Golden Apricot Daily, 2009, #4

ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛ³Ý ³ç³ÏóáõÃÛ³Ùµ

#4 Ê××í³Í ѳñó³½ñáõÛó ÐáíѳÝÝ»ë ¶³ÉëïÛ³ÝÇ Ñ»ï 3 ØñóáõóÛÇÝ ýÇÉÙ»ñ`

´ñá¹í»ÛÇ ³ñù³Û³½ÝÁ гݷÇëï Ùݳ ¨ ѳßíÇñ ÙÇÝ㨠ÛáÃÁ 4 гñó³½ñáõÛó ê»ñ·»Û êáÉáíÛáíÇ Ñ»ï/Interview with Sergey 5 Solovyov Reviews of: Prince of Broadway Be Calm and Count to Seven 6 Burma VJ Film of the Day: Autumn Interview Anahid Nazarian

7

ÆݹáÝ»½³óÇ ¾¹íÇÝ.

"I just called to say I love you"

16 ÑáõÉÇëÇ, 2009 July 16 2009

Indonesian Edwin calls for love

Ìð²¶Æð/PROGRAM

No. 4, July 16 2009

2 N4, 16 ÑáõÉÇëÇ 2009

ÑÇÝ·ß³µÃÇ 16 ÑáõÉÇëÇ / thursday july 16 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 *´ñá¹í»ÛÇ ³ñù³Û³½ÝÁ/ Prince of Broadway,

Þ. ´»Ûù»ñ/S. Baker, USA, 100’, FC, L/Eng 12.00

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

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

ø. ö»óáɹ/Ch. Petzold, Deu, 93’, ODE, L/Germ, Tur, Sbt/Eng, Arm 15.00 ²Ýçñå»ï/Barrier,

º. êÏáÉÇÙáíëÏÇ/ J. Skolimowski, Pol, 77’, R, L/Pol, Sbt/Eng, Arm 17.00

Ȼѳëï³ÝÇ ûñ/Polish Day

*гݷÇëï Ùݳ »õ ѳßíÇñ ÙÇÝã»õ ÛáÃÁ/ Be Calm and Count to Seven,

è. ȳí³ýÇ÷áõñ/ R. Lavafipour, Irn, 89’, FC, L/Farsi, Sbt/Eng 14.00 îÕÙáï ·»ïÁ/ Muddy River,

Î. ú·áõñÇ/K. Oguri, Jap, 105’, R, L/Jap, Sbt/Eng, Arm 16.00 гݷÇëï Ùݳ »õ ѳßíÇñ ÙÇÝã»õ ÛáÃÁ/ Be Calm and Count to Seven,

². ì³Û¹³/A. Wajda, Pol, 85’, ODE, L/Pol, Sbt/Eng, Arm

10.00 *γϳÍ/Hesitation,

ì. ø³ñÇÙ-سëÇÑÇ/ V. Karim-Masihi, Irn, 90’, AP, L/Farsi, Sbt/Eng, Arm 12.00 *Ø»ñ ³ß˳ñÑÁ/A World of Our Own,

ü. ´³É»·çÛ³Ý/ F. Balekdjian, Fra, 91’, AP, L/Fr, Sbt/Eng, Arm

18.00 ²Ãáë É»éÁ/Mount Athos,

¾. ìÇ·»Ý/E. Vicken, Fra, 52’, AP, L/Fr, Sbt/Eng, Arm 19.00 »Ññ³ÝÁ Éáõë³ÝϳñÝ»ñáõÙ/ Tehran in Photographs,

16.00 ê³ÑÙ³Ý/Border,

Ð. ʳã³ïñÛ³Ý/ H. Khachtaryan, Arm/Nld, 82’, YP, No dialogue 18.00 ¶ÛáõÙñÇ/Gyumri,

Þ»õãÇÏáí³/J. Ševčikova, Cze, 68’, DC, L/Arm, Sbt/ Eng

è. ê³ý³ñÛ³Ý/ R. Safarian, Irn, 54’, AP, L/ Farsi, Sbt/Eng, Arm 20.00 î³ùëÇ §¾ÉÇ É³í ³¦/ Taxi “Chill Out”,

