Golden Apricot Daily - 2010, Day 1 & 2

GOLDEN APRICOT DAILY | DAY 1 & 2 | 11/12 JULY | 2010

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Daily

ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall

11:00

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall

20:30

öáÃáñÇÏ/Storm гÝëøñÇëïÇ³Ý ÞÙǹ/ Hans-Christian Schmid, Deu/ Dnk/Nld, 105', FC

´³óÙ³Ý ³ñ³ñáÕáõÃÛáõÝ/ Opening Ceremony سÛñÇÏ/Mayrig ²ÝñÇ ì»éÝÛáÛ/ Henri Verneuil, Fra, 157’, OF

Lang.: Multilingual, Subt.: English

Lang.: French, Subt.: English and Armenian Ðñ³íÇñ³ïáÙë»ñáí/ Invitations only

12:40 ¸áõÙ³Ý ·»ïÁ/Dooman River âÅ³Ý Èáõ/Zhang Lu, Fra/Kor/ Chn, 89’, FC

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall

11:00 г۳ëï³ÝÇ í»ñçÇÝ É³ñ³Ë³Õ³óÁ/The Last Tightrope Dancer in Armenia ²ñÙ³Ý ºñÇóÛ³Ý, ÆÝݳ ê³Ñ³ÏÛ³Ý/Arman Yeritsyan, Inna Sahakyan, Arm, 72’, AP

Lang.: Armenian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/ Only for Jury 12:15 ¸ñ³ËïÇ ËÝÓáñ/An Apple from Paradise ÐáÙ³ÛáõÝ Øáñááõ³Ã/ Homayun Morowat, Afg, 86’, DAB

Lang.: Dari, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/ Only for Jury

Lang.: Chinese, Korean, Subt.: English

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet theatre, Small Hall

11:00

г۳ëï³ÝÇ ³½·³ÛÇÝ å³ïÏ»ñ³ëñ³Ñ National Gallery Of Armenia

12:00

19:00–19:30 гÝñ³ÛÇÝ é³¹ÇáÛÇ ¨ Ñ»éáõëï³ï»ëáõÃÛ³Ý ç³½-Ýí³·³ËáõÙμ/Jazz Band of the National Radio and TV

ºñÏáõëáí/Together ä³í»É ÎáëïáÙ³ñáí/Pavel Kostomarov, Rus, 52’, DC

гñ³½³ïÝ»ñ/Next of Kin ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 72’, R

Lang.: Russian, Subt.: English

Lang.: English, Subt.: Armenian

12:00 ²½·Ç ÑÛáõñ³ë»ÝÛ³ÏÁ/ The Living Room of the Nation ÚáõÏϳ ÎÛ³ñÏÛ³ÛÝ»Ý/Jukka Kärkkäinen, Fin, 79’, DC

§æ³½½–ÏÇÝᦠ޳éÉ ²½Ý³íáõñÇ Ññ³å³ñ³Ï “Jazz - Cinema” Charles Aznavour Square

14:00 ÀÝï³Ý»Ï³Ý ¹ÇïáõÙ/Family Viewing ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 86’, R

Lang.: English, Subt.: Armenian

Lang.: Finnish, sbt.: English

¶»Õ. ջϳí³ñ` ºñí³Ý¹ ºñ½ÝÏÛ³Ý, ¹ÇñÇÅáñ` سñïÇÝ ì³ñ¹³½³ñÛ³Ý/Artistic Director: Yervand Yerznkyan, Conductor: Martin Vardazaryan 21:00–24:00 гÝñ³ÛÇÝ é³¹ÇáÛÇ ¨ Ñ»éáõëï³ï»ëáõÃÛ³Ý ç³½-Ýí³·³ËáõÙμ/Jazz Band of the National Radio and TV

¶»Õ. ջϳí³ñ` ºñí³Ý¹ ºñ½ÝÏÛ³Ý, ¹ÇñÇÅáñ` سñïÇÝ ì³ñ¹³½³ñÛ³Ý/Artistic Director: Yervand Yerznkyan, Conductor: Martin Vardazaryan

12 ÑáõÝÇë/ 12 July ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall

10:00 ÎÇÝÁ` ³é³Ýó ¹³ßݳÙáõñÇ/ Woman Without Piano ʳíÇ»ñ è»μáÉá/Javier Rebollo, Fra/Esp, 95’, FC

ØáëÏí³ ÏÇÝáóïñáÝ, ÎϳñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall

10:00

Lang.: Spanish, Subt.: English 11:40 ܳ` ãÇÝáõÑÇÝ/She, a Chinese êÛ³Éááõ ¶á/Xialou Guo, Gbr/ Fra/Deu, 98’, FC

Lang.: Chinese, Subt.: English 14:00 ²Õ»ï. ó»Õ³ëå³ÝáõÃÛáõÝ/ Aghet-A Genocide ¾ñÇÏ üñǹɻñ/Eric Friedler, Deu, 93’, DC

Lang.: English, German, Armenian, Subt.: English and Armenian

ºñÏáõ/Ori ØÇ·»É ²ÝË»É ÊÇٻݻë/Migel Angel Jimenez, Esp/Geo, 85’, DAB

Lang.: Georgian, Subt.: English 11:30 γÙñçÇ Ù³ñ¹ÇÏ/Men on the Bridge ²ëÉÇ ú½·»/Asli Özge, Deu/Tur/Nld, 87’, DAB

Lang.: Turkish, Subt.: English

Lang.: Turkish, Subt.: English and Armenian. ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets

14:00 îÇ»½»ñùÇ Ññ»ßï³ÏÝ»ñÁ/ Angels of the Universe üñǹñÇù Âááõñ üñǹñÇùëáÝ/Fridrik Thor Fridriksson,Isl/Nor/Deu/Swe/ Dnk, 97’, R

19:00 ÎÇÝÁ` ³é³Ýó ¹³ßݳÙáõñÇ/ Woman Without Piano ʳíÇ»ñ è»μáÉá/Javier Rebollo, Fra/Esp, 95’, FC

17:00 ÀÝÓ³éÛáõÍÁ/The Leopard ÈáõÏÇÝá ìÇëÏáÝïÇ/Luchino Visconti, Ita/Fra, 187’, YP

