N7 ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝ ´³ó ѳë³ñ³ÏáõÃÛ³Ý ÇÝëïÇïáõï (´áõ¹³å»ßïÇ ·ñ³ë»ÝÛ³Ï)
RA Ministry of Culture
Open Society Society Institute (OSI) Institute (OSI), Open Budapest -Budapest
20 JULY
§ÆÝÓ ï»ëÝáõÙ »Ù µáÉáñ Ñ»ñáëÝ»ñÇ Ù»ç` ÏÇÝ, û ïÕ³Ù³ñ¹¦,-³ëáõÙ ¿ ²Ýݳ Ø»ÉÇùÛ³ÝÁ
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гñó³½ñáõÛó ²ïáÙ ¾·áÛ³ÝÇ Ñ»ï
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» ÇÝãå»ë ÍÝí»óÇÝ §àëÏ» ÍÇñ³ÝǦ 5 ³½¹³·ñ»ñÁ
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Atom Egoyan gets Adoration
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The Route to the Roots Apricot Winners
6
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Golden Anna!
¶Èʲìàð Øðò²Ü²Î
2 N7, 20 ÑáõÉÇëÇ 2008
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3 N7, 20 ÑáõÉÇëÇ 2008
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4 N7, 20 ÑáõÉÇëÇ 2008
¶Èʲìàð Ðàì²Ü²ìàð
FIFTH
YEREV
AN IN
TERNA
TIONA
L FILM
FESTIV
AL GO
LDEN
13-20
APRIC
OT
008
LY 2
0 JU
13-2
8 200
ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛ³Ý ³ç³ÏóáõÃÛ³Ùµ
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5 No. 7, July 20 2008
INTERVIEW Golden amemories
‘Everyone wants to be a victim’
A
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. Egoyan focuses on Simon, a high school student who pretends to be the child of the Muslim terrorist. Masquerading under this 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. Why did you call your film ‘adoration’? For me the word adoration suggests an object of worship. There are lots of objects of adoration in this film, but the key one is Simon himself. He is an object of adoration, not only for his uncle, but also for his grandfather and Sabine as well; for reasons that he is not able to completely understand. The question is that people become who they are, they become objects. And the way people can also make themselves into object and the way people can objectify other people and present them as object. It is fascinating. There is an evolution in the film between the ideas of drama as a way of personal expression, but also as a means of therapy, and that once, when the drama teacher introduces this boy to his world of creating another persona, he can’t stop. Basically he has been thought to believe that there is this hundred years-old violence in his family, which is mystery. And of course he hasn’t been given access to the truth at that moment. Through the grandfather, the uncle and strangely enough even through Sabine, all these people are withholding information for him. They think that they are doing it for his own good, but it actually leads to this very unusual and quite dangerous behavior. I also think that modern culture provokes that. We are dealing with the Facebook generation. Anyone who has 500 friends or more on Facebook is not dealing with reality. They are dealing with the ability to create an alternate sense of who they are. On some level Simon’s story becomes entertaining, first to his classmates who are trying to figure out if he is telling out the truth, then to his professors and then to the greater public. But that interest lasts only a couple of weeks: then it becomes boring and dies away. His personal issues remain. And that’s what we find at the end of the film. He still needs to find the answer to what it is.
During the film you keep changing the perspective about who is really innocent. Do you think we can have a clear definition about innocence? There is the notion of fate, which can provide us with the notion of a false innocence. Is it naïveté or is it innocence? This is clearly one of the major situations in the film. How innocent is Simon when he is getting involved with Sabine’s manipulations? The idea of coming to the house in this costume, does Simon really not sense there is something else going on? Something is not spoken. If you have an intuitive sense of what is hiding, can you actually claim that you are innocent, that you didn’t know? Like the passive act of the uncle that killed the parents maybe? Exactly. All these scenarios between the grandfather, Sabine and Simon… The uncle says that he is not into drama, but in fact he is the master manipulator. He creates the most dangerous scenario of all when he takes Simon away from the house and doesn’t answer the phone. Again, is he innocent just because he didn’t commit the crime himself? He says to Sabine, ‘I know it is not my fault’, but Sabine answers that it ís his fault. It is hard to understand why Sabine waits so long to reveal her identity. I think this is a very interesting question. She waits for a long time until that moment, and some people are provoked by the fact that she hides it for so long. I see this whole game as her way of telling them. I don’t think she created the story just to reveal the truth, but the moment she sees Simon’s reaction she realizes that this is the right time. But she doesn’t tell him directly. Maybe she also has the tendency to protect him. But when she tells the uncle that she wasn’t upset with her husband when she left her, I am really sure that this is the story she created for herself. She must have been really upset; she must have been full of rage. Yet she creates this other myth that she was actually okay with this. Over time you create alternative narratives, you get control over them. It is very clear that this is a film made after 9/11. It is very much aware of the expectations and prejudices of the western viewer. Yet you are optimistic about the possibility of communication at the end. Where do you see the solution?