20.00 ²ÝóÝáõÙ ¿ Ù³ßÏÇ ÙÇçáí/ Can Go Through Skin,

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

¾. èáïë/E. Rots, Nld, 94’, ODE, L/Dutch, Sbt/Eng, Arm 22.00 ¸Çٳϳѳݹ»ëÝ»ñ/ Masquerades,

è. ȳí³ýÇ÷áõñ/ R. Lavafipour, Irn, 89’, FC, L/Farsi, Sbt/Eng, Arm

ÊÝϻջ·/Tatarak,

Nairi Cinema

Ð. гٵ³ñÓáõÙÛ³Ý/H. Hambardsumyan, Arm, 26’, MA, L/Arm, Sbt/Eng ²ñ³ñáõÙ/Creation,

*гã³Ý ë»õ ßÝ»ñ/ Black Dog Barking,

13.00 ºñÇËáí/Jerichow,

16.00 îÇ·ñ³Ý سÝëáõñÛ³Ý/ Tigran Mansuryan,

ܳÇñÇ Ï/Ã

îÇÏÝÇÏ. óïñáÝ, Ù»Í ¹³ÑÉÇ×

îÇÏÝÇÏ. óïñáÝ, ÷áùñ ¹³ÑÉÇ×

ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ

Pup. Theatre, Big Hall

Pupt. Theatre, Small Hall

Naregatsi Art Center

12.00 à·áõ ѳÕóݳÏÁ/ Triumph of the Spirit,

10.00 *²Ý³­å³­ïÇ Ñ³ñë­Ý³­ óáõ­Ý»­ñÁ/ Desert Brides,

è. Ø. ڳݷ/R. M. Young, USA, 120’ 14.00 ì³ñå»ïáõÃÛ³Ý ¹³ë` ²Ýç»Û Îñ³ÏáíëÏÇ/– Master Class˜Andrzej Krakowski

². àõßåÇó/A. Ushpiz, Isr, 90’, DC, L/Hebr, Arab, Sbt/Eng 12.00 *´ÇñÙ³óÇ íÇç»ÛÁ/ Burma VJ,

