ÐÐ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛ³Ý ³ç³ÏóáõÃÛ³Ùµ
#6
18 ÑáõÉÇëÇ, 2009 July 18 2009
ö³ÏÙ³Ý ýÇÉÙÁ. ö³ñ³ç³ÝáíÇ Üé³Ý ·áõÛÝÁ
3
ö³é³ïáÝÇ ¹»Ùù»ñ. ²Ý³ÑÇï ܳ½³ñÛ³Ý, ²ñëÇÝ» ʳÝçÛ³Ý, êǹ¹Çù ´³ñÙ³Ï...
4
гñó³½ñáõÛó гÛÏ ´³ÉÛ³ÝÇ Ñ»ï/Interview with Haig Balian
5 Closing Film: Parajanov's The Color of Pomegranates
6 Review of: The Buried Forest Rest in peace
7
ÄÛáõñÇÇ ³Ý¹³Ù гÛÏ ´³ÉÛ³ÝÇ §³éÛáõÍÇ ëÇñïÁ¦
Jury member Haig Balian shows his lionheart
Ìð²¶Æð/PROGRAM
No. 6, July 18 2009
2 N6, 18 ÑáõÉÇëÇ 2009
ß³µ³Ã 18 ÑáõÉÇëÇ / saturday july 18 ØáëÏí³ Ï/Ã, ϳñÙÇñ ¹³ÑÉÇ×
ØáëÏí³ Ï/Ã, ϳåáõÛï ¹³ÑÉÇ×
ܳÇñÇ Ï/Ã
ܳñ»Ï³óÇ ²ñí»ëïÇ ØÇáõÃÛáõÝ
Moscow Cinema, Red Hall
Moscow Cinema, Blue Hall
Nairi Cinema
Narekatsi Art Center
18.00
12.00 îÕÙáï ·»ïÁ/Muddy River,
12.00
Î. ú·áõñÇ/K. Oguri, Jap, 105’, R, L/Jap, Sbt/Eng, Arm
12.00 *²½³ïáõÃÛ³Ý ·Ý³óù/Train of Freedom,
Î. Îáññ»³/K. Correa, Kosovo/USA, 50’, DAB, L/ Alb, Serb, Eng, Sbt/Eng
14.00 γñÇù/Need,
13.00 гݹÇåáõÙ é»ÅÇëáñ æ.úݹ»ñÇ Ñ»ï/3 hours for C.Onder’s presentation and film
è. ÜÇÉëáÝ/R. Nilsson, USA, 97’, R, L/Eng, Sbt/Arm
14.00 *ºíñáåáÉÇë` ¸»Éï³ÛÇ ù³Õ³ùÁ/ Europolis˜The Town of the Delta,
16.00
Üé³Ý ·áõÛÝÁ/The Color of Pomegranate,
гïáõÏ Ýß³ÝÝ»ñ/Rysopis,
ê. ö³ñ³ç³Ýáí/S. Parajanov, Arm, 79’, CF
º. êÏáÉÇÙáíëÏÇ/J. Skolimowski, Pol, 80’, R, L/Pol, Sbt/Eng, Arm 14.00 ÜíÇñíáõ٠γ۳ÏáÛÇÝ/For Kayako,
Î. ú·áõñÇ/K. Oguri, Jap, 117’, R, L/Jap, Sbt/Eng, Arm
Î. ´áݨ/K. Bonev, Bgr/Aut, 80’, DAB, L/Bulg, Sbt/ Eng 17.00 ¸éÝ»ñÁ µ³Ý³É/Opening the Doors,
Ø. ú½í»ñ»Ý, àõ. ¾ë»Ý /M. Ozveren, U. Esen, Tur, 43’, DAB, L/Arm, Tur, Kurd, Sbt/Arm 17.50
16.00 øÝ³Í Ù³ñ¹Á/Sleeping Man,
