Golden Apricot Daily, 2009, #3

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²÷ÇáÝÇ å³ï»ñ³½Ù ØÇ Ù³ñ¹áõ ·ÛáõÕÁ ºñµ ë³ïÏáõÙ »ë ϳïíÇ å»ë 4 гñó³½ñáõÛó ÎáÑ»Û ú·áõñÇÇ Ñ»ï/Interview with Kohei Oguri 5 Reviews of A Room and a Half When You Die as a Cat Bonded Parallels The One Man 6 Village Film of the Day: Border

7

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15 ÑáõÉÇëÇ, 2009 July 15 2009

Sergey Solovyov: Giant of Russian Cinema

Ìð²¶Æð/PROGRAM

No. 3, July 15 2009

2 N3, 15 ÑáõÉÇëÇ 2009

ãáñ»ùß³µÃÇ 15 ÑáõÉÇëÇ / wednesday july 15 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

10.00

10.00 *Ø»Ï áõ Ï»ë ë»ÝÛ³Ï/ A Room and a Half,

12.30

ܳÇñÇ Ï/Ã

16.00 ØÇ Ý³ÛÇñ ѳۻÉáõÝ/Don’t Look into the Mirror,

Î. ÐáíѳÝÝÇëÛ³Ý/ K. Hovhannisyan, Rus, 104’, AP, L/Rus, Sbt/Eng *ÎáõÛñ Ëá½Á, áñÝ áõ½áõÙ ¿ Ãéã»É/Blind Pig Who Wants to Fly,

î. ²í»ïÇùÛ³Ý/T. Avedikian, Fra, 18’, AP, L/ Fr, Sbt/Eng

¾¹íÇÝ/Edwin, Idn, 77’, FC, L/Indones, Sbt/Eng 14.30 Ðñ³ß³·áñÍÇ ³ßáõÝÁ` îáÝÇÝá ¶áõ»ñ³/Autumn of the Magician˜Tonino Guerra,

13.00

R. Gevorgyants, V. Kevorkov, Arm, 52’, M, L/Arm, Sbt/Eng

гã³Ý ë»õ ßÝ»ñÁ/ Black Dog Barking,

16.00

Ø. ¾ñ, Ø. ¶áñµ³ã/M. Er, M. Gorbach, Tur, 90’, DAB, L/Tur, Sbt/Eng, Arm

öñ»ëù ÏÕ½ÇÝ/ Presque Isle,

è. ÜÇÉëáÝ/R. Nilsson, USA, 97’, R, L/Eng, Sbt/ Arm лßï ѳÕóݳÏ/ Walkover,

º. êÏáÉÇÙáíëÏÇ/ J. Skolimowski, Pol, 78’, R, L/Pol, Sbt/Eng, Arm 17.00 ê³ÑÙ³Ý/Border,

21.00 ²÷ÇáÝÇ å³ï»ñ³½Ù/ Opium War,

Ð. ʳã³ïñÛ³Ý/ H. Khachtaryan, Arm/Nld, 82’, YP, No dialogue

ê. ´³ñÙ³Ï/S. Barmak, Kor/Afg, 90’, FC, L/Dari, Sbt/Eng, Arm

19.30 سÑí³Ý ˳ÛÃÁ/ The Sting of Death,

Î. ú·áõñÇ/K. Oguri, Jap , 115’, R, L/Jap, Sbt/Eng, Arm 22.00 Ê××í³Í ½áõ·³Ñ»éÝ»ñ/ Bonded Parallels,

Naregatsi Art Center

12.00 ²ëë³-1/Assa-1,

ê. êáÉáíÛáí/S. Solovyov, Rus, YP, L/Rus, Sbt/Eng

10.00 *ºñµ ë³ïÏáõÙ »ë ϳïíÇ å»ë/ When You Die as a Cat,

¼. سëÉÇã/Z. Maslic, Can, 85’, DC, L/Eng, Srb, Sbt/ Eng

ú. úùù³Ý, ê. ¼Çû / O. Okkan, S. Sitte, Deu, 81’, DAB, L/Germ, Tur, Sbt/Eng 18.00

20.00 Ö³ñï³ñ³å»ïÇ ïÇ»½»ùÁ/ The Architect Space,

àÕç»ñÁ/The Living,

ê. ´áõÏáíëÏÇ/S. Bukovski, Ukr, 75’, DC, L/Ukr, Sbt/ Eng

¸. ²é³ù»ÉÛ³Ý/ D. Arakelyan, 40’, Arm, L/ Arm

ÆÙ ³ß˳ñÑÁ/My World,

22.00

È. ø³É³Ýóñ/L. Kalantar, Arm, 18’, AP, L/Rus, Sbt/ Eng 19.00

+156,

Ú. êÇÙÇá³Ý³/I. Simioana, Rom, 19’, DC, No dialogue

îÅíÅÇÏ/Tjvjik,

². سݳñÛ³Ý/ A. Manaryan, Arm, 21’, T, L/Arm γñÇÝ»/Karine,

18.00 ØÇ Ù³ñ¹áõ ·ÛáõÕÁ / The One Man Village,

ê. ¾É гµñ/S. El Habre, Lbn/Deu, 86’, DC, AN, L/ Arab, Sbt/Eng

². سݳñÛ³Ý/ A. Manaryan, Arm, 94’,T, L/Arm 20.00 Èáõë³ÝϳñÁ/ The Photograph,

20.00 àÕç»ñÁ/The Living,

Ð. ÎáÉÛ³Ý/H. Kolyan, Arm,18’, MA, L/Arm ØÇ Ù³ñ¹áõ ·ÛáõÕÁ/ The One Man Village,

¶³ñÝ³Ý ëå³ëáõÙáí/ Pending Spring,

ê. ¾É гµñ /S. El Habre, Lbn, 86’, DC, AN, L/Arab, Sbt/Eng, Arm

´. êÇÙáÝÛ³Ý/B. Simonyan, Arm, 23’, MA, L/Arm, 21.00 ²ñ³ñ³ïÇ å³ïÏ»ñÝ»ñ/ Ararat Views,

Ð. гñáõÃÛáõÝÛ³Ý/ H. Harutunyan, Arm, 37’, MA

¼³ïÇÏÇ áïùÇó µéݳÍ/ Grasping at the Lady Bird’s Leg,

². ²½³ïÛ³Ý/A. Azatyan, Arm, 19’, AP, L/Arm, Sbt/ Eng

ê. ´áõÏáíëÏÇ/S. Bukovski, Ukr, 75’, DC, L/Ukr, Sbt/ Eng

î. γñ³å»ïÛ³Ý/ T. Karapetyan, Arm, 29’, AP, L/Multilingv, Sbt/Eng

+156,

Ú. êÇÙÇá³Ý³/I. Simioana, Rom, 19’, DC, No dialogue

PARTNERS

¾. γåɳÝ/E. Kaplan, Tur, 12’, DAB, L/Tur, Sbt/ Eng 17.00 ´³óÃáÕáõÙÝ»ñáí ù³ñ﻽/A Map with Gaps,