². úëï»ñ·áñ¹/ A. Ostergaard, Dnk, 85’, DC, L/Eng, Burmese, Sbt/ Eng

18.00 ²ßÝ³Ý ³ñ»õ/ Autumn Sun,

*ÈéáõÃÛ³ÝÝ ³Ï³Ýç ¹Ý»Éáí/Listening to the Silences,

´. ÐáíѳÝÝÇëÛ³Ý/ B. Hovhannisyan, Arm, 81’, T, L/Arm

ä. üÉáñ»ë/P. Flores, UK, 11’, DC, L/Eng, Sbt/Eng

20.00 îÇÏÝÇÏ/The Doll,

¶. ¶³ëå³ñÛ³Ý/ G. Gasparyan, Arm, 15’, MA, L/Arm

18.00 öá­ÕÁ ïáõñ »õ ³Ùáõë­Ý³­ óÇñ/Cash & Marry,

². ¶»áñ·Ç»õ/A. Georgiev, USA/Mkd/Hrv/Aut, 76’, DC, L/Multilingv, Sbt/Eng, Arm

Ðá·ÇÝ»ñÇ ÍÝáõݹÁ/ The Birth of Spirits,

ê. àõëïÛ³Ý/S. Ustyan, Arm, 23’, MA, L/Arm, Sbt/ Eng Ø»ÝáõÃÛáõÝ/Loneliness,

20.00 ´ÇñÙ³óÇ íÇç»ÛÁ/ Burma VJ,

². ö³ÛïÛ³Ý/A.Paytyan, Arm, 28’, MA, No dialogue

È. ê³É»Ù/L. Salem, Dza/ Fra, 94’, AN, L/Arab, Sbt/ Eng, Arm

18.00

ÈéáõÃÛ³ÝÝ ³Ï³Ýç ¹Ý»Éáí/ Listening to the Silences,

19.30 ÐÝÓ³Ý/Winepress,

´. ÐáíѳÝÝÇëÛ³Ý/ B. Hovhannisyan, Arm, 76’, T , L/Arm, Sbt/Eng

². úëï»ñ·áñ¹/ A. Ostergaard, Dnk, 85’, DC, L/Eng, Burmese, Sbt/ Eng, Arm

ä. üÉáñ»ë/P. Flores, UK, 11’, DC, L/Eng, Sbt/Eng, Arm

´ñá¹í»ÛÇ ³ñù³Û³½ÝÁ/ Prince of Broadway,

¶. àõññ»ëïÇ, Ê. ¾ëå³¹³/G. Urresti, J. Espada, /Mex/Ger, 118’, M, L/Esp, Sbt/Eng, Arm 14.00 ²í»ïÇë/Avetis,

². ØÏñïãÛ³Ý/ A. Mkrtchyan, Arm, 26’, MA, L/Arm, Sbt/Eng 14.30 Ðñ³ß³·áñÍÇ ³ßáõÝÁ` îáÝÇÝá ¶áõ»ñ³/ Autumn of the Magician˜Tonino Guerra,

R. Gevorgyants, V. Kevorkov, Arm, 52’, M, L/ Arm, Sbt/Eng 15.30 ʳí³ñÇ ÉáõÛëÁ/ Light of Darkness,

Ð. ØÇù³Û»ÉÛ³Ý/ H. Mikayelyan, Arm, 14’, MA, L/Arm, Sbt/Eng

17.00 è³ßïáݳÛÇ Ñ³óÁ/ Bread of Rashtona,

Þ. ê³É»Ñ /S. Saleh, Tjk, 26’, MM, L/Kazakh, Sbt/ Rus 19.00 *ø³ñ» ³ñáï³í³Ûñ»ñ/ Stone Pastures,

¸. øááõÉÙ³Ý /D. Coleman, Fin/Irl/UK, 65’, MM, Sbt/ Eng

Þ. ´»Ûù»ñ/S. Baker, USA, 100’, FC, L/Eng, Arm

22.00

12.00 ì»ñçÇÝ ëó»Ý³ñÁ` ´áõÝÛáõ»ÉÇÝ ÑÇß»Éáí/ The Last Script˜ Remembering Bunuel,

20.30 ²ßáõÝ/Autumn,

ú. ²É÷»ñ/O. Alper, Tur, 106’, FC, L/Tur, Geo, Arm, Sbt/Eng, Arm î»ïñá/Tetro,

ü.- ü.Îáåáɳ/ F.‑F. Coppola, USA/Ita/ Esp/Arg, 127’, YP, L/Eng, Esp, Sbt/Eng, Arm

Editor in chief: André Waardenburg

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

MEDIA 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

¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ·

General supervising manager:

úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý

Coordinator Daily: Genofia

¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

Journalists: Kees Driessen,

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

Peter van Bueren

Martirosyan

Evrim Kaya, Ani Gharabaghtsyan, Karin Grigoryan, Nune Hakhverdyan, Raffi Movsisyan, Davit Vardazaryan Translations: Murad Mkrtchyan Photos: Karin Grigoryan, Gevorg Gasparyan

3 N4, 16 ÑáõÉÇëÇ 2009

RETROSPECTIVE/PREMIERS

Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝ

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n Üáõ­Ý» г˭í»ñ­¹Û³Ý §²ßÝ³Ý ³ñ¨¦, ÑáõÉÇëÇ 16¬ÇÝ, îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, Ù»Í ¹³ÑÉÇ× (18:00); §ÐÝӳݦ, ÑáõÉÇëÇ 16¬ÇÝ, Ï/à §ØáëÏí³¦, ϳñÙÇñ ¹³ÑÉÇ× (19:30):

»ñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³

÷³é³ïáÝÇ ¹»Ùù»ñ

Ê××í³Í ѳñó³½ñáõÛó ÐáíѳÝÝ»ë ¶³ÉëïÛ³ÝÇ Ñ»ï Ðáí­Ñ³Ý­Ý»ë ¶³Éë­ïÛ³­ÝÇ §Ê××í³Í ½áõ­·³­ Ñ»é­Ý»ñ¦ ýÇÉ­ÙÇ ³Ý¹­ñ³­ÝÇÏ ¹Ç­ïáõ­ÙÁ ï»­ÕÇ ¿ áõ­ Ý»­ó»É Ñáõ­ÝÇ­ëÇ 23-ÇÝ ØáëÏ­í³­ÛÇ ÙÇ­ç³½­·³­ÛÇÝ 31-ñ¹ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ ßñ糭ݳϭݻ­ñáõÙ, áñ­ï»Õ Áݹ·ñÏ­í³Í ¿ñ §Ð»­é³Ý­Ï³ñ­Ý»ñ¦ Ùñóáõ­Ã³­ÛÇÝ ³Ý­í³­Ý³­Ï³ñ­·áõÙ: §Ê××í³Í ½áõ­·³­Ñ»é­Ý»­ñÁ¦ Ý»ñ­Ï³­Û³ó­í³Í ¿ §àë­Ï» ÍÇ­ñ³ÝǦ ÙÇ­ç³½­·³­ÛÇÝ Ë³­Õ³ñ­Ï³­ÛÇÝ ýÇÉ­Ù»­ñÇ Ùñóáõ­Ã³­ÛÇÝ Íñ³·­ñáõÙ, áñÇ ßñ糭ݳϭݻ­ñáõÙ ¿É Ïϳ­Û³­Ý³ ÏÇ­Ýáݭϳ­ñÇ Ñ³­Û³ë­ï³­ÝÛ³Ý åñ»­ÙÇ­»­ñ³Ý:

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n ²ñÍ­íÇ ´³Ë­ãÇ­ÝÛ³Ý §²ßáõݦ, ú. ²É÷»ñ, Âáõñùdz, ÑáõÉÇëÇ 16-ÇÝ, Ï/à §ØáëÏí³¦, ϳåáõÛï ¹³ÑÉÇ× (20:30):

í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ

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n ¸³­íÇà ì³ñ­¹³­½³­ñÛ³Ý n Üáõ­Ý» г˭í»ñ­¹Û³Ý §´ñá¹­í»­ÛÇ ³ñ­ù³­Û³½­ÝÁ¦, Þ. ´»Û­ù»ñ, ²ØÜ, ÑáõÉÇëÇ 16-ÇÝ, Ï/à §ØáëÏí³¦, ϳåáõÛï ¹³ÑÉÇ× (10:00, 18:00):

n ¸³­íÇà ì³ñ­¹³­½³­ñÛ³Ý §Ð³Ý­ ·Çëï Ùݳ ¨ ѳ߭ íÇñ ÙÇÝ­ 㨠Ûá­ ÃÁ¦, è. ȳí³ýÇ÷áõñ, Æñ³Ý, ÑáõÉÇëÇ 16-ÇÝ, Ï/à §ØáëÏí³¦, ϳåáõÛï ¹³ÑÉÇ× (12:00, 16:00):

§´Çñ­Ù³­óÇ íÇ­ç»­ÛÁ. é»­åáñ­ï³Å ÷³Ï »ñÏ­ñÇó¦, ². úë­Ã»ñ­·áñ¹, ´Çñ­Ù³, Ñáõ­ÉÇ­ëÇ 16-ÇÝ, îÇÏ­ÝÇ­ ϳ­ÛÇÝ Ã³ï­ñáÝ, ÷áùñ ¹³Ñ­ÉÇ× (12:00, 20:00):