Î. ú·áõñÇ/K. Oguri, Jap, 105’, R, L/Jap, Sbt/Eng, Arm 18.00 سÑí³Ý ˳ÛÃÁ/The Sting of Death,
Î. ú·áõñÇ/K. Oguri, Jap , 115’, R, L/Jap, Sbt/Eng, Arm
ü»ñ¹Ç¹áõñÏ»/Thirthy Door Key,
º. êÏáÉÇÙáíëÏÇ/J. Skolimowski, Pol/UK/Fra, 90’, R, L/Pol, Sbt/Eng, Arm
20.00 ³Õí³Í ³Ýï³éÁ/The Buried Forest,
Î. ú·áõñÇ/K. Oguri, Jap, 93’, R, L/Jap, Sbt/Eng, Arm
*ì³Õí³Ý áõÕÕí³Í ݳٳÏ/ A Letter For Tomorrow,
Ð. ²ÛûùÇÝ /H.Aytekin, Tur, 47’, DAB, L/Arab, Sbt/ Eng
22.00 ²¹³Ù³ÙáõÃ/ Repeated Be All,
´. ÐáíѳÝÝÇëÛ³Ý/B. Hovhannisyan, Arm, 156’, R, L/Arm, Sbt/Eng
Editor in chief: André Waardenburg ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý *– 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 Deu – Germany Dnk – Denmark Dza – Algeria
MEDIA PARTNERS
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
General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan
¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý
Journalists: Kees Driessen, Evrim Kaya,
Èñ³·ñáÕÝ»ñ` λÛë ¸ñÇ»ë»Ý, ¾íñÇ٠γ۳, ²ÝÇ Ô³ñ³µ³ÕóÛ³Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ÜáõÝ» гËí»ñ¹Û³Ý, γñÇÝ ¶ñÇ·áñÛ³Ý
Nune Hakhverdyan, Raffi Movsisyan,
Èáõë³ÝϳñÇã` ¶¨áñ· ¶³ëå³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ÜáõÝ» гËí»ñ¹Û³Ý
Ani Gharabaghtsyan, Karin Grigoryan, Davit Vardazaryan Translations: Murad Mkrtchyan Photos: Gevorg Gasparyan, Raffi Movsisyan, Nune Hakhverdyan
3 N6, 18 ÑáõÉÇëÇ 2009
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n ²ÝÇ Ô³ñ³µ³ÕóÛ³Ý
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4 N6, 18 ÑáõÉÇëÇ 2009
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5 N6, 18 ÑáõÉÇëÇ 2009
