Golden Apricot Daily, 2009, #5

ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛ³Ý ³ç³ÏóáõÃÛ³Ùµ

#5

17 ÑáõÉÇëÇ, 2009 July 17 2009

ö³é³ïáÝÇ ¹»Ùù»ñ. ú½ù³Ý ²É÷»ñ

3

ºíñáå³Ï³Ý ѳٳÛݳå³ïÏ»ñ. ²Ýç»Û ì³Û¹³ÛÇ ÊÝϻջ·Á

4 гñó³½ñáõÛó ¾¹íÇÝÇ Ñ»ï/ Interview with Edwin

5 Reviews of: Letters to the President La pivellina Sweet Rush Welcome to Enurmino!

6

Film of the Day: Gyumri Interview with George Ovashvili

7

è³Ù­ÃÇÝ Ramtin ȳí³ýÇ­÷áõ­ñ. Lavafipour: ä³ñëÏ³Ï³Ý Iranian love ë»ñ ºñ¨³ÝáõÙ in Yerevan

Ìð²¶Æð/PROGRAM

No. 5, July 17 2009

2 N5, 17 ÑáõÉÇëÇ 2009

áõñµ³Ã 17 ÑáõÉÇëÇ / friday july 17 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 *²ÕçݳÏÁ/La Pivellina,

î. ÎáíÇ, è. üñÇÙ»É/ T. Covi, R. Frimmel, Ita/‌Aut, 100’, FC, L/Ita, Sbt/Eng 12.00

ÊÝϻջ·/Tatarak,

². ì³Û¹³/A. Wajda, Pol, 85’, ODE, L/Pol, Sbt/Eng, Arm 15.00

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

º. êÏáÉÇÙáíëÏÇ/ J. Skolimowski, Fra/Pol, 90’, R, L/Pol, Sbt/Eng, Arm

14.00 ³Õí³Í ³Ýï³éÁ/ The Buried Forest,

Î. ú·áõñÇ/K. Oguri, Jap, 93’, R, L/Jap, Sbt/Eng, Arm

10.00

¶ÛáõÙñÇ/Gyumri,

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

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

A. Vakhrushev, Rus, 60’, DC, L/Rus, Chukchi, Sbt/ Eng

ÎáíϳëÇ ³½·³Ï³ÝáõÑÇÝ/ Caucasian Niece,

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

ºñÇËáí/Jerichow,

19.30

18.00 àõñí³Ï³ÝÁ/The Ghost,

Î. ÐáíѳÝÝÇëÛ³Ý/K. Hovhannisyan, Rus, 104’, AP, L/Rus, Sbt/Eng ÀÝÏ»ñ ö³ÝçáõÝÇ/ Comrade Panjuni,

20.30

². سݳñÛ³Ý/ A. Manaryan, Arm, 101’, T, L/Arm, Sbt/Eng 22.00 γÝáÝÝ»ñÁ ÷áËí»É »Ý/ Change of Plane,

¸. ÂáÙ÷ëáÝ/ D. Thompson, Fra, 100’, ODE, L/Fr, Sbt/Eng, Arm

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

Ê»Éáù Ùݳ/Be Good,

13 é»ÅÇëáñ/13 directors, Ger, 151’, ODE, L/Germ, Sbt/Eng, Arm 18.00 Ø»ñ ³ß˳ñÑÁ/ A World of Our Own,

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

è. ØÇñ½áÛ³Ý/ R. Mirzoyan, 85’, MA, L/‌Arm, Rus, Sbt/Eng 18.00 гÛñ»ÝÇ ÑáÕ/Homeland,

Ä. ¶³ñëdz/J. Garcias, Fra/Den, 91’, FC, L/Fr, Sbt/Eng, Arm

15.00 ¶»ñÙ³Ýdz 09/ Deutschland 09,

². ²½³ïÛ³Ý/A. Azatyan, Arm, 19’, AP, L/Arm, Sbt/ Eng 16.00 Ø»ñûñÛ³ ³ëå»ïÁ/ The Knight of Our Times,

20.00

Ðå³ñï ƽ³Ý/ Proud Iza,

0_1_0,

ä. ȳ½³ñÏ»õÇã/ P. Lazarkiewicz, Pol, 86’, ODE, L/Pol, Sbt/Eng, Arm

². Îáݹá/A. Condo, USA, 20, AP, L/Eng, Arm

². سÝáõÏÛ³Ý/ A. Manukyan, Arm, 29’, AP, L/Arm, Sbt/Eng

18.00

12.00 ²ñ¨ÙïÛ³Ý Ð³Û³ëï³Ý. ÏáñáõëÛ³É Ñ³Ûñ»ÝÇù/ Western Armenia: Lost Motherland,

15.00 ì³ñå»ïáõÃÛ³Ý ¹³ë` ÎáÑ»Û ú·áõñÇ/Master Class˜Kohei Oguri

æáõñÝ ÁÝÏÝ»Éáí/ Falling Into Water,

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

´³ñÇ ·³Éáõëï ¾ÝáõñÙÇÝá/ Welcome to Enurmino!

¼. سëÉÇã/Z. Maslic, Can, 85’, DC, L/Eng, Srb, Sbt/ Eng, Arm 20.00

20.00 ²ÝóáõÙ/The Shift,

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

14.00

20.00 ²ñó³ËÛ³Ý ý»ÝáÙ»Ý/ The Artsakh Phenomena,

è. ØÇñ½áÛ³Ý/ R. Mirzoyan, Arm, 8’, MA, L/Arm, Sbt/Eng

15.30 ìóñ/ The Crush, ܳٳÏÝ»ñ ݳ˳·³ÑÇÝ/Letters to the President,

ä. ÈáÙ/P. Lom, Can, 72’, DC, L/Farsi, Sbt/Eng, Arm

ʳí³ñÇ ÉáõÛëÁ/ Light of Darkness,

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

¸. ¾Ýý»ÝçÛ³Ý/ D. Enfenjyan, Arm, 12’, MA, L/Arm, Sbt/Eng ²í»ïÇë/Avetis,

âÇݳëï³ÝÁ Ñ»éáõ ¿` âÇݳëï³ÝÁ »õ ²ÝïáÝÇáÝÇÝ/China is far away˜Antonioni and China,

ÈÛáõ гÛåÇÝ/Liu Haiping, Chn, 98’, M, L/ Putonghua,Ita, Sbt/Eng

¸. ¾Ýý»ÝçÛ³Ý/ D. Enfenjyan, Arm, 12’, MA, L/Arm, Sbt/Eng 15.45 ²ñó³ËÛ³Ý ý»ÝáÙ»Ý/ The Artsakh Phenomena,