5 N4, 16 ÑáõÉÇëÇ 2009

INTERVIEW

No. 4, July 16 2009

Sergey Solovyov

ÎÇ­Ýá­é»­ÅÇ­ëáñ ê»ñ­·»Û êá­Éá­í Ûá­íÁ íëï³Ñ ¿, áñ µá­ Éáñ Ù³ñ­ ¹ÇÏ ÝáõÛÝ ËÙá­ ñÇó »Ý ëï»ÕÍ­ í³Í: äáõß­ÏÇ­ÝÁ, îáÉë­ïáÛÝ áõ Ù»­ñû­ñÛ³ §ëɻݭ·áí¦ ß÷íáÕ »ñÇ­ï³­ë³ñ¹­Ý»­ñÁ, åÇ­á­Ý»­ñ³­Ï³Ý ׳٭­ µ³ñ­Ý»ñÝ áõ ³Ý­¹»ñ·­ñ³­áõÝ­¹³­ÛÇÝ éá­ùÁ Ýñ³ ѳ­ Ù³ñ ÝáõÛÝ Ñ³ñ­Ãáõ­ÃÛ³Ý íñ³ »Ý: ²Û­ëÇÝùÝ` Ù»ñ ¹³­ñÇ ³Ù­µáÕ­ç³­Ï³Ý §ßÝãáÕ¦ å³ï­Ï»ñÝ »Ý ϳ½­ ÙáõÙ: êá­Éá­í ÛáíÝ ³ëáõÙ ¿, áñ ãÇ Ñ³ë­Ï³­ÝáõÙ` ÇÝã ¿ ù³ë­ÃÇÝ­·Á, ¨ ÙÇßï ³ß­Ë³­ïáõÙ ¿ ³ÛÝ Ù³ñ¹­ ϳÝó Ñ»ï, áõÙ ëÇ­ñáõÙ ¿: ²Û¹ Ù³ñ­¹ÇÏ Ýϳ­ñ³­ ѳݭí»É »Ý ݳ¨ Ýñ³ Ýáñ §2— ²ëë³ —2¦ ¨ §²Ý ݳ γ­ñ»­Ýǭݳ¦ ýÇÉ­Ù»­ñáõÙ, áñáÝù óáõ­ó³¹ñ­í»­óÇÝ ºñ¨­³­ÝáõÙ:

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n Üáõ­Ý» г˭í»ñ­¹Û³Ý

Famous Russian film director Sergey Solovyov believes that all people are made of the same kidney. For him Alexander Pushkin and Leo Tolstoy, young people speaking today’s slang and underground rock musicians are all on the same plane, representing the full and ‘breathing’ image of the century. Solovyov says he does not need casting, because he always works with people he loves. These people were involved in the making of his two latest movies: Anna Karenina and Assa-2, which are shown at the 6th Golden Apricot Film Festival in Yerevan.

It took you years to make both films. Is it typical of your working method?

As a matter of fact I work very quickly. I believe that a film is born from the air, from nothing. Melancholic ideas exhausting one’s soul only impede film making. Some of my scenarios were written in one day; I decided to write one in the morning and in the evening I was over with it. I hate when directors say ‘O, it was so difficult to make this film.’ If making film is a difficult job, then go and find another, easier one. You can get a little drunk or do something else as film making is a joyous process that has nothing to do with intricate or complicated ideas. Do you know what pushed Leo Tolstoy to write Anna Karenina? A lock of women’s hair. Pushkin’s daughter went to see him and looking at a lock on her neck he realized that he was unable to think about anything else.

Then rereading a phrase from a work by Pushkin ‘The guests were gathering at the summer house,’ he decided to write Anna Karenina.

Who is Anna Karenina in your film?

Many people think that she is a terrible monster who destroyed her and her child’s lives. But I think differently. I think she was an ideal woman. It is our desire to give the characters positive or negative grades that impedes us to realize it. It is a meaningless job because Tolstoy’s novel is an absolute reality, in which there are no good or bad people. There are just people. I would be happy to say that my film’s idea is unique, but it is not so.

Many directors make films for festivals only, and they are protracted, depressive and pretending to be intellectual films.

Such films are usually ‘dead’ films; they are tedious and tiresome and no one is interested in them after the festival is over. Pseudo-intellectual cinema is brainwashing its director in the first place and then the audience. And if you make a film to show that water is not liquid, but a solid substance then you will only waste your and the audience’s time since you will have to invent a system to prove that water is indeed a solid substance. What has been always appreciated is the artistic energy of the film that unites all the peoples of the world. The problem is not that festivals are separated from life.

I think the opposite is true: festivals are becoming part of an exhausted film system. The desire to be intellectual that has become a trend is typical of contemporary cinema culture. I cannot imagine when a new Charlie Chaplin may appear at a film festival. And if he does, everyone would say: who is this idiot with his stick and funny moustache?