16:30 Ø»Õñ/Honey ê»ÙÇÑ Î³åɳÝûÕÉáõ/Semih Kaplanoglu, Tur/Deu, 101’, YP

Lang.: Spanish, Subt.: English and Armenian 21:00 Ø»Õí³å³ÑÁ/The Beekeeper »á¹áñáë ²Ý·»ÉáåáõÉáë/ Theodoros Angelopoulos, Grc/Fra, 120’, R

Lang.: Greek, Subt.: English and Armenian

Lang.: Icelandic, Subt.: English

Lang.: Italian, Subt.: English and Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 21:00 ÎáíÁ ¨ ·»ñÇÝ/The Cow and I ²ÝñÇ ì»éÝÛáÛ/Henri Verneuil, Fra/Ita, 113’, R

Lang.: French, Subt.: English and Armenian

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall

10:00 ì»Ý»ëdz/Venezzia гÛÏ Ô³½³ñÛ³Ý/Haik Gazarian, Ven, 98’, AP

Lang.: Spanish, Subt.: English and Armenian Êáëï³óí³Í ѳݹÇåáõÙ/ Promised Meeting ²Ýݳ ´³Û³ÃÛ³Ý/Anna Bayatyan, Arm, 6’, AP. No Dialogues ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 11:50 ØÇ ·»Õ»óÇÏ ÓÛáõÝáï ûñ/A beautiful Snowy Day سѳ۳ ä»ïñáëÛ³Ý, ²ÙÇñ Âáõ¹» èáõëó/ Mahaya Petrosian, Amir Toude Roosta, Irn, 32’, AP

Lang.: Farsi, Subt.: English and Armenian Error ¸³íÇà ¾Ýý»ÝçÛ³Ý/Davit Enfenjyan, Arm, 10’, AP. No Dialogues ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 18:00 ì»Ý»ëdz/Venezzia гÛÏ Ô³½³ñÛ³Ý/Haik Gazarian, Ven, 98’, AP

Lang.: Spanish, Subt.: English and Armenian 20:00 ØÇ ·»Õ»óÇÏ ÓÛáõÝáï ûñ/A beautiful Snowy Day سѳ۳ ä»ïñáëÛ³Ý, ²ÙÇñ Âáõ¹» èáõëó/ Mahaya Petrosian, Amir Toude Roosta, Irn, 32’, AP

Lang.: Farsi, Subt.: English and Armenian лÕÇݳÏÝ»ñ/Written By ¶³éÝÇ ä³ÕïÇÏÛ³Ý/Karni Baghdikian, USA, 15’, AP Lang.: English, Subt.: Armenian

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/ Naregatsi Art Institute

15:45

16:30

ö»É»ßÛ³Ý/The Poet of

ø»½ ³í»ÉÇ ß³ï »Ù ëÇñáõÙ/

´ÇÍÁ/The Stain ìÇ·»Ý

Cinema: Artavazd Peleshyan

Love You More ê»Ù »ÛÉáñ-

¶³ÉëïÛ³Ý/Vigen Galstyan,

гÛÏ úñ¹Û³Ý/Hayk

Arm/Aus, 15’, AS

Ordyan, Arm, 52’, AS

ìáõ¹/Sam Taylor-Wood, Gbr, 15’, BC

Lang.: English, Subt.: Armenian

17:00

Lang.: Armenian, Subt.: English

æ»ñÇ ø³ÝëÇ ÑáÕÁ/The Land of Jerry Cans ä³áɳ

Assyrians in Armenia

Lang.: Kurdish, Subt.: English

è³½ÙÇÏ Êáëñá¨/Razmik

Lang.: English, Subt.: Armenian

ÎÇÝáåá»ïÁ. ²ñï³í³½¹

γñÙ»ÝÁ ѳݹÇåáõÙ ¿ ´áñ³ïÇÝ/Carmen Meets Borat Ø»ñ뻹»ë êï³É»ÝÑáý/ Mercedes Stalenhoef, Nld, 85’, DC

Lang.: Romanian, Subt.: English 11:30 ä³ïÙáõÃÛáõÝÁ »÷»Éáí/ Cooking History ä»ï»ñ λñ»Ï»ß/Peter Kerekes, Aut/ Cze/Svk, 88’, DC

Lang.: Multilingual, Subt.: English 18:00 ØdzëÇÝ/Together ܻݳ¹ äáõÑáíëÏÇ/Nenad Puhovski, Hrv, 87’, DC

Lang.: Croatian, Subt.: English and Armenian 20:00 ²Õ»ï. ó»Õ³ëå³ÝáõÃÛáõÝ/ Aghet-A Genocide ¾ñÇÏ üñǹɻñ/Eric Friedler, Deu, 93’, DC

Lang.: English, German, Armenian, Subt.: English and Armenian

17:00 ¸ñ³ËïÇ ËÝÓáñ/An Apple from Paradise ÐáÙ³ÛáõÝ Øáñááõ³Ã/Homayun Morowat, Afg, 86’, DAB

Lang.: Dari, Subt.: English and Armenian 19:00 öá˳Ûó/Revisited øßÇßïáý ¼³ÝáõëÇ/Krzysztof Zanussi, Pol, 85’, YP

Lang.: Polish, Subt.: English and Armenian 21:00 ÐÇí³Ý¹³ë»ÝÛ³Ï Ñ³Ù³ñ í»ó/Ward No.6 γñ»Ý Þ³Ñݳ½³ñáí/Karen Shakhnazarov, Rus, 83’, YP

Lang.: Russian, Subt.: English

ØáëÏí³ÛÇ ïáõÝ »ñ»í³ÝáõÙ “Dom Moskvy” in Yerevan

19:00 àõÕ¨áñáõÑÇÝ/The Passenger êï³ÝÇëÉ³í ¶áíáñáõËÇÝ/ Stanislav Govorukhin, Rus, 98’, YP

Lang.: Russian, Subt.: English

§æ³½½–ÏÇÝᦠ޳éÉ ²½Ý³íáõñÇ Ññ³å³ñ³Ï “Jazz - Cinema” Charles Aznavour Square 21:00 – 24:00 Fiesta–Caliente/ üÇ»ëï³– γÉÇ»Ýï»

