Golden Apricot Daily - 2010, Day 4

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Daily

GOLDEN APRICOT DAILY | DAY 4 | 14 JULY | 2010

2 Íñ³·Çñ/programm 14 ÑáõÝÇëÇ/ 14 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

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

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

13:00

10:00

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/Naregatsi Art Institute 14:00 лé³Ý³É/Leaving èÇã³ñ¹ ö»Ýýáɹ, ê»Ù лñÝ/ Richard Penfold, Sam Hearn, Gbr, 22’, BC

Lang.: English, Subt.: Armenian

ÆÝãå»ë ³Ýó³í ³Ûë ³Ù³éÁ/ How I Ended This Summer ²É»ùë»Û äáåá·ñ»μeIC/Alexei Popogrebsky, Rus, 124’, FC

Lang.: Russian, Subt.: English 12:10

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

Lang.: English/French, Subt.: English and Armenian 14:00

²Ûëï»Õ` Ý»ñù¨áõÙ/Down Here ÎáÙë Þ³Ñμ³½ Û³Ý/Comes Chahbazian, Bel/Fra, 55’, AP

Lang.: Armenian/Russian/ English, Subt.: English and Armenian ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury ø»éÇ ì³ÉÛ³/Uncle Valya ÜÇÏáÉ³Û ¸³íÃÛ³Ý/Nikolay Davtyan, Arm, 23’, AP

Lang.: Russian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury öáÕáó³ÛÇÝ ûñ»ñ/Street Days Ȩ³Ý Îá·áõ³ßíÇÉÇ/Levan Koghuashvili, Geo, 86’, FC

Lang.: Georgian, Subt.: English 14:00 ÎáëÙáë/Kosmos è»Ñ³ ¾ñ¹»Ù/Reha Erdem, Tur, 122’, FC

ܳÛëɳݹdz (´Ý³ÏãáõÃÛáõÝÁ` 1.000.002 )/ Niceland (Population 1.000.002) üñǹñÇù Âááõñ üñǹñÇùëáÝ /Fridrik Thor Fridriksson, Dnk/ Isl/Deu,Gbr, 85’, R

Lang.: English, Subt.: Armenian

Lang.: Turkish, Subt.: English and Armenian 16:30 ê³éÁ ï»Ý¹/Cold Fever üñǹñÇù Âááõñ üñǹñÇùëáÝ/Fridrik Thor Fridriksson, USA/Jpn/Isl/Dnk/ Deu, 87’, R

Lang.: Chinese, English, Subt.: English and Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 19:00 ÆÝãå»ë ³Ýó³í ³Ûë ³Ù³éÁ/ How I Ended This Summer ²É»ùë»Û äáåá·ñ»μeIC/Alexei Popogrebsky, Rus, 124’, FC

Lang.: Russian, Subt.: English 21:00 ֳݳå³ñÑÇÝ/On the Path Ú³ëÙÇɳ Äμ³ÝÇã/Jasmila Zbanic, Bih/Aut/Deu/Hrv, 100’, FC

16:00 êåÇï³Ï ÝÛáõÃ/White Material ÎÉ»ñ ¸ÁÝÇ/Claire Denis, Fra/ Cmr, 100’, R

Lang.: French, Subt.: English and Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 18:30 ÎáÏá ޳ݻÉÁ ¨ Æ·áñ êïñ³íÇÝëÏÇÝ/Coco Chanel and Igor Stravinsky Ú³Ý ÎáõÝ»Ý/Jan Kounen, Fra, 113’, YP

Lang.: Russian, Subt.: English and Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 21:00 äỽdz/Poetry ÈÇ â³Ý-¹áÝ/Lee Chang-dong, Kor, 139’, YP

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

Lang.: Bosnian, Subt.: English and Armenian

11:20 ºñÏËáëáõÃÛáõÝÝ»ñ/Dialogues ¶³·ÇÏ Ô³½³ñ¿/Gagik Ghazare, Arm, 90’,AP

Lang.: Armenian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 14:00 §àëÏ» ÍÇñ³Ý¦ μ³ñÓñ³·áõÛÝ ÏÇÝá¹åñáóÇ Íñ³·Çñ/“Golden Apricot” MasterSchool of Cinema 16:00 ºñÏËáëáõÃÛáõÝÝ»ñ/Dialogues ¶³·ÇÏ Ô³½³ñ¿/Gagik Ghazare, Arm, 90’,AP

Lang.: Armenian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 18:00 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 Êáëï³óí³Í ѳݹÇåáõÙ/ Promised Meeting ²Ýݳ ´³Û³ÃÛ³Ý/Anna Bayatyan, Arm, 6’, AP

No Dialogues 20:00 ì»Ý»ëdz/Venezzia гÛÏ Ô³½³ñÛ³Ý/Haik Gazarian, Ven, 98’, AP

Lang.: Spanish, Subt.: English and Armenian

γñÍÇùÝ»ñ 뻳ÝëÇó Ñ»ïá §ºñÏáõ¦, ØÇ·»É ²ÝË»É ÊÇٻݻë, Æëå³Ýdz, ìñ³ëï³Ý ²ëÛ³ ¶³µñÇ»ÉÛ³Ý ´³­Ý³­ë»ñ·ñ³Ï³­Ý³­·»ï

Üϳ­ñ³·ñ­íáõÙ ¿ Ñ»ï­ËáñÑñ­¹³­ÛÇÝ ¨ Ñ»ï­Ýá­ñ³­ñ³­ñ³­Ï³Ý å³­ï»­ñ³½­ Ù³­Ï³Ý û­Ù³: ºñ­Ïáõ Çñ³­Ï³­Ýáõ­ ÃÛáõÝ` Ù»Ï ýÇÉ­ÙáõÙ: γ­ñ»­ÉÇ ¿ ³ë»É, áñ Ñ»ï­Ýá­ñ³­ñ³­ñ³­Ï³Ý ýñ³·­Ù»Ý­ ï³­Éǽ­ÙÇ í³é ûñÇ­Ý³Ï ¿, û ÇÝã­å»ë Ù³ñ­¹Á ϳ­ñáÕ ¿ ·á­Û³­ï¨­»É å³­ï»­ ñ³½­ÙÇó Ñ»­ïá:

سñÇ ¶ñÇ·áñÛ³Ý îáõñǽÙÇ µÝ³·³í³éÇ Ù³ëݳ·»ï üÇÉ­ÙÁ µ³­í³­Ï³­ÝÇÝ É³íÝ ¿ñ: ØÇ ùÇã »ñ­Ï³ñ ¿ñ: ÆëÏ ¹ñ³­Ï³­ÝÁ` Ý»ñ­Ï³­Û³ó­ ÝáõÙ ¿ñ ų­Ù³­Ý³­Ï³­ÏÇó ³ß­Ë³ñ­ÑÁ, é»­³É Ù³ñ¹­Ï³Ýó, áñáÝù ³å­ñáõÙ »Ý ·Ûáõ­Õ³­Ï³Ý ѳ­Ù³ÛÝù­Ý»­ñáõ٠ϳ٠ù³­ Õ³­ù³­ÛÇÝ ÙÇ­ç³­í³Û­ñáõÙ, Ýñ³Ýó` å³­ ï»­ñ³½­ÙÇ Ñ»­ï¨­³Ýù­Ý»­ñÇÝ Ñ³ñ­Ù³ñ­ í»­Éáõ ï³ñ­µ»­ñáõ­ÃÛáõÝ­Ý»­ñÁ:

üÇÉ­ÙÁ ß³ï Ñ»­ï³ùñ­ùÇñ ¿ñ: Êá­ßáñ Ïï³­íÇ ·áñÍ ¿ñ: ö³Û­ÉáõÝ ¹»­ñ³­ë³­Ý³­ Ï³Ý Ï³½Ù: ²½­¹»­óÇÏ Ë³Õ: ¶áõ­ó» ³ÛÝ ¹³Ý­¹³Õ ¿ ÃíáõÙ, µ³Ûó µ³ñÓ­ñ³ó­í³Í ѳñ­ó»ñÝ ³ÛÅÙ ¿É ³ñ­¹Ç­³­Ï³Ý »Ý:

ØÇ­É»­Ý³ г­ñáõ­ÃÛáõ­ÝÛ³Ý îÝï»­ë³­·»ï

§ÀÝ­Ó³­éÛáõ­ÍÁ¦ ýÇÉ­ÙÇ ·³­Õ³­÷³ñÝ ÇÝÓ ¹áõñ ¿ »Ï»É, ɳí ýÇÉÙ ¿ñ: ´³Ûó Ó·Ó·í³Í ¿ñ: ²ÝÇ­Ù³ëï »ñ­Ï³ñ ϳ¹­ ñ»­ñÁ ß³ï ¿ÇÝ: úñǭݳÏ` í»ñ­çÇÝ å³­ñ³­Ñ³Ý­¹»­ë³­ÛÇÝ ï»­ë³­ñ³­ÝÁ:

Lang.: Turkish, Subt.: English and Armenian 15:00 ¶ÉËáí å³ïÇÝ/Head-On ü³ÃÇÑ ²ùÇÝ/Fatih Akin, Deu/ Tur, 120’, R

Lang.: German Turkish, Subt.: Russian

²ñÃáõñ ì³ñ¹ÇÏÛ³Ý àõë³ÝáÕ

Àݹ­Ñ³­Ýáõñ ³é­Ù³Ùµ ýÇÉ­ÙÁ ѳ­ çáÕ­í³Í ¿ñ, µ³Ûó Áëï Çë 85 ñá­ å»Ý ÙÇ ùÇã ß³ï ¿ñ: ¶áõ­ó» ËݹÇñÝ ³ÛÝ ¿, áñ é»­ÅÇ­ëá­ñÁ ã¿ñ ϳ­ñá­Õ³­ ó»É ×ß·ñïá­ñ»Ý Ý»ñ­Ï³­Û³ó­Ý»É ϳ­ åÁ ÑÇ٭ݳ­Ï³Ý ëÛáõ­Å»­ï³­ÛÇÝ ·ÍÇ ¨ »ñÏ­ñáñ­¹³­Ï³Ý ï»­ë³­ñ³Ý­Ý»­ñÇ ÙÇ­ç¨, ÇÝ­ãÇó ¨ ýÇÉ­ÙÁ ïáõ­ÅáõÙ ¿ñ:

²ñ÷ÇÝ» γñ»ÝÇݳ ÎáÙåá½Çïáñ

ºë ÙÇ ùÇã ¹Åí³­ñáõ­ÃÛ³Ùµ §Ùﳦ ýÇÉ­ÙÇ Ù»ç. »Ý­Ã³·­ñ»­ñÁ ϳñ­¹³­ Éáõ íñ³ ¿Ç Ï»Ýï­ñá­Ý³­ÝáõÙ ¨ ß³ï ¹»å­ù»­ñáõÙ ã¿Ç ѳëó­ÝáõÙ Ñ»­ï¨­»É ϳ¹­ñáõ٠ϳ­ï³ñ­íáÕ ¹»å­ù»­ñÇÝ:

ØdzëÇÝ/Together ܻݳ¹ äáõÑáíëÏÇ/Nenad Puhovski, Hrv, 87', DC

Lang.: Croatian, Subt.: English 11:30 ´»éÉÇÝÛ³Ý ×³·³ñ/Rabbit to Berlin ´³ñï»Ï ÎáÝáåϳ, äÛáïñ èáëáÉáíëÏÇ/Bartek Konopka, Piotr Rosołowski , Pol/Deu, 39’, DC

Lang.: German, Subt.: English

Lang.: Georgian, Subt.: English and Armenian 19:00 àõÕ¨áñáõÑÇÝ/The Passenger êï³ÝÇëÉ³í ¶áíáñáõËÇÝ/ Stanislav Govorukhin, Rus, 98’, YP

Lang.: Russian, Subt.: English and Armenian 21:00 ijٳݳÏÇ ÷áßÇÝ/The Dust of Time »á¹áñáë ²Ý·»ÉáåáõÉáë/ Theodoros Angelopoulos, Grc/Ita/Deu/Fra/Rus, 125’, R

Lang.: Multilingual, Subt.: English 16:15 ê³ÙÇ-ê³ñÇ/Sami-Sari ²ñÙÇÝ» гñáõÃÛáõÝÛ³Ý, úóñÇ öáɳ¹áí/Armine Harutyunyan, Otari Poladov, Rus, 9’, AS

Ü»ñáõÙ/The Forgiveness ì»Ýïáõñ³ ¸áõñ³É/Ventura Durall, Esp, 65’, DC

17:00 ºñÏáõ/Ori ØÇ·»É ²ÝË»É ÊÇٻݻë/Migel Angel Jimenez, Esp/Geo, 85’, DAB

Lang.: Spanish, Catalan, Subt.: English 18:00 ²ýÕ³Ýëï³ÝÇ ÃÙñ³ÙáÉÝ»ñÁ/Addicted in Afghanistan æ³áõ»¹ ³ÛÙ³Ý/Jawed Taiman, Afg/Gbr, 78’, DC

Lang.: Dari, Subt.: English and Armenian 20:00 ä³ïÙáõÃÛáõÝÁ »÷»Éáí/ Cooking History ä»ï»ñ λñ»Ï»ß/Peter Kerekes, Aut/Cze/Svk, 88’, DC

Lang.: Multilingual, Subt.: English and Armenian

Lang.: Armenian, Russian, Subt.: English 16:30 гïÇÏÝ»ñ/Seeds êǵÇÉ â»ùÙ»Ý/Sibil Çekmen, Tur, 7’, DAB

Lang.: Armenian, Turkish, Subt.: English 17:00 ´³Ýï ѳٳñ 5. 1980-84/ Prison Nr. 5: 1980-84 â³Û³Ý ¸»ÙÇñ»É/Çayan Demirel, Tur, 97’, DAB

