Golden Apricot Daily: 2008, N 6

N6 ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝ ´³ó ѳë³ñ³ÏáõÃÛ³Ý ÇÝëïÇïáõï (´áõ¹³å»ßïÇ ·ñ³ë»ÝÛ³Ï)

RA Ministry of Culture

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

19 JULY

سñ¹Ï³Ýó Ñ»ï Ùï»ñٳݳÉÝ áõ Ýñ³Ýó íëï³ÑáõÃÛáõÝÁ Ó»éù µ»ñ»ÉÝ ³Û¹ù³Ý Ñ»ßï ã¿: ¸³ ÙÇ Ñ³ñó ¿, áñÝ ÇÝÓ ÙÇßï ½µ³Õ»óñ»É ¿: ²ïáÙ ¾·áÛ³Ý

2

ö»É»ßÛ³ÝÇ ýÇÉÙ»ñÁ ã»Ý ϳñáÕ ÑݳݳÉ, ÇÝãå»ë ã»Ý ÑݳÝáõÙ »ñ³ÅßïáõÃÛáõÝÝ áõ µ³Ý³ëï»Õ­ ÍáõÃÛáõÝÁ 3 úñí³ Ë׳Ýϳñ

4 Interview with 2 of the winners of the Directors Across Borders 5 Award Reviews of Atom Egoyan°s closing film Adoration and Driving to 6 Zigzigland

ÎѳݹÇå»Ýù ѳçáñ¹ ï³ñÇ: ö³é³ïáÝÇ Ï³Ù³íáñÝ»ñÁ Ó»½ ³ëáõÙ »Ý Ç ï»ëáõÃÛáõÝ »õ µ³ñÇ ×³Ý³å³ñÑ

19

See you next year!

The volunteers of the Yerevan International Film Festival wave you goodbye and wish you a save trip home

ö²ÎØ²Ü üÆÈØ

2 N6, 19 ÑáõÉÇëÇ 2008

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ä³ï­ñ³ë­ï»ó èàô­¼²Ü äà­Ôà­êÚ²­ÜÀ

3 N6, 19 ÑáõÉÇëÇ 2008

вð¶²ÜøÆ îàôðø

ØáÝ­ï³ÅÝ Áݹ­¹»Ù å³­ïáõ­ÙÇ

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4 N6, 19 ÑáõÉÇëÇ 2008

ÙñóáõóÛÇÝ Íñ³·Çñ - §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦

²Ý­Ý³ ¶³ë­å³­ñÛ³Ý §ÎÛ³ÝùÝ ÇÙ ³ã­ù»­ñáí¦ üÇÉÙÝ ²Ý­Ý³­ÛÇ ³í³ñ­ï³­Ï³Ý ³ß­Ë³­ï³ÝùÝ ¿ ºñ¨­³­ÝÇ Ã³ï­ñá­ÝÇ ¨ ÏÇ­Ýá­ÛÇ å»­ï³­Ï³Ý ÇÝë­ïÇ­ ïáõ­ïÇ Ñ»­éáõë­ï³­é»­ÅÇ­ëáõ­ñ³­ÛÇ µ³Å­ÝáõÙ: ÎáõÛñ Çñ³­í³­µ³Ý ¨ ÏáÙ­å᭽ǭïáñ ²É­µ»ñï ²µ­·³­ñÛ³­ ÝÇ Ù³­ëÇÝ å³ï­ÙáÕ Å³­å³­í»­Ýáí ²Ý­Ý³Ý ó³Ý­ ϳ­ó»É ¿ óáõÛó ï³É, áñ ³éáÕç »ñÇ­ï³­ë³ñ¹­Ý»­ñÁ ëá­íá­ñ»­Éáõ µ³Ý áõ­Ý»Ý ѳ߭ٳݭ¹³­ÙÇó, ù³­ÝÇ áñ ݳ ·Ý³­Ñ³­ïáõÙ ¿ Çñ ÏÛ³ÝùÝ áõ ÉÇ­³ñ­Å»ù û·­ï³­ ·áñ­ÍáõÙ: êá­íá­ñ»­Éáõó, ³ß­Ë³­ï»­Éáõó áõ ëï»Õ­Í³­ ·áñ­Í»­Éáõó µ³­óÇ, ²É­µ»ñ­ïÁ ϳ­ñá­Õ³­ÝáõÙ ¿ ³Ý ·³Ù Ù»­ù»­Ý³ í³­ñ»É, ÇÝ­ãÇ Ñ³­Ù³ñ ï»ë­Ý»­ÉÁ »õë å³ñ­ï³­¹Çñ ã¿:

úÉ»· ²ÙÇ­ñÛ³Ý §ÐáõÛ­ëÇ ù³­ÙÇ­Ý»ñ¦ Ø»Ï ³ÛÉ Ñ³ß­Ù³Ý­¹³Ù »ñÇ­ï³­ë³ñ­¹Ç Ù³­ëÇÝ ¿ ³Ù»­ñǭϳ­Ñ³Û åñá­¹Ûáõ­ë»ñ, Ù³ñ­ï³ñ­í»ë­ïÇ ³Ï³­ ¹»­ÙÇ­³­ÛÇ Ý³­Ë³­·³Ñ, ºí­ñá­å³­ÛÇ ã»Ù­åÇ­áÝ ¨ ¿ùëï­ ñ»­Ù³É Ûá­·³­ÛÇ í³ñ­å»ï úÉ»· ²ÙÇ­ñÛ³­ÝÇ Ï³Ù ²É»ùë ¾ùëï­ñÇ­ÙÇ §ÐáõÛ­ëÇ ù³­ÙÇ­Ý»ñ¦ ýÇÉ­ÙÁ: 29-³ÙÛ³ ´³­µ³­ÏÁ ÍÝí»É ¿ áÕ­Ýáõ­Õ»­ÕÇ Ù³Ý­Ï³­Ï³Ý Ï³Ã­í³­ Íáí ¨ ³Ù­ µáÕç Ï۳ݭ ùáõÙ ï³­ é³­ å»É: ê³­ ϳÛÝ ÙÇ »ñ»­ÏáõÛ­ÃÇ Å³­Ù³­Ý³Ï úÉ»­·ÇÝ Ñ³Ý­¹Ç­å»­Éáõó »õ í»ó ³ÙÇë ¿ùëï­ñ»­Ù³É Ûá­·³­Ûáí ½µ³Õ­í»­Éáõó Ñ»­ïá Ýñ³ ÇÝù­Ý³½­·³­óá­Õáõ­ÃÛáõ­ÝÁ ɳ­í³­ó»É ¿: üÇÉ­ÙÁ óáõ­ó³¹ñ­ í»É ¿ ÜÛáõ Úáñ­ùáõÙ áõ ï³­ñ³­Ï³ñ­Íáõ­ÃÛáõÝ­Ý»­ñÇ ³éÇà ¹³ñ­Ó»É, ѳï­Ï³­å»ë` µÅÇßÏ­Ý»­ñÇ Ñ³­Ù³ñ: 곭ϳÛÝ

»ñÏ­ñáñ¹ ýÇÉ­ÙÁ, áñ Ý»ñ­Ï³­Û³ó­í³Í ¿ ì»­Ý»­ïÇ­ÏÇ ÷³­é³­ïá­ÝáõÙ, ³Ù»Ý ÇÝã å³ñ½ ¿ ¹³ñÓ­ñ»É:

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´³·­ñ³ï êÇ­Ùá­ÝÛ³Ý §²ÝóÛ³ÉÇ ³ñÓ³·³ÝùÝ»ñ¦ ì³­í»­ñ³·ñ­Ù³Ý ÑÇÙ­ùáõÙ Ù³ñ­¹³­ëÇ­ñáõ­ÃÛ³Ý ·³­Õ³­÷³ñÝ ¿, û ÇÝã­å»ë ¿ 15-³ÙÛ³ »ñÇ­ï³­ë³ñ¹ ì³ñ­¹³Ý ØÏñïãÛ³­ÝÁ ʳñ­Ïáí ù³­Õ³­ùáõÙ ÷ñÏáõ٠ѳ­ë³­Ï³­ÏÇó ÙÇ Ññ»­³­ÛÇ: ºñµ ýÇÉ­ÙÁ Ý»ñ­Ï³­Û³ó­í»É ¿ Æë­ñ³­Û»­ÉáõÙ, ´³·­ñ³ïÝ ³é³­ç³ñÏ ¿ ëï³­ó»É Ýϳ­ñ³­Ñ³­Ý»É ݳ¨ ì³½­·»Ý ³é³­çÇÝ Ï³­Ãá­ÕÇ­Ïá­ëÇ Ù³­ëÇÝ, áñÁ 40 Ññ»­³Û­Ç ÏÛ³Ýù ¿ ÷ñÏ»É:

²ßáï ØáíëÇëÛ³Ý §21-ñ¹ ¹³ñÇ í³Ý¹³ÉÝ»ñÁ¦ ܳ ³Ý¹­ñ³­¹³ñ­Ó»É ¿ ³½­·³­ÛÇÝ ³ñ­Å»ù­Ý»­ñÇ áãÝ­ã³ó­Ù³Ý û­Ù³­ÛÇÝ: ýÇÉ­ÙáõÙ ½áõ·³­Ñ»é­Ý»ñ »Ý

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úý»­É Û³ ¼²ø²ðÚ²Ü

INTERVIEW

5 No. 6, July 19 2008

And the winner is…

Y

esterday the winners of the second regional co-production forum Directors Across Borders were announced. From the twelve projects in competition, three winners were chosen by an international jury. The Golden Apricot Daily spoke with two of them: Maria Saakyan (I am Going to Change My Name) and Vahram Mkhitaryan (Shepherd’s Song).

Maria Saakyan How did you get the idea to ‘change your name’?

Actually it comes from my life…like a big part of my ideas.

What is I am Going to Change My Name about?

It’s a film about the emotional world of 14-year old Anoush, who wants to become Anniko, the heroine of a Japanese book she admires. The film is a kind of poem that will also touch the following themes: Body and Soul, Music and Chaos, River and Old Factory, Girl and Mother and Love and Desire; all seen through the eyes of Anniko. Sounds will be everywhere in the film, giving life to the soul. The film is a ‘song’ about the time you discover that you are a soul with a mortal body.

You choose an almost forgotten and very poor town, Alaverdi, close to the border with Georgia, as the location for your film. It sounds like a very mystical place, especially in the mind of the girl. How did you come across it?

Absolutely by chance, we found it during the pre-production of my first film Mayak, and it just came back to my mind later. For many years it has been an important city for the Soviet republic, because of its aluminum factory. It was destroyed and that is why Anniko adores it so much, she sees the ghost town as a Gate to Another World.

What kind of award do you receive from the DAB competition?

The Golden Apricot and Vivacell Award, an amount of 5000 dollar, but this won’t be enough to realize the project, however low its budget is. It is planned for the year 2010, so there is time to find the other 50% that we need to realize the film.

Before that I first need to finish another project.

Mayak is your debut feature and you made a short film in 2003 (Proshchanie) that received an award from the Golden Apricot International Film Festival. What are your future plans? Do you think you will try to make a documentary?

I have an experimental film planned, called The Game, and an animation – Lullaby. Of course I think already about other films too, but for now I try to concentrate only on the current two projects, which I have to finish.

Vahram Mkhitaryan

What is the project Shepherd’s Song about?

It is based on the story of my old friend Vahan Ishkhanyan. Being aware of the issues and problems of visually impaired people for many years – my sister is blind – and my great love for Armenia, I decided to show the miracle of the blind shepherd, leading the herd. Many people look for reasons to hate or deny God, because of his sometimes cruel decisions. I will show that the opposite, trust in God, is important, by using a lot of music and the special help of the choir of Blind Union of Armenia. Because of its theme the film might seem a bit depressing, but it will contain a lot of optimism. I am sure that my film will raise awareness in our society about the issues and problems of blind people.

What is your background?

I graduated at the Department of Culture in the Armenian State Pedagogical University as Feature Film Director. I have always loved to shoot as a camera operator and to be a film director at the same time. I like to catch moments in a film frame. I have worked on TV A1, and

also as a volunteer of the Information Department of the Armenian Red Cross. In 2005-06 I received the Lane Kirkland Scholarship and studied Media Art at the Academy of Fine Arts in Warsaw, Poland.

Which award did you receive?

My project won the Tolerance without Borders Award, an amount of 7500 euro. Now I must be quick in order to not miss the momentum by making the documentary soon. The Golden Apricot’s festival gives me a great opportunity to do that now. Despite of putting this project in the DAB competition, for me that part is not so important. Presenting the idea and trying to find paths into its fulfillment are more important.

Tell me more about your filmography.

I was the cameraman for Maria Saakyan’s first film, Mayak. Then I made Summer of Anticipation (2004), Shelter (2004) and Silent Scream (2007) and much more. There are also commercials, clips and so on. Despite of all my work, I prefer to make documentaries instead of fiction films.

Two other projects also won a prize: Alpine Violet (David Matevossian) received the Ministry of Culture Award and Andro Sakvarelidze & Giga Chkeidze got the Hubert Bals Fund Award for heir competition project Washington.

Lucy Setan

Golden impressions, that leave a sweet aftertaste Did you know that Armenia is the first country to adopt christianity?