è. ØÇñ½áÛ³Ý/ R. Mirzoyan, Arm, 8’, MA, L/Arm, Sbt/Eng γݳÝó ëå³ë»Éáí/ Waiting for Women,

¾. ì³·Ý»ñ/E. Wagner, UK, 35’, DC, L/Esp, Sbt/ Eng, Arm

². ØÏñïãÛ³Ý/ A. Mkrtchyan, Arm, 26’, MA, L/Arm, Sbt/Eng

16.00 Targets: Reporters in Iraq,

Maziar Bahari, Irn, 47’ 17.00 ÈéáõÃÛ³Ý ï³ñ³Íù/ Zone of Silence,

Ø. úѳÝÛ³Ý/M. Ohanyan, Arm, 15’, MM, L/Arm, Sbt/Eng 17.20 Æñ³í³µ³Ý ùáõÛñ»ñÁ/ Sisters in Law,

H. Harutyunyan, Arm, 120’, MA, L/Arm & Eng versions

22.00 ì»ó ϳñ׳ٻïñ³Å ¸áõµ³ÛÇó/ Dubai. six shorts,

ARE, 100’, AN, L/Arab, Sbt/Eng

H. Harutyunyan, Arm, 120’, MA, L/Arm & Eng versions

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

21.00 ²ñ¨ÙïÛ³Ý Ð³Û³ëï³Ý. ÏáñáõëÛ³É Ñ³Ûñ»ÝÇù/ Western Armenia: Lost Motherland,

Ü. 份×Û³Ý/N. Bezjian, Lbn/USA, 30’, AP, L/Eng, Sbt/Fr, Arm

êÇ­ñáí »õ »ñ³Ë­ï³­·Ç­ ïáõ­ÃÛ³Ùµ/ With Love and Gratitude,

Narekatsi Art Center

A. Vakhrushev, Rus, 60’, DC, L/Rus, Chukchi, Sbt/ Eng

ü. ²ÑÙ³¹ ʳÝ/F. Ahmad Khan, Ind/Sgp/Jap, 52’, DC, L/Hindi, Sbt/Eng ²ÕçݳÏÁ/La Pivellina,

Pupt. Theatre, Small Hall

19.00

س­É»­·³­á­ÝÇ ·»ñ­Ù³ñ¹ÇÏ/ Supermen of Malegaon,

î. ÎáíÇ, è. üñÇÙ»É/ T. Covi, R. Frimmel, Ita/ Aut, 100’, FC, L/Ita, Sbt/ Eng, Arm

Pup. Theatre, Big Hall

12.00 ´³ñÇ ·³Éáõëï ¾ÝáõñÙÇÝá/ Welcome to Enurmino!,

¶»ñÙ³ÝdzÛÇ ûñ/ German Day ø. ö»óáɹ/Ch.Petzold, Deu, 93’, ODE, L/Germ, Tur, Sbt/Eng, Arm

ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ

Î. ú·áõñÇ/K. Oguri, Jap, 105’, R

16.00

17.00

îÇÏÝÇÏ. óïñáÝ, ÷áùñ ¹³ÑÉÇ×

12.00 øÝ³Í Ù³ñ¹Á/ Sleeping Man,

*ÈéáõÃÛáõÝ/Silence,

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

îÇÏÝÇÏ. óïñáÝ, Ù»Í ¹³ÑÉÇ×

Nairi Cinema

¾. ìÇ·»Ý/E. Vicken, Fra, 52’, AP, L/Fr, Sbt/Eng, Arm

12.00 ÆÙ ³ß˳ñÑÁ/My World,

*²ßáõÝ/Autumn,

Ò»éù»ñÁ í»ñ/Hands-Up,

10.00 *²Ãáë É»éÁ/ Mount Athos,

ܳÇñÇ Ï/Ã

ø. ÈáÝçÇÝáïïá, ü. ²ÛǽÇ/K. Longinotto, F. Ayisi, Cmr, 104’, MM, L/Eng, Sbt/Rus

Editor in chief: André Waardenburg ¶É˳íáñ ËÙµ³·Çñ`

General supervising manager:

²Ý¹ñ» ì³ñ¹»Ýµáõñ·

Peter van Bueren

úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý

Coordinator Daily: Genofia Martirosyan

¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý *– 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

Èñ³·ñáÕÝ»ñ` λÛë ¸ñÇ»ë»Ý, ¾íñÇ٠γ۳, ²ÝÇ Ô³ñ³µ³ÕóÛ³Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ÜáõÝ» гËí»ñ¹Û³Ý, γñÇÝ ¶ñÇ·áñÛ³Ý

Journalists: Kees Driessen, Evrim Kaya, Ani Gharabaghtsyan, Karin Grigoryan, Nune Hakhverdyan, Raffi Movsisyan, Davit Vardazaryan Translations: Murad Mkrtchyan

Èáõë³ÝϳñÇã` ¶¨áñ· ¶³ëå³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ÜáõÝ»