Lang.: Turkish, Subt.: English 19:00 ä³ï»ñ³½ÙÇ ¹³ï³å³ñïí³ÍÝ»ñÁ/The Damned of the War úÉ·³ ÄáõÉÇݳ/Olga Zhulina, Rus, 90’, DAB

Lang.: Russian, Subt.: English

Lang.: Greek, Subt.: Armenian

§²éÝá ´³µ³ç³Ý۳ݦ ѳٻñ·³ëñ³Ñ “Arno Babajanyan” Concert Hall 15:00 ü³ÃÇÑ ²ùÇÝ – ì³ñå»ïáõÃÛ³Ý ¹³ë/Fatih Akin - Master Class 19:30 Ø»Ýù »Ýù, Ù»ñ ë³ñ»ñÁ/We and Our Mountains лÝñÇÏ Ø³ÉÛ³Ý/Henrik Malyan, Arm, 85’, T

Lang.: Armenian, Subt.: English 22:00 ÆɳÛÇ ·ÇñùÁ/The Book of Eli ²Éμ»ñï ÐÛáõ½, ²É»Ý ÐÛáõ½/ Albert Hughes, Allen Hughes, USA, 118’, YP

Lang.: Russian (voice-over)

§ÀÝÓ³éÛáõÍÁ¦, ÈáõÏÇÝá ìÇëÏáÝïÇ, Æï³Édz, üñ³Ýëdz ²Ý³ÑÇï ʳã³ïñÛ³Ý è»ÅÇëáñ, ÏáÙåá½Çïáñ

γÙñçÇ Ù³ñ¹ÇÏ/Men on the Bridge ²ëÉÇ ú½·»/Asli Özge, Deu/ Tur/Nld, 87’, DAB

14:30 òáõó³Ñ³Ý¹»ëÇ Í³Ûñ³Ù³ë»ñÁ/The Outskirts of an Exhibition ¾Ïïáñ ¶áÝë³É»ë/ Hector Gonzalez, Deu, 60’, AS

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

§æ³½½–ÏÇÝᦠ޳éÉ ²½Ý³íáõñÇ Ññ³å³ñ³Ï “Jazz - Cinema” Charles Aznavour Square 21:00 – 24:00 ʳãÙ»ñáõÏ/Crossroad ¶»Õ. ջϳí³ñ` γñ»Ý سÙÇÏáÝÛ³Ý/Artistic Director: Karen Mamikonyan

12:00 ü»ÉÇëdzÛÇ áõÕ¨áñáõÃÛáõÝÁ/ Felicia’s Journey ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can/Gbr, 114’, R

Lang.: English, Subt.: Armenian 24:00 AFG ³IaoUμA Ññ³íÇñáõÙ ¿ ÏÇÝáÛÇ μaEan ·áõñáõÝ»ñÇÝ ¨ GAIFF-Ç ÑÛáõñ»ñÇÝ ³Ù»ÝûñÛ³ ³Ù÷á÷Çã ѳݹÇåáõÙÝ»ñÇ: Úáõñ³ù³ÝãÛáõñ »ñ»Ïá ÏÑÛáõñÁÝϳÉíÇ úðì² Ð²îàôÎ ÐÚàôðÀ:/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.

14:00 гñ³½³ïÝ»ñ/Next of Kin ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 72’, R

Lang.: 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 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: Zara Safaryan Caricature: Harutyun Chalikyan Photos: Gevorg Gasparyan

GOLDEN APRICOT DAILY | DAY 4 | 14 JULY | 2010

ûñ³·Çñ 3

Ø»ñ ë³ñ»ñÇ ÙÇ ·³·³ÃÁ лÝñÇÏ Ø³ÉÛ³ÝÇ Ù³ëÇÝ Ëáë»ÉÇë Ý³Ë ³÷ëáë³Ýù »ë ³åñáõÙ, áñ ݳ ëï»Õͳ·áñÍ³Ï³Ý ß³ï ϳñ× ÏÛ³Ýù áõÝ»ó³í: Üñ³ ÝÙ³Ý Ù»Í Ùï³ÍáÕÝ áõ Ëáßáñ ³ñí»ëï³·»ïÝ Çñ ÏÛ³ÝùÁ ϳéáõó»É ¿ñ ³ÛÝå»ë, áñ ϳñáճݳ ³Ù»Ý ÇÝã ï»ëÝ»É, ³åñ»É Ýñµ³·áõÛÝ Ù³Ýñ³Ù³ëÝ»ñáí ¨ ³ñí»ëïÇ Ó¨ ï³É Çñ áõÕÝáõÍáõÍáí Ù³ñ¹³ëÇñ³Ï³Ý ³ß˳ñѳ۳óùÇÝ: ´³Ûó Ýñ³ ½·³ÛáõÝ ëÇñïÁ ϳñáճݳÉá±õ ¿ñ ï³Ý»É ³Ûë ³ß˳ñÑÇ »É¨¿çáõÙÝ»ñÁ` ÍáíÇ Ë³Õ³Õ Ù³Ï»ñ¨áõÛÃÇó ÙÇÝ㨠ѽáñ ÷áÃáñÇÏÝ»ñ: 88Ç ÷áÃáñÏÇÝ Ý³ å³ïñ³ëï ã¿ñ, ã¿ñ ËݳۻÉ, ÷³Û÷³Û»É Çñ»Ý ³Û¹ ûñí³ Ñ³Ù³ñ... ØÇÝã¹»é ݳ ³ß˳ñÑÇ Ëáßáñ³·áõÛÝ é»ÅÇëáñÝ»ñÇ Ñ»ï å»ïù ¿ ÁÝóݳñ, ü»ÉÇÝÇÇ, îáÝÇÝá ¶áõ»ñ³ÛÇ, èÛ³½³ÝáíÇ ã³÷ µ»ÕÙݳíáñ áõ »ñç³ÝÇÏ ÉÇÝ»ñ... ²ëïí³Í Ýñ³Ý å³ñ·¨»É ¿ñ ³ñí»ëïÝ»ñÇó »ñÏáõëÇÝ` óïñáÝÇÝ áõ ÏÇÝáÛÇÝ Ï³ï³ñ»É³å»ë ïÇñ³å»ï»Éáõ ßÝáñÑÁ: 35-³ÙÛ³ лÝñÇÏ Ø³ÉÛ³ÝÇ ÝÙ³Ý é»ÅÇëáñÇÝ ÝáñÙ³É ÙÇ »ñÏñáõÙ Ïíëï³Ñ»ÇÝ