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INTERVIEW
No. 6, July 18 2009
Haig Balian
³Û³½·Ç гÛÏ ´³É Û³ÝÁ (ÍÝí. 1954 Ã.) §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñǦ ÅÛáõñÇÇ Ñáɳݹ³óÇ ³Ý¹³ÙÝ ¿: ºñϳñ ï³ñÇÝ»ñ ³ß˳ï»Éáí ³½·³ÛÇÝ ¨ ÙÇç³½·³ÛÇÝ ÏÇÝá³ñï³¹ñáõÃÛ³Ý áÉáñ ïáõÙ` Ý»ñϳÛáõÙë ²Ùëï»ñ¹³ÙÇ §²ñïÇë¦ Ã³·³ íáñ³Ï³Ý ϻݹ³Ý³µ³Ý³Ï³Ý ³Û·áõ ïÝûñ»ÝÝ ¿: §²Ý·ÕÝ»ñÇ Ùáï ¿¦,— Ååï³Éáí ³ëáõÙ ¿ ²Ùë ï»ñ¹³ÙÇ ëñïáõÙ ·ïÝíáÕ Üǹ»ñɳݹݻñÇ ³Ù» ݳѳÛïÝÇ Ï»Ý¹³Ý³µ³Ý³Ï³Ý ³Û·áõ` §²ñïÇ ëǦ ÙáõïùÇ Ùáï Ï³Ý·Ý³Í ßÇϳѻñ ³ÕçÇÏÁ: ÆëÏ ³Ý·ÕÝ»ñÇ Ùáï гÛÏ ´³É Û³ÝÇ` 1970-³Ï³ÝÝ»ñÇó Ç í»ñ Ñáɳݹ³Ï³Ý ¨ »íñáå³Ï³Ý ÏÇÝáÛÇ ·É˳ íáñ ¹»ñ³Ï³ï³ñÝ»ñÇó Ù»ÏÇ ·ñ³ë»ÝÛ³ÏÝ ¿: §ÎÛ³Ýùë ¹³ñ Ó»É ¿ Ç ßñç³Ýë Ûáõñ¦,— ³ëáõÙ ¿ ´³É Û³ÝÁ:— سÝáõÏ Ñ³ë³ÏáõÙ ó³ÝϳÝáõÙ ¿Ç ÉÇ Ý»É §²ñïÇëǦ ïÝûñ»ÝÁ¦: ܳËù³Ý ÏÇÝáÛÇÝ ³ÝóÝ»ÉÁ` ³Û¹ ó³ÝÏáõÃÛáõÝÇó ¹ñ¹í³Í` ϻݹ³Ý³ µ³ÝáõÃÛáõÝ ¿ñ áõëáõÙݳëÇñ»É: ÐáɳݹdzÛÇ ÏÇÝáÛÇ Ã³Ý·³ñ³ÝÇ í»ñ³ÑëÏÇã ËáñÑñ¹Ç ³Ý¹³Ù, ÐáɳݹdzÛÇ ÏÇÝáóïñáÝÝ» ñÇ ó³ÝóÇ Ñ³Ù³ë»÷³Ï³Ý³ï»ñ ¨ ºíñáå³Ï³Ý ÏÇÝáÛÇ ³Ï³¹»ÙdzÛÇ ³Ý¹³Ù ´³É Û³ÝÁ ·Ý³ó»É ¿ Ñáñ Ñ»ïù»ñáí: §Ð³Ûñë ³Ûë ï»Õ ¿ »Ï»É º·Çå ïá ëÇó, áñ ï»Õ ³åñáõÙ ¿ñ 19-ñ¹ ¹³ñÇ í»ñç»ñÇÝ ÂáõñùdzÛÇó ÷³Ë³Í Ñ³Û ÍÝáÕÝ»ñÇ Ñ»ï: ÐáɳݹdzÛáõÙ Ñ³Ý ¹Çå»É ¿ Ùáñë: ´³Ûó ѳÛñë ³Ûë »ñÏÇñÁ ã¿ñ ëÇñáõÙ` ëÝáõݹÁ í³ïÝ ¿ñ, ·ÇÝÇÝ` ë³ñë³÷»ÉÇ, Ù³ñ¹ÇÏ` ÏáåÇï: ܳ ·»ñ³¹³ëáõÙ ¿ñ üñ³ÝëdzÝ: ´³Ûó Ù³Ûñë ó³ÝϳÝáõÙ ¿ñ, áñå»ë½Ç ٻͳݳÝù ³ÛÝ ï»Õ, áñï»Õ ³ñÙ³ïÝ»ñ áõÝ»Ýù: ºñµ ÍÝí»óÇ, ѳÛñë ·Ý»ó ÷áùñÇÏ ÏÇÝáÁÝÏ»ñáõÃÛáõÝ, áñÁ Ïáã íáõÙ ¿ñ §Meteor Film¦: гÛñë ÙÇßï ¿É ÏÇÝá ëÇñ»É ¿: ÀÝÏ»ñáõÃÛáõÝÁ »íñáå³Ï³Ý ýÇÉÙ»ñ ¿ñ Ù³ï³ Ï³ñ³ñáõÙ ÏÇÝáóïñáÝÝ»ñÇÝ, ÇëÏ ³í»ÉÇ áõß` ݳ¨ Ñ»éáõëï³ï»ëáõÃÛ³ÝÁ: ܳ¨ Ý»ñ·ñ³íí³Í ¿ñ ÇÝã-ÇÝã ³ñï³¹ñáõÃÛáõÝÝ»ñÇ Ù»ç: ¸ñ³ ßÝáñ ÑÇí ¿, áñ Ù³ÝáõÏ Ñ³ë³ÏáõÙ ³Ûó»É»óÇ Ä³Ï î³ ïÇÇ §Play Time¦ (1967) ýÇÉÙÇ Ýϳ ñ³ Ñ³Ý Ù³Ý