Golden Apricot Daily - 2010, Day 3

GOLDEN APRICOT DAILY | DAY 3 | 13 JULY | 2010

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GOLDEN APRICOT DAILY |DAY 3 | 13 JULY | 2010

2 Íñ³·Çñ/programm 13 ÑáõÝÇëÇ/ 13 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 12:00

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall 10:00 È»éݳí³Ý/Lernavan سñ³ï ê³ñ·ëÛ³Ý/Marat Sargsyan, Ltu, 25’, AP

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

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

13:00

10:00

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/Naregatsi Art Institute 16:00

Lang.: Lithuanian, Subt.: English and Armenian ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury ÎáëÙáë/Kosmos è»Ñ³ ¾ñ¹»Ù/Reha Erdem, Tur, 122’, FC

Lang.: Turkish, Subt.: English 12:00

35 μ³Å³Ï éáÙ/35 Shots of Rum ÎÉ»ñ ¸ÁÝÇ/Claire Denis, Fra/ Deu, 100’, R Lang.: French, Subt.: English and Armenian 14:00

лÕÇݳÏÝ»ñ/Written By ¶³éÝÇ ä³ÕïÇÏÛ³Ý/Karni Baghdikian, USA, 15’, AP

Lang.: English, Subt.: Armenian ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 10:40 ºë ³åñáõÙ »Ù/I Live ²ñÙ»Ý Ê³ã³ïñÛ³Ý/Armen Khachatryan, Arm, 52’, AP

Lang.: Armenian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury ֳݳå³ñÑÇÝ/On the Path Ú³ëÙÇɳ Äμ³ÝÇã/Jasmila Zbanic, Bih/Aut/Deu/Hrv, 100’, FC

Lang.: Bosnian, Subt.: English 14:30 öáÃáñÇÏ/Storm гÝë-øñÇëïÇ³Ý ÞÙǹ/ Hans-Christian Schmid, Deu/ Dnk/Nld, 105’, FC

´ÝáõÃÛ³Ý ½³í³ÏÝ»ñÁ/ Children of Nature üñǹñÇù Âááõñ üñǹñÇùëáÝ/Fridrik Thor Fridriksson, Deu/Isl/Nor, 85’, R

Lang.: Icelandic, Subt.: English and Armenian 16:00

Lang.: Multilingual, Subt.: English and Armenian 16:30 àõÕ¨áñáõÑÇÝ/The Passenger êï³ÝÇëÉ³í ¶áíáñáõËÇÝ/ Stanislav Govorukhin, Rus, 98’, YP

Lang.: Russian, Subt.: English ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 19:00

Ü»ñßÝãí³Í/Imbued èáμ ÜÇÉëáÝ/Rob Nilsson, USA, 83’, YP

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

Lang.: Armenian, Subt.: English 21:30 ܳ` ãÇÝáõÑÇÝ/She, a Chinese êÛ³Éááõ ¶á/Xialou Guo, Gbr/ Fra/Deu, 98’, FC

Lang.: Chinese, Subt.: English and Armenian

Lang.: German, Subt.: English and Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 21:00 àõÕ¨áñáõÃÛáõÝ ¹»åÇ ÎÇûñ³/Voyage to Cythera »á¹áñáë ²Ý·»ÉáåáõÉáë/ Theodoros Angelopoulos, Grc/Ita/Gbr/Deu, 137’, R

Lang.: Greek, Subt.: English and Armenian

§²éÝá ´³µ³ç³Ý۳ݦ ѳٻñ·³ëñ³Ñ “Arno Babajanyan” Concert Hall

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

15:00 ÎÉ»ñ ¸ÁÝÇ – ì³ñå»ïáõÃÛ³Ý ¹³ë/Claire Denis - Master Class

21:00 – 24:00 ²ñí»ëïÇ Ó³ÛÝ»ñ. سÉ˳ë ç³½-Ýí³·³ËáõÙμ /Art Voices Malkhas Jazz Band

19:30 ºé³ÝÏÛáõÝÇ/Triangle лÝñÇÏ Ø³ÉÛ³Ý/Henrik Malyan, Arm, 85’, T

Lang.: Armenian, Subt.: English ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ åáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens 22:00 ì»Ý»ëdz/Venezzia гÛÏ Ô³½³ñÛ³Ý/Haik Gazarian, Ven, 98’, AP

Lang.: Spanish, Subt.: English and Armenian

¶»Õ. ջϳí³ñ` سÝáõÏ Ô³½³ñÛ³Ý/Artistic Director: Manuk Ghazaryan 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.

øÇÙdz/Chemo ä³í»É ÈáÅÇÝëÏÇ/Pawel Lozinski, Pol, 58’, DC

Lang.: German, Subt.: Russian

Lang.: Polish , Subt.: English

Lang.: English/French, Subt.: English and Armenian

14:00 §àëÏ» ÍÇñ³Ý¦ μ³ñÓñ³·áõÛÝ ÏÇÝá¹åñáóÇ Íñ³·Çñ/“Golden Apricot” MasterSchool of Cinema

Lang.: Lithuanian, Subt.: English and Armenian ²Ûëï»Õ` Ý»ñù¨áõÙ/Down Here ÎáÙë Þ³Ñμ³½ Û³Ý/Comes Chahbazian, Bel/Fra, 55’, AP

Lang.: Armenian/Russian/ English, Subt.: English and Armenian 18:00 ºñÏËáëáõÃÛáõÝÝ»ñ/Dialogues ¶³·ÇÏ Ô³½³ñ¿/Gagik Ghazare, Arm, 90’,AP

ö³Ëáõëï ²μ¹áõÉÇ Ñ»ï/ On the Run With Abdul ¸»Ûíǹ ȳɻ, æ»ÛÙë ÜÛáõÃáÝ, øñÇëïÇ³Ý Ðáí»/David Lalé, James Newton, Kristian Hove, Gbr, 23’, BC