Digital technologies have made film making a much easier process. Can we expect future films to be shot by cell phones or amateur cameras?

The future of cinema will be very diverse. One will be able to watch it on its phone’s screen, on a big screen or Internet. A computer is enough for me to watch Mirror, shot by my favorite director Andrei Tarkovsky. But on the other hand I saw some films in the USA shot in the new 3D format and that made me sure that these films may have an unimaginable influence. What is important is that film makers should be serious and frank in satisfying their artistic demands. It is absurd when some directors justify themselves by saying they want to satisfy the audience’s demands. Who can say what the audience care about? The audience is millions of people and only devil knows what they expect from a film. The only way to communicate with the audience is to speak frankly about yourself.

If your film is indeed about yourself you may be sure that out of millions there will be at least 10,000 people who think like you. That is all.

Is it important to win prizes at festivals?

It is important for young directors. The Golden Lion at Venice festival has completely changed Emil Kusturica’s life. He was having his military service at that time and when his debut film won, everyone saw that Kusturica is not a toilet washing idiot, but an exclusive film director. We all come to festivals ‘naked’, cherishing deep in our heart the hope to be different from the others.

You have written a book of memoirs. Does cinema does not give you complete satisfaction?

I began writing my memoirs, wishing to remind today’s students what kind of unique people lived before them and what a unique cinema they have left behind them. Many of my students have no idea about the Soviet cinema.

You said you are going to shoot a film to be called Classmates. Does it have anything to do with the same name Internet social networking website?

No. It is a simple story, written by one of my students who wanted to make a film based on it. He brought a 4-page story and told me he wanted to create a ‘profound’ work. I told him I could shoot the film and he plays the leading part.

n Nune Hakhverdyan

REVIEWS feature competition

6 No. 4, July 16 2009

One man and a baby

Director Sean Baker said in an interview he wants to “put a human face on people that normally do not get focused on in films and media”. His third film, filmed in a documentary style, is set in a clandestine universe - the parallel world of fake clothes and accessories that exists in Manhattan. In a rundown neighborhood of discount stores, illegal immigrant Lucky walks the streets and desperately tries to persuade fashion lovers to go into a shop owned by Levon (Karren Karagulian), an immigrant from Armenian-Lebanese descent.

There, a secret door opens onto a room full of fake sports goods, T-shirts and handbags. Police are a constant threat; Levon is always in close contact with someone outside. If the police approach his shop, he will get an immediate warning.

The trouble starts when Lucky’s ex girlfriend Linda comes by and drops off her infant son. “He’s yours”, she tells him, asking Lucky to take care of the boy for two weeks before she quickly disappears, leaving a helpless Lucky behind. Can he take care of the 18 months old baby? Is it really his? And what will his current girlfriend think of all this? Shop owner Levon has his troubles too.

Although he is living a luxurious lifestyle, with a beautifully decorated house and plenty of money, much to his dismay his young wife works as a dancer in a nightclub and hardly comes home at a decent time. She confesses she married him so he could get a green card and stay legally in the United States. But she doesn’t love him (anymore) and wants to leave him.

Director Sean Baker, who also co-wrote the script, worked with his (largely) non-professional

actors in improvisations before he shot Prince of Broadway. Some of their dialogue from these improvisations is heard in the film. Although authentic, the many repeated curses and streetwise language can be a bit tiresome after a while, just as the amateurish acting isn’t always convincing.

Luckily Lucky’s charm works not only wonders on his son, but also on the audience.

AW Prince of Broadway (Sean Baker, USA, 2008).

July 16: Moscow Cinema, Blue Hall (10.00 & 18.00);

documentary competition

Dreaming of Ronaldinho ‘The color of the sea when you stand by it is sometimes blue, sometimes green, but there is another color too: the one that can be seen only by those who are lost at sea. But they never return to say what color the raging sea is.’ These opening words set the atmosphere of the first feature film

by Ramtin Lavafipour. Just like the Italian neorealist film makers of the past and his Iranian fellow directors Abbas Kiarostami and Jafar Panahi, Lavafipour works with amateur actors and shot his film on real locations. He based Be Calm and Count to Seven—which won a Tiger Award at the Rotterdam Film Festival earlier this year—on an incident he witnessed himself.