¶»Õ. ջϳí³ñ` ê³Ùí»É ¶³ëå³ñÛ³Ý/Artistic Director: Samvel Gasparyan λë·Çß»ñ³ÛÇÝ ³Ù÷á÷áõÙ ³ÏáõÙµáõÙ Midnight wrap-up at the club 24:00 AFG ³ÏáõÙμÁ Ññ³íÇñáõÙ ¿ ÏÇÝáÛÇ μáÉáñ ·áõñáõÝ»ñÇÝ ¨ GAIFF-Ç ÑÛáõñ»ñÇÝ ³Ù»ÝûñÛ³ ³Ù÷á÷Çã ѳݹÇåáõÙÝ»ñÇ: Úáõñ³ù³ÝãÛáõñ »ñ»Ïá ÏÑÛáõñÁÝϳÉíÇ úñí³ Ñ³ïáõÏ ÑÛáõñÁ:/AFG Film Club invites all film gurus and GAIFF guests for a daily wrap-up meeting. For each evening a special guest of the day will be invited.

§²éÝá ´³µ³ç³Ý۳ݦ ѳٻñ·³ëñ³Ñ “Arno Babajanyan” Concert Hall 15:00 êï³ÝÇëÉ³í ¶áíáñáõËÇÝ – ì³ñå»ïáõÃÛ³Ý ¹³ë/ Stanislav Govorukhin - Master Class 19:30 Îïáñ ÙÁ »ñÏÇÝù/A Slap in the Face лÝñÇÏ Ø³ÉÛ³Ý/ Henrik Malyan, Arm, 92’, T

Lang.: Armenian, Subt.: English

Editor in chief: André Waardenburg

Daily

¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ·

úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ

30’, DAB

Christmas With My Dad

17:30

Lang.: German/Turkish, Subt.: Russian

Khosroev, Arm, 39’, DAB

êáõñμ ÍÝáõݹÁ ѳÛñÇÏÇ Ñ»ï/

McCormack, Gbr, 11’, BC

15:00 γñ× áõ ³Ýó³í/Short Sharp Shock ü³ÃÇÑ ²ùÇÝ/Fatih Akin, Deu, 100’, R

Lang.: English

²ëáñÇÝ»ñÁ г۳ëï³ÝáõÙ/

øáÝáñ ØùùáñÙ³ù/Conor

10:00

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

Èñ³·ñáÕÝ»ñ` λÛë ¸ñÇ»ë»Ý, ¾íñÇ٠γ۳, ²ÝÇ Ð³ñáõÃÛáõÝÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, æ»ù ´áÕáëÛ³Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, γñÇÝ ¶ñÇ·áñÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, ÐáíѳÝÝ»ë »ù·Ûá½Û³Ý

19:00

ädzã»Ýó³/PaolaPiacenza Ita,

16:00

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet theatre, Small Hall

General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan Journalists: Kees Driessen, Jack Boghossyan, Evrim Kaya, Ani Gharabaghtsyan, Karin Grigoryan, Raffi Movsisyan, Davit Vardazaryan, Artur Vardikyan Translations: Murad Mkrtchyan Caricature: Harutyun Chalikyan