². Ü»ÉëáÝ /E. Nelson, UK, 26 ‘, MM, L/Eng, Sbt/Rus

19.00 سÛñ ÑáÕÇ å³ñ·»õÁ/ El Regalo De La Pachamama,

î.سóáõëÇï³/T. Matsushita, Bol/Jap, 104’, DAB, L/Quechua, Sbt/Eng

20.00 ²ÝóáõÙ/The Shift,

Ø. ¶ÛáõñçÛ³Ý/M. Goorjian, USA, 120’, AP, L/Eng, Sbt/ Arm

Editor in chief: André Waardenburg ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ·

¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

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

15.00 *سÝñ³Ó³í³ñÇ Ñ³Éí³/Semolina Halva,

². ܳ½³ñÛ³Ý/A. Nazaryan, Arm, 45’, MM, L/Arm, Sbt/Eng

úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý

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

Ø. ²ñëɳÝ/M. Arslan, Tur, 45’, DAB, L/Tur, Kurd, Sbt/Eng

A. Melkonyan, Arm, 60’, DAB, L/Arm, Sbt/Eng

Ð. ¶³ÉëïÛ³Ý/H. Galstyan, Arm, 91’, FC, L/Nor, Arm, Sbt/Eng, Arm

*– Without Armenian Translation/²é³Ýó ѳۻñ»Ý óñ·Ù³ÝáõÃÛ³Ý

14.00 *Ö³­Ï³­ï³·­ñ³­Ï³Ý ½·»ëï. µ³½­Ù³Ï­Ýáõ­ ÃÛáõÝ/ A Fatal Dress: Polygamy,

17.35 ²ñ³ñáõÙ/Creation,

²ñ³ñ³ï` ѳÛáó ³ÝÙ³ÑáõÃÛ³Ý ËáñÑáõñ¹Á/Ararat: The Sacraments of the Armenian’s Immortality,

ÈéáõÃÛáõÝ/Silence,

Ø. гÏáµÛ³Ý/M. Hakobyan, USA, 59’, DAB, L/Eng

ú. ². Ȼ߻Ù/O. A. Leshem, Isr, 52’, DAB, L/Arab, Hebr, Sbt/Eng

äɳïáÝ/Platon,

ì. гÏáµÛ³Ý/ V. Hakobyan, Rus, 93’, AP, L/Rus, Sbt/Eng

12.00 *¶»ïÁ ϳñÙñ»É ¿ñ/ The River Ran Red,

13.00 *Ò³ÛÝ»ñ ¾É-ê³ÛǹÇó/ Voices from El-Sayed,

12.00

ì. öÇÉÇÏÛ³Ý/V. Pilikian, UK, 7’, AP, No dialogue

18.00 Ø»Ï áõ Ï»ë ë»ÝÛ³Ï/ A Room and a Half,

². ÊñųÝáíëÏÇ/A. Khrzhanovsky, Rus, 130’, FC, L/Rus, Sbt/Eng

Pupt. Theatre, Small Hall

îݳÛÇÝ ³ëïí³ÍÝ»ñ/ Household Gods,

ÎáíϳëÇ ³½·³Ï³ÝáõÑÇÝ/ Caucasian Niece,

15.00

Pup. Theatre, Big Hall

18.00

16.00 êå³ÝáõÃÛ³Ý ·áñÍ/ Murder File: Hrant Dink,

ì. Ô³½³ñÛ³Ý/V. Ghazaryan, Arm, 22’, AP, L/Arm, Sbt/Eng

ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ

14.00 ì³ñå»ïáõÃÛ³Ý ¹³ë` ê»ñ·»Û êáÉáíÛáí/ Master Class˜Sergey Solovyov

18.00

10 é»ÅÇëáñ/10 directors, Arm, 90’, AP, L/Arm, Sbt/ Eng

àõñí³Ï³ÝÁ/The Ghost,

*æáõñÝ ÁÝÏÝ»Éáí/ Falling Into Water,

S. Babayan, 100’, Arm, MA, L/Arm î³ùëÇ §¾ÉÇ É³í ³¦/ Taxi “Chill Out”,

îÇÏÝÇÏ. óïñáÝ, ÷áùñ ¹³ÑÉÇ×

Nairi Cinema

². ÊñųÝáíëÏÇ/ A. Khrzhanovsky, Rus, 130’, FC, L/Rus, Sbt/Eng 12.30

îÇÏÝÇÏ. óïñáÝ, Ù»Í ¹³ÑÉÇ×

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

Èñ³·ñáÕÝ»ñ` λÛë ¸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 N3, 15 ÑáõÉÇëÇ 2009

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n äÇï»ñ í³Ý ´Ûáõ»ñ»Ý ³ñ·­Ù³­Ýáõ­ÃÛáõ­ÝÁ` ²ñ­÷Ç ê³­Ñ³­ÏÛ³­ÝÇ §ê³Ñٳݦ, Ð. ʳã³ïñÛ³Ý, г۳ëï³Ý, ÑáõÉÇëÇ 15-ÇÝ, Ï/à §ØáëÏí³¦, γñÙÇñ ¹³ÑÉÇ× (17:00):