Motu is a teenage boy living in a remote fishing village somewhere in southern Iran. As there are no more fish in the sea, the whole village lives from smuggling goods—and sometimes people too. Every now and again, big mysterious packages jump out of the sea and are hidden by the locals before being smuggled further.

Motu’s father left the village a few days ago

Forbidden images

but there is no message from him yet. Motu earns money and takes care of his mother and sister in anticipation of his father’s return. He spends a lot of time playing football and dreams of becoming as rich and as famous as Ronaldinho. He also becomes friendly with the smugglers’ middleman, to whom he proposes doing serious business when his father has still not come back...

The film is in the style of social realism, with dynamic camera work and a strong sense of local atmosphere. Lavafipour explained in an interview that he’s very fond of “cinema that springs to life directly from real life”. His powerful debut film is a sensitive reflection of the changes in a small fishing village as it moves from a traditional way of life towards today’s fast consumer society.

SB Be Calm and Count to Seven (Ramtin Lavafipour, Iran, 2008). July 16: Moscow Cinema, Blue Hall (12.00 & 16.00).

When in 2007 the Buddhist monks of Burma took to the streets, there was genuine hope that the dictatorial military regime might crumble. We now know this didn’t happen. The junta is still in power, and opposition leader Aung San Suu Kyi is still under house arrest.

We also know how this peaceful uprising was violently suppressed, thanks to a small number of underground video journalists, called the Democratic Voice of Burma (DVB). They were a courageous group of resistance fighters, armed not with guns but with light-weight digital cameras.

They hid their cameras under their arms or in bags and go out into the streets. Images were smuggled out of the country to the DVB headquarters in Oslo, Norway. With foreign journalists banned from the country, the illegal DVB was the only journalistic source of information left.

Danish director Østergaard edited the raw material into Burma VJ, a dramatic story of spirits lifted and hopes crushed. We see monks gathering, people defying curfews, soldiers firing on crowds. ‘Film them, film them all!’ exclaims one of the protesters to the DVB

cameraman. In voice-over, the DVB journalist ‘Joshua’ (whose identity is kept secret) describes what happened.

In the beginning of the movie, we learn that some scenes have been re-enacted, including certain telephone conversations of DVB members, to strengthen the narrative of the movie. The real strength of Burma VJ, however, is in the original footage. The low quality of the images, which are often shaky and have low resolution, only emphasizes the risk and urgency with which they were taken. Burma VJ, which won last year’s top prize at the International Documentary Film festival Amsterdam, is in many ways depressing, as we know the outcome of the events we are witnessing.

At the same time, the documentary is an inspiring testament to the courage and determination of these underground journalists.

KD Burma VJ – Reporting From a Closed Country (Anders Østergaard, Dnk, 2008). July 16: Puppet Theatre, Small Hall (12.00 & 20.00).

7 No. 4, July 16 2009

FILM OF THE DAY/INTERVIEW

feature competition

Shouting to the mountains

T

here is a natural limit to how much you can sacrifice and that is also the natural limit for resistance: you can sacrifice your body, face violence by bringing it to its extreme conclusion, by giving up your life. In November 2000, political prisoners in Turkish prisons were carried to this extreme when they faced the new prison system that would force them to spend the rest of their time in isolated cells; the life that the government was trying to take away from them, they threw away by going into a hunger strike. In December 2000 the Turkish army reacted violently to the resistance by an operation that was ironically called “Back to Life”. 30 prisoners died, hundreds were severely injured.

Autumn is the epilogue to this story; made eight years after the violent incident by the young Turkish director Özcan Alper.

