ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛ³Ý ³ç³ÏóáõÃÛ³Ùµ
#2 ²ñ³µ³Ï³Ý ·Çß»ñÝ»ñ »ñ¨³ÝÛ³Ý ·Çß»ñÝ»ñáõÙ §Ð³Û³ëï³ÝÂáõñùdz¦ ÏÇÝáåɳïýáñÙ ³é³Ýó ë³ÑÙ³ÝÝ»ñÇ 3 ØñóáõóÛÇÝ ýÇÉÙ»ñ` ÎáõÛñ Ëá½Á, áñÝ áõ½áõÙ ¿ Ãéã»É ÈéáõÃÛáõÝ ¼³ïÇÏÇ áïùÇó µéÝ³Í 4 ØÛáõë ³÷Á гñó³½ñáõÛó èáµ ÜÇÉëáÝÇ Ñ»ï/Interview with Rob Nilsson 5 Reviews of: 6 Opium War Looking for Palladin On Looking for Faces in the Clouds The Ocean Within Film of the Day: Blind Pig Who Wants to Fly 7
14 ÑáõÉÇëÇ, 2009 July 14 2009
Èáñ³Ý Laurent îÛáõ»ÉÁ Tuel Ù»ñÓ³íáñ inside the ßñç³å³ïáõÙ ring
Ìð²¶Æð/PROGRAM
No. 2, July 14 2009
2 N2, 14 ÑáõÉÇëÇ 2009
»ñ»ùß³µÃÇ 14 ÑáõÉÇëÇ / tuesday july 14 ØáëÏí³ Ï/Ã, ϳñÙÇñ ¹³ÑÉÇ×
ØáëÏí³ Ï/Ã, ϳåáõÛï ¹³ÑÉÇ×
ØáëÏí³ Ï/Ã, ÷áùñ ¹³ÑÉÇ×
Moscow Cinema, Red Hall
Moscow Cinema, Blue Hall
Moscow Cinema, Small Hall
13.00
10.00
16.00
*ä³É³¹ÇÝÇÝ áñáÝ»ÉÇë/ Looking for Palladin, 2-²ëë³-2/2-Assa-2,
ê.êáÉáíÛáí/S. Solovyov, Rus, 118’, YP
². Îñ³ÏáíëÏÇ/ A. Krakowski, Gtm/USA, 115’, FC, L/Eng,Esp, Sbt/ Eng
ܳÇñÇ Ï/Ã
îÝÇó ïáõÝ/ From Home to Home,
*سÛñë, »Õµ³Ûñë »õ »ë/ My Mother, My Brother and Me,
². ¶³ëå³ñÛ³Ý, ê. Øáõñ³¹Û³Ý/ A. Gasparyan, S. Muradyan, Arm, 30’, MA, L/Arm, Sbt/Eng
Ü.¸. ø³ÉÇë/N. D. Calis, Deu, 98’, AP, L/Germ, Arm, Sbt/Eng 12.00
º. êÏáÉÇÙáíëÏÇ/ J. Skolimowski, Pol, 80’, R, L/Pol, Sbt/Eng, Arm
*²÷ÇáÝÇ å³ï»ñ³½Ù/ Opium War,
ê. ´³ñÙ³Ï/S. Barmak, Kor/Afg, 90’, FC, L/Dari, Sbt/Eng
ֳϳﳷñ³Ï³Ý ½·»ëï. µ³½Ù³ÏÝáõ ÃÛáõÝ/A Fatal Dress: Polygamy,
¸. ÂáÙ÷ëáÝ/ D. Thompson, Fra, 100’, ODE, L/Fr, Sbt/Eng, Arm 19.30
Naregatsi Art Center
*úíÏdzÝáëÁ` Ý»ñëáõÙ/ The Ocean Within,
*êå³ÝáõÃÛ³Ý ·áñÍ/ Murder File: Hrant Dink,
ü. ²ÑÙ³¹ ʳÝ/F. Ahmad Khan, Ind/Sgp/Jap, 52’, AP
ê. ¸³ÙdzÝÇ, æ. è. ´Ç³ëÇ/ S. Damiani, J. R. Biasi, Ita, 52‘,DC, L/ Ita, Sbt/Eng
ú. úùù³Ý, ê. ¼Çû/ O. Okkan, S. Sitte, Deu, 81’, DAB, L/Germ, Tur, Sbt/Eng
20.00 ê³ñáÛ³ÝÇ Ïï³ÏÁ/ Saroyan’s Testament,
ÈÛáõ гÛåÇÝ/Liu Haiping, Chn, 98’, M, L/ Putonghua,Ita, Sbt/Eng
îݳÛÇÝ ³ëïí³ÍÝ»ñ/ Household Gods, î³ùëÇ §¾ÉÇ É³í ³¦/ Taxi “Chill Out”,
10 é»ÅÇëáñ/10 directors, Arm, 90’, AP, L/Arm, Sbt/ Eng
². سÝáõÏÛ³Ý/ A. Manukyan, Arm, 29’, AP
18.00 ØÛáõë ³÷Á/ The Other Bank,
¶. úí³ßíÇÉÇ/G. Ovashvili, Geo/Kaz, 90’, FC, L/Geo, Abkh, Rus, Sbt/Eng, Arm
12.00 öáÕÁ ïáõñ »õ ³ÙáõëݳóÇñ/ Cash & Marry,
². ¶»áñ·Ç»õ/A. Georgiev, USA/Mkd/Hrv/Aut, 76’, DC, L/Multilingv, Sbt/Eng 18.00 ²Ý³å³ïÇ Ñ³ñëݳóáõÝ»ñÁ/ Desert Brides,
16.00 îËáõñ ÷áÕáóÇ Éáõë³µ³óÁ/Dawn of the Sad Street,
². ²ßåǽ/A. Ushpiz, Isr, 90’, DC, L/Hebr, Arab, Sbt/Eng, Arm
². ØÏñïãÛ³Ý/ A. Mkrtchyan, Arm, 105’, MA, L/Arm, Sbt/Eng
20.00 úíÏdzÝáëÁ` Ý»ñëáõÙ/ The Ocean Within,
ê. ¸³ÙdzÝÇ, æ. è. ´Ç³ëÇ/S. Damiani, J. R. Biasi, Ita, 52‘,DC, L/Ita, Sbt/Eng, Arm