Ññ³å³ñ³Ï¦,— ÑÇßáõÙ ¿ ´³É Û³ÝÁ: ²Û¹ ÁÝóó ùáõÙ ´³É Û³ÝÇ Ù³ÛñÁ óñ·Ù³ÝáõÙ ¿ñ ýÇÉÙ»ñÁ, ÇëÏ ù»éÇÝ Õ»Ï³í³ñáõÙ §20th Century Fox¦ ÏÇ Ýáëïáõ¹Ç³ÛÇ Ñáɳݹ³Ï³Ý Ù³ëݳ×ÛáõÕÁ: гÛÏ ´³ É Û³ ÝÁ §Meteor Film¦-Ç ·ÉáõË ³Ý ó³í 1977-ÇÝ: §Ø»ñ ³é³ çÇÝ ýÇÉ ÙÁ §Una giornata particolare¦-Ý ¿ñ (é»ÅÇëáñ` ¾ïáñ» êÏá ɳ, 1977 Ã.): î³ëÝ»ñÏáõ ï³ñÇ ß³ñáõÝ³Ï Ãá Õ³ñÏ»É »Ýù áã ³é¨ïñ³ÛÇÝ ýÇÉÙ»ñ: ì»Ý¹»ñë, ü³ëµÇݹ»ñ, ²ÝïáÝÇáÝÇ` ÙdzÛÝ ÇëÏ³Ï³Ý ³ñ í»ëï, ³ñí»ëï ¨ ³ñí»ëï¦: лﳷ³ÛáõÙ ´³É Û³ÝÁ ·Ý»ó åñá¹Ûáõë»ñ³ Ï³Ý ÙÇ ÁÝÏ»ñáõÃÛ³Ý µ³ÅݻٳëÁ ¨ ¹³ñÓ³í Çñ ³é³çÇÝ` §Î³ñÙÇñ Ù³½»ñáí ³ÕçÇÏÁ¦ (1981 Ã.) Ñáɳݹ³Ï³Ý å³ï»ñ³½Ù³Ï³Ý ûٳÛáí ýÇÉÙÇ Ñ³Ù³åñá¹Ûáõë»ñÁ: §äñá¹Ûáõë»ñáõÃÛáõÝÝ áõ ï³ñ³ÍáõÙÁ ѳٳï»Õ»É ¿ÇÝù Ù»Ï ÁÝÏ»ñáõÃÛ³Ý Ù»ç` ÃáÕ³ñÏáõÙ ¿ÇÝù »íñáå³Ï³Ý áã ³é¨ïñ³ ÛÇÝ ýÇÉÙ»ñ ¨ ѳݹ»ë ·³ÉÇë áñå»ë Ñáɳݹ³ Ï³Ý ýÇÉÙ»ñÇ åñá¹Ûáõë»ñ¦: 1990-³Ï³ÝÝ»ñÇ ³Ù»ñÇÏÛ³Ý Ó»éݳñÏÁ ¹Åí³ ñáõÃÛáõÝÝ»ñÇ µ³Ëí»ó: §ØÇÉÇáÝÝ»ñ Ïáñó ñÇÝù¦,— ÑÇßáõÙ ¿ ´³ÉÛ³ÝÁ: ´³Ûó ¹³ Ýñ³Ý ÙÕ»ó §Meteor Film¦-Á í»ñ³Í»É §Ï³ï³ñÛ³É ÏÇÝáÁÝÏ» ñáõÃ۳ݦ: §²Ù»ñÇϳóÇÝ»ñÇó ÁݹûñÇݳϻóÇÝù ÏÇÝáÁÝÏ»ñáõÃÛ³Ý Ë³éÁ Ùá¹»ÉÁ: äñá¹Ûáõë»ñáõ ÃÛáõÝÝ áõ ÏÇÝáóïñáÝÝ»ñÁ ѳٳï»Õ»óÇÝù Ñ» éáõëï³ï»ëáõÃÛ³Ý ¨ ï»ë³·ñáõÃÛáõÝÝ»ñÇ ï³ ñ³ÍÙ³Ý Ñ»ï, ݳ¨` ³Ù»ñÇÏÛ³Ý ýÇÉÙ»ñÁ` »íñáå³Ï³Ý áã ³é¨ïñ³ÛÇÝ ÏÇÝáÛÇ Ñ»ï¦: ²Ñ³ û ÇÝ ãáõ 1993 Ã. §Polygram¦-Á ·Ý»ó §Meteor Film¦-Á ¨ ´³É Û³ÝÇÝ Ýß³Ý³Ï»ó ¶»ñÙ³ ÝdzÛÇ, ²íëïñdzÛÇ ¨ Þí»Ûó³ñdzÛÇ ÏÇÝáµ³ÅÝÇ Õ»Ï³í³ñ: §ºë ëÏë»óÇ áãÝãÇó, ¹³ï³ñÏ ë»Õ³ ÝÇó: àõݻݳÉáí §Meteor Film¦-Ç ÷áñÓÁ` §Polygram Filmed Entertainment¦-Á ¹³ñÓ ñÇ Çë Ï³Ï³Ý »íñáå³Ï³Ý ýÇÉÙ»ñÇ ³é³çÇÝ ëïáõ¹Ç³Ý: ²ÛÝ Ñ½áñ ѳٳϳñ· ¿ñ, ù³ÝÇ ¹»é §Philips¦-Á ãáñáß»ó í³×³é»É §Polygram¦-Á¦: ²Ûë áñáßáõÙÁ ¹»é¨ë ѳñáõóáõÙ ¿ ´³É Û³ÝÇ
European cinema is again completely fragmented, and dominated by national interests.