GOLDEN APRICOT DAILY | DAY 1 & 2 | 11/12 JULY | 2010

ö³­ñÇ­½ Û³Ý ³é³­íáï: ÆÝÝ­ëáõÝ­Ù»Ï ÃÇí: Æ٠ɳí ÁÝ­Ï»ñ ØÇ­ù³­Û»É øá­ã³­ñÛ³­ÝÁ ûñ­Ã»­ñÇ ËñÓÇó ѳ­ Ý»ó Ù»­ÏÁ ¨ ³Ý­ï³ñ­µ»ñ ³ë³ó.§ì»ñ­Ý³·­ñ»­ñáõ٠г­Û³ë­ï³Ý µ³­éÁ ÷ÝïñÇñ¦: ºë ëÏë»­óÇ ýñ³Ý­ ë»­ñ»­ÝÇ ÇÙ³­óáõ­ÃÛ³Ý ÇÙ ³ë­åÇ­ñ³Ý­ï³­Ï³Ý ÙÇ­ÝÇ­ Ùáõ­ÙÇ ë³Ñ­Ù³Ý­Ý»­ñáõÙ ç»ñ­Ù»­é³Ý­¹á­ñ»Ý áõ­ëáõ٭ݳ­ ëÇ­ñ»É Ñá¹­í³Í­Ý»­ñÇ í»ñ­Ý³·­ñ»­ñÁ: ºí ³Ñ³ ³ã­ùÇ ½³ñ­Ý»ó ѳ­ñ³­½³ï, µ³Ûó ýñ³Ý­ ëÇ­³­óÇ­Ý»­ñÇ ßñç³­å³­ïáõÙ, ³ë»ë, ûï³­ñ³­ó³Í ÙÇ µ³é` Ù³Û­ñÇÏ: ²Ý­ñÇ ì»ñ­ÝÛá­ÛÁ Çñ ·ñùÇ ÑÇ­Ù³Ý íñ³ §Ø³Û­ñÇϦ ³Ýáõ­Ýáí ýÇÉÙ ¿ Ýϳ­ñ³­Ñ³­ÝáõÙ... г­çáñ¹ ûñÁ Ù»Ýù ·Ý³­óÇÝù ¾åÇ­Ý»ª ö³­ñÇ­½Çó áã ß³ï Ñ»­éáõ: Üϳ­ñ³­Ñ³­ÝáõÙ­Ý»­ñÇ Å³­Ù³­Ý³Ï ïÇ­ñáÕ ÙÃÝá­ÉáñïÝ ³ÛÝ­ù³Ý ¿ñ ÑÇ­ß»ó­ÝáõÙ Ç٠ѳ­ ñ³­½³ï »ñ­ÏÇ­ñÁ, áñ ¹»­ñ³­ë³Ý­Ý»­ñÇ ýñ³Ý­ë»­ñ»Ý Ëáë­ùÁ, ³ë»ë, ϳ¹­ñÇó ¹áõñë ¿ñ ÑÝãáõÙ: γñ­Í»ë ѳ­Û³ë­ï³­ÝÛ³Ý Çñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ ÏñÏÝû­ñǭݳϭí³Í ¿ñ ½ñÝ·áõÝ ýñ³Ý­ë»­ñ»­Ýáí£ ²Ý­ñÇ ì»ñ­ÝÛá­ÛÇ Ñ»ï, Çѳñ­Ï», ½ñáõ­ó»­óÇ Ñ³­Û»­ ñ»Ý: ܳ ÇÝùÝ ÁÝï­ñ»ó Ù³Û­ñ»­ÝÇÝ, ݳ­Ë³­å»ë Ý»­ ñá­Õáõ­ÃÛáõÝ Ëݹñ»­Éáí §í³ï ïÇ­ñ³­å»­ï»­Éáõ¦ ѳ­ Ù³ñ: Ø»ñ ½ñáõÛ­óÁ Ù³ñ­¹áõ µ³­ñá­Û³­Ï³Ý áñá­ÝáõÙ­ Ý»­ñÇ Ù³­ëÇÝ ¿ñ, ³ë»É ¿ ûª Ñ»Ýó ýÇÉ­ÙÇ: ²Ñ³ Ýϳ­ ñ³­Ñ³­Ý»­óÇÝ Ï³¹­ñÁ, ¨ ݳ Ýëï»ó ³Ãá­éÇÝ. Ýñ³ ¹³­ïá­Õáõ­ÃÛáõÝ­Ý»ñÝ ³Ï³­Ù³­ÛÇó ÁݭϳɭíáõÙ »Ý áñ­ å»ë ï»­ë³­ß³­ñÇ Éñ³­óáõÙ: ÆÝã­å»±ë ÍÝí»ó §Ø³Û­ñÇϦ ýÇÉ­ÙÇ ·³­Õ³­÷³­ñÁ: î³ñ­µ»ñ ³éÇíݻ­ñáí ì»ñ­ÝÛá­ÛÁ Ñ»­éáõë­ï³­ï»­ ëáõ­ÃÛ³Ùµ ¨ Ùï»­ñÇÙ­Ý»­ñÇ ßñç³­å³­ïáõÙ å³ï­ Ù»É ¿ñ Çñ Ù³Û­ñÇ­ÏÇ ¨ ³Ýӭݳ­Ï³Ý ÑÇ­ßá­Õáõ­ÃÛáõÝ­Ý»­ ñÇ Ù³­ëÇÝ: ²Û¹ å³ï­Ùáõ­ÃÛáõÝ­Ý»­ñÁ µá­Éá­ñÁ ÑÇ­³ó­ ÙáõÝ­ùáí ¿ÇÝ Éë»É: ØÇ ³Ý­·³Ù ¿É ²Ý­ñÇ Âñá­õ³­Û³Ý, áñÇ Ñ»ï ì»ñ­ ÝÛá­ ÛÁ ß³ï Ùï»­ ñÇÙ ¿ñ, Ëáñ­ Ñáõñ¹ ïí»ó Ýñ³Ý ³Û¹ ³Ù»­ÝÁ ÃÕÃÇÝ Ñ³ÝÓÝ»É. §²Û¹­åÇ­ ëÇ ·ÇñùÝ ³í»­ÉÇ Ù»Í áõ­ß³¹­ñáõ­ÃÛáõÝ Ï·ñ³­íÇ, ù³Ý ³Ñ³­µ»­ÏÇã­Ý»­ñÇ Ý»­ï³Í éáõÙ­µÁ¦: سۭñÇ­ÏÇ Ù³­ëÇÝ å³ï­Ùáõ­ÃÛáõÝ­Ý»ñÝ Áݹ·ñÏ­í»­ óÇÝ §Ø³Û­ñÇϦ ·ñùáõÙ: ²ÛÝ ·ñí»É ¿ 1985 Ãí³­Ï³­ ÝÇÝ, óñ·­Ù³Ý­í»É ï³­ëÁ É»­½áõ­Ý»­ñáí ¨ Ññ³­ï³­ ñ³Ï­í»É 200 ѳ­½³ñ Áݹ­Ñ³­Ýáõñ ïå³­ù³­Ý³­Ïáí: ¶ñùÇ Ñ³­Û»­ñ»Ý óñ·­Ù³­Ýáõ­ÃÛáõ­ÝÁ Ññ³­ï³­ñ³Ï­í»É ¿ 1988 Ãí³­Ï³­ÝÇÝ, ²ØÜ-áõÙ: ²ÛÝ ÇÝÓ ÝíÇ­ñ»É »Ý ÜÛáõ-Úáñ­ùáõÙ: ´»ëï­ë»­É»ñ ¹³ñ­Ó³Í ·ñùÇ Ï³½­ÙÇÝ Ù³Û­ñÇ­ÏÇ ¹Ç­Ù³Ý­Ï³ñÝ ¿, ÍÝÏÝ»­ñÇÝ Ýëï³Í ¿ ¹»­é¨ë ²Ý­ñÇ ã¹³ñ­Ó³Í ÷áù­ñÇÏ ²ßá­ïÁ: ²Ûë Éáõ­ë³Ý­Ï³­ñÁ ݳݭ ë»­ÝÛ³Ý ³Ýӭݳ·­ñÇó ¿, áñÁ ݳ­Ëáñ¹ ¹³­ñÇ ëϽµ»­ ñÇÝ ïñíáõÙ ¿ñ Ñ³Û ÷³Ëë­ ï³­ ϳݭ Ý»­ ñÇÝ: º½­ ñÇÝ ·ñí³Í ¿ ï³­ñ»­ÃÇ­íÁ` §1924, ²Ã»Ýù¦: Þ³ï ïËáõñ Éáõ­ë³Ý­Ï³ñ ¿: — üÇÉÙÝ ÇÙ ÁÝ­ ï³­ ÝÇ­ ùÇ Ù³­ ëÇÝ ¿, ÇÙ Åá­ Õáíñ­ ¹Ç: ê³ ÇÙ å³ñïùÝ ¿ Ù³Û­ñÇ­ÏÇë ³é­ç¨,— ì»ñ­ÝÛá­ ÛÁ Ýá­ñÇó Ýëï»ó ³Ãá­éÇÝ, µ³Ûó áã û ß³­ñáõ­Ý³­ Ï»ó, ³ÛÉ ëÏë»ó Ýáñ å³ñ­µ»­ñáõ­ÃÛáõ­ÝÇó:— ²ÛÝ Ñ³ë­ ó»­³·ñ­í³Í ¿ ÇÙ »ñÇ­ï³­ë³ñ¹ ѳۭñ»­Ý³­ÏÇó­Ý»­ñÇÝ, áí­ù»ñ ÷áñ­ÓáõÙ »Ý Çñ»Ýó ׳­Ý³­ã»É ³Ûë Ñëϳ­Û³­ ϳÝ, ³Ý­å³ßï­å³Ý ³ß­Ë³ñ­ÑáõÙ: ´³Ûó Ñáõ­ëáí »Ù, áñ ýÇÉ­ÙÁ ýñ³Ý­ëÇ­³­óÇ­Ý»­ñÇÝ ¨ áõ­ñÇß ³½­·áõ­ÃÛ³Ý áõ ѳ­í³ï­ùÇ Ù³ñ¹­Ï³Ýó ¿É ÏÑáõ­½Çª Ýñ³Ýó, áí­ ù»ñ ëÇ­ñáõÙ »Ý, áí­ù»ñ »ñ³­½áõÙ Çñ»Ýó Ù³Û­ñÇ­ÏÇÝ ¨ ٳݭÏáõ­ÃÛáõÝÝ »Ý ï»ë­ÝáõÙ, áõÙ Ñá­·Ç­Ý»­ñÁ µ³ó »Ý