¼³ïÇÏÇ áïùÇó µéݳÍ/ Grasping at the Lady Bird’s Leg,
². ²½³ïÛ³Ý/A. Azatyan, Arm, 19’, AP, L/Arm, Sbt/ Eng
سÛñë, »Õµ³Ûñë »õ »ë/ My Mother, My Brother and Me,
ÈéáõÃÛáõÝ/Silence,
î. γñ³å»ïÛ³Ý/ T. Karapetyan, Arm, 29’, AP, L/Multilingv, Sbt/Eng, Arm
ê. êáÉáíÛáí/S. Solovyov, Rus, 142’, YP’, L/Rus, Sbt/ Eng
ÎáõÛñ Ëá½Á, áñÝ áõ½áõÙ ¿ Ãéã»É/Blind Pig Who Wants to Fly,
²Ùå»ñáõÙ ¹»Ùù»ñ ÷Ýïñ»Éáõ í»ñ³µ»ñÛ³É/ On Looking for Faces in the Clouds,
Ü.¸. ø³ÉÇë/N. D. Calis, Deu, 98’, AP, L/Germ, Arm, Sbt/Eng, Arm
ê. ´ÉáÙ/S. Blom, Nld, 49’, DC, L/Fr, Eng, Sbt/Eng, Arm
20.00 ºñ³ÝáõÃÛáõÝ/Cloud 9,
². ¸ñ»½»Ý/A. Dresen, Deu, 98’, ODE, L/Germ, Sbt/Eng, Arm
¾¹íÇÝ/Edwin, Idn, 77’, FC, L/Indones, Sbt/Eng, Arm
22.00 33 ûñ/33 Days,
Ø. سëñÇ/Mai Masri, Lbn/Pse, 70’, AN, L/Arab, Sbt/Eng
Afg – Afghanistan Are – UAE Arg – Argentina Arm – Armenia Aus – Australia Aut – Austria Aze – Azerbaijan Bel – Belgium Bgr – Bulgaria Bol – Bolivia Can – Canada Chn – China Cmr – Cameroon Cze – Czech Republic
PARTNERS
Deu – Germany Dnk – Denmark Dza – Algeria Egy – Egypt Esp – Spain Fin – Finland Fra – France Gbr – UK Geo – Georgia Gtm – Guatemala Hrv – Croatia Hun – Hungary Idn – Indonesia Ind – India Irn – Iran Irl – Ireland Isr – Israel Ita – Italy
Jpn – Japan Kaz – Kazakhstan Kgz – Kyrgyzstan Kor – South Korea Lao – Laos Lbn – Lebanon Mex – Mexico Mkd – Macedonia Nld – Netherlands, The Pol – Poland Pse – Palestine Rom – Romania Rus – Russia Sgp – Singapore Srb – Serbia Svn – Slovenia Tjk – Tajikistan
Tur – Turkey Ukr – Ukraine USA OF – ´³óÙ³Ý ýÇÉÙ/Opening film FC – ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ/Feature Competition DC – ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ/ Documentary Competition AP – гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ/ Armenian Panorama DAB – è»ÅÇëáñÝ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñÇ/Directors Across Borders
ODE – Ø»Ï ûñ ºíñáå³ÛáõÙ/ One Day in Europe YP – ºñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³/ Yerevan Premier R – è»ïñáëå»ÏïÇí/ Retrospective T – гñ·³ÝùÇ ïáõñù/Tribute M – ì³ñå»ïÝ»ñ/Masters MM – سñ·³ñ»ï Øǹ ÷³é³ïáÝÇ Íñ³·Çñ/ Margaret Mead Festival Program MA – Üϳñ³Ñ³Ýí³Í ¿ г۳ëï³ÝáõÙ/Made in Armenia CF – ö³ÏÙ³Ý ýÇÉÙ/Closing Film
². ¶³ëå³ñÛ³Ý, ê. Øáõñ³¹Û³Ý/ A. Gasparyan, S. Muradyan, Arm, 30’, MA, L/Arm, Sbt/Eng 14.00
*²ÝóÙ³Ý ßñç³ÝÇ ÏáñáõëïÝ»ñ/ Lost in Transition,
Â. ì. ´»Ï»Ý /T. V. Beken, Bel, 60’, DAB, L/Serb, Sbt/Eng 16.00 âÇÝ³Ï³Ý Ï³åáõÛï/ China Blue,
Ø. ä»É»¹/M. Peled, Chn, 87’, MM, L/Chinese, Sbt/ Rus 18.00
*èáõÙµ»ñÇ µ»ñù³Ñ³í³ù/ Bomb Harvest,
ø. Øáñ¹áÝÃ/K. Mordaunt, Lao/Aus, 88’, MM, Sbt/ Eng