ÎñÏݳÏÇ ï³ñ³Íù/Double Territory èáõÅ»ñÇáõ Îáññ»³/Rogerio Correa, Bra, 52’, DC

15:00 úñ ãϳ, áñ ³Ý³ËáñÅáõÃÛáõÝ ãÉÇÝÇ/Trouble Every Day ÎÉ»ñ ¸ÁÝÇ/Claire Denis, Fra/ Deu/Jpn, 101’, R

Lang.: Portuguese, Subt.: English 12:00

17:00

Lang.: English, Subt.: Armenian 16:30 ÆÙ μáÉáñ Ù³Ûñ»ñÁ/All My Mothers ¾μñ³ÑÇÙ ê³Ç¹Ç, ¼³Ñ³íÇ ê³Ýç³íÇ/Ebrahim Saeedi, Zahavi Sanjavi, Irn/Irq, 60’, DAB

Lang.: Kurdish, Farsi, Subt.: English

No Dialogues ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury

16:00 È»éݳí³Ý/Lernavan سñ³ï ê³ñ·ëÛ³Ý/Marat Sargsyan, Ltu, 25’, AP

18:30 Ðá·áõ ËáѳÝáó/Soul Kitchen ü³ÃÇÑ ²ùÇÝ /Fatih Akin, Deu, 99’, R س»ëïñá/Maestro ìÇ·»Ý â³É¹ñ³ÝÛ³Ý/Vigen Chaldranian, Arm, 103’, FC, AP

ì»ñçÁ ëÏÇ½μ ¿/The End Is the Beginning ¶áõñ·»Ý æ³ÝÇμ»ÏÛ³Ý/ Gurgen Janibekyan, Arm, 7’, AP

ÐáõÉÇëÇÝ/In July ü³ÃÇÑ ²ùÇÝ/Fatih Akin, Deu, 100’, R

ÐÇÝ· ÷Õ»ñáí ÏÇÝÁ/The Woman with 5 Elephants ì³¹ÇÙ ºÝ¹ñ»ÛÏá/Vadim Jendreyko, Che/Deu, 93’, DC

Lang.: German, Subt.: English and Armenian

Ø»é³Í »ñÇï³ë³ñ¹áõÃÛáõÝ/ Dead Youth È»³Ý¹ñá ÈÇëïáñïÇ/Leandro Listorti, Arg, 74’, DC

18:00 øÇÙdz/Chemo ä³í»É ÈáÅÇÝëÏÇ/Pawel Lozinski, Pol, 58’, DC

Lang.: Polish , Subt.: English and Armenian ÎñÏݳÏÇ ï³ñ³Íù/Double Territory èáõÅ»ñÇáõ Îáññ»³/Rogerio Correa, Bra, 52’, DC

Lang.: Russian, Subt.: English

Lang.: German, Subt.: English and Armenian

Lang.: German, Subt.: English and Armenian

Lang.: Spanish, Subt.: English

19:00 гٳ¹³ë³ñ³ÝóÇÝ»ñ/ Classmates ê»ñ·»Û êáÉáíÛáí/Sergei Solovyov, Rus, 100’, YP

21:00 êåÇï³Ï ųå³í»Ý/White Ribbon ØÇË³Û»É Ð³Ý»ù»/Michael Haneke, Aut/Fra/Deu/Ita, 144’, YP

17:30 ²ß˳ï³ÝùÇ »ñ³½³Ýù/ Dream Job è³½ÙÇÏ Ø»ÉùáÙÛ³Ý/Razmik Melkomyan, Deu, 4’, AS

Lang.: Portuguese, Subt.: English and Armenian 20:00 ²½·Ç ÑÛáõñ³ë»ÝÛ³ÏÁ/The Living Room of the Nation ÚáõÏϳ ÎÛ³ñÏÛ³ÛÝ»Ý/Jukka Kärkkäinen, Fin, 79’, DC

Lang.: Finnish, Subt.: English and Armenian

18:00 ´³Ëï³ÏÇóÝ»ñÁ/The Complices Üáñ³ سñïÇñáëÛ³Ý/Nora Martirosyan, Fra/Nld, 39’, AS

Lang.: Dutch, Subt.: English 19:00 Àݹ¹ÇÙ³óáÕÁ/Resister Øáõñ³Ã àõÃùáõ/Murat Utku, Tur, 46’, DAB

Lang.: Turkish, Subt.: English 20:00 æ³í³Ëù. ÇÝãÇ Ù³ëÇÝ ¿ ÉéáõÙ å³ïÙáõÃÛáõÝÁ/Javakhk: The World Keeps It Dark Øáíë»ë ¶³ëå³ñÛ³Ý/Movses Gasparyan, Arm, 51’, AS

Lang.: Armenian, Subt.: English

Lang.: Armenian, Subt.: English

20:00 ºë ³åñáõÙ »Ù/I Live ²ñÙ»Ý Ê³ã³ïñÛ³Ý/Armen Khachatryan, Arm, 52’, AP

Lang.: Armenian, Subt.: English 21:00 ì»ñçÁ ëÏÇ½μ ¿/The End Is the Beginning ¶áõñ·»Ý æ³ÝÇμ»ÏÛ³Ý/ Gurgen Janibekyan, Arm, 7’, AP

No Dialogues ø»éÇ ì³ÉÛ³/Uncle Valya ÜÇÏáÉ³Û ¸³íÃÛ³Ý/Nikolay Davtyan, Arm, 23’, AP

Afghanistan-Afg

Costa Rica-Cri

Iran (Islamic

Slovakia-Svk

FC-Feature Competition

Argentina-Arg

Croatia (local name:

Republic of)-Irn

South Korea-Kor

DC-Documentary

Iraq-Irq

Spain-Esp

Competition

Armenia-Arm

Hrvatska)-Hrv

Australia-Aus

Czech Republic-Cze

Italy-Ita

Sweden-Swe

AP-Armenian Panorama

Austria-Aut

Denmark-Dnk

Japan-Jpn

Switzerland-Che

AS-Armenian Sketches

Belgium-Bel

Estonia-Est

Lebanon-Lbn

Turkey-Tur

YP-Yerevan Premiere

Bosnia and Herzegowina-

Finland-Fin

Lithuania-Ltu

UK-Gbr

R-Retrospective

Bih

France-Fra

Mexico-Mex

Ukraine-Ukr

DAB-Directors Across

Brazil-Bra

Georgia-Geo

Netherlands-Nld

United States

Cameroon-Cmr

Germany-Deu

Norway-Nor

of America-USA

T-Tribute

Canada-Can

Greece - Grc

Poland-Pol

Venezuela-Ven

BC – British Council

China-Chn

Iceland-Isl

Russia-Rus

OF-Opening Film

6 Shorts

Borders

Lang.: Russian, Subt.: English Error ¸³íÇà ¾Ýý»ÝçÛ³Ý/Davit Enfenjyan, Arm, 10’, AP

No Dialogues

г۳ëï³ÝÇ ³½·³ÛÇÝ å³ïÏ»ñ³ëñ³Ñ National Gallery Of Armenia 12:00 ¾Ï½áïÇϳ/Exotica ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 103’, R

Lang.: English, Subt.: Armenian 14:00 úñ³óáõÛó/Calendar ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can/Deu/Arm, 75’, R

Lang.: English, Subt.: Armenian

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 Èñ³·ñáÕÝ»ñ` λÛë ¸ñÇ»ë»Ý, ¾íñÇ٠γ۳, ²ñÍíÇ ´³ËãÇÝÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, æ»ù ´áÕáëÛ³Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, γñÇÝ ¶ñÇ·áñÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, ÐáíѳÝÝ»ë »ù·Ûá½Û³Ý Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ Èáõë³ÝϳñÝ»ñÁ` Գևորգ Գասպարյան

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

GOLDEN APRICOT DAILY | DAY 3 | 13 JULY | 2010

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øñÇë­ïÇ­Ý» øÛáõñù­É Û³Ý §øÇ­Ùdz¦, ä³­í»É Èá­ÅÇÝë­ÏÇ, È»­Ñ³ë­ï³Ý Ðáõ­ÉÇ­ëÇ 13, îÇÏ­Ýǭϳ­ÛÇÝ Ã³ï­ñáÝ, öáùñ ¹³Ñ­ÉÇ×, (10:00, 18:00)