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سÕÃáõÙ ¿ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñ гëÙÇÏ äáÕáëÛ³ÝÁ

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Claire Denis Youth in Africa

ÎÉ»ñ ¸ÁÝÇÇ í»ñçÇÝ` §êåÇï³Ï ÝÛáõæ ýÇÉÙÁ í»ñ³¹³ñÓ ¿ ²ýñÇϳ` Çñ »ñÇï³ë³ñ¹áõÃÛ³Ý Ù³Ûñó³Ù³ù, áñÇÝ ÝíÇñí³Í ¿ñ Çñ é»ÅÇëáñ³Ï³Ý ¹»µÛáõïÁ` §ÞáÏáɳ¹¦ ýÇÉÙÁ (1988 Ã.): §àëÏ» ÌÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÁ Ý»ñϳ۳óÝáõÙ ¿ ýñ³ÝëdzóÇ é»ÅÇëáñÇ é»ïñáëå»ÏïÇíÁ:

Her debut Chocolat has some autobiographical elements. The film, about the relationships between the white wife of a colonial French administrator, her young daughter, and their black house servant, was inspired both by Lessings novel and by Denis’s own youth in Africa.

Denis was born in Paris in 1948, and spent the next fourteen years of her life in West Africa. Just as the father in Chocolat, Denis’s father was a government official. ‘Both my parents were administrators.

My father was even in favor of independence. I believe I never really felt at home in Africa. Not even in our house, because we moved every two years. I liked living there, but Africa wasn’t my home.’

In White Material, the female protagonist’s situation is very different. Chocolat takes place in the 50’s, when for most African countries, independence was still only a dream. White Material is set in present-day, post-colonial Africa, where whites are no longer officially in charge, but for the most part remain wealthy and powerful. As the owner of a coffee plantation, Huppert’s character feels a strong attachment to the land.

Denis explains: ‘When you work the earth, you appropriate it, it becomes yours. It takes five years to get your first harvest, and two or three generations to really build up a plantation. That makes it so hard to leave. For her, there’s nothing in France.

No money, no papers, nothing. That’s also why during the struggle for independence, farmers and plantation owners were the archenemies of the communists and other revolutionary movements. They are dangerous, because they don’t want to leave.’