ÇÝùÝáõñáõÛÝ ýÇÉÙ Ýϳñ³Ñ³Ý»Éáõ ·áñÍÁ, µ³Ûó ëïÇåí³Í ¿ñ ѳٳé»ÅÇëáñÇ Ñ»ï ³ß˳ï»É: ÆѳñÏ» ßáõïáí ѳëϳó³Ý, áñ §Üí³·³ËÙµÇ ïճݻñǦ, §Ö³Ý³å³ñÑ ¹»åÇ ÏñÏ»ëǦ Ï»Ýëáõñ³Ë å³ÃáëÇ ËݹÇñÁ ÉáõÍáõÙ ¿ áã ³ÛÉ áù, ù³Ý سÉÛ³ÝÁ: §ØëÛá ijÏÁ ¨ áõñÇßÝ»ñ¦ ³ÉٳݳËáõ٠سÉÛ³ÝÁ Ýϳñ³Ñ³Ý»ó §Î»ÕÍ Éñï»ëÁ¦ Ýáí»ÉÁ, áñÇÝ ïñ³Ù³µ³Ýáñ»Ý å»ïù ¿ ѳçáñ¹»ñ سÉÛ³ÝÇ ï³Õ³Ý¹Ç ÷³Ûɳï³ÏáõÙ-åáéÃÏáõÙÁ: §ºé³ÝÏÛáõÝÇݦ ·ñ³í»ó ÏáÙáõ­ÝÇë­ï³Ï³Ý ÏÇÝáÛÇ ³í³Ý¹áõÛÃÝ»ñáí ٻͳó³Í ѳݹÇë³ï»ëÇ ëÇñïÁ: ´áÉáñÁ ѳëϳó³Ý, áñ ÙÇ Ýáñ »ñ¨áõÛà ¿ Ç Ñ³Ûï »Ï»É... ¸³ سÉÛ³Ý »ñ¨áõÛÃÝ ¿ñ... üÇÉÙÝ ³ñųݳó³í àõÏñ³ÇݳÛÇ §äñáٻèë-68¦ Ùñó³Ý³ÏÇÝ, ëÏë»ó Çñ »ñÃÁ ³ß˳ñÑÇ ÏÇÝá¹³ÑÉÇ×Ý»ñáí: êñ³ÝÇó Ûáà ï³ñÇ ³Ýó (ÇÝãå»ë ÉÇÝáõÙ ¿ ÝÙ³Ý ¹»åù»ñáõÙ), سÉÛ³ÝÇÝ ßÝáñÑí»ó ÐÊêÐ å»ï³Ï³Ý Ùñó³Ý³Ï: Üñ³ ѳٳñ Ýáñ ÑáñǽáÝ µ³ó»ó Ðñ³Ýï سèáëÛ³ÝÇ §Ø»Ýù »Ýù, Ù»ñ ë³ñ»ñÁ¦ å³ïÙí³ÍùÁ: سèáëÛ³ÝÇ ç³ñ¹³Í, µ³ó³Í ë³ÑÙ³ÝÝ»ñÁ µ³ó»óÇÝ Ø³ÉÛ³ÝÇ` ÃéÇãùÇ Ñ³Ù³ñ í³Õáõó å³ïñ³ëï è»ñÁ: üÇÉÙÝ ëï»ÕÍí»É ¿ñ 1970-ÇÝ, µ³Ûó ÙdzÛÝ 1976-ÇÝ Ù³ëݳÏó»ó ê³Ý è»ÙáÛÇ 19-ñ¹ ÏÇÝá÷³é³ïáÝÇÝ, ÅÛáõñÇÇ ÏáÕÙÇó ׳ݳãí»ó 23 »ñÏñÝ»ñÇó Ý»ñϳ۳óí³Í ýÇÉÙ»ñÇó É³í³·áõÛÝÁ...

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øñÇë­ïÇ­Ý» øÛáõñù­É Û³Ý §àõ­Õ¨­á­ñáõ­ÑÇݦ, êï³­ÝÇë­É³í ¶á­íá­ñá­ ËÇÝ, èáõ­ë³ë­ï³Ý Ðáõ­ÉÇ­ëÇ 14, Ï/à §Ü³­Ç­ñǦ, (19:00) Ðáõ­ÉÇ­ëÇ 18, Ï/à §ØáëÏ­í³¦, γñ­ÙÇñ ¹³Ñ­ÉÇ×, (19:00)

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ºñÏáõ ·³·³Ãáí »é³ÝÏÛáõÝÇÝ 1920 Ãí³­Ï³Ý, ö³­ñǽ: êïñ³­íÇÝë­ÏÇÝ ÊáñÑñ­ ¹³­ÛÇÝ ØÇ­áõ­ÃÛáõ­ÝÇó ·Ý³­ó³Í µá­Éáñ ÷³Ëë­ï³­Ï³Ý­ Ý»­ñÇ ÝÙ³Ý ³é³Ýó ÷á­ÕÇ ¨ ³å­ñáõë­ïÇ ÙÇ­çá­óÇ ¿ Ùݳ­ó»É: ܳ ÁÝ­¹áõ­ÝáõÙ ¿ Îá­Ïá Þ³­Ý»­ÉÇ` Çñ ³é³ÝÓ­ ݳ­ï³ÝÝ ³å­ñ»­Éáõ Ññ³­í»ñÝ áõ ÏÝáç ¨ ãáñë »ñ»­Ë³­ Ý»­ñÇ Ñ»ï ï»­Õ³­÷áË­íáõÙ ¿ ¶³ñß: Üñ³Ýù »ñ­ÏáõëÝ ¿É ¹»é å»ïù ¿ ëï»Õ­Í³­·áñ­Í³­Ï³Ý í»­ñ»Éù­Ý»ñ áõ­Ý»­ ݳ­ÛÇÝ áõ ³Ý­Ý³­Ë³­¹»å ÷³é­ùÇ Ñ³ë­Ý»­ÇÝ: ²Û¹ µ»Ï­ Ýáõ٭ݳ­ÛÇÝ å³­ÑÇÝ Þ³­Ý»­ÉÇ áõ êïñ³­íÇÝë­Ïáõ Ù»ç ÍÝíáõÙ ¿ ѽáñ, ѳݭó³­íáñ, áÕ­µ»ñ­·³­Ï³Ý ë»ñ` ³Ý­Ï³­é³­í³­ñ»­ÉÇ Ïñùáí ß³­Õ³Ë­í³Í: ¸áõ­ó» ³Û¹ ѽáñ ½·³ó­ÙáõÝùÝ ¿ Ýñ³Ýó »ñ­Ïáõ­ëÇÝ ÙÕáõÙ ëï»Õ­Í³­·áñ­