GOLDEN APRICOT DAILY | DAY 3 | 13 JULY | 2010

interview 5

Fridrik Thor Fridriksson ì»ñçÇÝ Å³Ù³Ý³ÏÝ»ñë ÆëɳݹdzÛÇ ·É˳íáñ ËáñÑñ¹³ÝÇßÝ ¿ ¹³ñÓ»É ã³ñ³µ³ëïÇÏ Ññ³µáõË ¾ÛÛ³ýÛ³ïɳÛáÏáõ¹ÉÁ, áñÝ Çñ ³ÏïÇíáõÃÛ³Ùµ ÙÇ ù³ÝÇ ß³µ³Ã ß³ñáõÝ³Ï ÃáõÛÉ ã¿ñ ï³ÉÇë ï»Õ³ß³ñÅí»É ÙÇÉÇáݳíáñ »íñáå³óÇÝ»ñÇ: ØÇÝã ¹»é ÝáõÛÝÇëÏ ¹Åí³ñ ÁÝûéÝ»ÉÇ ³Ýí³ÝáõÙáí Ññ³µáõËÝ Çñ ³ÏïÇíáõÃÛ³Ùµ ãÇ ·»ñ³½³ÝóáõÙ üñǹñÇù Âááõñ üñǹñÇùëáÝÇ` ÆëɳݹdzÛÇ ³Ù»Ý³½áñ»Õ ÏÇÝá·áñÍãÇ µáõéÝ Ë³éÝí³ÍùÇÝ: ܳ ³Ûë ï³ñÇ ºñ¨³ÝÇ 7-ñ¹ §àëÏ» ÍÇñ³Ý¦ կինոփառատոնի ÙÇç³½·³ÛÇÝ Ë³Õ³ñϳÛÇÝ ýÇÉÙ»ñÇ ÅÛáõñÇÇ Ý³Ë³·³ÑÝ ¿: üñǹñÇù Âááõñ üñǹñÇùëáÝÇ ¹»ñÁ Çëɳݹ³Ï³Ý ÏÇÝáÛáõÙ å³ñ½³å»ë ³Ý·Ý³Ñ³ï»ÉÇ ¿: ܳ ÑÇÙݳ¹ñ»É ¿ »ñÏñÇ ³é³çÇÝ ÏÇÝá³Ùë³·ÇñÁ (§ÎíÇÏÙÛáõݹ³µÉ³¹Ç¹¦), »Õ»É ¿ 1978‑Çó ·áñÍáÕ è»ÛÏÛ³íÇÏÇ ÏÇÝá÷³é³ïáÝÇ Ñ»ÕÇݳÏÝ»ñÇó Ù»ÏÁ, ³é³çÇÝ ³Ý·³Ù ÆëÉ³Ý¹Ç³Ý Ý»ñϳ۳óñ»É ¿ §úëϳñ¦-Ç Ùñó³Ý³Ï³µ³ßËáõÃÛ³ÝÁ (1990-ÇÝ §´ÝáõÃÛ³Ý ½³í³ÏÝ»ñÁ¦ ýÇÉÙáí), ÇëÏ 1990-ÇÝ ÑÇÙÝ»É ¿ »ñÏñÇ ³Ù»Ý³Ñ½áñ ÏÇÝáÁÝÏ»ñáõÃÛáõÝÁ` Icelandic Film Corporation-Á, áñÁ ѳٳ·áñͳÏóáõÙ ¿ ȳñë üáÝ îñÇ»ñÇ Zentropa ¨ üñ»ÝëÇë üáñ¹ ÎáåáɳÛÇ American Zoetrope ÁÝÏ»ñáõÃÛáõÝÝ»ñÇ Ñ»ï: ¸áõù ³ëáõÙ »ù, áñ ѳ­Ù³ß­Ë³ñ­Ñ³­ÛÇÝ ïÝï»­ ë³­Ï³Ý ×·Ý³­Å³­ÙÇ å³Û­Ù³Ý­Ý»­ñáõÙ, µ³Ý­ÏÇñ­ Ý»ñÝ áõ ù³­Õ³­ù³­Ï³Ý ·áñ­ÍÇã­Ý»ñÝ ³½­·Ç ¹³­­ í³­×³Ý­Ý»ñ »Ý: àí­ù»±ñ »Ý ³Û¹ ¹»å­ùáõÙ ÏÇ­Ýá­ ·áñ­ÍÇã­Ý»­ñÁ: ØÇ ùÇã í³Õ ¿ ¹ñ³ Ù³­ëÇÝ Ëá­ë»­ÉÁ: ºë ѳ­Ù³­ å³­ï³ë­Ë³Ý ýÇÉÙ »Ù Ýϳ­ñ³­Ñ³­ÝáõÙ: ºí Ñáõ­ëáí »Ù, áñ áõ­Å»Õ áõ ѽáñ Ïëï³ó­íÇ: γñ­ÍáõÙ »ù` ¹ñ³ ѳ­Ù³ñ ѳñ­Ï³­íáñ ¿ ýDZÉÙ Ýϳ­ñ³­Ñ³­Ý»É: γñ­ÍáõÙ »Ù, áñ ÇÙ »ñ»­Ë³­Ý»ñÝ áõ Ãáé­Ý»­ñÁ Ù»­ ͳ­å»ë ÑÇ­³ë­Ã³÷­í³Í ÏÉÇ­Ý»Ý, »Ã» »ë ãùÝݳ­¹³­ ï»Ù ëï»ÕÍ­í³Í Çñ³­íǭ׳­ÏÁ: ¸áõù é»­ÅÇ­ëáñ »ù, ëó»­Ý³­ñÇëï, åñá­¹Ûáõ­ ë»ñ: гëó­ñ»É »ù ³Ý­·³Ù üáÝ ÂñÇ­»­ñÇ ýÇÉ­ Ùáõ٠˳­Õ³É: ÆÝù­Ý»ñ¹ Ó»½ ³í»­ÉÇ ß³ï DZÝã »ù ѳ­Ù³­ñáõÙ: ÐÇ­Ù³ ³í»­ÉÇ Ñ³­×³Ë ǵ­ñ¨ åñá­¹Ûáõ­ë»ñ »Ù ѳݭ ¹»ë ·³­ÉÇë, µ³Ûó ¹ñ³­ÝÇó µ³­í³­Ï³­Ýáõ­ÃÛáõÝ ã»Ù ëï³­ÝáõÙ: ºë é»­ÅÇ­ëáñ »Ù: ƱÝã ϳ­ë»ù Ó»ñ ¨ Îá­åá­É³­ÛÇ Ñ³­Ù³­·áñ­Í³Ï­ óáõ­ÃÛ³Ý Ù³­ëÇÝ: Îá­ å᭠ɳ­ ÛÇ Ñ»ï ³é³ÛÅÙ ÙÇ­ ³ÛÝ Ù»Ï ýÇÉÙ »Ýù ³ñ»É: γñ­ÍáõÙ »Ù` ݳ Ù»Í ³ñ­í»ë­ï³­·»ï ¿: ƱÝã ÏÝß³­Ý³­Ï»ñ §úë­Ï³­ñÁ¦ Ó»½ ѳ­Ù³ñ, áñÇÝ Å³­Ù³­Ý³­ÏÇÝ Ñ³­í³Ï­ÝáõÙ ¿Çù: §´Ýáõ­ÃÛ³Ý ½³­í³Ï­Ý»­ñÁ¦ ýÇÉ­ÙÁ ³Ý­í³­Ý³­Ï³ñ­ ·áõÙ Ý»ñ­Ï³­Û³ó­í»ÉÝ ÇëÏ û·­Ý»ó Ýñ³ ï³­ñ³Í­Ù³ÝÝ áõ ׳­Ý³ã­Ù³ÝÁ áÕç ³ß­Ë³ñ­ÑáõÙ: ܳ¨` Æë­É³Ý­¹Ç­ ³­ÛáõÙ ÇÙ Ïá­É»­·³­Ý»­ñÇÝ: ÆëÏ ³Ý­Ó³Ùµ Ó»±½: àã: ºë ÙÇßï ³ë»É »Ù, áñ ³Ù»­ñÇ­ÏÛ³Ý ³ñ­í»ë­ïÁ ÝÙ³Ý ¿ ý³ëÃ-ýáõ­¹Ç: ÎÇ­ÝáÝ áñ­ù³­Ýá±í å»ïù ¿ ÉÇ­ÝÇ ³½­·³­ÛÇÝ: àñ­ù³­Ýáí ¹³ ÏÝå³ë­ïÇ »ñÏ­ñÇ ÇÙÇ­çÇ ëï»ÕÍ­ Ù³­ÝÁ: γ­ñáÕ »Ù µ»­ñ»É Æñ³­ÝÇ ûñǭݳ­ÏÁ: âݳ­ Û³Í ÇÝã-ÇÝã ѳݭ·³­Ù³Ýù­Ý»­ñÇ` Çñ³­Ý³­Ï³Ý ÏÇ­ÝáÝ ³ß­Ë³ñ­ÑáõÙ Çñ »ñÏ­ñÇ Ñ³­Ù³ñ ¹ñ³­Ï³Ý Ï»ñ­å³ñ ¿ ëï»Õ­Í»É: ÎÇ­ÝáÝ Ï³­ñ¨­áñ ¿ ݳ¨ ˳­Õ³­Õáõ­ÃÛ³Ý Ï»ñï­Ù³Ý ³éáõ­Ùáí: ÆëÏ Ð³­Û³ë­ï³­ÝÁ, Áëï Ó»½, áõ­ÝDZ ³Û¹­åÇ­ëÇ ÏÇ­Ýá­Ç­ÙÇç: ÎÇ­Ýá­Ûáí Ù³ñ¹­Ï³Ýó Ù»ñ ïáõÝ »Ýù Ññ³­íÇ­ñáõÙ, ³ëáõÙ` ï»­ë»ù Ó»½ ÇÝã ÏÇ­Ýá »Ù óáõÛó ï³­Éáõ: ö³­ é³­ïá­Ýáõ٠ѳ­ïáõÏ Íñ³­·Çñ áõ­Ý»­ÇÝù` ÝíÇñ­í³Í

