N5 ´³ó ѳë³ñ³ÏáõÃÛ³Ý ÇÝëïÇïáõï (´áõ¹³å»ßïÇ ·ñ³ë»ÝÛ³Ï) ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝ
Open Society Society Institute (OSI) Institute (OSI), Open Budapest -Budapest RA Ministry of Culture
18 JULY
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4 Anna Melikyan on her Russian/ Armenian fairytale The Mermaid 5 Reviews of My Winnipeg, Cosmic Station and The Flower Bridge
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Serbian director Goran Paskaljevic fearlessly tames the wild bull of Yerevan
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2 N5, 18 ÑáõÉÇëÇ 2008
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5 No. 5, July 18 2008
INTERVIEW
Photo: Albert Poghosyan
‘The Mermaid is a sad fairytale’
A
rmenian film maker Anna Melikyan talks about her award winning film The Mermaid: ‘The film looks happy but it has the big sad Armenian eyes’
There is a great contrast between what you tell and how you tell it. You show the current poverty in Russia in detail, both in a small town and in Moscow, you show the discouraging situation a teenager is in, yet you do it through extraordinary elements and even surreal jokes. Why did you use such a contrast in your film? I live and work in Russia but of course I am an Armenian. You should see it like an Armenian ceremony. The film seems happy but it has the big sad Armenian eyes. You can always tell an Armenian tragedy with a happy tone. I wanted my
film basically to be an Armenian tragedy. Yet we look at all the awful things with humor, always as if we are saying ‘take it easy’ to each other; this is the uniquely Armenian thing. In the end we are full of forgiveness but it doesn’t hide the tragedy behind things. Although the film is basically a love story, it looks as if the setting and the conditions behind it are as important as the plot itself. But then why did you choose the life of a teenage Russian girl as your main focus? I didn’t really intend to depict the developing capitalism in Russia. I just wanted to take a typical girl, a Russian teenager, and wanted to show her life. The story is set in Russia; as I told you I live in Russia that is why I picked a girl from Russia. All the other things about the story are Armenian; it is
only set in Russia. It is a sad fairytale, this is exactly how we started it. I was optimistic during the whole script but I know everything is concentrated at pessimism in the end. I didn’t develop any ideas about the Russian society; this is why I cannot tell you whether I was pessimistic about the society or the future at all. I just wanted to follow a girl. I wanted to show the working conditions she lived in and the people she was surrounded with. It is her life, it has nothing to do with society; in that sense it is not a big story. It is a film about the private life of a girl. Moscow is a huge city and there are a lot of contrasts, that is unavoidable. Everybody has his own character: a guy selling lots on the moon, a girl without legs who looks like Madonna, the advertisement posters and slogans, none of these
are accidental of course. Everything is designed totally beforehand. I wanted to show that everything has connection with something else, several things going together just to complete the picture about this girl’s life. When it comes to the ending, I must say that this is a metropolis and things like that happen everyday in a metropolis. You received the Fipresci prize at the Berlin Film Festival this year. Are you satisfied with reactions from audiences so far? Yes, I am really satisfied. At first when I was shooting it I didn’t really think that it could be so famous. It makes me very happy to see that so many people did like the film and that it has gathered this fame all over the world.
Evrim Kaya
Photo: Karin Grigoryan
Birthday boys (and one girl) This year there are many birthdays in Yerevan. Most importantly, of course, is the lustrum of the Golden Apricot International Film Festival itself. On the 13th of July, Catherine Breillat had her birthday and the one from festival president Atom Egoyan is coming up on the 19th. Yesterday Dutch director Jos Stelling, whose Duska is in the feature film competition, celebrated his birthday in the lobby of the Golden Tulip hotel. At the centre of the evening was the cutting of the birtdaycake, symbolically designed with the Dutch and Armenian flag. However, it was not the first time Stelling spend his birthday in Yerevan. Two years ago, a reception in his honor was held at the Parajanov Museum - see picture on the right. On the right stands Zaven Sargsyan, the director of the museum. Last night, (foreign) guests were again invited to wonder at the marvels of the museum.
REVIEWS
Forward to the past!