ͳ­Ï³Ý í»­ñ»Éù­Ý»­ñÇ, ¹³ñÓ­Ý»­Éáí Ýñ³Ýó ³Ý­Ñ³­ë³­ Ý»­ÉÇ ·³­·³Ã` ³Ù»Ý Ù»­ÏÇÝ Çñ ³ë­å³­ñ»­½áõÙ: Ú³Ý Îáõ­ Ý»­ ÝÇ §Îá­ Ïá Þ³­ Ý»­ ÉÁ ¨ Æ·áñ êïñ³­ íÇÝë­ÏÇݦ ýÇÉ­ÙÁ Ýϳ­ñ³­Ñ³Ý­í»É ¿ 2009 Ãí³­Ï³­ ÝÇÝ, üñ³Ý­ëÇ­³­ÛáõÙ: ²ÛÝ ëá­íá­ñ³­Ï³Ý Ù»­Éá¹­ñ³­Ù³ ¿, áñÁ Ý»ñ­Ï³­Û³ó­ÝáõÙ ¿ ëá­íá­ñ³­Ï³Ý ëÇ­ñ³­ÛÇÝ »é³Ý­ ÏÛáõ­ÝÇ: ´³Ûó »é³Ý­ÏÛáõ­ÝÇÝ ¹³­¹³­ñáõÙ ¿ ëá­íá­ñ³­ Ï³Ý ÉÇ­Ý»­Éáõó, ù³­ÝÇ áñ ÏáÕ­Ù»­ñÇó Ù»­ÏÁ Îá­Ïá Þ³­ Ý»ÉÝ ¿, ÙÛáõ­ëÁ` Æ·áñ êïñ³­íÇÝë­ÏÇÝ: ØÇ Ñ³Ý­·³­ Ù³Ýù, áñ ëïÇ­åáõÙ ¿ ³ãù ÷³­Ï»É µá­Éáñ µ³­ñá­Û³­Ï³Ý Ýáñ­Ù»­ñÇ íñ³, çÝç»É ë³Ñ­Ù³­ÝÁ Ãáõۭɳï­ñ»­ÉÇÇ áõ ³Ý­Ãáõۭɳï­ñ»­ÉÇÇ ÙÇ­ç¨: àõ û¨ Æ·á­ñÇ ¨ Îá­Ïá­ÛÇ ë»­

ݳ­ËÁÝï­ñ»­ÉÇ` §Þ³­Ý»É ѳ­Ù³ñ ÑÇÝ­·Á¦ áõ ê³Õ­Ùáë­ Ý»­ñÇ ëÇÙ­ýá­ÝÇ­³Ý: ²Û¹ ë»ñÝ ¿ñ, áñ êïñ³­íÇÝë­Ïáõ »ñ³Åß­ïáõ­ÃÛ³­ÝÁ ïÇ­»­½»­ñ³­Ï³Ý ÑÝãá­Õáõ­ÃÛáõÝ ïí»ó, ÇëÏ Þ³­Ý»­ÉÇ ûͳ­Ý»­ÉÇ­ùÇÝ` ³ÝÏñÏ­Ý»­ÉÇ µáõÛñ: ò³­íáù ÏÇ­Ýá­¿Ï­ñ³­ÝÁ ѳݭ¹Ç­ë³­ï»­ëÇÝ ãÇ ÷á­Ë³Ý­ óáõÙ §Þ³­Ý»É ѳ­Ù³ñ ÑÇÝ·¦-Ç ÝñµÇÝ µáõÛ­ñÁ, µ³Ûó ³Û¹ µ³­óÁ Éñ³ó­ÝáõÙ ¿ ýÇÉ­ÙÇ ëϽµÇó ÙÇݭ㨠í»ñç ÑÝãáÕ êïñ³­íÇÝë­Ïáõ Ïñùáï »ñ³Åß­ïáõ­ÃÛáõ­ÝÁ:

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ñÁ 鶴»ó ß³ï ϳñ×, µ³Ûó ¹³ ¿É µ³­í³­Ï³Ý ¿ñ, áñ ëï»ÕÍ­í»­ÇÝ µá­Éáñ ų­Ù³­Ý³Ï­Ý»­ñÇ Ï³­Ý³Ýó ѳ­Ù³ñ

§Îá­Ïá Þ³­Ý»­ÉÁ ¨ Æ·áñ êïñ³­íÇÝë­ÏÇݦ, Ú³Ý Îáõ­Ý»Ý, üñ³Ý­ëdz ÐáõÉÇëÇ 14, Ï/à §ØáëÏí³¦, γñÙÇñ ¹³ÑÉÇ×, (18:30) Ðáõ­ÉÇ­ëÇ 17, Ï/à §Ü³­Ç­ñǦ (19:00)

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ºñÏ­Ëá­ëáõ­ÃÛáõÝ Éñ³·­ñáÕ­Ý»­ñÇ ¨ é»­ÅÇ­ëáñ ¶á­íá­ ñáõ­ËÇ­ÝÇ ÙÇ­ç¨:

ö³­é³­ïá­ÝÇ Ý»ñ­ùÇÝ Ëá­ë³Ï­óáõ­ÃÛáõÝ­Ý»­ñÇó:

§ØáëÏ­í³¦ ÏÇ­Ýá­Ã³ï­ñá­ÝÇ ³Ý­ÏÛáõ­ÝáõÙ ¹ñí³Í ³Ûë µ³­Å³­Ïáí ëáõñ× ¿ ËÙáõÙ ÏÇ­ÝÁ, áí Ù»½­ÝÇó Ñ»­ïá Ù³ù­ñáõÙ ¿ ï³­ñ³Í­ùÁ:

§àë­Ï» ÍÇ­ñ³Ý¦ ÷³­é³­ïá­Ý³­ÛÇÝ ûñ³­Ã»ñ­ÃÇ ËÙµ³·­ñÇ ×»­å³Ý­Ï³­ñÁ: л­Õǭݳ­ÏÁ ó³Ý­Ï³­ÝáõÙ ¿ ÙÝ³É ³Ý­Ñ³Ûï:

GOLDEN APRICOT DAILY | DAY 4 | 14 JULY | 2010

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ ØÇç³½·³ÛÇÝ Ë³Õ³ñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ

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GOLDEN APRICOT DAILY | DAY 4 | 14 JULY | 2010