ö³­ñ³­ç³­Ýá­íÇÝ: Ø»Ýù óáõÛó ïí»­óÇÝù ö³­ñ³­ç³­ Ýá­íÇ ÏÇ­ÝáÝ: Üϳ­ñ³­Ñ³Ý­Ù³Ý Ó»ñ Ûáõ­ñ³­Ó¨­áõ­ÃÛáõÝÝ ³Ý­­ í³­ÝáõÙ »Ý ³é»ÕÍ­í³­Í³­ÛÇÝ: Àëï Ó»½` ÇÝã­åÇ­ ëÇ±Ý ¿: ²é»ÕÍ­í³­Í³­ÛDZÝ: ºë ûñÇ­Ý³Ï áõñ­í³­Ï³Ý »Ù ï»­ ë»É: ÐÇ­Ù³ ¹³ ³é»ÕÍ­í³Í ¿: γñ­ÍáõÙ »Ù` ³í»­ÉÇ ß³ï ·»ñµ­Ý³­Ï³Ý ¿: êá­íá­ñ³­Ï³Ý µ³Ý ¿ Ññ»ß ï»ë­ Ý»­ÉÁ: سñ¹ ϳ­ñáÕ ¿ ¿É­ý»ñ ï»ë­Ý»É: Þ³ï Ù³ñ­¹ÇÏ Ñ³­í³­ïáõÙ »Ý ³ÛÝ µ³­ÝÇÝ, ÇÝ­ãÁ ÙÛáõë­Ý»ñÝ ³é»ÕÍ­ í³Í »Ý ³Ý­í³­ÝáõÙ: ÆëÏ ÇÝã­å»±ë ¿ ¾ÛÛ³... ¾ÛÛ³­ý۳íɳ­Ûá­Ïáõ¹­ÉÁ: ²ëï­í³Í ÇÙ, »ë ³ñ­ï³­µ»­ñ»­óÇ: øÝ³Í ¿: ´³Ûó Ù»Ï ³ÛÉ Ññ³­µáõË ¿ å³Û­Ã»­Éáõ: ²Ýáõ­ÝÁ` ø³Ã­É³: ¸³ ³Ý­Ñ³­Ù»­Ù³ï ³í»­ÉÇ Ñ»ßï ¿ ³ñ­ï³­­ µ»ñ»É: ²Ûá, µ³Ûó ¹³ ¾ÛÛ³­ý۳íɳ­Ûá­Ïáõ¹­ÉÇó ѽáñ ¿: ê³­ ϳÛÝ å»ïù ã¿ Ññ³µ­ ËÇ Ù»ç ÙÇ­ ³ÛÝ íï³Ý· ï»ë­Ý»É: ´³­ó³­éÇÏ ·»­Õ»ó­Ïáõ­ÃÛáõÝ ¿, »ñµ ɳ­í³Ý çñí»­ÅÇ ÝÙ³Ý É»éÝ Ç í³ñ ¿ Ñá­ëáõÙ:

¸³­íÇà ì³ñ­¹³­½³­ñÛ³Ý Ð»­ï³­Ñ³­Û³ó óáõ­ó³¹­ñáõ­ÃÛáõÝ­Ý»ñ.

1987 Ã. §êåÇ­ï³Ï Ï»­ï³ÓÏ­Ý»ñ¦ 1991 Ã. §´Ýáõ­ÃÛ³Ý ½³­í³Ï­Ý»­ñÁ¦ 1994 Ã. §ÎÇ­Ýá­ÛÇ ûñ»ñ¦ 1995 Ã. §ê³­éÁ ï»Ý¹¦ 1996 Ã. §ê³­ï³­Ý³­ÛÇ ÏÕ½Çݦ 2000 Ã. §îÇ­»­½»ñ­ùÇ Ññ»ß­ï³Ï­Ý»­ñÁ¦ 2004 Ã. §Ü³Ûëɳݹdz, (´Ý³ÏãáõÃÛáõÝÁ` 1.000.002)¦

We interviewed Fridrik Thor Fridriksson, Icelandic film director and the president of The Feature Competition Jury on the day of the World Cup Finale. Like many other guests, he was very excited to see Paradjanov’s land with his own eyes. “Armenia has always been a very interesting country for me” he says.

“I always thought of coming one day so I’m very happy to be here.”

What is it that makes your films peculiarly Icelandic? And what do you think distinguish­ es Icelanders from the rest of Europe?

I base my films on my personal experience. I wouldn't really know how the Icelandic people essentially are. But I can say that we are very educated people. We have been able to read and write since a long time and we have a great tradition in literature that is going back to 13th century. This is a literature famous for its black humor. And of course this influenced me a lot. And also it is very natural for us to be with supernatural things. We were not exactly like other European nations because we were isolated for a long, long time through centuries.

Isolation seems to be one of your basic motives actually. You often tell the stories of outsiders, like old people, the mentally ill or a Japanese guy in Iceland. Why do you think they inspire you?

