GOLDEN APRICOT DAILY | DAY 1 & 2 | 11/12 JULY | 2010
interview 8
àêκ ÌÆð²Ü
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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
ö³ñǽ Û³Ý ³é³íáï: ÆÝÝëáõÝÙ»Ï ÃÇí: Æ٠ɳí ÁÝÏ»ñ ØÇù³Û»É øáã³ñÛ³ÝÁ ûñûñÇ ËñÓÇó ѳ Ý»ó Ù»ÏÁ ¨ ³Ýï³ñµ»ñ ³ë³ó.§ì»ñݳ·ñ»ñáõ٠г۳ëï³Ý µ³éÁ ÷ÝïñÇñ¦: ºë ëÏë»óÇ ýñ³Ý ë»ñ»ÝÇ ÇÙ³óáõÃÛ³Ý ÇÙ ³ëåÇñ³Ýï³Ï³Ý ÙÇÝÇ ÙáõÙÇ ë³ÑÙ³ÝÝ»ñáõÙ ç»ñÙ»é³Ý¹áñ»Ý áõëáõÙݳ ëÇñ»É Ñá¹í³ÍÝ»ñÇ í»ñݳ·ñ»ñÁ: ºí ³Ñ³ ³ãùÇ ½³ñÝ»ó ѳñ³½³ï, µ³Ûó ýñ³Ý ëdzóÇÝ»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 ö³ñǽÇó 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 ѳ۳ëï³ÝÛ³Ý Çñ³Ï³ÝáõÃÛáõÝÁ ÏñÏÝûñÇݳÏí³Í ¿ñ ½ñÝ·áõÝ ýñ³Ýë»ñ»Ýáí£ ²ÝñÇ ì»ñÝÛáÛÇ Ñ»ï, ÇѳñÏ», ½ñáõó»óÇ Ñ³Û» ñ»Ý: ܳ ÇÝùÝ ÁÝïñ»ó Ù³Ûñ»ÝÇÝ, ݳ˳å»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 ÁÝϳÉíáõÙ »Ý áñ å»ë ï»ë³ß³ñÇ Éñ³óáõÙ: ÆÝãå»±ë ÍÝí»ó §Ø³ÛñÇϦ ýÇÉÙÇ ·³Õ³÷³ñÁ: î³ñµ»ñ ³éÇÃÝ»ñáí ì»ñÝÛáÛÁ Ñ»éáõëï³ï» ëáõÃÛ³Ùµ ¨ Ùï»ñÇÙÝ»ñÇ ßñç³å³ïáõÙ å³ï Ù»É ¿ñ Çñ Ù³ÛñÇÏÇ ¨ ³ÝÓÝ³Ï³Ý ÑÇßáÕáõÃÛáõÝÝ» ñÇ Ù³ëÇÝ: ²Û¹ å³ïÙáõÃÛáõÝÝ»ñÁ µáÉáñÁ Ñdzó 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¦: سÛñÇÏÇ 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 ÁݹѳÝáõñ 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 ¹ÇÙ³ÝϳñÝ ¿, ÍÝÏÝ»ñÇÝ Ýëï³Í ¿ ¹»é¨ë ²ÝñÇ ã¹³ñÓ³Í ÷áùñÇÏ ²ßáïÁ: ²Ûë Éáõë³ÝϳñÁ Ý³Ý ë»ÝÛ³Ý ³ÝÓݳ·ñÇó ¿, áñÁ ݳËáñ¹ ¹³ñÇ ëϽµ» ñÇÝ ïñíáõÙ ¿ñ Ñ³Û ÷³Ëë ï³ Ï³Ý Ý» ñÇÝ: º½ ñÇÝ ·ñí³Í ¿ ï³ñ»ÃÇíÁ` §1924, ²Ã»Ýù¦: Þ³ï ïËáõñ Éáõë³Ýϳñ ¿: — 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 ß³ñáõݳ Ï»ó, ³ÛÉ ëÏë»ó Ýáñ å³ñµ»ñáõÃÛáõÝÇó:— ²ÛÝ Ñ³ë ó»³·ñí³Í ¿ ÇÙ »ñÇï³ë³ñ¹ ѳÛñ»Ý³ÏÇóÝ»ñÇÝ, áíù»ñ ÷áñÓáõÙ »Ý Çñ»Ýó ׳ݳã»É ³Ûë Ñëϳ۳ ϳÝ, ³Ýå³ßïå³Ý ³ß˳ñÑáõÙ: ´³Ûó Ñáõëáí »Ù, áñ ýÇÉÙÁ ýñ³ÝëdzóÇÝ»ñÇÝ ¨ áõñÇß ³½·áõÃÛ³Ý áõ ѳí³ïùÇ Ù³ñ¹Ï³Ýó ¿É ÏÑáõ½Çª Ýñ³Ýó, áí ù»ñ ëÇñáõÙ »Ý, áíù»ñ »ñ³½áõÙ Çñ»Ýó Ù³ÛñÇÏÇÝ ¨ Ù³ÝÏáõÃÛáõÝÝ »Ý ï»ëÝáõÙ, áõÙ Ñá·ÇÝ»ñÁ µ³ó »Ý
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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.’
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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.’
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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