Photos: Gevorg Gasparyan, Raffi

гËí»ñ¹Û³Ý

Movsisyan, Nune Hakhverdyan

3 N5, 17 ÑáõÉÇëÇ 2009

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àñ­ù³­Ýá±í »Ý ÷á˭ϳ­å³Ïó­í³Í §àë­Ï» ÍÇ­ ñ³Ý¦ ÙÇ­ç³½­·³­ÛÇÝ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ §Ð³Û­Ï³­ Ï³Ý Ñ³­Ù³Û­Ý³­å³ï­Ï»ñ¦ ÙñóáõÛ­ÃÇ ¨ г­Û³ë­ ï³­ÝÇ ÏÇ­Ýá­³ñ­ï³¹­ñáõ­ÃÛ³Ý ËݹÇñ­Ý»­ñÁ: ÎÇ­Ýá­÷³­é³­ïá­ÝÇ Ñ³­çá­Õáõ­ÃÛ³Ý µ³­Ý³­ÉÇÝ ë÷ÛáõéùÝ ¿, Ýñ³ ϳ­å»­ñÁ, ÇëÏ ï»­Õ³­Ï³Ý ÏÇ­ Ýá­³ñ­ï³¹­ñ³Ý­ùÁ ϳ­ñ¨­áñ­íáõÙ ¿ Ýñ³­Ýáí, áñ ï»­Õ³­Ï³Ý ¿: §Ð³Û­Ï³­Ï³Ý ѳ­Ù³Û­Ý³­å³ï­Ï»­ ñáõÙ¦ óáõ­ó³¹ñ­íáõÙ ¨ ÙñóáõÙ »Ý ˳­Õ³ñ­Ï³­ ÛÇÝ, í³­í»­ñ³·­ñ³­Ï³Ý, ϳñ­×³­Ù»ï­ñ³Å, ³ÝÇ­ Ù³­óÇ­áÝ, »ñ­µ»ÙÝ` áõ­ë³­Ýá­Õ³­Ï³Ý ýÇÉ­Ù»ñ, áñáÝó ÙÇ­³­íá­ñáõÙ ¿ Ù»Ï ëϽµáõÝù` é»­ÅÇ­ëá­ñÇ ³½­·áõ­ ÃÛáõ­ÝÁ: §Ð³Û­Ï³­Ï³Ý ѳ­Ù³Û­Ý³­å³ï­Ï»­ñÁ¦, ÷³ë­ïá­ñ»Ý, §³½­·³­ÛÇݦ ѳ­Ù³Û­Ý³­å³ï­Ï»ñ ¿, ÇëÏ ¹ñ³ ßñ糭ݳϭݻ­ñáõÙ Ý»ñ­Ï³­Û³ó­íáÕ ýÇÉ­ Ù»­ñÇ Ùß³­Ïáõ­Ã³­ÛÇÝ §å³ï­Ï³­Ý»­ÉÇ­áõ­ÃÛáõ­ÝÁ¦` »ñÏ­ñáñ­¹³­Ï³Ý: г­Û³ë­ï³­ÝÇ ÑÇ٭ݳ­Ï³Ý ÏÇ­Ýá­³ñ­ï³¹­ñ³Ý­ùÁ ϳñ­×³­Ù»ï­ñ³Å ýÇÉÙÝ ¿: ¸ñ³Ýù ѳۭϳ­Ï³Ý ·Ç­ÝÇÝ, ·³­Ã³Ý, ë³­ëáõÝ­óÇ­Ý»­ñÇÝ Ï³Ù í³ñ­¹³­ í³­éÁ ·á­í»ñ­·áÕ ýÇÉ­Ù»ñ »Ý, áñáÝù Ý»­ñ³é­íáõÙ »Ý ï³ñ­µ»ñ ï³­ñÇ­Ý»­ñÇ §Ð³Û­Ï³­Ï³Ý ѳ­Ù³Û­Ý³­ å³ï­Ï»­ñáõÙ¦: àñáß­Ý»­ñÁ ù³­Õ³­ù³­Ï³Ý ¹Çë­ Ïáõñ­ëÇ Ù»ç »Ý, ûñǭݳÏ` 2009-Ç í³­í»­ñ³·­ñ³­ Ï³Ý ÙñóáõÛ­ÃáõÙ Ý»ñ­Ï³­Û³ó­í³Í ø³­É³Ý­Ã³­ñÇ §Îáí­Ï³­ëÇ ³½­·³­Ï³­Ýáõ­ÑÇݦ ¨ îÇ­ñ³Ý γ­ñ³­ å»­ïÛ³­ÝÇ §Èéáõ­ÃÛáõ­ÝÁ¦: î»Ë­Ýǭϳ­å»ë ѳ­çáÕ­ í³Í §Èéáõ­ÃÛáõ­ÝÁ¦, Ý»ñ­Ï³­Û³ó­Ý»­Éáí ìñ³ë­ï³­ ÝáõÙ ³½­·³­ÛÇÝ ÷áù­ñ³­Ù³ë­Ýáõ­ÃÛáõÝ­Ý»­ñÇ Ñ³Ý­¹»å í³ñ­íáÕ å»­ï³­Ï³Ý ù³­Õ³­ù³­Ï³­Ýáõ­ ÃÛáõ­ÝÁ (ó³­íáù, é»­ÅÇ­ëá­ñÇÝ Ñ»­ï³ùñù­ñ»É ¿ ÙÇ­ ³ÛÝ Ñ³Û­Ï³­Ï³Ý ÏáÕ­ÙÁ), ¹Ç­ïá­ÕÇ Ù»ç Ãßݳ­Ùáõ­ ÃÛáõÝ ¿ ³é³­ ç³ó­ ÝáõÙ áã û Ù³ñïÝ­ ãáÕ ³½­·³Û­Ý³­Ï³­Ýáõ­ÃÛ³Ý, ³ÛÉ íñ³ó Åá­Õáíñ­¹Ç ѳݭ¹»å: è»­ÅÇ­ëá­ñÁ Ï»Ýï­ñá­Ý³­ó»É ¿ ³ñ­ï³­