What the outsider does inspires me. What does he have to do to be recognized? That is what I am interested in, not the outsider as a phenomenon. But of course I find outsiders more interesting than ‘normal’ people.

You seem to be in favor of the old and tradi­ tional compared to the new and unknown.

I am not a conservative person. I grew up with old people. Iceland became independent after the Second World War. The generation before that was very warm and they were also very wise people. I think the younger generation is more after chasing the wind. They are chasing stupid values. The older generation was much more down to earth. They were appreciating our culture properly, also our literature. These people were grateful for life. And they were much closer to nature. But after the last economic crisis, things are starting to change. People are coming down to earth after it. Three years ago Iceland almost went bankrupt. We used to be a rich country and suddenly we are a very poor country now. And this will change a lot. Hopefully...

In a positive way?

Yes. I think people start to value basic things.

Like I said they were chasing the wind. People don't believe in politics anymore. Because politicians and bankers betrayed the nation. They are going to pay now. Tragic stories are coming up.

People lost their houses and their lives. So a lot of tragedy is going on. My last film Mamma Gogo was partly about it. One day I hope I will make a very strong and powerful film about this. They will be ashamed of what they did. I think my children and my grandchildren would be very disappointed if I wouldn’t criticize the situation.

So cinema has an important function for you.

Cinema is the art that really shapes the images of a country. For example: it is not a coincidence that people are attacking Iraq and Afghanistan. We don't know what is going on there. If Iran wouldn't have its cinema they would be in the war already. Yes, maybe they will be soon. But the positive image that was very much created by the Iranian films prevented it till now. When Yugoslavia was being bombed, we were all worried about director Emir Kusturica.

So we protested. That is why I think filmmaking is very important for creating a world in peace.

Would you agree that they your films are mystical?

For me there is no such thing as mystical.

Like I said, the supernatural is very natural to us Icelanders. I have seen a ghost myself. We live close to supernatural things. It is very common to see a monster or an elf. We don't consider it a mystical thing what you say is mystical...

You are also the founder of The Icelandic Film Corporation.

I was very lucky, because my film Children of Nature got nominated for an Oscar in 1991. That got me recognized. So I had the money to buy equipments, cameras and lights, and that was the moment when I started to produce films as well. And I did this for a long time. Now I produce maybe two films a year. In total I produced about fifty films.

How do you evaluate the World Cup? South Americans were very disappointing.

Argentina was my team so it was very disappointing for me. But Spain will win tonight. Barcelona is the best team and so is Spain. It will be the Catalonian night. Football is the greatest art of all.

The player has to think very quickly. He gets an idea and he realizes it very quickly. It is very similar to what I do as a filmmaker. And it is like painting. That's why I think it is the greatest art of all.

How is the volcano doing?

It is sleeping. But on the 25th of July a new volcano is coming, it is called Katla. Bigger then Eyjafjallajoekull. This is hidden information from a secret source.

Can we publish it?

Yes, why not...

Evrim Kaya & Davit Vardazaryan Films shown in the retrospective: 1987 White Whales 1991 Children of Nature 1994 Movie Days 1995 Cold Fever 1996 Devil’s Island 2000 Angels of the Universe 2004 Niceland (Population. 1.000.002)

GOLDEN APRICOT DAILY |DAY 3 | 13 JULY | 2010

6 films and makers Yerevan Mayor: New office for GAIFF During Sunday’s Opening Ceremony, the Mayor of Yerevan, Gagik Beglaryan, had good news for the festival. In a full theatre in the Moscow Cinema, with guests including festival president and director Atom Egoyan, producer Alain Terzian, and actress Claudia Cardinale, the mayor promised the festival a new office building. It is expected the festival staff will enter the office later this year.

Photo by Photolur/ Tigran Tadevosyan

Opening Medals

Claudia Cardinale: "Nowadays women are a special effect" You are originally from Tunisia. Do you think this fact has some influence on your artistic char­ acter, on what you have done on the screen?

Well, I don’t know. When I was young, I was like a boy, because I always wanted to prove that women are stronger. It was terrible! And I did not speak a lot, that’s why I have this voice (Cardinale is famous for her unusually deep voice – A. B.). I was always fighting with boys (laughing).

Can we say that your temperament is Eastern, if not say African?

Well, I think it’s a mixture of a lot, East and West.

In fact, I like very much the Orient, Africa, because I

Foreign Affairs

was born there. But I like to travel and meet people. I think this is very important, to be all together.

What do you think about the change in fe­ male images on screen? They were quite differ­ ent before.

Well, because, before, a woman was very important in film. Nowadays women are a special effect.

Not iconic anymore, as you were.

Well, not only me, lots of actresses were: Brigitte Bardot, Anna Magnani... Now in many films women have small parts.

How do you remember your lessons of ‘Armenianism’ that Henri Verneuil taught you?

Eric Nazarian Foreign Affairs is a daily column written by foreign guests of the Golden Apricot International Film Festival

Artsvi Bakhchinyan

Photos by Gevorg Gasparyan

Bridging the gap

On the opening night of the festival, Armenia's Minister of Culture Hasmik Poghosyan and others unvealed Yerevan's own Walk of Fame in front of the Moscow Theatre.

Directors Across Borders Today sees the beginning of the Directors Across Borders Regional Co-Production Forum, with a press meeting at the Ani Hotel Dvin Hall at 11:00 am. Directors Across Borders is a regional network of film professionals in the Caucasus and neighboring countries, aiming to use cinema to transcend political, ideological, racial, and religious borders.

French Master French director Claire Denis, present at the festival as the director of a four film retrospective, will give a Master class today at the Babajanyan Philharmonic Concert Hall, at 15:00 pm.