Editor in chief: André Waardenburg ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý
*– Without Armenian Translation/²é³Ýó ѳۻñ»Ý óñ·Ù³ÝáõÃÛ³Ý
13. 30 îÝÇó ïáõÝ/ From Home to Home,
ê. ´ÉáÙ/S. Blom, Nld, 49’, DC, L/Fr, Eng, Sbt/Eng
ì. öÇÉÇÏÛ³Ý/V. Pilikian, UK, 7’, AP, No dialogue
20.00
20.30
²Ýݳ γñ»ÝÇݳ/ Anna Karenina
11.00
*²Ùå»ñáõÙ ¹»Ùù»ñ ÷Ýïñ»Éáõ í»ñ³µ»ñÛ³É/ On Looking for Faces in the Clouds,
18.00
22.00
12.00
سɻ·³áÝÇ ·»ñÙ³ñ¹ÇÏ/ Supermen of Malegaon,
êÇñáí »õ »ñ³Ëï³·Ç ïáõÃÛ³Ùµ/ With Love and Gratitude,
Î.ú·áõñÇ/K. Oguri, Jap, 105’, R, L/Jap, Sbt/Eng, Arm
è. ÜÇÉëáÝ/R. Nilsson, USA, 95’, R, L/Eng, Sbt/ Arm
10.00
ì. гÏáµÛ³Ý/ V. Hakobyan, Rus, 93’, AP, L/Rus, Sbt/Eng
Ø. ²ñëɳÝ/M. Arslan, Tur, 45’, DAB, L/Tur, Kurd, Sbt/Eng
14.00 âÇݳëï³ÝÁ Ñ»éáõ ¿` âÇݳëï³ÝÁ »õ ²ÝïáÝÇáÝÇÝ/ China is far away˜ Antonioni and China,
16.00 øÝ³Í Ù³ñ¹Á/ Sleeping Man,
ÐÛáõëÇë³ÛÇÝ ÉáõÛë»ñ/ Northern Lights,
Pupt. Theatre, Small Hall
äɳïáÝ/Platon,
18.00
γÝáÝÝ»ñÁ ÷áËí»É »Ý/ Change of Plans,
Pup. Theatre, Big Hall
¶. гñáõÃÛáõÝÛ³Ý/ G. Harutyunyan, Arm, 54’, MA, L/Arm
17.00
üñ³ÝëdzÛÇ ûñ/French Day
ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ
18.00
12.00
гïáõÏ Ýß³ÝÝ»ñ/ Rysopis,
îÇÏÝÇÏ. óïñáÝ, ÷áùñ ¹³ÑÉÇ×
Nairi Cinema
10.00
15.00
îÇÏÝÇÏ. óïñáÝ, Ù»Í ¹³ÑÉÇ×
Èñ³·ñáÕÝ»ñ` ÎÇë ¸ñÇ»ë»Ý, ¾íñÇ٠γ۳, ²ÝÇ Ô³ñ³µ³ÕóÛ³Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ÜáõÝ» гËí»ñ¹Û³Ý, γñÇÝ ¶ñÇ·áñÛ³Ý Èáõë³ÝϳñÇã` γñÇÝ ¶ñÇ·áñÛ³Ý, ¶¨áñ· ¶³ëå³ñÛ³Ý
General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan Journalists: Kees Driessen, Evrim Kaya, Ani Gharabaghtsyan, Karin Grigoryan, Nune Hakhverdyan, Raffi Movsisyan, Davit Vardazaryan Photos: Karin Grigoryan, Gevorg Gasparyan
3 N2, 14 ÑáõÉÇëÇ 2009
ܲʲ¶Ìºð
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ì»ó»ñáñ¹ §àëÏ» ÍÇñ³ÝǦ ³é³çÇÝ ³ñ¹ÛáõÝùÝ»ñÁ` 158 ýÇÉÙ, 150-Çó ³í»ÉÇ ÑÛáõñ ³ñï»ñÏñÇó, 52 Ù³ëݳÏÇó »ñÏÇñ
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INTERVIEW
5 N2, 14 ÑáõÉÇëÇ 2009
Rob
§àëÏ» ÍÇñ³Ý¦ ÷³é³ïáÝÁ Ý»ñϳ۳óÝáõÙ ¿ èáµ ÜÇÉëáÝÇ »ñ»ù ýÇÉÙ: ºñ»ëáõÝ ï³ñÇ ¿` ÜÇÉëáÝÝ ³ÝÏ³Ë ÏÇÝáé»ÅÇëáñ ¿, áí Çñ ýÇÉÙ»ñáõÙ Ý»ñ·ñ³íáõÙ ¿ áã åñáý»ëÇáÝ³É ¹»ñ³ë³ÝÝ»ñÇ, û·ï³·áñÍáõ٠ѳÝå³ïñ³ëïÇó ï»ë³ñ³ÝÝ»ñ ¨ ÷áùñ µÛáõç»: »¨ ·ñ»Ã» 70 ï³ñ»Ï³Ý ¿, µ³Ûó Ñ»é³Ý³Éáõ áñ¨¿ Ùï³¹ñáõÃÛáõÝ ãáõÝÇ: §²éç¨áõÙ ¹»é ß³ï ýÇÉÙ»ñ ϳݦ:
Nilsson
²½³ïáõÃÛáõÝÝ ³ÛÝ ¿, »ñµ å³Ñå³ÝáõÙ »ë áõÝ»ó³Í¹ ÓÇñùÁ:
The Golden Apricot festival is presenting three features by Rob Nilsson. For thirty years, Nilsson has been a fiercely independent filmmaker, using non-professional actors, improvised scenes and low budgets. Nearing 70, he has no intention of quitting. ‘I’m making more films than ever.’