ѳÛï­ã³­Ó¨Ç íñ³` ýÇÉ­ÙÇ µá­í³Ý­¹³­Ïáõ­ÃÛáõÝÝ ³é³­í»É ³½­¹áõ ¹³ñÓ­Ý»­Éáõ ѳ­Ù³ñ: è»­ÅÇ­ëá­ñ³­Ï³Ý Ùá­ï»­óáõ­ÙÁ íǭ׳­Ñ³­ñáõÛó ¿ Ùñóáõ­Ã³­ÛÇÝ ¨ë Ù»Ï ýÇÉ­ÙáõÙ, áñÝ ³áõ­ïÇëï »ñ»­ ˳­ÛÇ ¨ Ýñ³ Ûáõ­ñ³­Ñ³­ïáõÏ Ý»­ñ³ß­Ë³ñ­ÑÇ Ù³­ëÇÝ ¿ (§ÆÙ ³ß­Ë³ñ­ÑÁ¦, é»Å.` ì³­Ñ» Ô³­½³­ñÛ³Ý): л­ñá­ëÇ ÁÝï­ñáõ­ÃÛáõ­ÝÁ ϳ­ï³ñ­í»É ¿ ³ÛÝ å³ï­ ׳­éáí, áñ ݳ ³áõ­ïÇëï ¿, Ýñ³ ÙÇ­çá­óáí Ñ»­ÕÇ­ ݳ­ÏÁ ÷áñ­ÓáõÙ ¿ óáõÛó ï³É, áñ »ñ»­Ë³­ÛÇ ¨ ³ß­­ ˳ñ­ÑÇ ÙÇ­ç¨ Ï³ ˽áõÙ, ³Ý­ï³ñ­µ»­ñáõ­ÃÛáõÝ: îÕ³­ÛÇ ³ß­Ë³ñ­ÑÁ ó­ùáõÝ ¿, µ³Ûó` ·áõ­Ý»Õ: ²é³Ýӭݳó­Ý»­Éáí Ýñ³Ý` ½áõï Çñ í»­ñ³­µ»ñ­ÙáõÝ­ ùáí é»­ÅÇ­ëá­ñÁ ïáõñù ¿ ï³­ÉÇë ³ÛÝ Ùï³Û­Ýáõ­ÃÛ³­ ÝÁ, áñ »ñ»­ Ë³Ý Ûáõ­ ñ³­ ѳ­ ïáõÏ ¿, ¨ ³é³­ çÇÝÝ ÇÝùÝ ¿ ïÕ³­ÛÇÝ ³é³Ýӭݳó­ÝáõÙ ÙÛáõë­Ý»­ñÇó: г­ ë³­ñ³­Ïáõ­ÃÛáõÝÝ Çñ»Ý ³éáÕç ϳ­ñáÕ ¿ ѳ­Ù³­ñ»É ÙÇ­ ³ÛÝ ³ÛÝ ¹»å­ ùáõÙ, »ñµ Çñ»Ý ãÇ µ³­ ų­ ÝáõÙ ³éáÕç­Ý»­ñÇ ¨ ÑÇ­í³Ý¹­Ý»­ñÇ: úå»­ñ³­ïá­ñ³­Ï³Ý Ñ»­ï³ùñ­ùÇñ ³ß­Ë³­ï³Ý­ùÁ §·áñ­ÍáõÙ¦ ¿ Ç íݳë` ·»­Õ³­·Ç­ï³ó­ÝáõÙ ¿ »ñ»­Ë³­ÛÇ §áõ­ñÇ­ßáõ­ÃÛáõ­ÝÁ¦: §Ð³Û­Ï³­Ï³Ý ѳ­Ù³Û­Ý³­å³ï­Ï»­ñǦ message-Ý ³½­·áõ­ÃÛ³Ùµ Ñ³Û é»­ÅÇ­ëáñ­Ý»­ñÇ ³ß­Ë³­ï³Ýù­Ý»­ ñÁ ѳ­Ù³­ï»Õ Ý»ñ­Ï³­Û³ó­Ý»ÉÝ ¿: §Ð³Û­Ï³­Ï³Ý ѳ­Ù³Û­Ý³­å³ï­Ï»­ñÁ¦ ÷ÝïñáõÙ ¿ ³½­·³­ÛÇÝ Ùdzë­Ýáõ­ÃÛáõÝ, ÇëÏ ï»­Õ³­Ï³Ý ÏÇ­ÝáÝ` Çñ ³½­·³­ ÛÇÝ ÇÝù­Ýáõ­ÃÛáõ­ÝÁ:

n γñÇÝ ¶ñÇ·áñÛ³Ý §ÆÙ ³ß­Ë³ñ­ÑÁ¦, ì. Ô³­½³­ñÛ³Ý, г۳ëï³Ý, ÑáõÉÇëÇ 17¬ÇÝ, Ï/à §ØáëÏí³¦, ÷áùñ ¹³ÑÉÇ× (12:00); §Ø»ñ ³ß˳ñÑÁ¦, ü. ´³É»·çÛ³Ý, üñ³Ýëdz, ÑáõÉÇëÇ 17-ÇÝ, Ï/à §Ü³ÇñǦ (18:00); §²ÝóáõÙ¦, Ø. ¶ÛáõñçÛ³Ý, ²ØÜ, Ï/à §ØáëÏí³¦, ÷áùñ ¹³ÑÉÇ× (20:00):