Press Conferences

Walk of Fame

The streets of Verneuil I docked in the early morning hours on the first day of the festival. The sun came up en route to the hotel. The streets were quiet. I was elated. In 2008, my first feature film The Blue Hour was in the Armenian Panorama competition. I was blessed with receiving the Golden Apricot in the Armenian Panorama. I dedicated the award to my father Haik who inspired me to become a filmmaker. His classmate heard my speech and organized a small reunion. I was elated to be able to travel back in time to my father's youth and revisit the past. That is what Golden Apricot is for me - a return to the glorious past of Armenian cinema, a celebration of the present day films from around the world, and a chance to build bridges for the future of cinema in this country. As a filmmaker, telling stories is one part of my inspiration, building cultural bridges is another. Every year, Golden Apricot reminds me that cinema has the potential to unite people from all over the world, create dialogue and inspired storytelling. Last night, the spirit of Henri Verneuil walked the streets of Yerevan. In a few days, one of my favorite filmmakers, Theo Angelopoulos, will be walking the streets of Verneuil in Yerevan. This city is alive and magnificent. Golden Apricot makes it radiate with the pulse of Armenia's glorious cinema past and the chance to marvel and wonder at the present and future. BARI VOSKE TSIRAN!!

Fantastic! Henri Verneuil was great. And for me it was incredible to be the mother in Mayrig and to do his story. We started in Marseille and I was surrounded by marvelous actors, like Omar Sharif.

Do you know that after Verneuil’s film Armenians used to call you mother, “mayrig”, of all Armenians?

But you know, when I am walking, in Paris for example, all the Armenians come to me and kiss me and say: “Thank you!”

As the star of both the Opening Film, Henri Verneuil’s classic epic Mayrig, and the Opening Ceremony, iconic Italian actress Claudia Cardinale was presented with a special medal by the Ministry of Culture.

The festival itself presented the Platinum ‘Mantashyants Aspet’ Medal to Ralf Yirikyan, General Director of VivaCell-MTS, the festival’s main sponsor. Yirikyan pledged to keep supporting the festival for ‘at least another fifty years’. Henri Verneuil, who died in 2002 and who would have celebrated his 90th birthday this year, was honored with the festival’s Parajanov Thaler. It was presented to Verneuil’s son, Patrick Malakian.

The Golden Apricot International Film Festival began the ‘MasterSchool of Cinema’ in 2008, aimed at improving vocational education in Armenia. Since the whole system of film education is based on the Russian film school, young directors and students didn’t have enough opportunity to communicate with mainstream cinema and Western-European culture. The idea behind the MasterSchool is to bridge this gap. The first master classes started two years ago, after the 5th edition of the film festival ended. Film directors, scriptwriters, directors of photography, sound engineers and producers were invited to apply. Over the last year’s participants from countries in the region had the opportunity to work with such directors as Atom Egoyan, Abbas Kiarostami, Jos Stelling, Krzysztof Zanussi, Harutyun Khachatryan, and other professionals. Usually the cinema school is having practical classes.

During the 7th Golden Apricot the MasterSchool proudly presents its short films. Basically it’s a team effort, made by Marrianna Eghiazayan, Susanna Amujanyan, Suren Khudaverdyan, Artur Suqiasyan, Tsoline Miqayelyan and others.

KG Golden Apricot MasterSchool of Cinema.

July 13, 14:00, Moscow Cinema, Video Hall; July 14, 14:00, Moscow Cinema, Video Hall; July 16, 16:00, Moscow Cinema, Video Hall.

Russian director Stanislav Govorukhin will open today’s press conferences at 11:00 am, at the Golden Tulip Hotel Conference Hall. He will be followed by German director Fatih Akin at 12:00 am, accompanied

by Werner Woll, director of Tblisi’s Goethe Institut. At 13:00 am there will be a chance to meet Armenian filmmakers Haik Gazarian, Comes Chahbazian, Inna Sahakyan, Arman Yeritsyan, and Anna Bayatyan.

German Cinema Day Today is German Cinema Day. At 18:30 pm, in the Moscow Cinema Red Hall, there is the opportunity to meet German director Fatih Akin, best known for Turkish themed films like Gegen die Wand/Head-On (2004) and Crossing the Bridge (2005), before the screening of his latest film, the comedy Soul Kitchen. From 20:00 pm, invited guests are welcome at a reception organized by the German Embassy.

Venezzia visits Yerevan Today’s Yerevan Night at Lover’s Park, near the Presidential Palace will show a reprise of Haik Gazarian’s Venezuelan war drama Venezzia, at 22:00 pm. One hour earlier, jazz will again fill the air at the Charles Aznavour Square in front of the Moscow Cinema, as part of Golden Apricot’s Jazz Competition, organized by jazz master Levon Malkhasyan.

Late, later, latest Again, the Midnight Wrap-up at The Club (AKUMB), 40, Toumanyan Street, next to the Moscow Cinema, will feature a Special Mystery Guest. And for those still thirsty, there will be late night drinks at the Pequeno Cactus Luncheon and Tapas Bar, at 42, Mashtots Avenue, and at the Mezzo Classic House Club at 28, Isahakyan Street.

GOLDEN APRICOT DAILY | DAY 3 | 13 JULY | 2010

reviews 7

Violent eroticism

Man versus Woman 2009's GAIFF showcased three films by American independent Rob Nilsson and honored the prolific director with a Special Prize as Master filmmaker. This year, Nilsson is back as a member of the Feature Jury and as director, with his latest film, Imbued.

Early in his career, Nilsson won the Camera D'Or at the Cannes film festival (for Northern Lights, 1978) and the Grand Jury Prize at Sundance (for Heat and Sunlight, 1987). He is probably best known for his Direct Action style of filmmaking, using non-professional actors, improvised scenes and low budgets. 'It's like a documentary jazz technique to make fiction', Nilsson explained to the Daily, 'It's all extremely informal.'

So it is a bit of a surprise to see Golden Globewinning actor Stacy Keach in Nilsson's latest feature, Imbued. Keach not only stars as the male lead, but also composed and performed the film music. Evidently, Direct Action is not the only way of filmmaking for Nilsson, who at the age of 70 shows no signs of slowing down.