I
t seems that having more and more artistic or even feature film elements in documentaries has become a kind of a trend in documentary filmmaking nowadays. This statement is totally true when it comes to Canadian documentary My Winnipeg, made by maverick Canadian director Guy Maddin. Maddin even calls it a ‘docu-fantasia’. His film has a peculiar style, that some might know from his previous films: Maddin mixes genres in such a way that it is hard to
distinguish the borders between staged scenes, special effects shots and archival material. My Winnipeg is the condensed history of the Canadian town Winnipeg, the hometown of the director. It’s both a personal portrait by a Winnipegger and a historical chronicle of the town. In the autobiographical part Maddin reflects upon his childhood, up to the culmination point _ the moment when he decides to run away from his hometown. He takes a train that escorts him away,
and in the film the journey serves as a metaphor: a trip to the depths of his intimate memories and dark family secrets. The most memorable events of Winnipegan history follow him, reach him, catch him, then set him free, and afterward the whole process is repeated again and again. The film is in black and white (the only color is yellow, appearing in the end, when a jelly is shown): the reason is not only that the director wants the archival material and his own footage not to differ in
Messages from outer space
B Waiting for mom’s call
C
ostica Arhir raises his two daughters and a son alone in a little village in Moldova, near the border with Romania. Three years ago his wife went to Italy to find a better job and earn a bit more money for the family, like half a million other Moldavians. Costica is a simple villager working the fields. He tries his best to be a good father. He cooks for his children and every day he asks them how they are doing at school. He also takes them into the field to cultivate potatoes or to take care of his sheep. But on the other hand he would like them to have more free time to play games. He teaches his children that all kinds of skills can be useful for them: for instance how to make a haircut and how to use a real gun. Scenes of their daily life are pasted together and create an intimate portrait of the family. Shots of
the beautiful rural landscapes look like aquarelle paintings and evoke a feeling of the place and time. Nothing special happens, but every detail of their routine brings us closer to their emotions. Highlight of the day is when Mom is calling. Everybody ga ther round the phone and wait. Then when she phones, the only thing she asks her children is about school and what marks they got. And the only thing the husband asks his wife is when she will get the papers and will be able to return home. Only routine bla-bla over the phone, which leaves everybody nervous afterwards. They go to sleep. Tomorrow they will start again to count the days till mom’s next call. VC The Flower Bridge (Thomas Ciulei, Romania, 2008). July 18: Nairi Cinema, Main Hall (10:00 and 16:00).
ettina Timm’s documentary Cosmic Station witnesses a normal day at the Cosmic Ray Station at an altitude of 3500 meters in Aragat, the highest mountain of Armenia. This place is a leftover from a once-motivated Soviet project. Since the collapse of the Soviet Union there is no financial support anymore and many researchers already abandoned the place. Timm directs her camera to the small group of Armenian researchers who continue living in this isolated place, waiting for a sign from unknown galaxies, particles created by cosmic radiation. The geographical conditions and their mission, which is not really appreciated by anyone, are the two causes for isolation. The film depicts them like astronauts in a space ship – floating, not somewhere on earth but rather in the space. The stationary shots and the mechanical sounds create a strange atmosphere. The film flows as slow as the life of the team, waiting in the middle of nowhere for a message from outer space. Even the normal daily activities of the workers, like washing their clothes or eating, and their outworn equipments are presented brilliantly in a silent mesmerizing way. EK Cosmic Station (Bettina Timm, Germany, 2008) July 18: Nairi, Main Hall (12:00 and 17:30).
6 No. 5, July 18 2008
appearance, but also to show that everything happens in a sleepwalking, hallucinatory, dreamlike state of mind. Maddin incorporates some great footage and images in his docu-fantasia: dead horses stuck in the snow, male beauty contests and spiritual séances. Last year My Winnipeg was awarded with the prize for best Canadian feature at the Toronto film festival. DV My Winnipeg (Guy Maddin, Canada, 2007). July 18: Puppet Theatre, Small Hall (20:00).