that, I’ve acted in television shows like Beverly Hills 90210 and Miami Vice. But that’s a means to an end, to get a little dough together to get the mission moving.’ The last fifteen years you’ve been doing Direct Action filmmaking, like Need (2005). Could you describe that method? ‘It mostly took place in a San Francisco area called Tenderloin, a sort of dumping ground for humanity. Homeless people, drug users, prostitutes. People on the run. Now, I already had experience in working with non-actors, ever since the farmers in Northern Lights. I believe that Marlon Brando exists every three or four blocks, he just doesn’t know it yet. My job is not to get these people to act. That’s not important. I want to help them to feel, to get this energy flowing inside. We use exercises and workshops, doing improvisations and creating back-stories. And then, when you start making the movie, it becomes kind of a jazz ensemble, everybody plays their own character like an instrument, improvising together. It’s like a documentary jazz technique to make fiction. It is all extremely informal and very low-budget.’
— ÆëÏ ³Ûëï»Õ ·³Éáõó ³é³ç г۳ëï³ ÝÇÝ ³éÝãí»±É ¿Çù: — ²éÝãí»É ¿Ç ³ÛÝù³Ýáí, áñù³Ýáí ϳñ¹³ó»É ¿Ç ³Ûë »ñÏñÇ Ù³ëÇÝ: γñ¹³ó»É »Ù г۳ëï³ ÝÇÝ í»ñ³µ»ñáÕ ËݹÇñÝ»ñÇ Ù³ëÇÝ: ØÇ ³Ý·³Ù ¿É ØÛáõÝË»Ýáõ٠ѳݹÇå»É »Ù ö³ñ³ç³ÝáíÇÝ: ºë Ýñ³ §Øáé³óí³Í ݳËÝÇÝ»ñÇ ëïí»ñÝ»ñǦ Ù»Í »ñÏñå³·áõÝ »Ù: ÆëÏ ÁݹѳÝñ³å»ë г Û³ëï³ÝÇ Ñ³ñóáõÙ §¹ÇÉ»ï³Ýï¦ »Ù: — ƱÝã »ù Ùï³ÍáõÙ ÐáÉÇíáõ¹Ç Ù³ëÇÝ` ÉÇ Ý»Éáí ¹ñ³ÝÇó ¹áõñë: — ºë ³Ù»Ý ÇÝã ³ñ»É »Ù ÐáÉÇíáõ¹Çó ¹áõñë ÉÇ Ý»Éáõ ѳٳñ: öáñÓ»É »Ù Ýϳñ³Ñ³Ý»É ýÇÉÙ»ñ, áñáÝù ÇÝÓ »Ý Ñ»ï³ùñùÇñ: ÐáÉÇíáõ¹áõÙ ÝÙ³Ý åñ³ÏïÇϳ ß³ï ѳ½í³¹»å ¿ ÉÇÝáõÙ: Æ٠ϳñ ÍÇùáí ÐáÉÇíáõ¹Á ÷áÕÇ, ųٳݳÏÇ, ¿Ý»ñ·Ç³ÛÇ ë³ñë³÷»ÉÇ í³ïÝáõÙ ¿: úñÇݳÏ, ³ÝÑݳñÇÝ ¿ å³ïÏ»ñ³óÝ»É ÐáÉÇíáõ¹áõÙ ³ß˳ïáÕ ö³ñ³ ç³Ýáí: ²ÛÝï»Õ »ñµ»ù ã»Ý ³ß˳ï»É ´»ñ·Ù³ ÝÁ, î³ñÏáíëÏÇÝ:
You have always been quick to use cheap new technologies. First video, and now digital. Has the digital revolution made your work easier? ‘It certainly made it possible, I’m filming more than ever now. With 16mm or 35mm, this work would be very cumbersome. The technology shouldn’t be in the way of the experience of the player. Because the more technology you have, the less life of its own accord can come in and surround us and relax us. And with film, you had to have money, but you hardly need any for digital.’
