙ ¿ ³åñ»É/To Make a Film is Being Alive

¾.²ÝïáÝÇáÝÇ/ E.Antonioni, Fr/It, 52’, T

12.00 ¸»åÇ ¿ñ·Çñ/ Towards Ergir

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

æñ³é³ï, Ù³Ýñ³å³ïáõÙÝ»ñ/ Jrarat, Miniatures

öá˳ϻñåáõÙ/ Transformation È³í ³ß˳ï³ÝùÁ/ The Good Job

ì.ê³ñáÛ³Ý/ W.Saroyan, USA, 11’, T 21.00 Ü»ñë »Ï»ù ³é³Ýó óϻÉáõ/Don’t Come Knocking

ì.ì»Ý¹»ñë/ W.Wenders, Fr/Ger/ USA, 122’, R

².³¹¨áëÛ³Ý, Â.´³ÉÏ»ÝÑáÉ/ A.Tadevosyan, T.Balkenhol, Arm, 10’, AP 15:00 ºññáñ¹ ÓdzíáñÁ/ The Third Rider

¶.´³Õ¹³ëñ³Û³Ý/ G.Baghdasaryan, Arm, 70’, DAB 18.00

ØÇù»É³Ýç»ÉáÛÇ Ñ»ï/ With Michelangelo

¾.²ÝïáÝÇáÝÇ/ E.Antonioni, It, 58’, T ØÇù»É³Ýç»ÉáÛÇ Ñ³Û³óùÁ/ Michelangelo Eye to Eye

Ø.²ÝïáÝÇáÝÇ/ M.Antonioni, It, 15’, T

Ê.´³Ç·, ú.Øáñ»Ýá/X.Baig, O.Moreno, Esp, 98’, DC 12.00 γåï³Ëï/ Cyanosis

è.Ô³­»ÙÙ³Õ³ÙÇ/ R.Ghaem Ma­ghami, Ir, 30’, DC üáõïµáÉÇó ³ÛÝ ÏáÕÙ/Beyond Soccer

².¶áÙ»ë/H.Gomes, Bra, 22’, DC 15.00 êáÉ Ù³Åáñ ׳ݳ­å³ñÑáñ­¹áõ­ ÃÛáõÝ/ Journey in Sol Major

Ø.úѳÝÛ³Ý/ M.Ohanyan, Arm, 17’, AP

´.Þ³ñ³ÉǨ/ B.Sharaliev, Bg, 147’, YP 20.00 æñ³Ñ³ñëÁ/ The Mermaid

Ü.سÃáëÛ³Ý/ N.Matossian, Tur, 40’, AP

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

¶.ȳ½³ñ¨ëÏÇ/ G.Lazarevski, Fr, 54’, DW

´.êÇÙáÝÛ³Ý/ B.Simonyan, Arm, 27’, AP 21-ñ¹ ¹³ñÇ í³Ý¹³ÉÝ»ñÁ/ Vandals of the 21st Century

².²ëɳÝÛ³Ý/ A.Aslanyan, Arm, 83’, AP öá˳ϻñåáõÙ/ Transformation

².³¹¨áëÛ³Ý, Â.´³ÉÏ»ÝÑáÉ/ A.Tadevosyan, T.Balkenhol, Arm, 10’, AP

¶áñ³Ý ä³ëϳɨÇã Goran Paskaljevic

ì³ñå»ïáõÃÛ³Ý ¹³ë»ñ//Master Class 18.00 γݳÛù ß³ï µ³Ý »Ý ï»ëÝáõÙ/ Women See Lots of Things

Ø.²ß»ñ/M.Asher, Neth, 65’, DC ºë ¶áõñçÇ¨Ý »Ù: ºë ã»Ù ٳѳݳ/ I am Gurdjieff.