Ìð²¶Æð/PROGRAM
7 N5, 18 ÑáõÉÇëÇ 2008
No. 5, July 18 2008
áõñµ³Ã 18 ÑáõÉÇëÇ / friday july 18 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
È»¹Ç æ»ÛÝ/ Lady Jane
è.¶»¹Ç·Û³Ý/ R.Guédiguian, Fr, 104’, FC 12.00
10.00 ijٳݳϳÏÇó ë»ñ/ Modern Love
10.00
ê.Ô³½³ÝãÛ³Ý/ S.Kazandjian Fr, 92’, AP Ðñ³Å»ßï Ø»ñÇÝ»ÇÝ/ Good-Bye to Merine
î.ä»ïñáëÛ³Ý/ T.Petrosyan, Arm, 10’, AP
ê³Ý ê³ÝÇã/ San Sanych
àñå»ë ëÏǽµ/ As a Beginning
¶.²Õ³ç³ÝÛ³Ý/ G.Agadjanean, Mda, 52’, AP
ꨳ¹³/Sevada, USA, 54’, NAC 17.00 ÐáõÛëÇ ù³ÙÇÝ»ñ/ Winds of Hope
ú.²ÙÇñÛ³Ý/ O.Amiryan, USA, 27’, AP
²Ûë ·»Õ»óÇÏ ù³Õ³ùÁ/ This Beautiful City
14.00 Ø»Ýù/We
².ö»É»ßÛ³Ý/ A.Peleshyan, Arm, 27’, T
ºë ¶áõñçÇ¨Ý »Ù: ºë ã»Ù ٳѳݳ/ I am Gurdjieff. I Will Not Die
Ø.ö³ÝáëÛ³Ý/ M.Panosyan, Rus, 52’, AP
ÎÛ³Ýù/Life
Ø»ñ ¹³ñÁ/ Our Century
².ö»É»ßÛ³Ý/ A.Peleshyan, Arm, 47’, T 16.00 ¶áñÍ 205/1913/ File 205/1913
¾¹ ¶³ë-¸áÝ»ÉÇ/Ed Gass-Donnelly, Can, 87’, FC 22.00
È»¹Ç æ»ÛÝ/ Lady Jane
è.¶»¹Ç·Û³Ý/ R.Guédiguian, Fr, 104’, FC
Ü.سÃáëÛ³Ý/ N.Matossian, Tur, 40’, AP
¸.ØÏñïãÛ³Ý/ D.Mkrtchyan, Rus, 33’, AP
ä³ïÅÇã ѳÝÓݳÅáÕáí/ Executive Committee
è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants, Arm, 13’, NAC
12.00
15.00
´.ÂÇÙ/B.Timm, Ger, 30’, DC
ì³ñå»ïáõÃÛ³Ý ¹³ë»ñ/Master Class 18.00
ì.ä»ñáíÇã/V. Perović, Mne/Srb, 80’, DW
ê»åï»Ùµ»ñÝ»ñ/ Septembers ÆÙ àõÇÝÇ÷»·Á/ My Winnipeg
ijٳݳϳÏÇó ë»ñ/Modern Love
ê.Ô³½³ÝãÛ³Ý/ S.Kazandjian Fr, 92’, AP Ðñ³Å»ßï Ø»ñÇÝ»ÇÝ/ Good-Bye to Merine
î.ä»ïñáëÛ³Ý/ T.Petrosyan, Arm, 10’, AP
¶.س¹ÇÝ/G.Maddin, Can, 80’, DC
î.¸³ÝÇÉÛ³Ýó/ T.Daniliyants, Rus/ Can, 52’, DW Ä³Ý äáÉ/Jean Paul
ü.àõµáɹÇ/F.Uboldi, It, 8’, DW
Î.´áß/C.Bosch, Esp, 113’, DC
àñå»ë ëÏǽµ/As a Beginning
ꨳ¹³/Sevada, Arm/ USA, 54’, NAC 15.00 ²Ù»ñÇÏ³Ý Ù»Ï ë»ÝÛ³ÏáõÙ/America in a Single Room
Â.âáõÉ»Û/T.Ciulei, Rom, 87’, DC îÇ»½»ñ³Ï³Ý ѻﳽáïÙ³Ý Ï³Û³Ý/Cosmic Station ²ñ¨³Í³·Á ²ñó³ËáõÙ Ë³Õ³Õ ¿/The Down is Peaceful in Artsakh
18.00 Þñç³Ý/The Cycle
æ.²í»ïÇëÛ³Ý, ².¶³ëå³ñ/ J.Avetisyan, A.Gaspar, Arm, 52’, DAB
¸.Ø»ÑñçáõÇ/ D.Mehrjui, Ir, 101’, R 20.00
ÌÇÍ»éݳÏÇ µáõÛÝÁ/ Swallow’s Nest
20.00
´.²ñÇÝÉÇ/B.Arinli, Tur, 21’, DAB
àã ³Ûë ³ß˳ñÑÇó/ Unworldly...