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ä³­ï»­ñ³½­ÙÇó Ñ»­ïá ¼á­ñ³Ý سë­ÉÇ­ãÁ ¨ ¶á ñ³Ý êÇ­ÙÇ­ãÁ ·³Õ­Ã»­óÇÝ Î³­Ý³­¹³: ´áë­ÝÇ­³­óÇ­Ý»­ ñÇó ³é³­çÇ­ÝÁ é»­ÅÇ­ëáñ ¿ñ, ÙÛáõ­ëÁª µ³­Ý³ë­ï»ÕÍ, ¿ë­ë»­Çëï: ¼á­ñ³Ý سë­ÉÇ­ãÁ êÇ­ÙÇ­ãÇÝ Ý»ñ­Ï³­Û³ó­ ÝáõÙ ¿ áñ­å»ë å³­ï»­ñ³½­ÙÇ Ù»ç ϳ­Û³­óáÕ Ù³ñ­¹áõ ¨ ·ñá­ÕÇ, áí »ñ­µ»ù ßÝáñ­Ñ³­Ï³É ãåÇ­ïÇ ÉÇ­ÝÇ Ï۳ݭ ùÇ Ýáñ å³Û­Ù³Ý­Ý»­ñÇÝ áõ ÷á­÷á­Ëáõ­ÃÛáõÝ­Ý»­ñÇÝ: §ºñµ ë³ï­ÏáõÙ »ë ϳï­íÇ å»ë¦ ýÇÉ­ÙÁ ÇÝã-áñ ï»Õ ÇÝù­Ý³­Ï»Ý­ë³·­ñ³­Ï³Ý ¿, ù³Ý­½Ç سë­ÉÇãÝ áõ êÇ­ÙÇãÝ ³Ý­ó»É »Ý ÝáõÛÝ ×³­Ý³­å³ñ­ÑÁ: ´³­Ý³ë­ï»Õ­ÍÇ ÙÇ­³ÛÝ Ñ³ÛñÝ ¿ Ùݳ­ó»É ï³­ÝÁ, ¨ µ³­ñ»­Ï³Ù­Ý»­ñÇÝ ³Û­ó»­É»­Éáõ ѳ­Ù³ñ ÙÇ ×³­Ý³­å³ñÑ Ï³ª ·»­ñ»½­Ù³­Ý³­ï³Ý ׳­Ý³­å³ñ­ÑÁ: γ­Ý³­¹³­ ÛáõÙ µ»é­Ý³Ï­ñÇ ³ß­Ë³­ï³Ý­ùÁ êÇ­ÙÇ­ãÇÝ ëï»Õ­Í³­ ·áñ­Í»­Éáõ ų­Ù³­Ý³Ï ¿ ï³­ÉÇë ÙÇ­³ÛÝ É³Ý­ãÇ Å³­ÙÇÝ, ÙÛáõë ÏáÕ­ÙÇó Ýñ³Ý ˻խ׳ó­ÝáõÙ ¿ ³Ý·­É»­ñ»­ÝÇ ãÇ­ Ù³­óáõ­ÃÛáõ­ÝÁ: ä»ïù ¿ ·ñ»É ³ÛÝ »ñÏ­ñÇ É»½­íáí, áñ­ ï»Õ ³å­ñáõÙ »ë ¨ áñÇ ù³­Õ³­ù³­óÇÝ »ë ¹³é­Ý³­ Éáõ... 㿱 áñ ³Ýӭݳ­·Çñ ѳÝÓ­Ý»­ÉÇë ù»½ Ëݹñ»­Éáõ »Ý »ñ»ù ³Ý­ ·³Ù ÏñÏÝ»É §»ë ϳ­ ݳ­ ¹³­ óÇ »Ù¦ ³ñ­ï³­Ñ³Û­ïáõ­ÃÛáõ­ÝÁ: ÆëÏ å³­ï»­ñ³½­ÙÇ å³ï­ Ï»ñ­Ý»ñÝ ³Û¹ Áݭóó­ùáõÙ ã»Ý Ñ»­é³­Ý³­Éáõ ùá Ùï³­ å³ï­Ï»­ñÇó, ¹ñ³Ýó ÑÇ­Ù³Ý íñ³ ß³­ñáõ­Ý³Ï­í»­Éáõ »Ý ·ñí»É ɳ­Ïá­ÝÇÏ, ãáñ ¨ Éñ³·­ñ³­ÛÇÝ Ýá­ñáõ­ÃÛ³Ý å»ë µ³­Ý³ë­ï»Õ­Íáõ­ÃÛáõÝ­Ý»ñ, áñáÝù ëÇñ­í»­Éáõ »Ý, µ»­ñ»­Éáõ »Ý ѳ­çá­Õáõ­ÃÛáõÝ ¨ Ùñó³­Ý³Ï­Ý»ñ:

ÌÇñ³ÝÇ ÏáÏï»ÛÉ: гÛÏ ´³ÉÛ³Ý/Apricot Cocktail. Haig Balian

n γ­ñÇÝ ¶ñÇ­·á­ñÛ³Ý n ²ÝÇ Ô³­ñ³­µ³Õ­óÛ³Ý §ØÇ Ù³ñ­¹áõ ·Ûáõ­ÕÁ¦, ê. ¾É гµ­ñ», ÈÇ­µ³­ ݳÝ/¶»ñ­Ù³­Ýdz, ÑáõÉÇëÇ 15-ÇÝ, îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, ÷áùñ ¹³ÑÉÇ× (18:00), Ï/à §Ü³ÇñǦ (22:00):

§ºñµ ë³ï­ÏáõÙ »ë ϳï­íÇ å»ë¦, ¼. Ø³ë­ ÉÇã, γݳ¹³, Ñáõ­ÉÇ­ëÇ 15-ÇÝ, îÇÏ­Ýǭϳ­ÛÇÝ Ã³ï­ñá­Ý, ÷áùñ ¹³Ñ­ÉÇ× (10:00); Ñáõ­ÉÇ­ëÇ 17‑ÇÝ, îÇÏ­Ýǭϳ­ÛÇÝ Ã³ï­ñá­Ý, ÷áùñ ¹³Ñ­ÉÇ× (18:20):