I know that people are capable of evil but I do have hope. It is ultimately about knowledge and education. The better educated we are, the more capable we are of understanding. I remember the stupid argument after 9/11, when some people used to say that Muslims provoke extremism. Just like Sami talks at the table about the crusades and the grandfather says, ‘Of course you know about these things, you are an educated man’. Trying to dismiss the idea of being educated, is one of the horrible aspects of the process. Ultimately we need to educate ourselves, we need to try to understand how human beings go through these catastrophes and how we can remedy that. And the hard choices we have to deal with in the end. I think it is a very hard choice for the uncle to admit that this boy has to be educated about his own history; he has to talk to this woman who probably has psychological issues. I don’t really think she is that stable, she is a very extreme character. But she says that people like her are everywhere, people who carry this violence. But it is not a solution to avoid them; you must try to understand them. The film is trying to express a system of familial or cultural education, which would create an open environment, understanding. The film has a lot to say about victims and what is means to be a victim… What really interested me in this film is that we are living in a culture where everyone wants to be a victim. Everyone wants to say that their lives have been somehow damaged by forces outside their control, this is a great way to excuse your own limitations and you own inability to move on. There are actually some true victims in this film, but the culture of victimization around it creates this noise that makes is hard to identify where the real pain is. One of the important things is the question about how we convey information. Does Google make us more stupid? The point is that we don’t have to make a physical journey anymore for information. This is also one of the main themes of the film, that the boy needs to make a physical pilgrimage. I strongly believe that we are losing touch with our physical selves. It is a very important part of our evolution that we have to stay in touch with physical reality.
Evrim Kaya and Lucy Setian
COLUMN
WINNERS
6 No. 7, July 20 2008
Do you like Armenian roots? A foreign guest arrives at 04.10 in Yerevan. About 06.10 he is in the hotel. A camera starts shooting him and still with his luggage in his hand he is asked by a pretty girl from tv: Hello, how are you? Guest: I’m fine, but tired. Girl: Why tired? Guest: Today there was not a direct flight from my home to Yerevan, so I had to travel via Moscow, where I had to wait six hours for the connection to Yerevan. Girl: You could have gone from Moscow airport to a hotel in Moscow to have a nap. Guest: But I didn’t have a visa for Russia. Girl: Why didn’t you have a visa for Russia? Guest: Because that wasn’t necessary to go to Armenia and only stay at the airport. Girl: I understand, so now you are in Yerevan at last. Do you like Yerevan? Guest: I don’t know yet, because I just arrived. Girl: Is this the first time you are in Yerevan? Guest: Yes. Girl: Why it’s the first time you are in Yerevan? Guest: Because I was never