ì.¶áÉáíݨ/ V.Golovnev, Rus, 23’, DW
ê.²ÙÇñ˳ÝÛ³Ý/ S.Amirkhanyan, Arm, 23’, NAC
¸.γݹ»É³ÏÇ/ D.Kandelaki, Geo, 60’, DAB
16.00 ̳ÕϳϳÙáõñçÁ/ The Flower Bridge
´.ÂÇÙ/B.Timm, Ger, 30’, DC
20.00
Ò³ÛÝ»ñ/Voices
ì³ñ¹³Ý³Ýó ϳÝã/ Vardan’s Call
̳ÍáõÏ å³ñ﻽/ Hidden Garden
îÇ»½»ñ³Ï³Ý ѻﳽáïÙ³Ý Ï³Û³Ý/Cosmic Station
12.00
².ÂáñáëÛ³Ý/ A.Torosyan, USA, 40’, NAC
15.00
¸.γݹ»É³ÏÇ/ D.Kandelaki, Geo, 60’, DAB
¸³ñÛáõß Ø»ÑñçáõÇ/ Dariush Mehrjui
è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants, Arm, 15’, NAC
¶.ȳ½³ñ¨ëÏÇ/ G.Lazarevski, Fr, 54’, DW
²Ù»ñÇÏ³Ý Ù»Ï ë»ÝÛ³ÏáõÙ/America in a Single Room
18.00
ø³ñ» ÍáíÇ Í³ñ³íÁ/The Thirst of a Stone Sea
̳ÕϳϳÙáõñçÁ/ The Flower Bridge
14.00 êáÉ Ù³Åáñ ׳ݳ å³ñÑáñ¹áõÃÛáõÝ/ Journey in Sol Major
12.00
Øáõß/Mush 16.00
10.00
Â.âáõÉ»Û/T.Ciulei, Rom, 87’, DC
Ä.γñëáõ/G.Carsoux, Fr, 7’, AP
20.00 îÇ·ñ³Ý³Ï»ñï/ Tigranakert
´³Õ»ß/Baghesh ¶³Ã³/Gata
Î.Îáɳñáí/K.Kolarov, Bg, 147’, YP 20.00 ²Ûë ·»Õ»óÇÏ ù³Õ³ùÁ/ This Beautiful City
ºñÏáõ ³½·»ñÇ ëÇñïÁ. Ðñ³Ýï ¸ÇÝù/Heart of Two Nations: Hrant Dink
è.ê³Ñ³ÏÛ³Ýó/ R.Sahakyants Arm, 15’, NAC
ö»É»ßÛ³Ý/A.Peleshyan, Arm, 7’, T
10.00 ø³ñ» ÍáíÇ Í³ñ³íÁ/The Thirst of a Stone Sea
ì.ä»ñáíÇã/V. Perović, Mne/Srb, 80’, DW
12.00
¾¹ ¶³ë-¸áÝ»ÉÇ/ Ed Gass-Donnelly, Can, 87’, FC
15.00
Þ³ÝÑ³Û ïñ³Ýë/ Shanghai Trance ÆßáõÏÁ ȳÑáñáõÙ/ Donkey in Lahore
ü.ø»Û-è³Ñµ»ñ/ F.K-Rahber, Aut, 117’, DC
¸.ì»ñµ»ù/D.Verbeek, Neth, 122’, DAB/EP 22.00 ¸ñ³ËïÝ ³Ûëûñ/ Paradise Now
Ð.²µáõ ²ë³¹/H.Abu Assad, Pse/Fr/Ger/ Neth/Isr, 90’, AN
18.00 ȳí³ï»ëÝ»ñÁ/ The Optimists
¶.ä³ëϳɨÇã/ G.Paskaljevic, Srb, 98’, YP 21.00
Colophon ܳ˳·ÇÍÝ Çñ³Ï³Ý³óÝáõÙ ¿ г۳ëï³ÝÇ ÏÇÝáùÝݳ¹³ïÝ»ñÇ áõ ÏÇÝáÉñ³·ñáÕÝ»ñÇ ³ëáódzóÇ³Ý î³å/Dog Days
»ñÃÁ ÉáõÛë ¿ ï»ëÝáõÙ §Ð³Û³ëï³ÝÇ ½ñáõó³ÏÇó¦ ß³µ³Ã³Ã»ñÃÇ ³ç³ÏóáõÃÛ³Ùµ
àõ.¼³Û¹É/U.Seidl, It, 120’, YP
§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
N5, 18 ÑáõÉÇëÇ 2008