Cannes will never be the same again after Yerevan 2008.

This is the 5th year that I’m here. There will be a 6th time for sure.

This year a golden medal, the next one – platinum!

Even Churchill has tasted our world famous cognac

Sunny Armenia is a very cultural country

The film festival gave me the chance to make contacts, meet strange people, drink a lot of cognac and feel like Parajanov for once in my life.

A postcard from Yerevan, Armenia

Recognize the Armenian Genocide!

REVIEWS

6 No. 6, July 19 2008

Atom Egoyan’s Adoration: Truth or Dare

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tom Egoyan’s new film Adoration is the closing film of the festival. It is a meditation on ethics, tolerance, racism, fundamentalism, family values, guilt, hatred and love – pretty much on everything that is human.

Egoyan focuses on Simon, a high school student, and the family drama he is bearing on his own, until it reveals itself through his reaction to an old newspaper event he has to translate for a French class.

Simon pretends to be the child of the Muslim terrorist in the news who sent his pregnant fiancée to a plane to Jerusalem carrying a bomb, which was supposed to kill all the passengers, including his unborn child.

Masquerading under his new persona, he is actually trying to make peace with his own father who drove his mother and himself to death, leaving the little boy behind. His teacher’s suspicious interest carries the story to the classmates. Things get complicated when the story reaches online forums on the Internet. Many old wounds start to bleed, including those from 20th century history. Egoyan unmasks his mysteries slowly, keeping things for a long time in an uneasy twilight zone, puzzling the viewer who tries to distinguish between good and evil. We are dealing with a film from the post 9/11 paradigm, and the director knows about the uncomfortable feeling a mysterious woman with a veil creates.

Egoyan meditates on prejudices of the Western world against the “uncivilized” East and condemns them. He challenges the audience with a boy who tries to identify with a terrorist father sacrificing the unborn child for abstract ideas. In flashbacks he demonstrates the bitter cost of the communication problems between cultures in a family drama. And he reflects on new ways of communication – through webcams without real bodies people express hatred and forgiveness, pain and love. An old woman shows the mark from a concentration camp on her arm to online viewers.

The role of flashbacks in the film is striking: Egoyan convincingly uses fake flashbacks that take the audience near to Simon’s position of manipulation, uncertainty and ignorance. He doesn’t only keep changing his mind on who is innocent, but also on what innocence means. At the end everyone is to blame and yet no one. A teenager’s personal trauma leads to old wounds of humanity. In the face of the intolerant grandfather, Egoyan judges racism and condemns it. But more importantly, he judges the cowardice of the son, who is incapable of resisting him and has to live with guilt, until the day he won’t be able to escape anymore. Adoration is a courageous film in which Egoyan’s characters also find the peace through courage. They find it in a brand new kind of family, with members from uncommon backgrounds, who will be happy one day, because they dare to be. EK Adoration (Atom Egoyan, Canada, 2008). July 19: Moscow Cinema, Red Hall (18:00 and 22:00).

Landscapes filled with racism

Saroyan and cinema: a celebration

ased on true stories from the experiences of its protagonist Bashar Da’as, Driving to Zigzigland is a brilliant political comedy, shedding light on the post 9/11 atmosphere in Los Angeles and the oppressive politics of the Israeli government in Jerusalem and Ramallah.

Bashar is one of the million Muslim immigrants in the United States, who tries to keep the American dream in their heart, yet going with any job available – driving a taxi in the streets of Los Angeles carrying all kinds of customers. Like any other Muslim, he has to deal with the post 9/11 paranoia; anytime he must be ready for a visit by an FBI agent.

The film mainly follows him during a working night, trying to make the 500 hundred dollars necessary for his utilities. In order to avoid dull political discussions, he creates a fake heritage: he is from Zigzigland, a country that changes location and

uly 17th was William Saroyan’s day within the framework of Golden Apricot 2008. The start of the celebration of his 100th anniversary was exceptional. The son of an Armenian immigrant was born in America, where he had a great career as a novelist and playwright.

Yesterday, three films in one a way or another connected with Saroyan’s name, unknown to Armenians, were shown. Saroyan’s nephew Hank Saroyan and Dickran Kouymjian, people who were close to him, spoke about Saroyan and presented “Saroyanic” films. I was lucky to find seasoned film critic Zaven Boyajyan sitting right next to me and to have his professional comments on the films that were screened.