terrible, and the people were rude. He preferred France. But my mother wanted us to grow up somewhere where we’d have roots.” “The year I was born, my father bought a small film company, Meteor Film. My father had always loved movies. The company distributed European films theatrically and later also to television. And it was involved in some productions. That’s how, as a kid, I visited the set of Jacques Tati’s Play Time (1967).” In the meantime, Balians mother translated movies, while an uncle ran the Dutch branch of 20th Century Fox. Haig Balian took over Meteor in 1977. “Our first release was Una giornata particolare (Ettore Scola, 1977). For twelve years, we released art films. Wenders, Fassbinder, Antonioni, really just art, art, and art.”
½³ÛñáõÛÃÁ: §Üñ³Ýù ³í»ñ»óÇÝ »íñáå³Ï³Ý Ùß³ÏáõÛÃÇ ÙÇ Ù³ëÁ: Ø»Í ëïáõ¹Ç³ ÉÇÝ»Éáõ ѳ Ù³ñ` §Polygram¦-Ý áõÝ»ñ µ³í³ñ³ñ ÙÇçáóÝ»ñ ¨ Íñ³·Çñ: ÆëÏ Ù»Ýù »íñáå³óÇÝ»ñ »Ýù ¨ ÏñáõÙ »Ýù »íñáå³Ï³Ý Ùß³ÏáõÛÃÁ: ²ÛÝÇÝã ³Ù»ñÇϳ óÇÝ»ñÁ Ùï³ÍáõÙ »Ý ÙdzÛÝ ³é¨ïñÇ Ù³ëÇݦ,— ³ëáõÙ ¿ ´³É Û³ÝÁ: §Canal Plus¦-Ç Ñ»ï »íñáå³Ï³Ý ýÇÉÙ»ñÇ Ù»Í ëïáõ¹Ç³ ëï»ÕÍ»Éáõ »ñÏñáñ¹ ÷áñÓÁ ¨ë ³ñ ųݳó³í ÝáõÛÝ ×³Ï³ï³·ñÇÝ: §ØÇßï »ñ³½»É »Ù »íñáå³Ï³Ý ýÇÉÙ»ñÇ ³ñï³¹ñáõÃÛ³Ý Ù³ ëÇÝ: ´³Ûó ÑÇÙ³ »íñáå³Ï³Ý ÏÇÝáÝ ÏñÏÇÝ ³Ù µáÕçáíÇÝ Ù³ëݳïí³Í ¿, ¹ñ³ÝáõÙ ·»ñ³ÏßéáõÙ »Ý ³½·³ÛÇÝ ß³Ñ»ñÁ¦: ºñϳñ ï³ñÇÝ»ñ §²ñ³ñ³ï¦ ÑÇÙݳ¹ñ³ÙÇ ÙÇçáóáí ´³É Û³ÝÁ Ñ³Û ÷³Ëëï³Ï³ÝÝ»ñÇÝ û·Ý»É ¿ Çñ»Ýó ï»ÕÁ ·ïÝ»Éáõ ÐáɳݹdzÛáõÙ: ´³Ûó ¹³ Çñ ݳËÝÇÝ»ñÇ Ñ³Ûñ»ÝÇùÁ ï»ëÝ»Éáõó ³é³ç ¿ñ: §êå³ë»óÇ, ÙÇÝ㨠»ñ»Ë³Ý»ñë ÙÇ ÷áùñ ٻͳ ݳÝ, áõ Ñ»ïá ÙdzëÇÝ ßñç»óÇÝù г۳ëï³ ÝáõÙ¦,— ³ëáõÙ ¿ ݳ: Æ Ñ³×áõÛù Çñ»Ý` ´³ÉÛ³ÝÁ ß³ï É³í ¿ ½·áõÙ ï³ÝÁ: §Ðñ³ß³ÉÇ »ñÏÇñ ¿` ³ñ ï³Ï³ñ· ÑÛáõñ³ë»ñ Ù³ñ¹Ï³Ýóáí: ºÃ» ÝáõÛÝÇëÏ ùÇã µ³Ý áõÝ»Ý, ÙÇ¨Ý áõÛÝ ¿` ÏÇëáõÙ »Ý ù»½ Ñ»ï¦:
n λÛë ¸ñÇ»ë »Ý Â³ñ·Ù³ÝáõÃÛáõÝÁ` ²ñ÷Ç ê³Ñ³ÏÛ³ÝÇ
H
aig Balian (1954), a Dutch member of the Armenian Panorama Jury, is of Armenian descent. At present, he is the director of Artis Royal Zoo Amsterdam, after a long career in national and international filmmaking. “My dream has been a European film industry.” “It”s near the vultures” smiles the blonde girl at the entrance of Artis, the most famous zoo in the Netherlands, located in the heart of the capital Amsterdam. Near the vultures, that is where Haig Balian, a major player in Dutch and European cinema since the 1970’s, now holds office. “My life has come full circle” muses Balian. “As a kid, I always wanted to be director of Artis.” It even inspired him to study zoology, before he switched to cinema. Balian, who is still on the Supervisory Board of the Dutch Filmmuseum, co-owner of a Dutch cinema chain, and member of the European Film Academy, has followed in his father’s footsteps. “My father arrived here from Egypt, where he lived with my Armenian grandparents, who had fled Turkey at the end of the nineteenth century. In Holland, he met my mother. My father didn”t really like Holland: the food was bad, the wine