invited. Girl: But you could have come by yourself. Why didn’t you come by yourself? Is it because you don’t like Yerevan? Guest: It’s not becaue of that, and I didn’t say I don’t like Yerevan. Girl: So you like Yerevan? Guest: I don’t know yet, I only saw the airport and the way from the airport to the hotel. And on the way I only saw some casino’s. Girl: Do you think there are only casino’s in Yerevan? Guest: No, I didn’t say that, but that’s the only thing I saw, I couldn’t see anything of the landscape. Girl: But casino’s are in the landscape, why didn’t you watch the landscape, but only casino’s? Guest: The landscape was dark, and the casino’s have lights. Girl: Mmmh, but do you like Armenian people? Guest: I don’t know, I only met one man who wanted to be payed to give me a visa, another man who changed my foreign money into Drams, otherwise I could’n pay my visa, then after I got my visa there was another man who controlled my passport and my visa and than I met the driver who took me to the hotel. Girl: So you already met four Armenian men, did you like these men? Guest: I didn’t speak much with these four men. Girl: Why didn’t you speak with these men? You refuse to speak with Armenian men? Guest: Well, they didn’t speak so much to me and they didn’t speak my language or English. Girl: So you don’t speak the Armenian language? Guest: No. Girl: It’s up to you, but it’s very useful to speak Armenian language when you go to Armenia. But nevertheless, you met those men and you were in a car with a man for some time, don’t you have any impression? Guest. No. Girl: So you were not very interested to find out if this man is nice? Guest: Sorry, but he only spoke Armenian and I was tired. Girl: Why were you tired? Guest: Because it was a long trip. I had to fly via Moscow and had to wait there for six hours. As I told you before. Girl: So next time change your route and learn Armenian language, than you are less tired and you can try to talk with Armenian people better. Other question: Why are you here? Guest: I’m coming for the Golden Apricot International Film Festival. Girl: Do you like the festival? Guest: I don’t know yet, the festival starts tonight and I even don’t know which films are shown, and it is the first time I’m coming here. Girl: Why didn’t you come before? This is already the fifth edition, were you not interested the other years? Guest: I was, but I was not invited. Girl: But do you like apricots in general? Guest: Yes, I do. Giril: And apricot brandy you like? Guest: Maybe, I didn’t try yet. Girl: Why didn’t you try? Guest: Because I prefer to drink other drinks, like wine. Girl: Do you like Armenian wine? Guest: I don’t know, I never tasted. Girfl;: Why you didn’t taste? Guest: In my country they don’t have Armenian wine. Girl: Do you have other Armenian things, apart from wine? Guest: Let me think, I don’t know... Girl: Are there Armenian people living in your country? Guest: I heard, but I don’t know them. Girl: But if there are and you don’t know, is that because you are not interested in Armenian people? Guest: Yes, but I didn’t meet them yet. Girl: Maybe you don’t know, because those people are formaly no more Armenian, but have Armenian roots. Do you have Armenian roots? Guest: No, I