§êåÇ­ï³Ï ÝÛáõæ-áõÙ ÙÇ ëåǭﳭϳ­Ùáñà ÏÇÝ, áñÝ ³ý­ñÇ­ÏÛ³Ý »ñÏñ­Ý»­ñÇó Ù»­ÏáõÙ ëáõñ­×Ç ³·³­ñ³Ï áõ­ÝÇ, ѳ­Ù³­éá­ñ»Ý Ññ³­Å³ñ­íáõÙ ¿ Éù»É Çñ Ñá­ÕÁ, áõ­ Ý»ó­í³Í­ùÁ` ãݳ­Û³Í ù³­Õ³­ù³­Ï³Ý Çñ³­íǭ׳ÏÝ ³ñ­¹»Ý ¹áõñë ¿ñ ·³­ÉÇë ÑëÏá­Õáõ­ÃÛáõ­ÝÇó: è»­ÅÇ­ëá­ñÁ, áñÇ §ÜÇ­Ý»­ïÁ ¨ ´á­ÝÇݦ ¨ §È³í ³ß­Ë³­ï³Ý­ùÁ¦ ýÇÉ­Ù»­ñÁ Ùñó³­Ý³Ï­Ý»­ñÇ »Ý ³ñ­Å³­Ý³­ó»É, Çñ ³Ûë í»ñ­ çÇÝ ýÇÉ­ÙÁ áñá­ß»É ¿ñ Ýϳ­ñ³­Ñ³­Ý»É ѳÛï­ÝÇ ¹»­ñ³­ë³­Ýáõ­ÑÇ Æ½³­µ»É ÐÛáõ­÷»ñ­ïÇ ³é³­ç³ñ­ÏÇó Ñ»­ïá: — ƽ³­µ»ÉÝ áõ­½áõÙ ¿ñ ·Ý»É ¸á­ñÇë È»­ëÇÝ­·Ç §Êá­ ïÁ »ñ­·áõÙ ¿¦ Ýá­í»­ÉÇ Ñ»­Õǭݳ­Ï³­ÛÇÝ Çñ³­íáõÝù­Ý»­ ñÁ: ²Ûë Ýá­í»­ÉÇ Çñ³­¹³ñ­Óáõ­ÃÛáõÝ­Ý»­ñÁ ¨ë ²ý­ñÇ­ ϳ­ÛáõÙ »Ý ͳ­í³É­íáõÙ,— µ³­ó³ï­ñáõÙ ¿ ¸Á­ÝÇÝ,¨ ß³ï ÝÙ³Ý ¿ñ ÇÙ ³é³­çÇÝ ýÇÉ­ÙÇ` §Þá­Ïá­É³­¹Ç¦ å³ï­Ùáõ­ÃÛ³­ÝÁ: ºë Ýñ³Ý ³ë³­óÇ, áñ ³Û¹­åÇ­ëÇ ýÇÉÙ ³ñ­¹»Ý Ýϳ­ñ»É »Ù: ¸Á­ÝÇÝ áõ­ñÇß Ùï³¹­ñáõ­ÃÛáõÝ áõ­Ý»ñ: è»­ÅÇ­ëá­ñÁ, áñÁ ëá­íá­ñ³­µ³ñ Çñ ëï»Õ­Í³­·áñ­Í³­Ï³Ý ³ß­Ë³­ ï³Ý­ùáõÙ á·»ßÝã­íáõÙ ¿ ·ñ³­Ï³­Ýáõ­ÃÛáõ­ÝÇó, »ñ³Åß­ ïáõ­ÃÛáõ­ÝÇó, åá­»­½Ç­³­ÛÇó ¨ ³ñ­í»ë­ïÇó, ¹Ç­Ù»ó ë»­ Ý»­·³­É Û³Ý ³ñ­Ù³ï­Ý»­ñáí ýñ³Ý­ëÇ­³­óÇ Ýá­í»­ÉÇëï س­ñÇ Ü¹Ç­³­Û»­ÇÝ: Üñ³Ýù ÙÇ­³­ëÇÝ ëï»Õ­Í»­óÇÝ §êåÇ­ï³Ï ÝÛáõæ ýÇÉ­ÙÇ ëó»­Ý³­ñÁ: ²ÛÝ ¹³ñ­ÓÛ³É ³Ý¹­ñ³­¹³é­ÝáõÙ ¿ §Þá­Ïá­É³¹¦ ýÇÉ­ÙÇ Ã»­Ù³­ÛÇÝ` ѻﭷ³­Õáõ­Ã³­ÛÇÝ ²ý­ñǭϳ­ÛÇ ÙÇç­é³­ë³­Û³­Ï³Ý ѳ­ ñ³­µ»­ñáõ­ÃÛáõÝ­Ý»­ñÇÝ: ¸Á­ÝÇÇ Ñ³­Ù³ñ ٻϭݳñÏ Ñ³Ý­¹Ç­ë³­ó³í Îá¹ ¸’Æíá­õ³­ñÇ Ù³­ëÇÝ Ñ»­éáõë­ï³­ï»­ë³­ÛÇÝ é»­åáñ­ ï³­ÅÁ: — Ø»Ýù ¹»é ã¿­ ÇÝù ëÏë»É ·ñ»É ³Ûë ëó»­ Ý³­ ñÁ, »ñµ ï»­ë³Ýù, û ÇÝã­å»ë ¿ ýñ³Ý­ëÇ­³­Ï³Ý µ³­Ý³­ÏÁ ýñ³Ý­ëÇ­³­Ï³Ý µÝ³Ï­ãáõ­ÃÛ³­ÝÁ Îá¹ ¸’Æíá­õ³­ñÇó ¹áõñë ѳ­ÝáõÙ: ÜÙ³Ý ï»­ë³­ñ³Ý­Ý»ñ ·ñ»­Ã» ³Ù»Ý ûñ ϳ­ñ»­ÉÇ ¿ ï»ë­Ý»É Ñ»­éáõë­ï³­ï»­ëáõ­ÃÛ³Ùµ:

Race issues In Africa, race issues are inextricably intertwined with politics. ‘I am white, I’ve never thought people wouldn’t notice’, says Denis. ‘Even as a young girl growing up, I was always aware of this. That’s something you realize very fast, especially at the end of the colonial era.’

However, Denis also understands her protagonist in White Material, who underestimates the racial resentment her superior social position has fostered. ‘She believes she is well integrated and well liked. She can’t believe anyone might want to hurt her. She is right, as long as the situation’s stable. As soon as things start getting out of hand, this neighborliness quickly disappears. That’s normal, given the role the whites have played in colonizing Africa.

Don’t forget, Africa has only been independent for fifty years. That is not very long.’

ºñÇ­ï³­ë³ñ­¹áõ­ÃÛáõ­ÝÁ` ²ý­ñǭϳ­ÛáõÙ ¸Á­ÝÇÝ ÍÝí»É ¿ 1948 Ã., ö³­ñÇ­½áõÙ, ÇëÏ Ñ³­ çáñ¹ ï³ëÝ­ãáñë ï³­ñÇ­Ý»­ñÁ ³Ýó ¿ Ï³ó­ñ»É ²ñ¨Ù­ ïÛ³Ý ²ý­ñǭϳ­ÛáõÙ: §Þá­Ïá­É³¹¦ ýÇÉ­ÙÇ Ñ³Û­ñÇ­ÏÇ ÝÙ³Ý ¸Á­ÝÇÇ Ñ³ÛñÝ ¿É ¿ñ ϳ­é³­í³­ñ³­Ï³Ý å³ß­ ïá­ÝÛ³: -ä»ïù ¿ ³ë»Ù, áñ »ñ­µ»ù ²ý­ñǭϳ­ÛáõÙ ÇÝÓ ã»Ù ½·³­ó»É, ÇÝã­å»ë ï³­ÝÁ: ÆÝÓ ¹áõñ ¿ñ ·³­ÉÇë ³ÛÝ­ ï»Õ ³å­ñ»­ÉÁ, µ³Ûó ²ý­ñÇ­Ï³Ý ÇÙ ïáõ­ÝÁ ã¿ñ: ÆëÏ §êåÇ­ï³Ï ÝÛáõ­ÃǦ Ñ»­ñá­ëáõ­Ñáõ Ï۳ݭùÇ Ñ³Ý­·³­Ù³Ýù­Ý»­ñÁ µá­Éá­ñá­íÇÝ áõ­ñÇß »Ý: §Þá­Ï᭠ɳ­¹Ç¦ Çñ³­¹³ñ­Óáõ­ÃÛáõÝ­Ý»­ñÁ ï»­ÕÇ »Ý áõ­Ý»­ÝáõÙ 50-³Ï³Ý­Ý»­ñÇÝ, »ñµ ³ý­ñÇ­ÏÛ³Ý ß³ï »ñÏñ­Ý»­ñÇ Ñ³­Ù³ñ ³Ý­Ï³­Ëáõ­ÃÛáõ­ÝÁ ¹»é ß³­ñáõ­Ý³­ÏáõÙ ¿ñ »ñ³­ ½³Ýù ÙݳÉ: §êåÇ­ï³Ï ÝÛáõ­ÃÁ¦ Ù»ñ ûñ»­ñÇ Ù³­ëÇÝ ¿` ѻﭷ³­Õáõ­Ã³­ÛÇÝ ²ý­ñǭϳ­ÛÇ, áñ­ï»Õ ëåÇ­ï³Ï­ Ý»ñÝ ³Û­É¨ë å³ß­ïá­Ý³­å»ë Ç߭˳­Ýáõ­ÃÛáõÝ ãáõ­Ý»Ý, µ³Ûó Ýñ³Ýó Ù»Í Ù³­ëÁ ¹»é ѳ­ñáõëï ¨ ѽáñ ¿: ÐÛáõ­÷»ñ­ïÇ Ù³ñ٭ݳ­íá­ñ³Í Ï»ñ­å³­ñÁ` ³·³­ñ³­Ï³­ïÇ­ñáõ­ÑÇÝ, áõ­Å»Õ Ó·á­Õáõ­ÃÛáõÝ ¿ ½·áõÙ ¹»­åÇ Ñá­ÕÁ: ¸Á­ÝÇÝ µ³­ó³ï­ñáõÙ ¿.