Next, Balian bought part of a production company and co-produced his first movie, the successful Dutch war pic The Girl With the Red Hair (1981). “We now combined production and distribution in one company. Releasing European art films and producing Dutch movies.” Balian has a broad taste in movies. “I wanted to help develop a film industry. For this, you need more than art movies; you need all genres, from comedy to horror and family movies. As a producer, that’s what I have done. I have made films in very different genres.” An American adventure in the 1990’s met with difficulties. “We lost millions.” But it did inspire Balian to turn Meteor Film into “the perfect film company”. “We copied the model of an integrated movie company from the Americans. We combined production and theatrical with television and video distribution, and major American movies with European art releases.” That’s why Polygram bought Meteor Film in 1993 and put Balian in charge to set up and run its movie department for Germany, Austria and Switzerland. “I began with nothing, an empty desk. With Meteor as my blueprint, I helped to build up Polygram Filmed Entertainment into the first real European film studio. It was a great system, until Philips decided to sell Polygram.” It’s a decision that still angers Balian. “They destroyed a part of European culture. Polygram had the deep pockets and the catalogue you need to be a major studio. And we were Europeans, committed to European culture. Americans only think about trade.” A second attempt to create a major European film studio, with Canal Plus, met with the same fate. “My dream has been a European film industry. But now, European cinema is again completely fragmented, and dominated by national interests.” It is a sad conclusion for Balian, who describes himself firmly as ‘a European’. Europe combines his different backgrounds. “I was born in Holland, but Armenia has a special place in my heart.” For years, Balian helped Armenian refugees find their way in Holland with a foundation called Ararat. That was before he had even seen the country of his ancestors. “I waited for my children to be a little older and then we travelled through Armenia together.” To his delight, Balian felt right at home. “It’s a wonderful country, with extremely hospitable people. Even when they have very little, they share everything.”