One of the resisters, Yusuf, is released from the prison on health grounds. From the beginning on, his expected death is set as a time bomb that can explode any moment. He travels to his homeland, a small village in the Black Sea region where his old mother lives alone, still waiting for her son. Hemşin is a special landscape: it is very much untouched, rural and extremely beautiful, and the locals speak a very rare dialect that has its roots in the Armenian language. Founded on the heavy background of recent Turkish history, Autumn chooses a radically different style. It is carried along with the tempo of

the life in the mountains: silent and calm. The old mother is still thankful to God for giving her son back, and she even wants to find a girl for him. Old friend Mikail never left the village and is deprived of life in a different way; in his million regrets he is almost more at strike than the protagonist was. And then there’s Eka, the beautiful Georgian prostitute, who is willing to tell the story from the other side: when the Soviet Union collapsed, she travelled to Turkey to sell her body in order to feed her child.

Socialism was something she was born into, and then something that people discarded.

Yusuf watches them in silence. He keeps the fact of his bad health to himself, or shouts it to the snow on top of the mountains. He tries to come back to

life shortly, gets a passport, will he leave for love?

Or even for a moment, will he regret a life sacrificed for a beautiful dream?

Alper answers the question indirectly: he manages to repair his bagpipe, and the haunting song he is playing serves as a melancholic soundtrack. When there is song, there is also hope. Dedicated to the beautiful children of the impatient times, who never stop chasing dreams, the modestly beautiful Autumn is surely a way to continue the song...

EK Autumn (Özcan Alper, Tur/Deu, 2008). July 16: Moscow Cinema, Blue Hall (20.30); July 17: Moscow Cinema, Blue Hall (12.00).

Armenian-American producer Anahid Nazarian

‘Working with Coppola has been a great adventure’

A

rmenian-American producer Anahid Nazarian is at the festival to present Tetro, the latest film by director Francis Ford Coppola, with whom she has been working for almost 30 years.

What has working with Coppola been like?

‘It’s been a great adventure. Something spectacular or new has happened every day during my career with him. He’s really like no one else in the world. He has so many amazing ideas. Sometimes it’s difficult, because he requires you to be thinking and creative and active all the time. But at the same time, it’s very invigorating.’

What can you say about this latest production, Tetro?

‘Tetro is the second film of what Coppola calls his “new career”, after Youth Without Youth, which I presented at the Golden Apricot festival last year. It’s a very personal story, inspired partly by relationships within his own family. Some of the ideas, events, dialogues, and characters are based on things that happened in his own life, growing up. We filmed it in Argentina, Buenos Aires. It’s a story about two brothers and their

father and all the different conflicts of being in a very creative family. I think that, although people may not come from such a family, they can find universality in the themes of rivalry, creativeness, love, and hate.’

Was it a difficult film to produce?

‘We did have certain specific challenges this time, as we were making it in a country where we didn’t know anything about the local production context. But we went in, and we all learned Spanish, and it actually went quite well. We used an all-Argentine crew, except for our Romanian cinematographer and two English-speaking actors, the two brothers. So you see, it was quite a challenge.’

Your first productions were Pomegranate (2004), by Armenian-American director Kraig Kuzirian, and Illusion (2005), by ArmenianAmerican Michael Goorjian—whose The Shift is shown at this year’s festival. Were these Armenian connections a specific motivation for you?

‘It was certainly the motivation to produce the first film, which has an Armenian theme. And I’m working on a new project now with an Armenian theme – but that’s all I can say about it for now.’

Do you get the chance to see any Armenian films?

‘Last year, as a jury member for the Armenian Panorama, I saw about 40 Armenian films. And of course I know the classics, especially the great documentaries by directors like Artavazd Peleshian.

Other than Parajanov’s, narrative features are not so well known abroad. It would be great to see more Armenian features being shown abroad. Especially in the US, as it is the biggest film market in the world.’

What do you expect of Tetro’s reception at the festival?

‘I’m proud to bring Tetro here, because Armenia’s only the fourth country where it has played so far, after France, the US, and Spain. I hope Armenian audiences will appreciate it and love it. They gave a great reception to Youth Without Youth last year, the best reception that film has gotten anywhere in the world. I’m sure they’ll enjoy Tetro as well.’

KD Tetro (Francis Coppola, USA/Ita/Spa/Arg, 2009).

July 16: Moscow Cinema, Red Hall (22.00); July 19: Moscow Cinema, Red Hall (19.00).

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8 N4, 16 ÑáõÉÇëÇ 2009