don’t. Girl: Why don’t you have Artmenian roots? Most guests in the festival have Armenian roots. Guest: Not me, I’m sorry. Girl: But Armenians like most the guests with Armenian roots. Do you want to have Armenian roots? Guest: Sure, why not, but how can I get? Girl: Well, maybe it’s not possible, but if we finish this interview I can help that at least your children have Armenian roots. Let’s go to your room and work on it. Guest: Wow, I don’t feel tired anymore and yes, I love Armenian people!!!!
Peter van Bueren
Golden Apricot Award for Best Feature Film: The Mermaid Through the extraordinary story of a 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. EK
Golden Apricot Award for Best Documentary: Woman See Lot of Things The seductive title ‘Woman see lot of things’ comes from the nickname 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. EK
Silver Apricot (Feature film competition): Wonderful Town and Lemon Tree Silver Apricot (Documentary Competition): Lakhsmi and Me Special Mention: End of the Earth Golden Apricot for Best Armenian Film: The Blue Hour
The Blue Hour
7 N7, 20 ÑáõÉÇëÇ 2008
Øðò²Ü²Î²ÎÆðܺð
No. 7, July 20 2008
§àëÏ» ÍÇñ³Ý¦ ·É˳íáñ Ùñó³Ý³Ï` É³í³·áõÛÝ Édzٻïñ³Å ˳ճñϳÛÇÝ ýÇÉÙÇÝ §Golden Apricot¦ for Best Feature Film ²Ýݳ Ø»ÉÇùÛ³Ý §æñ³Ñ³ñëÁ¦ Anna Melikyan “The Mermaid”
§àëÏ» ÍÇñ³Ý¦ ·É˳íáñ Ùñó³Ý³Ï` É³í³·áõÛÝ í³í»ñ³·ñ³Ï³Ý ýÇÉÙÇÝ §Golden Apricot¦ for Best Documentary Film Ø»Ûñ³ ²ß»ñ §Î³Ý³Ûù ß³ï µ³Ý »Ý ï»ëÝáõÙ¦ Meira Asher “Woman See Lot of Things”
§²ñͳû ÍÇñ³Ý¦ ѳïáõÏ Ùñó³Ý³Ï Édzٻïñ³Å ˳ճñϳÛÇÝ ýÇÉÙÇÝ §Silver Apricot¦ Special Prize for Feature Film ²¹ÇïÛ³ ²ë³ñ³Ã §Ðñ³ß³ÉÇ ù³Õ³ù¦ Aditya Assarat “Wonderful Town”
§²ñͳû ÍÇñ³Ý¦ ѳïáõÏ Ùñó³Ý³Ï í³í»ñ³·ñ³Ï³Ý ýÇÉÙÇÝ §Silver Apricot¦ Special Prize for Documentary Film ÜÇßó æ³ÇÝ §È³ùßÙÇÝ »õ »ë¦ Nishtha Jain “Lakshmi and Me”
¾ñ³Ý èÇùÉÇë §ÎÇïñáÝÇ Í³é¦ Eran Riklis “Lemon Tree”
§àëÏ» ÍÇñ³Ý¦ É³í³·áõÛÝ Ñ³ÛÏ³Ï³Ý ýÇÉÙÇÝ §Golden Apricot¦ for Best Armenian Film ¾ñÇù ܳ½³ñÛ³Ý §Î³åáõÛï ųÙÁ¦ Eric Nazarian “The Blue Hour” §²ñͳû ÍÇñ³Ý¦ ѳïáõÏ Ùñó³Ý³Ï ѳÛÏ³Ï³Ý ýÇÉÙÇÝ §Silver Apricot¦ Special Prize for Armenian Film ¸Ç³Ý³ ØÏñïãÛ³Ý §¶³Ã³¦ Diana Mkrtchyan “Gata” ä³ïíá·Çñ سñdz٠úѳÝÛ³Ý §æñ³é³ï. Ù³Ýñ³å³ïáõÙÝ»ñ¦ Mariam Ohanyan “Jrarat, Miniatures” ¾ÏáõÙ»ÝÇÏ ÅÛáõñÇÇ Ùñó³Ý³Ï ¾ñÇù ܳ½³ñÛ³Ý §Î³åáõÛï ųÙÁ¦ ä³ïíá·Çñ Ð. γñ³µ»Û §Æ٠سéÉáÝÝ áõ ´ñ³Ý¹áݦ H. Karabey “My Marlon and Brando” FIPRESCI ÅÛáõñÇ Ð. γñ³µ»Û §Æ٠سéÉáÝÝ áõ ´ñ³Ý¹áݦ H. Karabey “My Marlon and Brando” §ö³ñ³ç³ÝáíÛ³Ý Ã³É»ñ¦ ѳٳß˳ñѳÛÇÝ ÏÇÝáÛáõÙ í³ëï³ÏÇ Ñ³Ù³ñ` ìÇÙ ì»Ý¹»ñëÇÝ “Parajanov’s Thaler” Award For Lifetime Achievement — Wim Wenders
Èáõë³ÝϳñÝ»ñÁ` ²Éµ»ñï äáÕáëÛ³ÝÇ/Photos: Albert Poghosyan
Colophon ܳ˳·ÇÍÝ Çñ³Ï³Ý³óÝáõÙ ¿ г۳ëï³ÝÇ ÏÇÝáùÝݳ¹³ïÝ»ñÇ áõ ÏÇÝáÉñ³·ñáÕÝ»ñÇ ³ëáódzóÇ³Ý Â»ñÃÁ ÉáõÛë ¿ ï»ëÝáõÙ §Ð³Û³ëï³ÝÇ ½ñáõó³ÏÇó¦ ß³µ³Ã³Ã»ñÃÇ ³ç³ÏóáõÃÛ³Ùµ ܳ˳·ÍÇ Õ»Ï³í³ñ` êáõë³Ýݳ гñáõÃÛáõÝÛ³Ý ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· 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 Ò¨³íáñáõÙÁ` ¶áé ¶ñÇ·áñÛ³ÝÇ Èáõë³ÝϳñÇã` ²Éµ»ñï äáÕáëÛ³Ý
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 Editor in chief: André Waardenburg Journalists (English pages): Janet Bariş, Victoria Coroban, Evrim Kaya, Lucy Setian 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 Design: Gor Grigorian Cover photo: Albert Poghosyan
Ðàì²Ü²ìàðܺð
N7, 20 ÑáõÉÇëÇ 2008