²Ù»Ý ÇÝã ³ñ»É »Ù ÐáÉÇíáõ ¹Çó ¹áõñë ÉÇÝ»Éáõ ѳٳñ:
— ¾·á Û³ÝÝ ³ëáõÙ ¿, áñ Ðá ÉÇ íáõ ¹ÇÝ Ñ³ ϳ¹ñí»ÉÁ ѳٳñÅ»ù ¿ ÇÝùݳëå³ÝáõÃÛ³Ý: — ²Ûá, ѳٳӳÛÝ »Ù, ϳñÇ»ñ³ÛÇ ÇÝùݳë å³ÝáõÃÛáõÝ ¿: ´³Ûó »ë ¹»é ϻݹ³ÝÇ »Ù... — ÆëÏ ÐáÉÇíáõ¹áõÙ ãϳ± ÙÇ µ³Ý ϳ٠ٻÏÁ, áñ Ò»½ ¹áõñ ¿ ·³ÉÇë: — æáÝ Î³ë³í»ïÇëÁ: ÆÝÓ ³í»ÉÇ ß³ï Ñ» ï³ùñùñáõÙ ¿ Çñ³Ý³Ï³Ý ÏÇÝáÝ` ³ë»Ýù ødz ñáëóÙÇÝ, سËٳɵ³ýÁ: ²Û Ýñ³Ýù ·áñÍáõÙ »Ý ëñïÇ Ã»É³¹ñ³Ýùáí, ³ÙµáÕç ûñ·³ÝǽÙáí: — àõݻݳÉáí §²ÝÏ³Ë ÏÇÝáÛÇ é³ÑíÇñ³¦ ÏáãáõÙÁ` DZÝã ϳë»ù ³½³ïáõÃÛ³Ý Ù³ëÇÝ: à±ñÝ ¿ Ò»ñ ³½³ïáõÃÛáõÝÁ: — ºë í»ñóÝáõÙ »Ù ÃáõÕÃ, ëÏëáõÙ »Ù åá»Ù ·ñ»É, ÙÇ ïáÕ, Ñ»ïá` ѳçáñ¹Á: ºë »Ù, ÃáõÕà áõ ·ñÇãÁ ¨ Ù»½ ßñç³å³ïáÕ ³ß˳ñÑÁ: ²½³ïáõÃÛáõÝÝ ³ÛÝ ¿, »ñµ å³Ñå³ÝáõÙ »ë áõÝ»ó³Í¹ ÓÇñùÁ: ÆëÏ Å³ ٳݳϹ ½áõñ í³ïÝ»Éáí` ëå³éáõÙ »ë ³ÛÝ: — ÆÝãå»±ë ϵÝáñáß»ù Direct Action Ïáãí³ ÍÁ, áñÇ í³ñå»ïÝ »ù ѳٳñíáõÙ:
him in Hollywood? From my point of view, it’s mostly a waste of time, energy, and money. The guy who made me want to make movies, John Cassavetes, did work in the industry sometimes, but mostly as an actor, to make money. I’ve done
I believe that Marlon Brando exists every three or four blocks.
— ¸áõù ³é³çÇÝ ³Ù»ñÇϳóÇ é»ÅÇëáñÝ »ù, áí ³ñųݳó»É ¿ ê³Ý¹»ÝëÇ ÏÇÝá÷³é³ïá ÝÇ ÅÛáõñÇÇ Ù»Í Ùñó³Ý³ÏÇÝ ¨ γÝÝÇ §àëÏ» ÏÇÝáËóÇÏÇݦ: Øñó³Ý³ÏÝ»ñÝ Ç±Ýã »Ý ³Ý Ï³Ë ÏÇÝá Ý»ñϳ۳óÝáÕ é»ÅÇëáñÇ Ñ³Ù³ñ: — ܳ˨³é³ç` ѳçáñ¹ ýÇÉÙÁ Ýϳñ³Ñ³Ý» Éáõ Ñݳñ³íáñáõÃÛáõÝ: Øñó³Ý³ÏÁ Ýå³ëïáõÙ ¿ ýÇݳÝë³íáñáõÙ ëï³Ý³ÉáõÝ: ºí, ÇѳñÏ», ÷³é³ïáÝ»ñÇ Ù³ëݳÏó»ÉáõÝ` ÇÝãå»ë §àëÏ» ÍÇñ³Ýݦ ¿:
— ºí »ñµ»ù ·³ÛóÏÕáõÃÛáõÝ ãDZ »Õ»É: — â¿Ç ³ëÇ: ÎϳٻݳÛÇ ·Ý³É, »Ã» ÇÝÓ ï³ÛÇÝ ³½³ïáõÃÛáõÝ ¨ ÷áÕ` ³Ý»Éáõ ѳٳñ ³ÛÝ, ÇÝã »ë »Ù áõ½áõÙ: ²ÛÝï»Õ íï³Ý·³íáñ ¿. »Ã» ѳçáÕáõ ÃÛ³Ý »ë ѳë ÝáõÙ, áõ ½áõÙ »Ý, áñ ÏñÏÝ»ë ³ÛÝ: ä³ïñ³ëïíáõÙ »Ù ³é³çÇϳÛáõÙ ³ß˳ï»É ³ÛÝåÇëÇ ³ëïÕ»ñÇ Ñ»ï, ÇÝãåÇëÇù »Ý ¶³Û öÇñëÁ ¨ سñdz ¶ñ³ódz ÎáõãÇÝáï³Ý, µ³Ûó ã»Ù áõ ½áõÙ ÙïÝ»É ÏÇ Ýá µÇ½ Ý» ëÇ Ù»ç. ¹³ ß³ï ¹³Å³Ý ¨ ïËáõñ µ³Ý ¿:
No. 2, July 14 2009
— ¸³ ³ÛÝ ¿, »ñµ ϳñáÕ »ë ³ß˳ï»É Ù³ñ¹ ϳÝó Ñ»ï, áñáÝó ã»ë ׳ݳãáõÙ: Üϳñ³Ñ³ÝÙ³Ý Ññ³å³ñ³ÏáõÙ ÇÙ Ùáï»óáõÙÁ Ñ»ï¨Û³ÉÝ ¿. »ë Ýå³ï³Ï ãáõݻ٠¹»ñ³ë³ÝÝ»ñÇÝ, áñáÝó §Ë³ Õ³óáÕÝ»ñ¦ »Ù ³Ýí³ÝáõÙ, ëïÇå»É ˳ճÉ... ºë áõ½áõÙ »Ù, áñ Ýñ³Ýù ½·³Ý: Direct Action-Á Ù³ñ¹ ϳÝó ëïÇåáõÙ ¿ ÷áñÓ»É ·ïÝ»Éáõ Çñ»Ýù Çñ»Ýó: ÂáõÛÉ ¿ ï³ÉÇë ÇÙåñáíǽ ³Ý»É, ß»Õí»É ëó»Ý³ ñÇó: ²Û¹å»ë ÏÇÝáëï»ÕÍÙ³Ý ·áñÍÁÝóóÇÝ Ï³ ñáÕ ¿ Ù³ëݳÏÇó ¹³éÝ³É ó³Ýϳó³Í áù: γñ ÍáõÙ »Ù` سñÉáÝ ´ñ³Ý¹á ·áÛáõÃÛáõÝ áõÝÇ Ûáõñ³ù³ÝãÛáõñ ÑÇÝ·»ñáñ¹ ϳ٠í»ó»ñáñ¹ óճ Ù³ëáõÙ: ÆÝùÝ áõÕÕ³ÏÇ ã·ÇïÇ: ä»ïù ¿ Ñݳñ³ íáñáõÃÛáõÝ áõݻݳ: Direct Action-Á ÙÇ ï»ë³Ï ç³½-³Ýë³ÙµÉ ¿: — Ò»ñ ýÇÉÙ»ñáõÙ ³ñͳñÍíáõÙ »Ý ËݹÇñ Ý»ñ, óáõÛó »Ý ïñíáõÙ Éáõñç åñáµÉ»ÙÝ»ñ áõ Ý»óáÕ Ï»ñå³ñÝ»ñ: Ò»ñ ϳñÍÇùáí ÏÇÝáÝ Ï³ñá±Õ ¿ ËݹÇñÝ»ñ ÉáõÍ»É: — ²ÛÝåÇëÇ áÕµ»ñ·³Ï³Ý Ï»ñå³ñ, ÇÝãåÇëÇÝ îñáóÏÇÝ ¿ñ, ϳñÍáõÙ ¿ñ, áñ ÏÇÝáÛÇ ÙÇçáóáí ϳ ñ»ÉÇ ¿ í»ñ³óÝ»É Ñ³ñµ»óáÕáõÃÛáõÝÁ: ºë ϳñÍáõÙ »Ù` Ù»ñ ³Ù»Ý³Ù»Í ËݹÇñÁ Ù³ñ¹ ÙݳÉÝ ¿: ²ÛÝ å»ë áñ, Áëï Çë, ÏÇÝáÝ áã ³ÛÝù³Ý ËݹÇñÝ»ñ ¿ ÉáõÍáõÙ, áñù³Ý ëïÇåáõÙ ¿ ³í»ÉÇ Ï»Ý¹³ÝÇ, ³í»ÉÇ Ù³ñ¹Ï³ÛÇÝ ÉÇÝ»É, ½·³É ³í»ÉÇÝ, Ùï³Í»É ³í»ÉÇÝ ¨ ÉÇÝ»É ³í»ÉÇÝ:
n ¸³íÇà ì²ð¸²¼²ðÚ²Ü
Hollywood rarely wants to make films with a heart.
The festival is showing your first feature, Northern Lights (1978), about poor American farmers in 1915. Your grandfather was already a filmmaker then. He could have made a documentary about it. ‘Actually, he did. He started working in 1907 and we used a lot of his old footage that was found in a garage somewhere, for documentaries that we made about the old man who plays the storyteller in Northern Lights. Unfortunately, when I started filmmaking my grandfather had already passed away, so I never got to talk to him about it.’ Ever since Northern Lights, you have made independent, low-budget, often documentary style feature films. Were you ever tempted by Hollywood? ‘I’ve done my best to stay out of it. Hollywood rarely wants to make films with a heart. Look at the great filmmakers. Bergman never went there, Tarkovsky never went there. Or Parajanov, whom I met once in Munich, years ago, and whose Shadows of our Ancestors I greatly admire. Can you picture
How many new projects are you working on? ‘We did four feature films in a new workshop last year, we’re cutting those. I just did a film with Stacy Keach called Imbued, and submitted it to Venice. I’m working on a project called Woman Number One, about Willem de Kooning. I’m going to Italy to try and get Maria Grazia Cucinotta for that, and I’ve got Stacy Keach and Ron Perlman, who already participated in our Direct Action work. For another project, I’m trying to reach Viggo Mortensen and Guy Pearce. I do also work like that once in a while. So, how much is that? Seven or eight films.’ You mention some very famous actors. Can you work with them without giving up your way of working? ‘That’s the bet. The more money you raise and the bigger the reputation, the more you lose power. But we are trying to expand the business side of our projects, because that will mean more people will get a chance to participate. However, I’m not betting everything on the film business, it’s too cruel and too sad. I have always been a poet and in the end, I’ll always have my pencil to work with. I get a piece of paper, I write a line, I write another line, and it will be a poem. Just me, the paper, and the world around us.’