I Will Not Die

ä³ïÙáõÃÛáõÝ ½·»ëïÇ Ù³ëÇÝ/ Dress Story

ê.سÝáõÏÛ³Ý/S. Manukyan, Arm, 7’, AP

18.00 î³ÝÓ»ÝÇÝ/ The Pear Tree

´³Õ»ß/Baghesh

¸.Ø»ÑñçáõÇ/ D.Mehrjui, Ir, 96’, R 20.00

ØÇ Ñ»é³ó»ù ³é³Ýó ÝáñáõÃÛáõÝÝ»ñÇ/ Don’t Leave Without News

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

ø.ʳɳýÛ³Ý/ Ch.Khalafian, Arm/ USA, 18’, DW

Øáõß/Mush

15.00 ÎáõÛñ ë»ñ»ñ/ Blind Loves ´»Ù³Ñ³ñóÏÝ»ñ/ Stages

Ø.¹Á ÚáÝ·/M.de Jong, Neth, 80’, EP

Ðáõß»ñ/Memories

².úѳÝÛ³Ý/ A.Ohanyan, It, 45’, NAC

22.00

гݹ»ë/Revue

Þ.¼»ÛÝ»¹¹ÇÝ/ Ch.Zeineddine, Lbn/Fr, 75’, AN

ê³Ý üñ³ÝóÇëÏáÛÇ Ñ³Û»ñÁ/SF Hye

¶.´³ñë»ÕÛ³Ý/ G.Barseghyan, USA, 54’, NAC

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

15.00 à±í »Ýù Ù»Ýù/ Who Are We?

Ê.ÎáñݳÉÇÝëÉÇ÷»ñ/ Susan Kornalijnslijper, Neth, 63’, DAB

18.00 ÐáõÉÇëÁ È׳÷áõÙ/ July in Ltchap

².ØÏñïãÛ³Ý/ A.Mkrtchyan, Arm, 30’, AP

è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants, Arm, 15’, NAC

Ú.È»ÑáóÏÇ/J.Lehotsky, Svk, 77’, DW

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

Ê.êáõçÛ³Ý/ Kh.Soudjian, Fr, 52’, AP

è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants Arm, 15’, NAC

ºñÏñÇó ÁÝÏÝ»Éáí/ Falling From Earth

ÞßÝç³óáÕ Ñáõß»ñ/ Whispering Memories

ȳùßÙÇÝ ¨ »ë/ Lakshmi and Me

Ø.´ÇݳÛ/M.Binay, Tur, 42’, DAB

Ü.æ³ÇÝ/N.Jain, Ind/ USA/Fin/Dnk, 59’, DC

´ÇñÉÛ³Ýï` ã»ãÝ³Ï³Ý å³ïÙáõÃÛáõÝ/ Birlyant, a Chechen Story

20.00 1937

Ð.¸áÛÉ/H.Doyle, Can, 79’, DAB

Ü.سñïÇñáëÛ³Ý/ N.Martirosyan, Arm/ Fr, 44’, AP ÎÛ³ÝùÝ ÇÙ ³ãù»ñáí/ The Life As I See

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

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

æñ³é³ï, Ù³Ýñ³å³ïáõÙÝ»ñ/ Jrarat, Miniatures

¸.ØÏñïãÛ³Ý/ D.Mkrtchyan, Rus, 33’, AP

¼.سÝáõã³ñÛ³Ý/ Z.Manucharyan, Arm, 24’, DW

12.00 îÇ·ñ³Ý³Ï»ñï/ Tigranakert

20.00

Ð.úñ¹Û³Ý/H.Ordyan, Arm, 17’, AP

21.00 ¶³Ã³/Gata

14.00 ֳݳå³ñÑ ¹»åÇ ´á¹Çë³Ãí³/ Road to Bodhisattva

Ø.ö³ÝáëÛ³Ý/ M.Panosyan, Rus, 52’, AP

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

Ø.úѳÝÛ³Ý/ M.Ohanyan, Arm, 17’, AP

16.00 ì»ñ³Ùß³ÏáõÙ/ Recycle

Ø.³É-س볹/ M.al-Massad, Jor, 80’, WCFP

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

¶»Õ³ñ¹/Geghard

øñÇëïáÝÛ³ г۳ëï³Ý/ Christian Armenia

13.00

§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, David Vardazaryan, Ofelia Zaqarian

Ò¨³íáñáõÙÁ` ¶áé ¶ñÇ·áñÛ³ÝÇ

Design: Gor Grigorian

Èáõë³ÝϳñÇã` ²Éµ»ñï äáÕáëÛ³Ý

Cover photo: Albert Poghosyan

Ðàì²Ü²ìàðܺð

N4, 17 ÑáõÉÇëÇ 2008