5 N5, 17 ÑáõÉÇëÇ 2009

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ݹáÝ»½³óÇ é»ÅÇëáñ ¾¹íÇÝÁ (1978) Çñ ¹»µÛáõï³ÛÇÝ ýÇÉÙÁ Ý»ñϳ۳óñ»É ¿ ³ß˳ñÑÇ ï³ñµ»ñ ÷³é³ïáÝ»ñáõÙ` ãÇݳÇݹáÝ»½³Ï³Ý ׷ݳųÙÇ ÇëÏáõÃÛáõÝÁ áñáÝáÕ Çñ ³µëáõñ¹³ÛÇÝ, µ³Ûó ëáõñ Ë׳å³ïÏ»ñÝ»ñáí Ýϳñ³Ñ³Ýí³Í ýÇÉÙÇ Ñ³Ù³ñ ³ñųݳݳÉáí û ·áí³ë³ÝùÇ, û ãѳëϳóí³ÍáõÃÛ³Ý: — ¸áõù ÇÝù­Ý»ñ¹ ÇÝ­¹á­Ý»­½³­óÇ ãÇÝ »ù: Ø»­ ͳ­ó»É »ù ãǭݳ­Ï³±Ý ÙÇ­ç³­í³Û­ñáõÙ: — àã, Ç ï³ñ­µ»­ñáõ­ÃÛáõÝ, ûñǭݳÏ, س­É³Û­½Ç­ ³­ÛáõÙ ³å­ñáÕ ãǭݳ­óÇ­Ý»­ñÇ: ²ÛÝ­ï»Õ ÝáõÛ­ÝÇëÏ ÇÙ ë»ñÝ­¹Ç Ý»ñ­Ï³­Û³­óáõ­óÇã­Ý»ñÝ »Ý Ëá­ëáõÙ ãÇ­ ݳ­ñ»Ý: Üñ³Ýù å³Ñ­å³­ÝáõÙ »Ý Çñ»Ýó Ùß³­ ÏáõÛ­ÃÁ: ÆëÏ ÆÝ­¹á­Ý»­½Ç­³­ÛáõÙ ÇÙ ë»­ñáõÝ­¹Á Ïáñó­ñ»É ¿ ãǭݳ­Ï³Ý Ùß³­ÏáõÛ­ÃÇ Ñ»ï ϳ­åÁ: Ø»Ýù ã»Ýù ϳ­ñá­Õ³­ÝáõÙ Ëá­ë»É ϳ٠ѳë­Ï³­ Ý³É ãǭݳ­ñ»Ý, ã»Ýù ïá­ÝáõÙ ãǭݳ­Ï³Ý Üáñ ï³ñÇÝ: ØÇ­³ÛÝ ãǭݳ­Ï³Ý ëÝáõݹ »Ýù û·­ï³­ ·áñ­ÍáõÙ, ÇÝã­å»ë ÆÝ­¹á­Ý»­½Ç­³­ÛáõÙ ³å­ñáÕ ó³Ý­ ϳ­ó³Í Ù³ñ¹: — ÆëÏ ³í³· ë»­ñáõÝ¹Ý ÇÝã-áñ ³é³Ýӭݳ­ ѳï­Ïáõ­ÃÛáõÝ­Ý»ñ áõ­Ý»±ñ: — üÇÉ­ÙáõÙ »ñ»ù ë»­ñáõݹ ϳ` å³­åÁ, ѳۭñÁ ¨ ³Õ­çÇ­ÏÁ: ²Õ­çÇ­ÏÁ` ÈÇÝ­¹³Ý, ÇÙ ë»ñÝ­¹³­ÏÇóÝ ¿, ݳ ¿É ¿ Ïáñó­ñ»É ãǭݳ­Ï³Ý Ùß³­ÏáõÛ­ÃÁ: Üñ³ ѳۭñÁ ÍÝí»É ¿ 1940-³Ï³Ý­Ý»­ñÇÝ ¨ ï»­ë»É, û ÇÝã­å»ë ¿ÇÝ 1960-³Ï³Ý­Ý»­ñÇÝ å³ñ­ï³¹­ñáõÙ, áñ­å»ë­½Ç ãǭݳ­ Ï³Ý ³ÝáõÝ­Ý»­ñÁ ÷áË­í»Ý ÇÝ­¹á­Ý»­½³­Ï³­ÝÇ: ²Û¹ ų­Ù³­Ý³Ï ϳ­é³­í³­ñáõ­ÃÛáõ­ÝÁ ó³Ý­Ï³­ÝáõÙ ¿ñ Ó»ñ­ µ³­½³ï­í»É Ïá­Ùáõ­Ýǽ­ÙÇó, áñÁ ϳ­åáõÙ ¿ÇÝ ãǭݳ­ óÇ­Ý»­ñÇ Ñ»ï: ´³Ûó ³ÝáõÝ­Ý»­ñÁ ÷á­Ë»­Éáí` ÇÝ­¹á­Ý»­ ½³­ óÇ ãÇ­ Ý»­ ñÁ óùó­ ÝáõÙ ¿ÇÝ Ý³¨ Çñ»Ýó ÇÝù­Ýáõ­ÃÛáõ­ÝÁ: Àëï Çë, ¹³ ÝÙ³Ý ¿ ÇÝù­Ý³ë­å³­Ýáõ­ ÃÛ³Ý: â·Ç­ï»ë` ÇÝã­å»±ë ѳë­Ï³­Ý³ë ù»½, ã·Ç­ï»ë` á±í »ë: ê³ ³Ù»­Ý³­Ï³­ñ¨­áñ ËݹÇñÝ ¿, áñ ó³Ý­Ï³­ ÝáõÙ ¿Ç ýÇÉ­ÙáõÙ ³ñ­ï³­Ñ³Û­ï»É: — üÇÉ­ÙÇ Ñ»­ñáë­Ý»­ñÇó Ù»­ÏÇÝ Ñ³ñó­ÝáõÙ »Ý` §ºñµ Ù»­Í³­Ý³ë, DZÝã »ë áõ­½áõÙ ¹³é­Ý³É¦, áõ ݳ å³­ï³ë­Ë³­ÝáõÙ ¿` §ò³Ý­Ï³­ó³Í µ³Ý, ÙÇ­³ÛÝ` áã ãǭݳ­óǦ: ¸³ ËÇëï Ñáõ­ë³­Ñ³­ï³­ Ï³Ý ¿ ÑÝãáõÙ: — γñ­ÍáõÙ »Ù` Çë­Ï³­å»ë ³Ý­ÑáõÛë Çñ³­íÇ­×³Ï ¿: гݭ¹Ç­å»É »Ù µ³½­Ù³­ÃÇí ÇÝ­¹á­Ý»­½³­óÇ ãÇ­Ý»­ ñÇ, áõ Ýñ³Ýù Ãù³Í áõ­Ý»Ý, Ýñ³Ýù ã»Ý ó³Ý­Ï³­ ÝáõÙ Ëá­ë»É ³Ûë Ù³­ëÇÝ: ÆëÏ »Ã» Ù³ñ­¹ÇÏ ãó³Ý­ ϳ­ Ý³Ý ùÝݳñ­ Ï»É Ëݹǭ ñÁ, ³å³ ³ÛÝ Ï³Ý­Ñ»­ï³­Ý³, áõ Ù»Ýù Ù»ñ Ï۳ݭùáõÙ ÙÇ Ï³­ñ¨­áñ µ³Ý ÏÏáñó­Ý»Ýù: — Ò»ñ ýÇÉ­ÙáõÙ ³ñ­Í³ñÍ­íáÕ Ïáõ­ñáõ­ÃÛ³Ý Ã»­Ù³Ý ³Ûë ËݹñÇÝ ³éÝã­íá±õÙ ¿: — ²Ûá: ²ÛÝ ï»ë­Ý»É ãó³Ý­Ï³­Ý³­Éáõ Ïáõ­ñáõ­ÃÛáõÝÝ ¿: üÇÉ­ÙáõÙ ÙÇ Ï»ñ­å³ñ ϳ` ³ï³Ù­Ý³­µáõÛ­ÅÁ: г­Ùá½­í³Í ã»Ù, áñ ÏáõÛñ ¿: ØÇßï ³ñ¨­³­ÛÇÝ ë¨ ³Ï­ Ýáó­ Ý»ñ ¿ ÏñáõÙ, û¨ ϳ­ ñá­ Õ³­ ÝáõÙ ¿ ·ñ»É: ÂíáõÙ ¿` ݳ å³ñ­½³­å»ë ãÇ ó³Ý­Ï³­ÝáõÙ ï»ë­ Ý»É: γ٠¿É ãÇ ó³Ý­Ï³­ÝáõÙ, áñ Ù³ñ­¹ÇÏ Çñ Ù»ç ãǭݳ­óÇ ï»ë­Ý»Ý, áõë­ïÇ Ã³ùó­ÝáõÙ ¿ ³ã­ù»ñÝ áõ ÏáõÛñ ¿ Ó¨­³­ÝáõÙ: — ²Û¹ ¹»å­ùáõ٠ϳ­ñá±Õ »Ýù ³ë»É, áñ ¹áõù »ù ÏáõÛñ Ëá­½»­ñÁ: — ²Ûá, ÇÝ­¹á­Ý»­½³­óÇ ãÇ­Ý»ñÝ »Ý ÏáõÛñ Ëá­½»­ñÁ: ´³­óÇ ³Û¹, ÇÝã­å»ë ·Ç­ï»ù, Ëá­½Ç ÙÇëÝ Çë­É³­ÙáõÙ ³ñ­·»É­í³Í ¿: àõë­ïÇ Ëá­½»­ñÁ ϳñ­Í»ë ݳ¨ ×Ýßí³Í ÷áù­ñ³­Ù³ë­Ýáõ­ÃÛáõÝ »Ý: — üÇÉ­ÙáõÙ û·­ï³­·áñ­ÍáõÙ »ù ÝáõÛÝ­å»ë ÏáõÛñ êÃÇ­íÇ àõ³Ý­¹»­ñÇ §I Just Called to Say I Love You¦ »ñ­·Á: ÊݹñáõÙ »Ù` µ³­ó³ï­ñ»ù, û ѳݭ¹Ç­ë³­ï»ëÝ ÇÝ­ãá±õ å»ïù ¿ ³Û¹­ù³Ý ß³ï ÉëÇ ïíÛ³É ëï»Õ­Í³­·áñ­Íáõ­ÃÛáõ­ÝÁ: — ºñ·Ý ³Ý­ Ñ³Ý·ë­ ï³ó­ ÝáÕ ¿: ºñµ ÷áùñ ¿Ç, ß³ï Ù»Í Åá­Õáíñ­¹³­Ï³­Ýáõ­ÃÛáõÝ ¿ñ í³­Û»­ÉáõÙ: ²Ù»­Ýáõñ ÑÝãáõÙ ¿ñ, ϳñ­Í»ë áõ­Õ»Õ ¿ñ Éí³­ÝáõÙ: ²ÛÝ Ï³å­í³Í ¿ Ï۳ݭùÇë µá­Éáñ ¹»å­ù»­ñÇ Ñ»ï: ²Û­ëûñ »ñ­ç³­ÝÇÏ »Ù` ÉëáõÙ »Ù ³Û¹ »ñ­·Á, í³­ÕÁ ïËáõñ »Ù` ÏñÏÇÝ ÉëáõÙ »Ù ÝáõÛÝ »ñ­·Á: Øï³­Í»­ óÇ` ·áõ­ó» ýÇÉ­ÙÇë Ù»ç ¿É áõ­Ý»­Ý³ ÝáõÛÝ ³ñ­¹ÛáõÝ­ùÁ, »Ã» ½áõ­·³Ïó­íÇ ï³ñ­µ»ñ ½·³ó­ÙáõÝù­Ý»­ñÇ Ñ»ï, ó³Ý­Ï³­ó³ ï»ë­Ý»É, û ÇÝã­å»ë ¿ ³ÛÝ ³½­¹áõÙ ¨