The first film shown was The Times of Your Life (1948), based on Saroyan’s Pulitzer Prize winning play The Time of Your Life. Although the play is

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language with any new customer he has in his taxi.

However, he still can’t always spare himself from customers who wonder whether he is a terrorist or who claim that Cat Stevens works for Al-Qaeda now.

In Zigzigland things are not much better: you need a passport to go from Ramallah to Jerusalem.

If god loves you, you can get a green card quickly.

Bashar explains the situation many times through his ironical, but friendly voice-over: ‘I’m not Jewish, so I must live as a visitor in my own land with a visa.

Being born in Bethlehem doesn’t really matter.

What matters is whether you are chosen or not’.

Mainly leaning on the successful performance of Bashar Da’as, Nicole Ballivian’s comedy describes two landscapes that are filled with racism. EK Driving to Zigzigland (Nicole Ballivian, USA, Palestine, 2006. July 19: Nairi Cinema, Main Hall (22:00).

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considered to be Saroyan’s masterpiece, the film has hardly anything to do with his play. Zaven Boyajyan named it a standard Hollywood movie of the 40s, graced with a great performance by James Cagney.

The second film, Good Job (1942), based on Saroyan’s A Number of Poors, was made by Saroyan himself in order to prove the MGM bosses that he could direct a film by himself, as it was disputed at that time whether Saroyan was to direct his Human Comedy script, or someone else. Non-director Saroyan did a really good job on his 10 minute film Good Job. Still it was decided to have Clarence Brown as the director for Human Comedy (1943), which followed the screening of Good Job. According to Zaven Boyajyan the film was made in a Soviet manner, in the sense of being ideologically pushy. The scenario won the Academy Award for best script.

All in all, it was a great chance to get acquainted with author Saroyan’s involvement in cinema. DV

Ìð²¶Æð/PROGRAM

7 N6, 19 ÑáõÉÇëÇ 2008

No. 6, July 19 2008

ß³µ³Ã 19 ÑáõÉÇëÇ / saturday july 19 ØáëÏí³ Ï/Ã, ϳåáõÛï ¹³ÑÉÇ×

ØáëÏí³ Ï/Ã, ϳñÙÇñ ¹³ÑÉÇ×

ܳÇñÇ Ï/Ã, Ù»Í ¹³ÑÉÇ×

ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ

Moscow Cinema, Blue Hall

Moscow Cinema, Red Hall

Nairi Cinema, Large Hall

Naregatsi Art Center

16.00

18.00

16.00

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

Ü.îñ³ÝÏáõÇÉÇÝá/ N.Tranquillino, It, 52’, DW 15.00

²ñï³ùëáõÙ/ The Banishment

².¼íÛ³·ÇÝó¨/ A.Zvyagintsev, Rus, 150’, T 20.00

êϳý³Ý¹ñÁ ¨ ÃÇûéÁ/ The Diving Belle and The Butterfly ºñÏñå³·áõÃÛáõÝ/ Adoration

æ.Þݳµ»É/ J.Schnabel, Fr, 112’, YP

².¾·áÛ³Ý/ A.Egoyan, Can, 100’, CF

Îáñ³Í ·ÛáõÕÁ/ The Lost Village

18.00

Ø.ÊÇٻݻë ÜáõÝÛ»ë/ M. Jiménez Núñez, Esp, 52’, DW

22.00 ºñÏñå³·áõÃÛáõÝ/ Adoration

².¾·áÛ³Ý/ A.Egoyan, Can, 100’, CF

γñÙÇñ ³Ý³å³ï/ The Red Desert

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

ºñdzë³ñ¹áõÃÛáõÝ` ³é³Ýó »ñÇï³ë³ñ¹áõÃÛ³Ý/ Youth Without Youth

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

àã ³Ûë ³ß˳ñÑÇó/ Unworldly

ì.¶áÉáíݨ/ V.Golovnev, Rus, 23’, DW

20.00

êÇñ³í»å/ Romance

Î.´ñ»Û³/ C.Breillat, Fr, 99’, R 22.00

àõÕ¨áñáõÃÛáõÝ ¹»åÇ ¼Ç·½Ç·ëï³Ý/ Driving to Zigzigland

Ü.´³ÉÉÇíÛ³Ý/ N.Ballivian, USA/Pse, 92’, AN

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

§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

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Design: Gor Grigorian

Èáõë³ÝϳñÇã` ²Éµ»ñï äáÕáëÛ³Ý

Cover photo: Albert Poghosyan

Ðàì²Ü²ìàðܺð

N6, 19 ÑáõÉÇëÇ 2008