n Kees Driessen
CLOSING FILM
The King of Song returns after 40 years To celebrate the 40th anniversary of Sergei Parajanov’s masterpiece The Color of Pomegranates, the Golden Apricot International Film Festival has chosen it as its closing film. A fitting tribute to a once maligned work of art. The Color of Pomegranates is considered one of the greatest masterpieces in the history of cinema. It was admired by Federico Fellini, Jean-Luc Godard, Michelangelo Antonioni and many other prominent 20th century directors. It has become the only iconic Armenian film, but it was censored, refused an export license and banned in the Soviet Union. Slowly, but gradually it was recognised as the masterpiece it is. It made the Top 10 list in Cahiers du Cinéma in 1982 and is part of the Top 100 of best films of all time in the British Time Out Film Guide. In their review, they write: “(...) the result is a stream of religious, poetic and local iconography which has an arcane and astonishing beauty.” The Color of Pomegranates is about the medieval Armenian minstrel Sayat Nova (King of Song), and the film attempts to reveal the poet’s life visually and poetically rather than literally. “After making the film, Parajanov called it ‘Ashkharhums’, as one of Sayat Nova’s songs is called,” says film critic Suren Hasmikian, who was involved in its production as a member of ArmenFilm Studio’s editorial council. “But no one liked the title. We received an instruction from the minister of culture to invent a new one. Parajanov seemed to be disappointed over the controversy around his film and left for the Ukraine. There was a suggestion to call it ‘Sayat Nova’, but it was turned down as well, as some critics argued the
film had no relation to Sayat Nova at all and eventually The Color of Pomegranates was approved,” Hasmikian says. But the obstacles connected with choosing a name were only the beginning of the tragic fate of this work. The so-called authorized version was released in five prints only. Three of those copies were screened for two weeks. The artistic council that had to give its approval to any released film was guided by Lenin’s instruction that ‘Art must be comprehensible to the masses,’ discovered in the film erotic episodes and mysticism. ‘It must be curtailed,’ was their verdict. “After being censored and ‘disabled’ the film was graded as a 4th category film, and as a result all people who worked on it could be denied honoraries. Attempts were made to save it. This ‘responsible’ job was entrusted to well-known Russian film director Sergei Yutkevich, who reedited the film in a bid to give it a new meaning. In addition simple Russian language texts were added to each episode, ostensibly to make it more understandable. Later Parajanov would say that the film was made by Yutkevich and he had nothing to do with it,” Suren Hasmikian says. Tonight and tomorrow, the original Armenian version will be shown.
n Raffi Movsisyan The Color of Pomegranates (Sergei Parajanov, Arm, 1968). July 18: Moscow Cinema, Red Hall (18.00); July 19: Moscow Cinema, Blue Hall (22.00).
Jury member Eric Nazarian at the Parajanov Museum
6 No. 6, July 18 2009
7 No. 6, July 18 2009
REVIEW/REST IN PEACE
Floating along like life
T
oday is Kohei Oguri Day at the festival: all of his films are shown consecutively. The Japanese director has made only five films, during a 28 year period, so you can become an Oguri expert in less than ten hours. Seeing them all together might actually make it easier to give yourself over to Oguri’s way of storytelling. In his last film, The Buried Forest (2005), which he made after a ten year absence, there are many levels which may or may not be obvious to the viewer. It connects, as the trailer of the film puts it, ‘dream, memory, past, and future’. Oguri told the Golden Apricot Daily: “If you see with your heart, you don’t need to focus on the surface. (...) 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 calmer. Which is more important?” The characters in Oguri’s dream-like film seem to float along, just like the small ship made out of bamboo leaves floating downstream – an image that returns a couple of times in the film. It is tiny, admits the little girl who made it, “but it’s carrying very important things”. It is good advice for the viewer: let yourself be carried along by this film, you who might be a tiny presence in this world but are still a ‘very important thing’, and see which thoughts, associations and dreams enter your heart. Like the three girls in the film, you might be inspired to start imagining your own stories, and, like them, you might see your fantasies come to life in unexpected ways. You might see how different generations live next to each other: young kids eager to learn and full of resourcefulness, teenagers posing to be cool but childishly jumping with joy at the success of their self-made balloon, and old people playing croquet, oblivious to their surroundings, peacefully waiting for the next generation to take their place. Or you might be consoled in your fear of growing old and ever more dependent on others, like the old woman in the
film, who is comforted by the beauty of an excavated buried forest, which, according to a local expert, is still breathing after spending several millennia underground. It is this kind of beauty, an often otherworldly beauty, combined with moments of pure magic and imagination, which offers the greatest consolation for all characters in the film, who are thinking about what might have been, lamenting past misfortunes or fearing what might come next. It is a very Japanese
sensibility to see the beauty of nature as a metaphysical and sacred force, like the reality of the calm deep ocean underneath the distracting turmoil of everyday life, but it is presented here in a way which is universally recognizable.
KD The Buried Forest (Kohei Oguri, Japan, 2005). July 18: Nairi Cinema, Main Hall (20.00).
The Oguri retrospective starts at 12.00 in Moscow Cinema (Blue Hall) with the screening of Muddy River, and continues at 14.00 at Nairi Cinema, where four of Oguri’s films will be shown consecutively.
rest in peace
Thursday evening festival director Harutyun Khachatryan lit a candle in memory of the victims of the airplane crash, in which 168 people died, including 40 Armenians.
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8 N6, 18 ÑáõÉÇëÇ 2009