سÙáõÉÇ ÏáÏï»ÛÉ: ²É»Ý »ñ½Û³Ý/Press Cocktail. Alain Terzian

INTERVIEW

5 N3, 15 ÑáõÉÇëÇ 2009

No. 3, July 15 2009

Kohei Oguri

§àë­Ï» ÍÇ­ñ³Ý¦ 6-ñ¹ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ Ë³­ Õ³ñ­Ï³­ÛÇÝ ýÇÉ­Ù»­ñÇ ÅÛáõ­ñÇÇ Ý³­Ë³­·³Ñ, ׳­å᭠ݳ­óÇ Ñ³Ûï­ÝÇ é»­ÅÇ­ëáñ ¨ ëó»­Ý³­ñÇëï Îá­Ñ»Û ú·áõ­ñÇÝ í»ñ­çÇÝ 28 ï³­ñáõÙ Ýϳ­ñ³­Ñ³­Ý»É ¿ ÁÝ­ ¹³­Ù»­ÝÁ 5 ýÇÉÙ: Üñ³ Ëáë­ù»­ñáí` »Ã» ³é³Ý­Óݳ­ å»ë ³ë»­ÉÇù ãϳ, áñ¨¿ µ³Ý Ýϳ­ñ³­Ñ³­Ý»­Éáõ ó³Ý­ Ïáõ­ÃÛáõÝ ãáõ­ÝÇ: ÆëÏ Ýϳ­ñ³­Ñ³­Ý»É ѳ­ÝáõÝ Ýϳ­ñ³­Ñ³­Ý»­Éáõ ãÇ ó³Ý­Ï³­ÝáõÙ: Üñ³ ï»ë­É³­Ï³­ÝÇ »½³­ÏÇ­áõ­ÃÛáõ­ÝÁ ÙÇßï ³Ý­íÇ­×»­ÉÇ ¿ »Õ»É. ú·áõ­ñÇÇ ³é³­ çÇÝ ÇëÏ ýÇÉ­ ÙÁ` §îÕÙáõï ·»­ ïÁ¦ (Muddy River, 1981), Ý»ñ­Ï³­Û³ó­í»É ¿ §úë­Ï³­ñǦ, ÇëÏ ³í»­ÉÇ áõß Ýϳ­ñ³­Ñ³­Ý³Í ýÇÉ­Ù»­ñÁ` §Ø³Ñ­í³Ý ˳ۭÃÁ¦ (The Sting of Death, 1990) ¨ §øÝ³Í Ù³ñ­¹Á¦ (Sleeping Man, 1996) Ýñ³Ý Ùñó³­Ý³Ï­ Ý»ñ µ»­ñ»­óÇÝ ´»é­ÉÇ­ÝáõÙ ¨ γݭÝáõÙ: ì»ñ­çÇÝ ÏÇ­ ÝáÙñ­ó³­Ý³­ÏÇó Ñ»­ïá ú·áõ­ñÇÝ ãÝϳ­ñ³­Ñ³­Ý»ó ·ñ»­Ã» ï³­ëÁ ï³­ñÇ: ´³Ûó 2005-ÇÝ ÝáñÇó í»­ñ³­ ¹³ñ­Ó³í γÝÝ` ³Ý­Ñ³­í³­Ý³­Ï³­Ýá­ñ»Ý ùݳ­ñ³­ Ï³Ý §Øá­é³ó­í³Í ³Ý­ï³­éÁ¦ ýÇÉ­Ùáí: ú·áõ­ñÇÇ ÏÇ­Ý»­Ù³­ïá·­ñ³­ýÇ ³é³Ýӭݳ­Ñ³ï­Ïáõ­ ÃÛáõÝÝ ³ÛÝ ¿, áñ é»­ÅÇ­ëá­ñÁ Ó·ïáõÙ ¿ Ëáõ­ë³­÷»É ³í»­Éáñ¹ ·»­Õ»ó­Ï³­µ³­Ýáõ­ÃÛáõ­ÝÇó, ëó»­Ý³­ñÇ Ã»­ ɳ¹­ñ³Ý­ùÇó áõ ³í»­Éáñ¹ »ñÏ­Ëá­ëáõ­ÃÛáõÝ­Ý»­ñÇó, ÙÇßï ÷áñ­ÓáõÙ ¿ ѳݭ¹Ç­ë³­ï»­ëÇÝ ëïÇ­å»É ÷áË­ ·áñ­Í³Ï­ó»­Éáõ å³ï­Ï»­ñÇ Ñ»ï áã û ëÛáõ­Å»Ç, ³ÛÉ Ñ³­ñáõëï, ë³­Ñáõ­Ýá­ñ»Ý §Ñá­ëáÕ¦ Ï»ñ­å³ñ­Ý»­ñÇ ÙÇ­çá­óáí: øÝݳ­¹³ï­Ý»­ñÇ Ñ³­Ù³ñ Ñ»­ï³ùñ­ùÇñ ¿ Ïé³­Ñ»É Ýñ³ é»­µáõë­Ý»­ñÁ, ÷á­Ë³­ñ»­ÝÁ ѳݭ¹Ç­ë³­ ï»­ëÁ ϳ­ñáÕ ¿ µ³­í³­Ï³­ÝÇÝ Ñ»ß­ïáõ­ÃÛ³Ùµ §Ïáñ­ ã»É¦ Ýñ³ ýÇÉ­Ù»­ñÇ ³Ý­ÃÇí µÝ³­å³ï­Ï»ñ­Ý»­ñÇ Ù»ç:

— Æݭﻭɻϭïá­õ³É ÏÇ­ÝáÝ ¹Ç­ïá­ÕÇ Ùáï ɳñ­ í³­Íáõ­ÃÛáõÝ ¿ ³é³­ç³ó­ÝáõÙ: Ò»ñ ýÇÉ­Ù»ñÝ Áݭϳ­É»­Éáõ DZÝã µ³­Ý³­ÉÇ Ïï³ù »ñ¨­³­ÝÛ³Ý Ñ³Ý­¹Ç­ë³­ï»­ëÇÝ: — ä³ñ­ï³­¹Çñ ã¿, áñ ³ã­ùáí áõ ëñïáí ï»ë­Ý»­ÉÁ ÙÇ­³­Å³­Ù³­Ý³Ï ÉÇ­ÝÇ: êá­íá­ñ³­µ³ñ ÏÇ­ÝáÝ ³ß­Ë³­ ïáõÙ »Ý ³ÛÝ­å»ë Ýϳ­ñ»É, áñ Ù³ñ­¹ÇÏ ³ã­ùáí ï»ë­ Ý»Ý, ÙÇ­³Ý­·³­ÙÇó ѳë­Ï³­Ý³Ý ¨ ÁÙµé­Ý»Ý: ºÃ» ëñïáí »ë ݳ­ÛáõÙ` Ù³­Ï»­ñ»­ëá­ñ»Ý ï»ë­Ý»ÉÝ ³Ý­­ å³Û­Ù³Ý ã¿: úñǭݳÏ` ù³­ÙÇ ¿ ÷ãáõÙ, ÍáíÝ ³É»­ ÏáÍ­íáõÙ ¿: ²É»­ÏáÍ­í³Í Íá­íÁ óáõÛó ï³­Éáõ ѳ­Ù³ñ ï»­ë³Ë­óÇ­ÏÁ å³­ÑáõÙ »Ý Íá­íÇ íñ³: ´³Ûó Íá­íÇ Ñ³­ï³ÏÝ ³É»­ÏáÍ­í³Í ã¿: à±ñÝ ¿ ³í»­ÉÇ Ï³­ñ¨­áñ: ÎÇ­Ýáݭϳ­ñÁ ß³ñ­ÅáõÙ ¿ óáõÛó ï³­ÉÇë, ¨ Ù»Ýù ¹Ç­­ ï»­ÉÇë áõ­ñ³­Ë³­ÝáõÙ »Ýù: ´³Ûó »ñµ Ï»Ýï­ñá­Ý³­ ÝáõÙ »ë ß³ñÅ­Ù³Ý íñ³` ѳݭ¹³ñï ѳ­ï³­ÏÁ ã»ë Ýϳ­ïáõÙ: г­Û³ë­ï³­ÝÁ ɳí ã»Ù ѳë­Ï³­ÝáõÙ, µ³Ûó ·Ç­ï»Ù, áñ ß³ï ÷á­÷á­Ëáõ­ÃÛáõÝ­Ý»ñ »Ý ϳ­ ï³ñ­íáõÙ: ºÃ» ÑÇÙÝ­í»Ýù ¹ñ³Ýó Ù³­Ï»­ñ»­ëÇ íñ³, ã»Ýù ϳ­ñáÕ Ñ³ë­Ï³­Ý³É г­Û³ë­ï³­ÝÇ ëÇñ­ïÁ: — Ò»ñ ѳݭñ³­Ñ³Ûï §Ø³Ñ­í³Ý ˳ۭÃÁ¦ ýDZÉÙÝ ¿É å»ïù ¿ ëñïáí ¹Ç­ï»É: — ²ÛÝ ³Ùáõ­ëÇÝ­Ý»­ñÇ ÙÇ­ç¨ ï»­ÕÇ áõ­Ý»­óáÕ í»­×Ç Ù³­ëÇÝ ¿: Ö³­åá­Ý³­Ï³Ý ³ë³ó­í³ÍùÝ ³ëáõÙ ¿` ³Ùáõë­Ýáõ ¨ ÏÝáç í»­×Á ßáõÝÝ ¿É ãÇ Ï³­ñáÕ Ù³ñ­ë»É: ´á­ÉáñÝ ¿É, »ñ¨Ç, ³å­ñ»É »Ý ³Û¹ ½·³­óáõ­ÙÁ: ´³Ûó ýÇÉ­ÙÇ ³ë»­ÉÇ­ùÁ ÙÇ­³ÛÝ ¹³ ã¿, Ï³Ý »ñ¨­³ó ­ áÕ ¨ ã»­ñ¨­³­óáÕ ß³ï µ³­Ý»ñ: ì»­×Ç Ñ»­ï¨­³Ý­ùÁ ¹ñ³ Ñá­·»­µ³­Ý³­Ï³Ý ß³­ñáõ­Ý³­Ïáõ­ÃÛáõÝÝ ¿: ºë ó³Ý­ ϳ­ó»É »Ù Ñ»­ï³­½á­ï»É, û ÇÝã­å»ë ¿ Ù³ñ­¹Á ¹áõñë ·³­ÉÇë Ñá­·»­µ³­Ý³­Ï³Ý ׷ݳ­Å³­ÙÇó: — г­Û³ë­ï³ÝÝ Çñ ѳ­ñ¨­³Ý­Ý»­ñÇ Ñ»ï áõ­ÝÇ ÝáõÛÝ ³ÛÝ ËݹǭñÁ, ÇÝ­ãÇ ÑÇ­Ù³Ý íñ³ Ýϳ­ñ³­ ѳ­ Ý»É »ù Ò»ñ áã å³­ ϳë ѳÛï­ ÝÇ §ÜíÇñ­ íáõÙ ¿ γ­Û³­Ïá­ÛÇݦ ýÇÉ­ÙÁ: ò³Ý­Ï³­ÝáõÙ »Ù Ñ³Û ÏÇ­Ýá­·áñÍ­ãÇÝ ¨ ϳ٠ëá­íá­ñ³­Ï³Ý ù³­Õ³­ ù³­óáõÝ ÷á­Ë³Ý­ó»É ³½­·³­ÛÇÝ ËݹÇñ­Ý»­ñÇÝ ³Ý¹­ñ³­¹³é­Ý³­Éáõ Ó»ñ Ùá­ï»­óáõ­ÙÁ...

— Äá­Õá­íáõñ¹­Ý»­ñÇ ÙÇ­ç¨ Ï³Ý å³ï­Ù³­Ï³Ý, ëá­óÇ­³­É³­Ï³Ý, ù³­Õ³­ù³­Ï³Ý ³Ý­Ñ³­í³­ë³­ñáõ­ ÃÛáõÝ, µ³­ËáõÙ­Ý»ñ: ÐÇ­Ù³ Ù»ñ »ñ­Ïáõ »ñÏñ­Ý»ñÝ ¿É Åá­Õáíñ­¹³­í³­ñ³­Ï³Ý »Ý: ²Û¹­åÇ­ëÇ »ñ­ÏÇñ ϳ­éáõ­ ó»­Éáõ ѳ­Ù³ñ ³Ù»­Ý³­Ñ»ßï ýáõÝ­¹³­Ù»Ý­ïÁ Åá­Õá­ íáõñ¹Ý ¿, ³½­·Á: ´³Ûó Åá­Õá­íáõñ¹­Ý»­ñÇ ÙÇ­ç¨ ¹Åí³ñ ¿ áñáß Ñ³ñ­ó»ñ ϳñ­·³­íá­ñ»É: Úáõ­ñ³­ù³Ý­ ãÛáõñë ¨° å³ï­Ù³­Ï³Ý, ¨° ù³­Õ³­ù³­Ï³Ý ³Ý­ÓÇÝù »Ýù, µ³Ûó Ù»Ýù ϳ­ñáÕ »Ýù ëÇ­ñ»É Ù»­ÏÇÝ, Çñ³ñ Ñ»ï ·á­Û³­ï¨­»­Éáõ ëÇñï áõ­Ý»­Ý³É: àõ­ñÇß ×³­Ý³­ å³ñÑ ãϳ, áã ÙÇ­³ÛÝ Åá­Õá­íáõñ­¹Á ¹»­åÇ Åá­Õá­ íáõñ¹, ³Û­É¨` Ù³ñ­¹Á ¹»­åÇ Ù³ñ¹:

— ²Û¹ ¹»å­ ùáõÙ Ò»ñ ýÇÉ­ Ù»­ ñÁ ϳ­ ñá±Õ »Ý Ö³­åá­ÝÇ­³­ÛáõÙ ³½­·³­ÛÇÝ ÏÇ­Ýá ѳ­Ù³ñ­í»É: — ÆÝ­ãá±õ »Ýù í»­ñ³­¹³é­ÝáõÙ ³½­·³­ÛÇÝ ³ñ­Ù³ï­ Ý»­ñÇÝ: Øß³­ÏáõÛ­ÃÁ ó­÷³Ý­óáõÙ ¿ »ñÏñ­Ý»­ñÇ Ù»ç: 100 ï³­ñÇ, 1000 ï³­ñÇ Ñ»­ïá Ùß³­ÏáõÛíݻñÝ ³ÛÝ­ ù³Ý »Ý ˳éÝ­íáõÙ, áñ ãÇ Ï³­ñ»­ÉÇ ³ë»É` áñÁ áñÇÝÝ ¿: ÆÝ­ãá±õ »Ýù ÏÇ­Ýá­÷³­é³­ïáÝ Ï³½­Ù³­Ï»ñ­åáõÙ: àñ­ å»ë­½Ç ÇÙ³­Ý³Ýù ¨ ׳­Ý³­ã»Ýù ¹Ç­Ù³­óÇ­ÝÇÝ, ³Ý­Í³­ Ýá­ÃÇÝ: ºÃ» ÙÇ­³ÛÝ Ù»­ñÁ ¹Ç­ï»Ýù, ãó³Ý­Ï³­Ý³Ýù ѳë­Ï³­Ý³É ¹Ç­Ù³­óÇ­ÝÇÝ, ÷³­é³­ïáÝ ¿É ã»Ýù ³ÝÇ: — Àëï Ò»½` ÇÝã­åÇ­ëÇ±Ý ¿ 21-ñ¹ ¹³­ñÇ ÏÇ­ÝáÝ: — 20-ñ¹ ¹³­ñÇ ÏÇ­ÝáÝ »Õ»É ¿ Ñ»ßï ѳë­Ï³­Ý³­ÉÇ: ÐÇ­Ù³ Ñ»ßï ѳë­Ï³­Ý³­ÉÇÝ ÇÝ­ï»ñ­Ý»ïÝ ¿ ¨ Ñ»­ éáõë­ï³­óáõÛ­óÁ: ÆëÏ ÏÇ­ÝáÝ Ñ»ßï ѳë­Ï³­Ý³­Éáõ ѳ­Ù³ñ ã¿: 21-ñ¹ ¹³­ñÇ ýÇÉ­ÙÁ å»ïù ¿ í»­ñ³­ ¹³é­Ý³ Éá­Ï³­Éǽ­ÙÇÝ, ¨ Éá­Ï³É ѳñ­ó»­ñÇÝ å»ïù ¿ ³Ý¹­ñ³­¹³é­Ý³É ÷³­é³­ïá­Ý»­ñÇ ÙÇ­çá­óáí: — ÎÇ­Ýá­ÛDZó »ù Ñá·­Ý»É, û 21-ñ¹ ¹³­ñÇó: — ºñ­Ïáõ­ëÇó ¿É: — гëó­ñ»±É »ù ͳ­Ýá­Ã³­Ý³É г­Û³ë­ï³­ÝÇ Ñ»ï: — г­Û³ë­ï³­ÝáõÙ ³é³ÛÅÙ ¹Ç­ï»É »Ù »ñ­Ïáõ ýÇÉÙ ¨ ѳ٭ﻭë»É ѳ­Ù»Õ ׳­ß³­ï»­ë³Ï­Ý»ñ: Îó³Ý­Ï³­Ý³­ÛÇ ³Û­ó»­É»É ö³­ñ³­ç³­Ýá­íÇ Ã³Ý­·³­ ñ³Ý, ݳ¨` ï»ë­Ý»É ÑÇÝ »Ï»­Õ»­óÇ­Ý»ñ: Æѳñ­Ï», ³Û­ëûñ­í³ »ñÇ­ï³­ë³ñ¹­Ý»­ñÁ ö³­ñ³­ç³­Ýá­íÇ å»ë ã»Ý ϳ­ñáÕ Ýϳ­ñ»É, µ³Ûó å»ïù ¿ Ñå³ñ­ï³­Ý³ù, áñ ÝÙ³Ý é»­ÅÇ­ëáñ »ù áõ­Ý»­ó»É: ÐÇ­Ù³ »ñÇ­ï³­ ë³ñ¹­Ý»­ñÁ Ññ³­åáõñ­íáõÙ »Ý Ýáñ ·³­Õ³­÷³ñ­Ý»­ ñáí, ë³ ·Éá­µ³­Éǽ­ÙÇ Ñ»­ï¨­³ÝùÝ ¿:

n γ­ñÇÝ ¶ñÇ­·á­ñÛ³Ý

Well-known Japanese film director and scriptwriter Kohei Oguri, who is chairing the fiction film jury of the 6th Golden Apricot Film Festival in Yerevan, works at a rate of two films a decade, having made only five films in 28 years.

“If I make a film, it will be my expression, so even if I make films more often I don’t think that would come at the expense of what I’m trying to say,” he said in one of his interviews.

Despite this pace, his films have always been highly lauded across the world. His debut film Muddy River made in 1981 was nominated for Oscar and his later films The Sting of Death (1990) and Sleeping Man (1996) won him prizes in Berlin and Cannes. The year 2005 saw his return to the spotlight, after an absence of nearly ten years, with The Buried Forest, a stunningly beautiful, pleasantly meandering tale of small town life.

The specific nature of Kohei Oguri’s film-making is that he is banishing unnecessary dialogue out of the film. He tries to make the audience interact with images not through the plot, but through rich, smoothly overflowing characters. Film critics take pleasure in solving his puzzles, but the audience may get easily lost among his numerous landscapes.

The so-called intellectual cinema is always a bit difficult for the audience. Do you have a key to offer to Yerevan film-goers to feel the true spirit of your films?

Seeing by heart and eyes simultaneously is not necessary. Directors usually work to make a film in a way so that people watch it by their eyes, grasp and sense it immediately. If you see with your heart, you don’t need to focus on the surface. For example, the wind is blowing and the sea is rough. To show the raging sea the camera is focused on the sea, on the surface you have the waves and lots of activity, but underneath things are much more calm. Which is more important? Films move, they’re called ‘movies’, so their function is to be active and show movement. But when you focus on the movement, you do not see the calm underneath.

I do not think I have any good notion of Armenia, but I am aware that a lot of changes are taking place here. If we focus on their surface we will not be able to understand Armenia’s heart.

Does this mean that we need to ‘put into action’ our hearts, instead of our eyes, to understand your famous The Sting of Death?

It is about a dispute between a couple. A Japanese proverb says even a dog can not digest a quarrel between a husband and a wife. Everyone may have this feeling, but my film is not about it.

There are many things in it which are on the surface and are underneath. The debate leads to a psychological follow-up. I wanted to investigate how a human being is going out from a psychological crisis.