n Kees Driessen
REVIEWS
6 No. 2, July 14 2009
feature competition
Americans in Afghanistan After the success of his 2003 Golden Globe winning Osama, Afghan director Siddiq Barmak again portrays his troubled homeland in his ambitious Opium War. The tragicomic film pitches two stranded American soldiers against an Afghan family, living in an abandoned Soviet tank and forced to grow opium for the Taliban. A young Afghan boy called Scorpion chances upon the crashed helicopter that left two American soldiers stranded in the Afghan desert. Hardened by war, Scorpion is unimpressed by the sight of the unconscious men. Instead, he steals their knife. He then returns to his family, who live in an abandoned Soviet tank, next to a single poppy field amidst an endless expanse of sand. When they regain consciousness, the wounded white American officer orders his black subordinate to carry him through the desert. When they discover the poppy field, they use the drug to kill their pain and quell their fears. But while suspicions and aggression separate the Americans from the Afghans, both parties also fight amongst themselves. The officer points a gun at his subordinate, and the family is arguing continuously, blaming their bad luck on one unhappy woman’s unwelcome pregnancy. This hard look on the reality of Afghan life is offset by surreal situations. An old truck, destined to become someone’s new home, pulled through the desert by mules. Or a long line of burka-clad Taliban, walking single file towards the tank to claim the opium profits. Opium War is carried along by a score by Daler Nazarov, incorporating traditional folk themes.
KD Opium War (Siddiq Barmak, Afg/Jpn/Kor/Fra, 2009). July 14: Moscow Cinema, Blue Hall (12.00); July 15: Moscow Cinema, Blue Hall (21.00).
documentary competition
Crazy Boat
Gucci’s in Guatemala What can an American be looking for when he steps with his Gucci-ed feet on the land of Guatemala? Andrzej Krakowski’s Looking for Palladin is a version of the answer to this question. Although Palladin is the name in the title, the film is more about the main character of the film, an arrogant Hollywood agent called Josh Ross. Twotime Oscar winner Palladin (played by veteran actor Ben Gazzara) is Ross’s ‘obscure object of desire’, who he desperately tries to find. But the reasons for his search for Palladin, as if he looks for something valuable as the magic lamp of Alladin, are changing while the story develops. One complicating factor in the journey Ross undertakes is that retired star Palladin was once married to Josh’ late mother. In the end, almost a happy one, it’s a bit popularly shown that despite our looking for others we often find ourselves.
Spanish directors Juliane Reinert Biasi and Sergio Damiani follow a strange crew through the Atlantic Ocean: mentally disordered bass player, singer and composer Pier Gianni Burreddu and his friends who have been suffering from severe mental illnesses like him for several years. Their families also accompany them sailing across the ocean and soon it becomes evident that these people are already on this long journey across their ‘ocean within’. And for Burreddu this has a special meaning since the wind will take him further till Sardinia, the home he left ten years ago. The film conveys the information that things have changed within the psychiatric system of Italy since 1968, a time when the nurses were not allowed to inform families about the patients’ condition. In 1978 asylums were closed but the painful and derogatory electric shock treatment that Burreddu and his friends were subject to still continues. The neutral manifestation of this journey by the two directors points to an alternative treatment that aims at recovering the life energy and self respect of these people, who faced the stigma of asylum, who felt unwanted by the society and their beloved ones and considered themselves disappointments to their families. By showing them in their struggles for a ‘slightly more independent life’, the film describes the very humane essence of the people in this ‘crazy boat’ and builds slowly this feeling of hope—not only for them but also for the ‘healthier’ ones, since we are all in the same boat after all...
EK DV Looking for Palladin (Andrzej Krakowski, USA/Guatemala, 2009). July 14: Moscow Cinema, Blue Hall (10.00).
The Ocean Within (Juliane Reinert Biasi and Sergio Damiani, Italy, 2008). July 14: Puppet Theatre, Small Hall (10.00); Puppet Theatre, Small Hall (20.00).
Faces in the clouds Everyone does it: looking for faces in the clouds. Dutch director Sander Blom made a curious, essayistic documentary, to see if this propensity to see patterns in random images is stronger near sites, famous for their ‘sightings’. He looked at the surrounding areas of two wellknown locations: Loch Ness and Lourdes. The first has seen countless sightings of its famous monster, whose existence remains to be proven. The second received, according to the Catholic Church, a vision of the Virgin Mary. Director Blom interviews people who live near these two sites, mostly in small villages, and lets them talk about faces and animals they recognize in rocks, trees and even a tomato. Blom structures his documentary as a semiscientific project. He defines the phenomenon (that, apparently, is called pareidolia, ‘seeing meaningful patterns in random structures’) and uses computer graphics to mark the location of his subjects and measure their ‘pareidolian score’. Some seemingly ‘scientific’ standard questions sometimes catch Blom’s subjects off-guard. Which
animal would they like to be, what is their worst characteristic, what would be their favourite way to die, et cetera. Ironically, Blom himself is looking for patterns in what might well be random data – a fact that he happily acknowledged in interviews he gave about his documentary. He is helped in his research by cameraman Vladas Naudzius, who previously shot Sharunas Bartas’ Trys dienos (1991). Naudzius intersperses the interviews with images of nature in which we, by now, automatically recognize forms and faces. We as viewers are like the school children we see at the beginning and end of this documentary. They are asked to finish a drawing, which only consists of a squiggly line. Like them, we have to add our own interpretations and ideas to what the director is showing us.
KD On Looking for Faces in the Clouds (Sander Blom, The Netherlands, 2009). July 14: Puppet Theatre, Small Hall (11.00 and 21.00).