Still, Imbued clearly fits the Nilsson mould, with its low-budget approach and focus on character. In the film, two strangers, a man and a woman, end up in the same San-Franciscan high-rise apartment and confront each other with some hard truths.

The man is the aging gambler Donatello, who is named, he says, after the Teenage Mutant Ninja Turtle, not the Renaissance painter. He is addicted to placing bets, for himself and for his continuously calling clientele, but does not dare tell his wife.

When he gets nervous, practicing words from a dictionary temporarily calms him down. Like imbue: 'permeate or inspire with a feeling or a quality'. Walking around the apartment, he seems old, tired and impatient. It is only a temporary residence, it is hardly furnished, and he's planning to move on quickly. Then Lydia, a prostitute, knocks on his door. She expected someone else, and now has a problem. Her pimp will not be happy if she doesn't return with the 2500 dollars he expected.

The two strike up an uncomfortable conversation, about their lives, about men and women, about chances, and about honesty. 'Many powerful

men have been bitch-slapped into greatness by their women', is one of Lydia's one-liners. The man and the woman circle around each other in the apartment, while outside, darkness falls on the San Franciscan skyline. The film mostly maintains unity of place, time, and action, which Nilsson only breaks twice, to show the other side of the line as Donatello has two emotionally charged telephone conversations, first with his wife, then with his daughter.

The rest of the time, we're stuck with his two leads in the awkward apartment, which is dominated by a number of very large modern paintings.

These are another testimony to Nilsson's talents, as he is not only a film director and a poet (he released the poetry book From a Refugee of Tristan Da Cunha in 2007), but also made all of the paintings himself.

stealing since he is alien to the norms and world of ours where stealing is defined as illegal. He talks like a prophet and just like a prophet he has the power to cure, but like every gift this comes with a price. Erdem invites the viewer to discover the laws of this foreign and grotesque universe intuitively if not intellectually. With its military base, Armenian-Russian-Turkish houses, the city center and its statue, the city looks like Kars yet it is as alien as Neptune. This is an anxious world where everything is beyond what it seems. So there is probably no use in searching for the source of

KD Trouble Every Day – Claire Denis (France/ Germany/Japan, 2001). 13-7, 15:00, Nairi Cinema; 14-7, 12:00, Moscow Cinema, Red Hall.

KD Imbued – Rob Nilsson (United States, 2009).

13-7, 16:00, Moscow Cinema, Red Hall; Sat 17-7, 17:00, Nairi Cinema.

Somewhere in the Kosmos On the other side of the border, there is Turkey, city of Kars. This is where Reha Erdem’s competition film Kosmos is set. A grey landscape of snow, mist and storms. Yet Erdem is reluctant to bind his protagonist Kosmos - the man of bizarre sensitivities to any particular location or era: One day the strange Kosmos arrives in a small town somewhere in the cosmos. Nobody knows from where and nobody knows why. He wants love.

Some films attempt to create a world with its own possibilities and laws of nature. This is one of them. Kosmos is a thief who isn’t really

Trouble Every Day (named after a song by the director's favorite band Tindersticks) is the closest Claire Denis has come to making a horror film.

The French director, who has a retrospective at this year's GAIFF, shocked the Cannes audience at the film's premier in 2001. Indeed, some scenes of carnal violence are still hard to stomach. But the film is nothing like an ordinary horror film and with its fragmented narrative, dreamlike images, slowly building tension, violent eroticism, and outsider theme fits neatly in Denis's oeuvre.

Vincent Gallo and Béatrice Dalle portray two mentally unstable characters with an unhealthy sexual appetite. They don't always take their pills, and their illness seems to have something to do with medical experiments in a shared past. But the exact nature of their troubling condition is kept in the dark

by Denis, who instead focuses on the emotions of her characters, including Dalle's desperate husband, played by another Denis regular, Alex Descas.

the disturbing sound of cannons and war, neither should we try to understand which border they are talking about when the locals want it opened or closed. It is very possible that also in our cosmos, nothing is exactly as it seems.

EK Kosmos – Reha Erdem (Turkey/Bulgaria, 2009). 13-7, 10:00, Moscow Cinema, Blue Hall; 14-7, 14:00, Moscow Cinema, Blue Hall.

Shocking accidents The White Ribbon, Michael Haneke's haunting tale of protestant indoctrination in a German village, has won countless awards and made most Best of 2009 lists, after winning the Golden Palm at last year's Cannes Film Festival. The film was even nominated for two Oscars: an ironic honor, as Haneke spent many years fighting Hollywood and its portrayal of violence, with films from Benny's Video (1992) to Funny Games (2007).

The White Ribbon is Haneke's first period piece, set in 1910's Germany, and therefore doesn't criticize modern mass media. But Haneke does revisit his themes of the violent effects of indoctrination and the unreliability of any narrative. He even forces the viewer to distrust the film itself, by having the village's school teacher, who is telling the story in a flashback structure, question his recollections.

In breathtakingly beautiful black-and-white, Haneke portrays the inhabitants of a small protestant village. The upbringing is strict, and going to church mandatory. However, Haneke shows these conservative morals are no guarantee for peace.

On the contrary, they provoke a number of strange accidents, shocking the community. It seems the victims are being punished for hypocrisy, breaking the same morals they preach, with the village children in an increasingly disturbing role.

Some reviewers saw Haneke's film as an analysis of the German generation that would grow up to produce Hitler's Nazi’s, the Second World War and the Holocaust. Haneke, however, has stressed that the same mechanism of hierarchical indoctrination exists in many different cultures and different times.

KD The White Ribbon – Michael Haneke (Austria/France/Germany/Italy, 2009).

13‑7, 21:00, Nairi Cinema.

GOLDEN APRICOT DAILY |DAY 3 | 13 JULY | 2010

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