INTERVIEW

Edwin

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n λÛë ¸ñÇ»ë»Ý ³ñ·Ù³ÝáõÃÛáõÝÁ` ²ñ÷Ç ê³Ñ³ÏÛ³ÝÇ

I

ndonesian filmmaker Edwin (1978) has presented his debut feature Blind Pig Who Wants to Fly on festivals around the world, garnering both praise and incomprehension with his absurd, yet poignant mosaic on the identity crisis of Chinese-Indonesians.

You are yourself a Chinese-Indonesian. Did you grow up in a Chinese culture?

No I did not, unlike the Chinese in Malaysia, for example. There, they still speak Chinese, even those of my generation. They celebrate their culture. But in Indonesia, my generation lost the connection with Chinese culture. We cannot speak or understand the language, we don’t celebrate Chinese New Year. We just eat some Chinese food, like everyone in Indonesia.

What is the difference with the earlier generation?

In the film, there are three generations. We have the grandfather, the father, and the daughter. The daughter, Linda, is of my generation, the one that lost the Chinese culture. Her father was born in the 1940’s and experienced how in the 1960’s Chinese names had to be changed into Indonesian. At that time, the government wanted to get rid of communism, which they connected to the Chinese.

But by changing their names, the ChineseIndonesians were also hiding their identity. For me, that’s like killing yourself. You don’t know how to see yourself, you don’t know who you are. That’s the most important thing I want to express in this film.

Is this the reason you have only one name, Edwin?

Maybe, I don’t know. My father just gave me that name. It’s no artist’s name, I really have just one name in my passport. It’s quite common in Indonesia.

One person in your film gets the question ‘What do you want to be when you grow up?’ and says: ‘Anything but Chinese.’ That sounds like he has no hope left.

I believe it is a hopeless situation. I met a lot of Chinese-Indonesians and they don’t care, they don’t want to talk about this. And when people don’t want to discuss it, then it will disappear and we will have lost something important in our life.

Is the theme of blindness in your film related to this?

Yes. It is a blindness of not wanting to see. In the film we have a character, the dentist. I’m not sure he is blind. He always wears black sunglasses, but he can still write. It seems like he does not want to see. Or he doesn’t want people to recognize him as Chinese, so he hides his eyes and pretends he’s blind.

No. 5, July 17 2009

So we can say that you are the blind pigs?

The Chinese-Indonesians are the blind pigs, yes.

And, as you know, pork is not allowed in Islam.

The pigs are therefore also like a repressed minority.

You use the song ‘I just called to say I love you’ by Stevie Wonder—who, by the way, is also blind. Please explain why the audience has to listen to it so many times?

It’s very annoying. When I grew up, it was a very popular song. You heard it everywhere, it was a kind of brainwashing. It got connected to every experience in my life. Today I’m happy with this song, tomorrow I’m sad with this song. I thought, maybe it can have the same effect in my film, to combine this song with different feelings, to see how it affects me and the audience. And the song fits the film, as it describes a hopeless situation.

It is your first feature, after a number of short films. Why did you choose this mosaic structure?

When I was writing the script, I tried for a while to make it a linear and narrative story. I found that very difficult. It is a sensitive subject for me, and I didn’t want to feel like I was exploiting the issue, that I was using this pain to sell something, to create entertainment. I just want to share a feeling with the audience.

There are some culturally specific elements in your film, like the peculiar use of firecrackers by a young girl.

I learned during my research, that firecrackers are used by Chinese to expel ghosts. When in the film, Linda tries to eat the firecrackers, for me, she tries to expel the ghosts from herself. Because for me, this problem comes not only from the government or the people, against the Chinese, but also from the Chinese-Indonesians themselves. We are too paranoid and we want to hide everything.

What has the audience’ response been so far?

Generally, they like the language and the form of the film, but the content raises a lot of confusion and misunderstanding. I think many people need more information to understand the background of the Indonesian situation. At my first screening here in Yerevan, about 50 people left during the film. I think that was the most people leaving at any festival I’ve been to.