7 No. 2, July 14 2009
FILM OF THE DAY/NEWS
Free, but aimless S
tevie Wonder wrote his hit ‘I Just Called To Say I Love You’ in 1984 for the film The Woman in Red by Gene Wilder, but it sounds as specially created for the first feature film by Indonesian director Edwin (1978), Blind Pig Who Wants to Fly. About every ten minutes someone starts to sing it, so the words of the black blind singer become a kind of chorus, in different situations, what makes it sometimes funny, sometimes sad, sometimes moving, sometimes repelling. Edwin doesn’t make a narrative film, but composes a mosaic of scenes that not always seem to fit, but at least lead to one conclusion: Indonesians with Chinese roots have a hard time in Indonesia. Following the absurd title, in the beginning of the film you see a tied-up pig that tries to free itself. At the end he walks around, free but aimless. Most characters in the film feel like this pig. Chinese Indonesians turn aside their face, not to be recognized on their origin. They want to
be Japanese or Muslim, like the majority of the society. When a little girl asks her boyfriend what he wants to be in the future, he answers: anything but Chinese. Serious matters, but Edwin often gives them a funny counter effect. For instance, the man who wants to become a Muslim to escape from his humiliations has an extra reason to do so: because then he may have more than one woman. This man is a dentist who starts the Stevie Wonder song any moment, and he means it always from the bottom of his heart. He is married to a former badminton champion but to help his young assistant, who wants to become a TV star, he lets himself be humiliated by a militaristic gay couple in a sexual trio. The result is a scene that is banal, confusing and heart breaking at the same time. The film is full of scenes that evoke counter feelings. Jokes have a deeper meaning, metaphors are sometimes taken very literal and cruel statements are packed in humor. Not being a
preacher, Edwin lets his audience fill in the meaning of his film, but at the same time he is as clear as mineral water. For the Chinese minority it is difficult to find a place for themselves or define their identity. The film starts with images of a badminton match between Indonesia and China. The Indonesian player is a woman from Chinese origin and a boy from the public shouts: ‘Who is Indonesia?’ The fundamental first question is immediately raised, but at the end of Blind Pig Who Wants to Fly still not answered. All characters are caught in a complex situation. The badminton player is the wife of the dentist. They have a daughter, who puts firecrackers in a sandwich and at the end she combines, together with her boyfriend from her youth, the song of Stevie Wonder with images of a political riot in 1998 when the Chinese minority had a lot to endure. Edwin jumps from the past to today and sometimes back again, and looks forward into an
insecure future, if there is one. Is there any hope when the camera goes up from the bounded pig into the blinding sunlight? Stevie Wonder sings: ‘In fact here’s just another ordinary day.’ Blind Pig Who Wants To Fly is an unusual, intuitive and free film by a young and talented director who knows the power of images and association can be, who knows that you shouldn’t always explain when something is serious or a farce, who doesn’t care about convention and tries to find his own way in the uncertainty, with a hand that doesn’t know but is sure at the same time. The film upsets, confuses and amuses. It leaves you with a lot of mixed feelings; being touched is not the least of them.
PvB Blind Pig Who Wants to Fly (Edwin, Indonesia, 2009). July 14: Moscow Cinema, Blue Hall (20.30); July 15: Moscow Cinema, Blue Hall (12.30).
Start of Armenia-Turkey Cinema Platform In the context of Armenian-Turkish cultural relations there are no closed borders. During the ‘Meetings on the Bridge’ workshop, held on the sidelines of the 28th International Istanbul Film Festival in May 2009, the Golden Apricot International Film Festival and a Turkish ‘Anadolu Kultur’ non-governmental organization announced the creation of the ‘Armenia-Turkey Cinema Platform’. The main goal of the Platform is to help Armenian and Turkish cinematographers engage in dialogue. Some film directors and cinema specialists on both sides are eager to produce joint films.
The decision to establish a long-term cooperation was made during two meetings, one of which, ‘Cinema and Historical Mutual Relations’, was held in 2008 in Istanbul and the second, ‘Cinema as Means of Cross-Cultural Dialogue’ was held in Yerevan. A visit to Armenia in 2008 was a revelation for Turkish film makers. Many of them admitted to experiencing what they called a ‘culture shock’ after a series of meetings with people here who are tied with Turkey through their personal stories. Some of the Turkish directors are again in Armenia for the 6th Golden Apricot International Film Festival.
The Turkish-Armenia Cinema Platform will present its first joint product six promising cinema projects. All are participating in the festival within the frameworks of Directors Across Borders forum. According to the new format of the forum, the projects will not be selected and will not be funded, but several film specialists from other countries (Andrzej Krakowski from Poland, Ariella Ben Dov from the USA, Jurgen Zeidler from Germany and Lyudmila Cvikova from the Netherlands) will hold a special workshop for their directors on film development and production. Cikdem Mater Utkun, head of the Film Center of Istanbul Boyazici University, one of the
initiators of the Cinema Platform, is in Yerevan now. During a previous meeting with colleagues he said he has 50 friends who are wishing to cooperate with Armenian film makers. It was also stressed many a time that the first subject of the Armenian-Turkish film dialogue was the Armenian Genocide that occurred in the first years of the past century. The Turkish-Armenian Cinema Platform will work from July 13 through July 16.
n Karin Grigorian Translated by Murad Mkrtchyan
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8 N2, 14 ÑáõÉÇëÇ 2009