-ºñµ Ñá­ÕÇ íñ³ ³ß­Ë³­ïáõÙ »ë, ëÏëáõÙ »ë ·Ý³­ ѳ­ï»É ¨ ³ÛÝ ¹³é­ÝáõÙ ¿ ùá­ÝÁ: ÐÇÝ· ï³­ñÇ ¿ å»ïù ³é³­çÇÝ µ»ñ­ùÁ ëﳭݳ­Éáõ ѳ­Ù³ñ ¨ »ñ­Ïáõ ϳ٠»ñ»ù ë»­ñáõݹ` Çë­Ï³­Ï³Ý åɳݭﳭódz ëï»Õ­Í»­ Éáõ ѳ­Ù³ñ: ¸ñ³ ѳ­Ù³ñ ¿É ³Û¹­ù³Ý ¹Åí³ñ ¿ Ñá­ ÕÁ Éù»­ÉÁ: ²Û¹ ÏÇ­ÝÁ áãÇÝã ãáõ­ÝÇ üñ³Ý­ëÇ­³Û­áõÙ: àã ÷áÕ, áã ÷³ë­ï³­ÃáõÕÃ, áãÇÝã: ²Ñ³ û ÇÝ­ãáõ ³Ý­Ï³­Ëáõ­ÃÛ³Ý Ñ³­Ù³ñ å³Û­ù³­ñáõÙ ý»ñ­Ù»ñ­Ý»ñÝ áõ ³·³­ñ³­Ï³­ï»­ñ»­ñÁ Ïá­Ùáõ­ÝÇëï­Ý»­ñÇ ¨ ³ÛÉ Ñ»­Õ³­ ÷á­Ë³­Ï³Ý ß³ñ­ÅáõÙ­Ý»­ñÇ í³é Ãßݳ­ÙÇ­Ý»ñÝ ¿ÇÝ: Üñ³Ýù íï³Ý­·³­íáñ »Ý, ù³­ÝÇ áñ ã»Ý áõ­½áõÙ Éù»É Çñ»Ýó Ñá­Õ»­ñÁ:

è³­ë³­Û³­Ï³Ý ËݹÇñ­Ý»ñ ²ý­ñǭϳ­ÛáõÙ é³­ë³­Û³­Ï³Ý ѳ­ñ³­µ»­ñáõ­ÃÛáõÝ­Ý»­ ñÁ ÙÇ­³­ÓáõÉ­í³Í »Ý ù³­Õ³­ù³­Ï³Ý ѳñ­ó»­ñÇÝ: -ºë ëåÇ­ï³Ï »Ù: àõ »ñ­µ»ù ã¿Ç Ùï³­ÍáõÙ, áñ Ù³ñ­ ¹ÇÏ ¹³ ã¿­ ÇÝ Ýϳ­ ïáõÙ,- ³ëáõÙ ¿ ¸Á­ ÝÇÝ:ÜáõÛ­ÝÇëÏ »ñµ »ñÇ­ï³­ë³ñ¹ ³Õ­çÇÏ ¿Ç, »ë ÙÇßï áõ­ Ý»Ç ³Û¹ ·Ç­ï³Ï­óáõ­ÃÛáõ­ÝÁ: ¸³ ³ÛÝ­åÇ­ëÇ µ³Ý ¿, áñÁ ¹áõ ß³ï ³ñ³· »ë ѳë­Ï³­ÝáõÙ, ѳï­Ï³­å»ë ·³­Õáõ­Ã³­ÛÇÝ ¹³­ñ³ßñ­ç³­ÝÇ í»ñ­çáõÙ:

ÆÝ­ 㨿, ¸Á­ ÝÇÝ Ý³¨ §êåÇ­ ï³Ï ÝÛáõæ ýÇÉ­ ÙÇ Ñ»­ñá­ëáõ­ÑáõÝ ¿ ѳë­Ï³­ÝáõÙ. Ñ»­ñá­ëáõ­ÑÇÝ Ã»­ñ³·­Ý³­ ѳ­ïáõÙ ¿ Çñ Ýϳï­Ù³Ùµ é³­ë³­Û³­Ï³Ý Ãßݳ­Ù³Ý­ ùÁ, áñÇÝ Ýå³ë­ï»É ¿ ³Û¹ »ñÏ­ñáõÙ Çñ ·»­ñ³­Ï³ ëá­ óÇ­³­É³­Ï³Ý ¹ÇñùÝ: — ܳ ϳñ­ÍáõÙ ¿, áñ ÇÝ­ùÁ ɳí ѳñ­Ù³ñ­í³Í ¿, ¨ áñ Çñ»Ý µá­Éá­ñÁ ëÇ­ñáõÙ »Ý: ܳ ãÇ Ï³­ñá­Õ³­Ýáõ٠ѳ­í³­ï³É, áñ ÇÝã- áñ Ù»­ÏÁ ϳ­ñáÕ ¿ Çñ»Ý íݳë å³ï­×³­é»­Éáõ ó³Ý­Ïáõ­ÃÛáõÝ áõ­Ý»­Ý³É: ܳ Çñ³­í³­óÇ ¿, ù³­ÝÇ ¹»é Çñ³­íǭ׳­ÏÁ ϳ­ÛáõÝ ¿: лÝó áñ Çñ³­ íǭ׳­ÏÁ ¹áõñë ¿ ·³­ÉÇë ÑëÏá­Õáõ­ÃÛáõ­ÝÇó` µ³­ñÛ³­ ó³­Ï³­Ùáõ­ÃÛáõ­ÝÁ ³ñ³· ³Ý­Ñ»­ï³­ÝáõÙ ¿: ¸³ µÝ³­ Ï³Ý ¿` ѳ߭íÇ ³é­Ý»­Éáí ³ÛÝ ¹»­ñÁ, áñ ëåÇ­ï³Ï­ Ý»ñÝ »Ý áõ­Ý»­ó»É ²ý­ñǭϳ­ÛÇ ·³­Õáõ­Ã³ó­Ù³Ý Ù»ç:

è»­ÅÇ­ëá­ñÇ Ó»­é³­·Ç­ñÁ Üñ³ ýÇÉ­Ù»­ñÇÝ µÝá­ñáß »Ý Ù³ë­Ý³ï­í³Í å³ï­Ùáõ­ ÃÛáõ­ÝÁ, áõ­Å»Õ ¨ ½·³­Û³­Ï³Ý å³ï­Ï»ñ­Ý»­ñÁ (Éáõ­ë³Ý­ ϳñ­ã³­Ï³Ý é»­ÅÇ­ëá­ñÁ ѳ­×³Ë ²·­Ý»ë ¶á­¹³ñÝ ¿), Ýí³­½³­·áõÛÝ »ñÏ­Ëá­ëáõ­ÃÛáõÝ­Ý»­ñÁ, ïå³­íá­ñÇã »ñ³Åß­ ïáõ­ÃÛáõÝÝ áõ ӳۭݳ­ÛÇÝ ¿ý»Ïï­Ý»­ñÁ. ݳ µ³½­ÙÇóë ѳ­ Ù³­·áñ­Í³Ï­ó»É ¿ ÏáÙ­å᭽ǭïáñ êïÛá­õ³ñï êï»­å»É­½Ç Ñ»ï, áñÁ Tindersticks éáù ËÙµÇ Õ»­Ï³­í³ñÝ ¿, ¨ ë³­ áõݹíñ»ù­Ý»ñ ¿ ·ñ»É §öáñ­Ó³Ýù ³Ù»Ý ûñ¦ ¨ ³í»­ÉÇ Ù»­É³Ý­Ëá­ÉÇÏ` §35 ÏáõÙ éáÙ¦ ýÇÉ­Ù»­ñÇ Ñ³­Ù³ñ:

λÛë ¸ñÇ­»­ë»Ý è»ï­ñáë­å»Ï­ïÇ­íáõÙ óáõ­ó³¹ñ­íáÕ ýÇÉ­Ù»­ñÁ.

2001 Ã. §úñ ãϳ, áñ ³Ý³­Ëáñ­Åáõ­ÃÛáõÝ ãÉÇÝǦ 2008 Ã. §35 µ³­Å³Ï éáÙ¦ 2009 Ã.§êåÇ­ï³Ï ÝÛáõæ

With her latest film White Material, Claire Denis returns to Africa, the continent of her youth and her 1988 feature debut, Chocolat. The Golden Apricot Film Festival honors the celebrated French director with a retrospective.

In White Material, a white woman, who owns a coffee plantation in an unnamed African country, stubbornly refuses to leave her estate, while the political situation is clearly getting out of hand. The most recent project of the director of award-winning films like Nénette et Boni and Beau travail, started with a suggestion by her famous lead actress, Isabelle Huppert.

‘Isabelle wanted to buy the rights to Doris Lessing’s novel, The Grass is Singing, which is set in Africa’, explains Denis. ‘But that would be too similar to my first film, Chocolat. So I told her I had already made that film.’

Denis, however, did have another idea. The film maker, who has regularly been inspired by literature, music, poetry, and art, turned to French novelist of Senegalese descent, Marie NDiaye. Together, they created the story for White Material, which revisits Chocolat’s theme of race relations in (post-) colonial Africa.

Denis’s starting point was a television report on Ivory Coast. ‘Before we started writing, I saw the French army escorting the French population out of Ivory Coast. Some of the older farmers refused to leave. But these stories are not unique to Ivory Coast. You can see similar images on television almost every day.’

Distinctive style Before she filmed her 1988 feature debut Chocolat, Denis worked as an assistant to film makers like Jacques Rivette, Wim Wenders, and Jim Jarmusch.

However, even in her first movie, she demonstrated a distinctive style. Her films are characterized by a fragmented narrative, strong and sensual visuals (often by Director of Photography Agnès Godard), minimal dialogue, and a strong presence of music and soundscapes – she has worked repeatedly with composer Stuart Staples, who heads rock band Tindersticks, creating soundtracks for films like the horror-like Trouble Every Day and the more melancholy 35 Shots of Rum. Amidst cast and crew, Denis doesn’t feel like the boss. ‘A director doesn’t really have any power’, she says. ‘Together with others, the director is responsible for the right mise-en-scène and keeping the pace, but I’ve never really felt in charge. I’ve always felt a great loneliness and a weight on my shoulders. Never power.’ According to Denis, power presupposes ownership – that’s why the plantation owners in White Material represent political power. A director, says Denis, doesn’t own a film.

‘For me, being a director feels more like being the soloist in an orchestra.’

Kees Driessen Films shown in the retrospective 2001 Trouble Every Day 2008 35 Shots of Rum 2009 White Material