Did they object to the rape scene?

That was when most of them left. I guess that was the final straw. At the Q&A afterwards, nobody asked about the history of the Chinese in Indonesia, they asked about the form of the film and about the rape scene, why I made it so explicit.

What did you answer?

That it’s metaphorical, not literal. It’s about the relation between the Chinese-Indonesians and the government and the military. This emotional feeling is the essence of the whole film. Of course, it’s supposed to make the audience feel uncomfortable. But for me, as an Indonesian, that’s the feeling: not only being raped by the authorities, but wanting to be raped. Asking for it. Afterwards, when I talked to a man who objected to the scene, I asked him if it would have been easier if the dentist was a woman and he said yes, it would. He was still reading that scene literally as a homosexual scene, not as a metaphor.

How was the film received in Indonesia?

We didn’t pass the censorship, because of the rape scene and the title, the pig-title. Not because of the political subject matter, I don’t think they even got that message. We can’t show the film in commercial cinemas, only at universities and film clubs, where we’re having many discussions with young ChineseIndonesians. And that is my main motivation, apart from my own learning process, to trigger people to discuss this issue. We should talk about this openly, we don’t need to be afraid anymore.

n Kees Driessen

REVIEWS

6 No. 5, July 17 2009

feature competition

Looking for a dog, finding a cute girl

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works as a doctor in a small town. When she meets 20 years old Boguś, they are on the edge of an innocent quasi-affair, until Wajda plays with the expectations of the spectator. Death is an underflowing motive, and the details are in a sense of secondary importance. Sweet Rush is a stylistic and honest depiction of death, innocence and love.

atti is looking for her dog in the park, and it is already getting dark. The runaway dog will return soon, but before that she stumbles upon Asya: two years old, cute as hell, abandoned by her mother swinging in the park. There is a note in her pocket: the mother will take her back, no need to call the police, please...

Patti is already on the periphery of the society, she lives with her husband Walter in a caravan, in a trailer park on the outskirts of Rome. They both work as circus people, a job not really popular or paying very well. Patti and Walter sometimes take care of fourteen years old Tairo, who was left by his divorced parents to his old grandma.

We follow this strange family day by day: the circus couple doesn’t really want to give Asya up, but at the same time they are well aware that she can cause trouble. They can provide her the home she needs and the love she wants but if it is discovered, how can they explain that they did not kidnap the child?

Tizza Covi and Rainer Frimmel, the two directors of La Pivellina, follow the everyday life of these simple Europeans in a documentary style. These people don’t have bold words to say, nor is there any big drama; they are poor, uncomplicated, contemptible, tired and old, nevertheless loving and warm. In a humble style La Pivellina provides the almost perfect description of them.

EK

EK

Sweet Rush (Andrzej Wajda, Poland, 2008).

July 16: Moscow Cinema, Red Hall (17:00); July 17:Moscow Cinema, Red Hall (13:00).

La Pivellina (Tizza Covi and Rainer Frimmel, Italy/Austria, 2009). July 17: Moscow Cinema, Blue Hall (10:00 & 16:00).

Death and love I

t is easy to forget that an actress is a person, especially when the director puts all the energies of his professional team in , 83 making you forget it. In year old Polish master Wajda goes a different direction: actress Krystyna Janda had to face the diagnosis with a terminal illness and death of her beloved husband cinematographer Edward Kłosiński. Meanwhile, director Andrzej Wajda’s project was going on. It had to be postponed.

“Andrzej will understand...” said Kłosiński, trying to keep his wife nearby for the last days of his life.

Wajda did not only wait for her, but changed the

story line; hence it became a film within a film carried by real life monologues of the actress. The result is heartbreaking: While Janda is trying to overcome the loss of her husband, she is playing a terminally ill woman who has to deal with three other deaths, two from the past, and one that comes unexpectedly.

Sweet Rush is cruelly realistic and poetically beautiful at the same time. In one layer, Krystyna Janda is daringly honest and intimate in sharing her probably most dramatic personal experience in life.

The second layer echoes the first one. Middle-aged Marta has dedicated her life to her husband, who

documentary competition

Dear Mr President

S

ome children write to Santa Clause, some to a President. But in case of the latter, namely the President of Iran Mahmoud Ahmadinejad, not only the kids write and hope. Almost the whole population of Iran takes up the pen. In a country where the Internet is generally forbidden, people use the old and tried type of communication, letters. The Addressee is the Iranian President, who receives over 10 million letters from his compatriots, and his appointed staff kindly tries to answer them all on behalf of Mr Ahmadinejad. But as the film gradually shows through the letters of the plain, with their hopes, wishes and problems, Mahmoud Ahmadinejad himself is being revealed.

Waiting for the answers from the Presidential Letter writing center, Iranian women for instance have plenty of time to discuss how generous the Queen of Great Britain is with her people. Other Iranian women faint after seeing Ahmadinejad in the flesh.

And although the opinions and attitudes differ, and presidential mailing in itself is controversial, the final thought is how film maker Petr Lom managed to make his open documentary on Ahmadinejad in closed Iran. The reason for that may be the background of the director—he’s holding a Harvard University PhD in political philosophy—but only Allah knows.

DV Letters to the President (Petr Lom, Canada, 2009).

July 17: Puppet Theatre, Small Hall (20.00).

Faraway, so close!

S

ome landscapes tell a striking story by themselves, there is not much left to the director. Enurmino is one of them. It is on the northeastern edge of the world. As a part of the Russian federation it is more than 6000 km away from the capital. The only way to reach it is by helicopter and for 314 inhabitants this is also the only way out. There are supposed to be two paramedics, but no one really wants to come. Children have to leave their homes for months to study Russian in a boarding house. A worker complains that they live like filthy dogs. A self-taught musician—a conductor without an orchestra—feels isolated. Everything is bad he says, there are no intellectuals in this place, he has nobody to talk to.

They go hunting but the food is never enough.

Children are ill-fed, adults are alcoholic. Suicide

rates are unnaturally high. The mayor does her best but resources are not plentiful. Nobody knows about the people of Enurmino, nobody cares.

Still, they have universal problems. The landscape is changing everywhere, old women have nostalgia. In Welcome to Enurmino! director Aleksei Vakhrushev surprises you with the indigenous people of the place: one minute they are aliens in a spaceship, and then suddenly they are one of us, only misplaced by accident in this wildly beautiful strange zone.

EK Welcome to Enurmino! (Aleksei Vakhrushev, Russia, 2008). July 17: Nairi Cinema, Main Hall (12:00), Puppet Theatre, Main Hall (19:00).