In one of your films called Dedicated to Kayako you are exploring the same problem that exists between Armenia and some of its neighbors. Would you like to pass your vision of how to address this problem to Armenian directors or ordinary citizens?

People suffer from historical, social or political inequalities, which sometimes transform into clashes. Armenia and Japan are both democratic nations. The easiest foundation to build a democracy are people. But some disagreements between people are very difficult to resolve. All of us are both historical and political individuals, but we can love each other and have the heart to co-exist. There is no other way for people and individuals but to move towards each other.

If so, can we describe your films as ‘Japanese national films’?

Why are you returning to national roots?

Culture is penetrating from one nation into others. In 100 or 1000 of years there will be an incredible mixture of cultures and no one would say this is mine and that is yours. Why do you organize a film festival? To understand your neighbors and nations living further. If we want to watch only our own films, without wanting to understand others, why then organize film festivals?

How would you describe the 21st century cinematography?

The cinematography in the 20th century was easy to understand. Today Internet and television are easy to understand. Films are not for easy understanding. The 21st century films should focus on local problems and film festivals are to give answers to local questions.

Are you tired of films or the 21st century?

Of both.

Have you seen any of Armenia?

I have managed to watch 2 films here and taste some delicious dishes. I would like to visit the Parajanov Museum and also see old churches.

Young directors can not make films like Parajanov, but you should be proud of having such a director.

Today young people are attracted by new ideas.

This is the aftereffect of globalism.

n Karin Grigorian Translated by Murad Mkrtchyan

REVIEWS

6 No. 3, July 15 2009

documentary competition

Canadian at the center of war

Left alone (with his cows)

S

emaan El Habre is the sole inhabitant of a small village outside Beirut, called Ain El Hazaroun. It consists of approximately 45 houses. Once, all of these were inhabited. There was even a small shop and an oil press. Now, every one of them is empty and destroyed. Only Semaan’s house remains. The situation doesn’t seem to bother him in the least.

He lives cheerfully with his cat and cows and seems delighted that his nephew, Simon El Habre, has come to make a documentary about him.

With calm, long shots El Habre films the dimly lit house, the surrounding hills, sometimes covered in snow, and the rituals of daily life. Proudly,

Semaan introduces his cows, with names like Princess Vicky and Mrs Hanouni. It is only slowly, that Simon starts asking about what actually happened in the village. Why are all the houses abandoned and destroyed? Where did the villagers go? And, a more personal question, why did his uncle never marry?

Nobody feels comfortable answering those questions. Not his uncle, and not some of the former inhabitants, who return for a day or two to work their lands, without any plans to ever really rebuild their properties. It is clear they’d rather avoid talking about Lebanon’s troubled recent past.

Semaan does admit that he misses his parents— the director’s grandparents—and that he would like a wife around the house. Someone like Shakira, he jokes. ‘But not Shakira herself. She jumps around all the time, it would scare the animals.’

Even with all the hardships, Semaan’s spirit remains unbroken, as he smokes his cigarettes, looking out over the valley, quite happy.

After the Balkan war Bosnians Zoran Maslic and Goran Simic migrated to Canada. The first is a film director; the second is a poet, short story writer and essayist, well-known in Europe, Canada and the USA. Zoran Maslic’s documentary When You Die as a Cat features Goran Simic as a man and writer who has matured in the war, but who should not be grateful for his new life in a new country. The film is to some degree an autobiography, as both men worked the same path.

Only the poet’s father has stayed at the native home and there is only one way to visit your relatives: through a cemetery. Working as a carrier in Canada Goran Simic hardly had time to write his poems, only during his lunch time he had enough free time. His poor knowledge of English was a problem. If you are a poet you should write in the language of the country where you live and whose citizen you are to become.

When being granted a new passport you will be asked to repeat three times ‘I am Canadian.’

But the images of war are not going to die away.

Memories of the war will be pushing him to continue writing short, somewhat dry and laconic poems looking like news reports, which will be elaborated and bring their author fame and prizes.

KG KD The One Man Village (Simon El Habre, Lbn/ Deu, 2008). July 15: Puppet Theatre, Small Hall (18.00).

When You Die As a Cat (Zoran Maslic, Can, 2009). July 15: Puppet Theater, Small Hall (10.00); July 17: Puppet Theater, Small Hall (18.00).

feature competition

The artist as a child

N

obel prize winner Joseph Brodsky was exiled from his country in 1972, either never to return back or to make ‘an anonymous trip’ years later, as he himself claimed to be the only possible way left.

Andrei Khrzhanovsky’s A Room and a Half, or a Sentimental Journey to Motherland should be seen as the third alternative that Brodsky probably never would have thought of: the film creates a journey through the imagination, reanimates those moments that fell into oblivion a long time ago and uses any possible means to tell its story: poetry, painting, documentary, fiction and animation—cinema in its totality.

Khrzhanovsky based his film on the colorful biography of Brodsky. The Russian poet was accused to be a parasite and was sent to exile. He was first forced to leave beautiful St. Petersburg and then The Soviet Union, to find a new home in the United States.

For those who knew him, this could seem as the best choice at first, since he had his soul already abroad: he admired Venice, learned English all by himself, loved Rock ’n’ Roll but he did not really like Dostoyevsky!

As we follow his footsteps, from childhood to adulthood, through his relationship with his parents we get to know an eccentric man. The indestructible love between the poet and his parents is the only thing that remains stable throughout the years; and observing the artist in his relationship with his parents gives the viewer a feeling of intimacy—it is a film about the artist as a child never growing up.

Ending his film with the classical warning that all the characters are fictional, Khrzhanovsky shows that he is well aware of the difficulties of presenting a real person on screen in a neutral way.

Instead, he tries to make his own poem out of the life of one extraordinary man: Water is the image of time, crows are the image of death and cats are images of anything and everything…

EK A Room and a Half, or a Sentimental Journey to Motherland (Andrei Khrzhanovsky, Russia, 2008). July 15: Moscow Cinema, Blue Hall (10.00 and 18.00).

Bonded through love

H

ovhannes Galstyan’s competition film, Bonded Parallels is founded on a metaphor of a non-Euclidean geometry where parallels can indeed intersect. In this case, it is the story of one life line following the other, of a mother who gives life to a child at the cost of her own and a daughter who repeats a similar story of forbidden love which once resulted in her own birth.

The two ‘bonded parallel’ stories of the film provide a close look at two different societies in entirely different time frames and in doing that, they bring unexpected similarities to the surface.

At one side, there is the story of Hanna, who lives in a small village in Norway during World War II, waiting for her husband, who never returns. Meanwhile, she meets Arakel, a Russian prisoner of war of Armenian origin and gives him asylum, an event that unavoidably leads to a love story in which none of the two parties understand each other at first. But as the relationship develops and becomes more visible,

it also becomes vulnerable to attacks of the conservative villagers.

As for the daughter, the authoritarian high school teacher Laura, love comes from a disobeying student. Her story takes place during the 1980’s, when the demonstrations of Armenians for independence reached their climax.

Common to both parts of the story is also the director’s look, which evidently follows the female perspective in these love stories. A male director himself, Galstyan manages to do the difficult thing and presents sexual tension from a female point of view.

When it comes to observations about different cultures in different time slots, he overcomes another difficulty and presents these two from a similar distance; his view is impartial, not judgmental, and precise.

EK Bonded Parallels (Hovhannes Galstyan, Arm, Nor, Fra, 2009). July 15: Moscow Cinema, Red Hall (22.00).

7 No. 3, July 15 2009

REVIEWS

Crossing the border A border is the line between two nations. It separates people, it’s the area where you need a passport, sometimes extended with a visa. At the border people can shake hands in peace; it’s the meeting point for import and export, but the trench during war. It’s the place for soldiers, customs, barbed wire, men with guns and watchdogs, but also for traders, smugglers and just normal people. A marking point, often vaguely surrounded by no man’s land and from time to time changing in spot. Director Harutyun Khachatryan’s new documentary Border is based on the conflict between Armenia and Azerbaijan, but it goes beyond this local circumstance and could be everywhere, on divided places in former Yugoslavia, in the zone between Afghanistan and Pakistan, somewhere in Africa. Everywhere there

is a border, where threat is in the air, but also life goes on, even in an uncertain situation between war and peace.

With the people there is also nature. And there are animals. As a real documentary maker a cow watches around, observes and witnesses the land that is also his home, but where others have the power of life and dead. In the beginning of the film a cow is saved by two men from mud and water in which he got stuck, but saving means sometimes the shortest way to slaughter. People don’t safe the cow for his benefit but for theirs, because people need food to survive.

In the film the cow sometimes tries to escape from the stable, the place for food and living, but also his jail and the last post before a certain death.

There is another witness, an older white man, who is certainly not from the region, and watches around like a cow, maybe as a UN observer, maybe as a writer like Hemingway, maybe just because he was passing by on his way to another place.

In the meantime, maybe during, maybe just after or before a war, as the sound of helicopters suggest, the people who live there go on with their life. They build new houses that soon could also be destroyed by bombs or fire, they eat and milk the cows and sheep, they mostly use no words, but they can also celebrate a wedding, with dancing and drinking. As long as there is life, there can be a future too.

And among the dancing people there is the film director himself, with a military coat, as an engaged witness, or, like Hitchcock, as an extra in his own film.

Anna Karenina as a drug addict Anna Karenina has long been a favorite subject for filmmakers. The latest director to bring Leo Tolstoy’s timeless novel to the big screen is Russian director Sergey Solovyov.

Solovyov’s Anna Karenina took about 15 years to film make, during which time the director made a parallel film about the shooting of Anna Karenina, called Assa-2.

In the past, various directors have chosen to focus on different themes and aspects of the novel when filming their adaptations. Solovyov’s film is stylish and realistic and recreates the refined, extravagant world of Russian high society in the late 19th century, with many memorable modern details, including subtly erotic episodes.

One of the key figures in the novel’s structure is Alexei Karenin, Anna’s husband, played by actor Oleg Yankovski. His character and transformation through Anna’s infidelity provide an example of forgiveness in accordance with genuine orthodox principles, which were a crucial part of Tolstoy’s outlook. His only guilt is that he loves a wrong woman, not the one with whom he could be happy.

This slowly unfolding, beautiful film has several gifted actors and actresses. Anna Karenina’s part is played by famous Russian actress Tatiana Drubich.

is the most important thing in life as Vronsky, Anna’s lover.

On one occasion Leo Tolstoy wrote that his Anna is a wretched woman. But in Sergey Solovyov’s film Anna is a beautiful, but lost woman, a victim of twisted circumstances rather than a woman who is ready for any sacrifice for the sake of her passionate love. This makes the film different from being just a love story (which is the case with almost all other adaptations); it is a real drama in which standards are overstepped, which leads to suicide.

Everything in life—people, their thoughts, the air they breathe, their inseparable shadows are all interrelated. What makes Solovyov’s Anna different is that she is a drug addict. Tolstoy wrote that after giving birth to a child she often was given painkiller drugs and gradually got used to them.

She not only took them to kill her physical pain, but also to subdue her emotional pains.

Oleg Yankovski, who died earlier this year, gives a brilliant performance as Alexei Karenin and is the highlight of Solovyov’s film. Yaroslav Boyko, who has made a name for himself due to his roles in action movies, looks like a man for whom winning

With images and sound Harutyun Khachatryan creates this uncertain, threatening world around a border. His film is defined as documentary, but the director makes his own report, his point of view, by editing images of the four seasons. He transforms reality into his personal story, with a cow as main actor. In his impressive film Khachatryan is crossing the border between documentary and fiction, a border that doesn’t count when it comes to the art of cinema.

PvB Border (Harutyun Khachatryan, Arm, Nld, 2009). July 14: Moscow Cinema, Red Hall (17.00); July 16: Nairi Cinema, Main Hall (16.00)

Arabian Nights in Yerevan

Sergey Solovyov has also prepared a serial version of Anna Karenina for TV screening.

This year the ‘Arabian Nights’ program will be presented for the second time within the framework of the 6th Golden Apricot International Film Festival in Yerevan. The program was conceived

by Vrezh Kasuni, a Syrian Armenian artist and satirist. It was made possible by the generous support of Harutyun Khachatryan, the founding director of the Golden Apricot film festival.

This time, more films will be shown than last year. Two titles have already been screened at the Naira Cinema, and in the next three days the following productions will be shown: The One Man Village by Simon Al Habre (see review on page 6) and Mascarades by Lyes Salem. On the 17th of July 6 short films from Dubai will close the program, under the title Emirate’s Night…

Apart from the main program there is a retrospective of five Lebanese films. They will be shown at the NCA Small Theatre.

Vrezh Kasuni said the Arabian Nights program will again be presented at next festival editions.

NH

AG

Anna Karenina (Sergey Solovyov, Russia, 2009).

July 19: Moscow Cinema, Red Hall (21.30).

For more information on the Arabian Nights program go to www.ArabianNightsFilms.com

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8 N3, 15 ÑáõÉÇëÇ 2009