FILM/PEOPLE

7 No. 5, July 17 2009

Extra screening of documentary by arrested Iranian journalist Maziar Bahari

documentary competition

Director in jail

The city of lost children

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ccording to official reports, around 25,000 people died in the earthquake at Gyumri, December 7, 1988.

Unofficial estimates put the number as high as 80,000. Roughly one third of those were children. Twenty years later, many of the bereaved parents have had children again. After showing archive footage of the destroyed city—the homeless people, piles of rubble and endless rows of caskets—Czech director Jana Sevciková interviews parents who have given their new-born babies the name of a deceased brother or sister.

It’s not just a way to keep their memory alive; in many cases, these new children have to be the ‘replacements’ for their lost siblings. “I love the

dead ones through the living ones”, says one mother. Sitting at his dead brother’s grave, another mother tells her identically named son, with tears in her eyes: “Do you know how much responsibility you have? Not only a name, but also lost dreams have to become reality.” The children respond in different ways to this pressure on their identity.

One boy feels he shares one soul with his dead brother. At the cemetery, he muses: “if my brother’s soul is in me, I’m sitting at my own grave and looking at my own picture.”

Sevciková often moves her camera slowly, as if floating on a quiet stream. She moves through rooms, houses and streets which bear witness to their former inhabitants. At the same time, life

George Ovashvili on The Other Bank

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The Golden Apricot International Film Festival, that invited Maziar Bahari as a jury member, is very concerned about his fate.

Gyumri (Jana Sevciková, Cze, 2008). July 16: Nairi Cinema, Main Hall (18.00); July 17: Nairi Cinema, Main Hall (18.00).

Today the documentary Targets: Reporters in Iraq, made by Maziar Bahari in 2005, will be shown in Narekatsi Art Center at 16.00.

Bagrat Hovhannisyan’s 80th birthday

‘When there are two sides, it is difficult to be in the middle’ The Other Bank, a touching film full of pain and longing, is in the feature film competition. Its main character is Tedo, a 12 year-old refugee, a victim of the Abkhazian-Russian-Georgian conflict. He decides to go and look for his father in his native village, defying warnings that the village has become a den of the enemy Georgian director George Ovashvili is a graduate of the New York Film Studio. The Other Bank is his debut film.

Why did you choose to make a film about the Abkhazian-Russian-Georgian conflict?

One should be very cautious when touching this topic. The director should accept from the beginning that no matter how he is going to make his film, there will be negative opinions as well. When there are two sides, it is very difficult to be in the middle. But my goal was not to take sides, I should be in the middle. I have no right as a director, to impose my opinion on the audience. I neither point out who is guilty. This is a film about my homeland it is not important who live there, Georgians, Abkhazians, Ossetians or Armenians.

Although there is much pain in the film, there is also humor.

I tried to show life as it is. In life sadness and joy go hand in hand. Unfortunately, sad things in Armenia and Georgia prevail now. I spend a lot of time on casting and the emotions which I would like to pass to the audience, I entrust to my characters. I am sure the film received a warm welcome here because the situations in our countries are absolutely similar.

continues. People throw out the garbage, drive their cars, and even celebrate. But behind this semblance of normality, the parents carry a hole in their heart which even their new children can’t fill. Some parents, who haven’t seen the bodies of their deceased children, do not believe they are dead. They speak moving words to them directly into the camera, hoping their children will watch this film.

After the presidential elections in Iran tens of journalists were arrested in Teheran. Among them was the journalist and filmmaker Maziar Bahari. On Sunday June 20 he was picked up in his house by some people who didn’t identify themselves; his laptop and videotapes were taken. Bahari (41) has a Canadian passport too and works for the BBC, the American magazine Newsweek and others. He is respected as a critical but fair reporter. His last article about the demonstrations in Iran was published on June 17 in Newsweek. Some of his television reports he expanded to documentaries, shown on different international film festivals. He also wrote a theatre play.

From all over the world, including Armenia, protests arose about the arrest of the journalists.

The Canadian government expressed its concern and raised an official protest especially against the arrest of Bahari, who after some days confessed that he works for other governments. According to his friends and international organizations he was forced and even tortured to say this.

In The Other Bank a Russian soldier kills a Georgian. Was this episode important to you?

This is a true story. A Russian soldier from the Russian peacekeeping contingent shot at a Georgian after learning that he could not pay for taking a sack of flour across the border. This is a very sad story, of course. But I tried to show that the Russian soldier is a victim too, the main victim, perhaps, because he has no idea why he is there.

The killing occurs on a bridge, in a territory hanging in the air, under which there is no land and only water. I did it with the purpose to show that that location is not real.

n Nune Hakhverdyan

Simple, honest and earthy This year would have been the 80th birthday of Bagrat Hovhannisyan, who died in 1990 in Yerevan. Hovhannisyan is of one of those directors who are referred to as ‘being devoted to cinema to the marrow of their bones.’ Having majored as a philologist and being fluent in several foreign languages he tied his life to cinema, bringing into it the intellectual and cognitive aspect that later defined his creative style.

Hndzan (1974), his debut film, was made on the basis of a short story by Ruben Hovsepyan. It is a subtle, beautiful story about a boy waiting for his father. Later he was captured by the prose of another prominent Armenian writer, Hrant Matevosyan, finding the artistic key that helped him present good prose in the language of cinema. This key is the inner dialogue of his characters who stand out by their dazzling national thinking. He used this psychological dialogue to make another film—Autumn Sun (1977)—based on a story by Matevosyan.That film was immediately recognized as a new voice in Armenian cinema. The Armenian audience was familiar with the story from a theater adaptation, but it contained more accentuated comedic elements.

Bagrat Hovhannisyan wanted to focus on Aghun (the main character in Autumn Sun), letting her convey her thoughts, conflicting feelings and hopes almost without extra tricks and intervention on the part of the director. Autumn Sun, a long and moving dialogue of a village woman, was shot in Hrant Matevosyan’s native village, since the authenticity of the location and environment was very important to the director.

In 1983 Bagrat Hovhannisyan made The Master, another film from a story by Hrant Matevosyan, featuring actor Khoren Abrahamyan, who played one of his best parts. Abrahamyan’s character Rostom differs from his cynical and self-seeking surroundings by his honest cleanliness, which he seems to have inherited from the earth. Such simple, honest and earthy characters interested Bagrat Hovhannisyan.

n Nune Hakhverdyan

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8 N5, 17 ÑáõÉÇëÇ 2009