interview 5

Fatih Akin г۳ëï³ÝáõÙ ³é³çÇÝ ³Ý·³Ù Çñ ýÇÉÙ»ñÇ h»ï³Ñ³Û³óÁ Ý»ñϳ۳óÝáÕ Ãáõñù³Ï³Ý ͳ·áõÙáí ·»ñٳݳóÇ é»ÅÇëáñ ü³ÃÇÑ ²ùÇÝÝ Çñ ïå³íáñáõÃÛáõÝÝ»ñÝ ¿ ÏÇëáõÙ »ñÇï³ë³ñ¹áõÃÛ³Ý, ÏÛ³ÝùÇ, ëÇñá, áõï»ÉÇùÇ ¨ ÏÇÝáÛÇ í»ñ³µ»ñÛ³É... Ò»ñ ³é³­çÇÝ ïå³­íá­ñáõ­ÃÛáõÝ­Ý»­ñÁ` ºñ¨­³­ ÝÇ Ù³­ëÇÝ: ºë ų­Ù³­Ý»­óÇ í³Õ ³é³­íá­ïÛ³Ý: ú¹³­Ý³­í³­Ï³­ Û³­ÝÇó ¹»­åÇ ù³­Õ³ù ï³­ÝáÕ ×³­Ý³­å³ñ­ÑÁ ·»­Õ»­óÇÏ ¿ñ ¨ ÙÇ ùÇ㠳ݭëá­íáñ` ˳­Õ³ï­Ý»­ñáí ¨ ³ÛÉÝ: ºë ß³ï µ³Ý ã·Ç­ï»Ù ѳۭϳ­Ï³Ý Ùß³­ÏáõÛ­ÃÇ Ù³­ëÇÝ: ØÇ­³ÛÝ ¶»ñ­Ù³­ÝÇ­³­ÛáõÙ ³å­ñáÕ »ñ­Ïáõ Ñ³Û µéÝóù³­ Ù³ñ­ïÇÏ­Ý»­ñÇ »Ù ׳­Ý³­ãáõÙ. ÙÇ­çÇÝ ù³­ß³­ÛÇÝ Ï³ñ­ ·áõÙ ³ß­Ë³ñ­ÑÇ ã»Ù­åÇ­áÝ ²ñ­Ãáõñ ²µ­ñ³­Ñ³­ÙÇÝ ¨ êÛáõ­½Ç ø»Ý­ÃÇ­ÏÛ³­ÝÇÝ, áí ÝáõÛÝ­å»ë ³ß­Ë³ñ­ÑÇ ã»Ù­ åÇ­áÝ ¿, µ³Ûó ã»Ù ÑÇ­ßáõ٠û áñ ù³­ßáõÙ... ºë ÙÇ­³ÛÝ Ýñ³Ý­óÇó »Ù áñáß µ³­Ý»ñ Éë»É г­Û³ë­ï³­ÝÇ Ù³­ëÇÝ: ²é³Û­ëûñ Ó»ñ Ýϳ­ñ³­Ñ³­Ý³Í µá­Éáñ ýÇÉ­Ù»­ñÁ »ñÇ­ï³­ë³ñ­¹áõ­ÃÛ³Ý Ù³­ëÇÝ »Ý áõ ÉÇ »Ý »ñÇ­ ï³­³ñ­¹³­Ï³Ý ³íÛáõ­Ýáí: ÖDZßï ¿, áñ ¹áõù áõ­ ½áõÙ »ù ÷á­Ë»É Ó»ñ á×Á: Î۳ݭùÁ ÉÇ ¿ ³Ýë­å³­ë»­ÉÇ ¿ ßñç³­¹³ñ­Ó»­ñáí: §Ðá­·áõ Ëá­Ñ³­Ýáó¦ ýÇÉ­ÙáõÙ Ýϳ­ñ³·ñ­í³Í ¿ áñá­ ß³­ÏÇ Ï»Ý­ë³­Ï»ñå` ų­Ù³Ýó, ³É­Ïá­ÑáÉ, ·Ç­Ýáí­ó³Í ϳ­Ý³Ûù, áõÙ å»ïù ¿ ïáõÝ áõ­Õ»Ï­ó»É... ºë ½·áõÙ »Ù, áñ ÝÙ³Ý Ã»­Ù³­Ý»ñÝ ÇÝÓ Ñ³­Ù³ñ ³ñ­¹»Ý ³Ý­ó³Í ÷áõÉ »Ý: ºí áõ­½áõÙ »Ù í»ñç ï³É ³Û¹ ³Ù»­ÝÇÝ: ¸³ ¿ñ å³ï­×³­éÁ, áñ áõ­½áõÙ ¿Ç ³Ý­å³Û­Ù³Ý Ýϳ­ñ³­ ѳ­Ý»É §Ðá­·áõ Ëá­Ñ³­Ýá­óÁ¦ ýÇÉ­ÙÁ: Î³Ý é»­ÅÇ­ëáñ­ Ý»ñ, áñáÝù, ÉÇ­Ý»­Éáí í³Ã­ëáõÝ Ï³Ù Ûá­Ã³­Ý³­ëáõÝ ï³­ñ»­Ï³Ý, ß³­ñáõ­Ý³­ÏáõÙ »Ý ýÇÉ­Ù»ñ Ýϳ­ñ»É ¹»­é³­Ñ³ë­Ý»­ñÇ ¨ »ñÇ­ï³­ë³ñ¹ ³Õ­çÇÏ­Ý»­ñÇ Ù³­ëÇÝ: ºë ÑáõÛë áõ­Ý»Ù, áñ ã»Ù ÝٳݭíÇ Ýñ³Ýó: §Ðá­·áõ Ëá­Ñ³­Ýá­óÁ¦ ݳ¨ Ù»Ï ³ÛÉ Ñá­ñÇ­½áÝ µ³­ ó»ó ÇÙ ³é­ç¨` ųݭñ³­ÛÇÝ ýÇÉ­Ù»­ñÁ: Æñ³­Ï³­ÝáõÙ »ë ¹³ë­ïÇ­³­ñ³Ï­í»É »Ù ųݭñ³­ÛÇÝ ýÇÉ­Ù»­ñáí ¨ ÇÝùë ÇÝÓ ³í»­ÉÇ ß³ï ï»ë­ÝáõÙ »Ù áñ­å»ë ųݭñ³­ÛÇÝ ýÇÉ­Ù»­ñÇ é»­ÅÇ­ëáñ: ÆÝÓ ¹áõñ »Ý ·³­ÉÇë ³ñíѳ­áõ½ ýÇÉ­Ù»­ñÁ, ß³ï »Ù ¹Ç­ïáõÙ ÝÙ³Ý ýÇÉ­Ù»ñ: §¶ÉËáí å³­ïÇݦ-Á ¨ §¸ñ³Ë­ïÇ ÷»­ßÇݦ-Á Ç٠ϳñ­ÍÇ­ùáí áñáß ã³­÷áí ³ñíѳ­áõ½ ýÇÉ­Ù»ñ »Ý... ´³Ûó ûñÇ­Ý³Ï §¸ñ³Ë­ïÇ ÷»­ßÇݦ ýÇÉ­ÙáõÙ ÇÝÓ ³Ù»­Ý³­ß³­ïÁ ¹áõñ ¿ÇÝ ·³­ÉÇë ÃñÇ­É»­ñ³­ÛÇÝ ï³ñ­ñ»­ñÁ. ³Ý­Í³­Ýáà ù³­Õ³­ùáõÙ ÇÝã-áñ Ù»­ÏÇÝ ÷Ýïñ»­ÉÁ, Çñ³­í³­µ³Ý ·ïÝ»­ÉÁ, µ³Ýï ÁÝÏ­ Ý»­ÉÁ... ºë Ýå³­ï³Ï ãáõ­Ý»Ç ßá­ß³­÷»É Ãáõñù ÇÝù­Ýáõ­ ÃÛ³Ý Ï³Ù ÇÙ ³½­·³­ÛÇÝ å³ï­Ï³­Ý»­Éáõ­ÃÛ³Ý Ñ³ñ­ó»­ ñÁ, ¹ñ³Ýù ÇÝÓ Ñ³­Ù³ñ ³ñ­¹»Ý ³Ý­ó³Í ÷áõÉ ¿ÇÝ: ºë »ñ­µ»ù Ùï³­¹Çñ ã»Ù »Õ»É ݳ¨ ýÇÉÙ Ýϳ­ñ»É Ãáõñù ÏÝáç Ï۳ݭùÇ ¹Åí³­ñáõ­ÃÛáõÝ­Ý»­ñÇ Ù³­ëÇÝ Ï³Ù ¿É ¶»ñ­Ù³­ÝÇ­ ³­ÛáõÙ ³å­ñáÕ Ãáõñ­ù»­ñÇ Ù³­ëÇÝ: ¶áõ­ó» §¸ñ³Ë­ïÇ ÷»­ßÇݦ-Á ùÇã ѳ­í³Ï­Ýáï ¿ñ... ²ÛÝ­å»ë áñ §Ðá­·áõ Ëá­Ñ³­Ýáó¦-Ý ³Û¹ ÇÙ³ë­ïáí ÇÙ ³½³­ï³·­ñáõÙÝ ¿ñ: ¼³ñ­Ù³­Ý³­ÉÇ ¿, áñ §¸ñ³Ë­ïÇ ÷»­ßÇݦ ýÇÉ­ ÙáõÙ ¹áõù Ñ»­ñá­ëáõ­ÑÇ ÁÝï­ñ»­óÇù ³½³­ï³­Ï³Ý Ïáõ­ë³Ï­óáõ­ÃÛ³­ÝÁ ѳ­ñáÕ ÏÝá­ç: Ü³Ë »ë ³Û¹ ³Õ­çÇÏ­Ý»­ñÇÝ Ñ³Ý­¹Ç­å»É ¿Ç ¶»ñ­­ Ù³­ÝÇ­³­ÛáõÙ: ºñµ å³­ï³­ÝÇ ¿Ç, ß³ï ¿Ç ß÷íáõÙ ëá­ óÇ­³­ÉÇëï­Ý»­ñÇ Ñ»ï: ÆëÏ ÇÝùë å³Ñ­å³­Ýá­Õ³­Ï³Ý ÁÝ­ï³­ÝÇ­ùÇó »Ù: ²Ù­µáÕç ÁÝ­ï³­ÝÇ­ùáõÙ, ÇëÏ Ù»Ýù Ùáï 300-400 Ù³ñ¹ »Ýù, ÙÇ­³ÛÝ »ë áõ­Ý»Ù Ó³Ë Ñ³­ Ùá½­ÙáõÝù­Ý»ñ: ´³Ûó ËݹǭñÁ ÙÇ­³ÛÝ Ó³Ë­Ã¨­Û³Ý ¨ ³ç­Ã¨­Û³Ý ù³­Õ³­ù³­Ï³­Ýáõ­ÃÛ³Ý Ù»ç ã¿: ÊݹǭñÁ ë³Ñ­Ù³­Ý³­½³ï­Ù³Ý Ù»ç ¿: Ò³Ë Ïáõ­ë³Ï­óáõ­ÃÛ³Ý Ñ»ï­Ýáñ¹­Ý»ñÝ ¿É Çñ»Ýó ѳ­Û»­ó³­Ï³ñ­·»ñÝ áõ­Ý»Ý, ÇÝã­å»ë Ïñá­ÝáõÙ: γ ÙÇ Ï»ï, áñÇó Ñ»­ïá »ñ­Ïáõ ѳ­Ï³­é³Ï ÏáÕ­Ù»­ñáõÙ ¿É ³é³­ç³­ÝáõÙ ¿ ³Ñ³­µ»Ï­ãáõ­ ÃÛ³Ý ¨ ý³­ßǽ­ÙÇ íï³Ý­·Á: ÆëÏ Ç±Ýã ¿ ëÏëíáõÙ, »ñµ ³í³ñï­íáõÙ ¿ ù³­Õ³­ù³­Ï³­Ýáõ­ÃÛáõ­ÝÁ: Æ٠ϳñ­ÍÇ­ ùáí` ÷Ç­ÉÇ­ëá­÷³­Ûáõ­ÃÛáõ­ÝÁ: ¶áõ­ó» ë»­±ñÁ, áñÇ Ù³­ëÇÝ å³ï­ÙáõÙ »ù Ó»ñ ýÇÉ­ÙáõÙ... ¸³ ¿É ¿ ×Çßï: ºë áõ­½áõÙ ¿Ç óáõÛó ï³É Ó³Ë Ñ³­ Û³óù­Ý»­ñáí Ñ»­ñá­ëÇ Ï»ñ­å³­ñ³­Ý³­÷á­Ëáõ­ÃÛáõ­ÝÁ: êϽµáõ٠ݳ ѳ­í³­ïáõÙ ¿ñ ½»Ý­ùÇ áõ­ÅÇÝ: Æ í»ñ­çá ݳ ѳë­Ï³­ÝáõÙ ¿, áñ ¹³ ëË³É ×³­Ý³­å³ñÑ ¿: Ò³­ Ë»ñÝ ÇÝÓ ùÝݳ­¹³­ïáõÙ ¿ÇÝ ³Ûë Ùá­ï»ó­Ù³Ý ѳ­Ù³ñ: â»Ù ϳñ­ÍáõÙ, áñ ß³ï »Ý ³ÛÝ Ù³ñ­¹ÇÏ, áí­ù»ñ ýÇÉ­ÙÇ Ñ»­ñá­ëáõ­Ñáõ Ù»ç Çñ»Ýó »Ý ׳­Ý³­ãáõÙ: ²Û¹ ³éáõ­Ùáí ³Ûë ýÇÉÙÝ Çñ Ï»ñ­å³ñ­Ý»­ñáí ¨ Çñ³­¹³ñ­Óáõ­ÃÛáõÝ­Ý»­ ñáí µ³­ó³ñ­Ó³­Ï³­å»ë ³Ýӭݳ­íáñ­í³Í ã¿: è»ë­ïá­ñ³­Ýáõ٠ͳ­í³É­íáÕ §Ðá­·áõ Ëá­Ñ³­Ýáó¦áõÙ áõ­ï»­ÉÇ­ùÁ Ï»Ýï­ñá­Ý³­Ï³Ý ï»Õ ¿ ½µ³­Õ»ó­ÝáõÙ: ¸³ ýÇÉ­ÙÇÝ ³ë»ë ¿Ý»ñ­·Ç³ ¿ ѳ­Õáñ­¹áõÙ:

سñ­¹ÇÏ »Ã» ãáõ­ï»Ý` ÏÙ³­Ñ³­Ý³Ý: Üñ³Ýù ÏÙ³­ ѳ­Ý³Ý ݳ¨, »Ã» ë»ù­ëáí ã½µ³Õ­í»Ý, ù³­ÝÇ áñ ë»­ ñáõݹ ã»Ý áõ­Ý»­Ý³: àõ­ï»­ÉÇùÝ áõ ë»ù­ëÁ µÝá­ñáß »Ý µá­ Éáñ Ù³ñ¹­Ï³Ýó. µá­Éá­ñÁ ûñ³­Ï³Ý 3-4 ³Ý­·³Ù áõ­ïáõÙ »Ý: ê»ùëÝ ³Ûë ï»­ë³­Ï»­ïÇó ÙÇ ùÇã ï³ñ­µ»ñ ¿, ù³­ ÝÇ áñ áõ­ñÇß­Ý»­ñÇ Ý»ñ­Ï³­Ûáõ­ÃÛ³Ùµ ë»ù­ëáí ã»Ý ½µ³Õ­ íáõÙ: г­Ù»­Ý³ÛÝ ¹»åë` ëá­íá­ñ³­µ³ñ... ´³Ûó áõ­ñÇß­ Ý»­ñÇ Ý»ñ­Ï³­Ûáõ­ÃÛ³Ùµ áõ­ïáõÙ »Ýù: ºí »ñµ ï»ë­ÝáõÙ »Ýù Ï»­ñáõ­Ëáõ­ÙÇ ï»­ë³­ñ³Ý­Ý»ñ, ¹ñ³Ýù Ù»½ »Ý­Ã³­ ·Ç­ï³Ï­óá­ñ»Ý µ»ñÏ­ñ³Ýù »Ý å³ï­×³­éáõÙ: àñ­å»ë Ãáõñù é»­ ÅÇ­ ëáñ DZÝã »ù Ùï³­ ÍáõÙ Ù»ñ ÷³Ï ë³Ñ­Ù³Ý­Ý»­ñÇ Ù³­ëÇÝ ÆÙ ëϽµáõÝùÝ ³Ûë ¿` ë³Ñ­Ù³Ý­Ý»ñÝ ³Ù»­Ýáõ­ñ»ù å»ïù ¿ í»­ñ³­Ý³Ý: ºÃ» ¹³ Ñݳ­ñ³­íáñ ã¿, ³å³ ·á­Ý» å»ïù ¿ ϳ­Ùáõñç ϳ­éáõ­ó»É: ºë Ù»­Í³­ó»É »Ù ¶»ñ­Ù³­ÝÇ­³­ÛáõÙ ¨ ·Ý³­ó»É »Ù ٳݭϳ­å³ñ­ï»½, áñ­ ï»Õ ï³ñ­µ»ñ ³½­·áõ­ÃÛáõÝ­Ý»­ñÇ »ñ»­Ë³­Ý»ñ ϳ­ ÛÇÝ` ³ñ³µ­Ý»ñ, Çﳭɳ­óÇ­Ý»ñ... ¸³ ùñÇë­ïá­Ý»­³­ Ï³Ý Ù³Ý­Ï³­å³ñ­ï»½ ¿ñ: ÆÙ ÍÝáÕ­Ý»ñÝ ÇÝÓ ï³­ ñ»É ¿ÇÝ ³ÛÝ­ï»Õ` ãÇ­Ù³­Ý³­Éáí ³Û¹ Ù³­ëÇÝ: öáù­ñáõó ѳ­Õáñ­¹³Ïó­í»­Éáí ï³ñ­µ»ñ Ùß³­ÏáõÛíݻ­ñÇ Ñ»ï` ëÏëáõÙ »ë ãí³­Ë»­Ý³É ûï³ñ­Ý»­ñÇó: »­å»ï ³Ù»Ý ÇÝã Ç í»ñ­çá ù³­Õ³­ù³­Ï³­Ýáõ­ÃÛ³ÝÝ ¿ ѳݭ·áõÙ, µ³Ûó ³ñ­í»ë­ï³­·»ï­Ý»­ñÁ ë³Ñ­Ù³Ý­Ý»ñ ã»Ý ׳­Ý³­ãáõÙ: ºë Ïáõ­½»­Ý³­ÛÇ, áñ µá­ÉáñÝ ³ñ­í»ë­ï³­·»ï ÉÇ­ Ý»­ÇÝ: ºñ­Ï³ñ ų­Ù³­Ý³Ï ¿ å»ïù, áñ ù³­Õ³­ù³­Ï³­ Ýáõ­ÃÛáõ­ÝÁ ѳë­ÝÇ ³ñ­í»ë­ïÇÝ: ´³Ûó íëï³Ñ »Ù` ³Û¹ ų­Ù³­Ý³­ÏÁ ÙÇ ûñ Ï·³:

¾íñÇ٠γ۳ лï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝ.

1998 Ã. §Î³ñ× áõ ³Ý­ó³í¦ 2000 Ã. §Ðáõ­ÉÇ­ëÇݦ 2005 Ã. §Î³Ùñ­çÇ ÙÛáõë ÏáÕ­ÙáõÙ¦ 2004 Ã. §¶ÉËáí` å³­ïÇݦ 2007 Ã. §¸ñ³Ë­ïÇ ÷»­ßÇݦ 2009 Ã. §Ðá­·áõ Ëá­Ñ³­Ýáó¦

During his first visit to Armenia, TurkishGerman director Fatih Akin found time to share his feelings on youth, life, love, food and cinema.

What are your first impressions about Yerevan?

I arrived very early in the morning. The road from the airport was beautiful and a little weird with casinos and all. I didn’t know very much about the Armenian culture. I only knew two Armenian boxers living in Germany. There is Arthur Abraham, the world champion in super middle weight and Susi Kentikian, also world champion; I don’t remember which weight she was... I only had an idea from what they have told me. There is not a large Armenian community in Germany, not as large as in France for example. And I don’t know much about Armenian cinema either.

In interviews about your last film, you said that this film is supposed to be your farewell to a cer­ tain lifestyle. Until now all of your films were about youth and were filled with the energy of youth. Is it true that you want to change this now?

Life always carries you somewhere you wouldn’t imagine. There is a certain lifestyle portrayed in Soul Kitchen: entertainment, alcohol, carrying drunken ladies home, stealing records...

I feel that the time for this kind of stuff already passed for me. When I go to a party these days, I realize that I am the oldest one in the crowd. This makes me uncomfortable. I don’t enjoy hanging out as much as I used to. I started to enjoy different things. You may call it getting old, or maturing, I don’t know. But I have an addiction problem to this lifestyle. I’ve been always out at night, like cats... So I want to end this addiction. In order to do that, I had to do Soul Kitchen. There

are some directors in their sixties or seventies who film teenagers or take pictures of young girls. I hope not to become one of them.

Soul Kitchen also opened another door for my work: genre films. I am actually a child of genre films. I see myself closer to genre film directors. Of course I like art house films, I watch them a lot. HeadOn and The Edge of Heaven were partly art house films I guess... But in The Edge of Heaven for example, the parts that I enjoyed the most were the thriller elements. Searching for somebody in an unknown city, finding a lawyer, visiting jail... I wasn’t as much into serious stuff like the Turkish identity or belonging, I was done with that. But I cannot deny that there was an expectation from me to continue dealing with problems of the immigrant identity. And it is true that I found success in that, so I was supposed to continue. But in all my films, the topics that interest me are those that interest any human being. In Head-On it was love for example, ‘amour fou’. In The Edge of Heaven, it was death, end of life. I never intended to do a film about the difficulties of Turkish women in life or being Turkish in Germany. Maybe The Edge of Heaven was a little didactic and a little pretentious...

So Soul Kitchen was my liberation in that sense.

It was also surprising that you chose to fol­ low a leftist woman from Turkey in The Edge of Heaven.

I have met those girls in Germany. I used to hang out with the socialist community when I was a teenager. And I come from a rightwing family. If the whole family gathers, we are around 300-400 people and I am the only leftist in the crowd. But the point is not leftwing-rightwing politics. The point is boundaries. Like religion, the leftist have their doctrines themselves. After a point there is the danger of terror and fascism on both sides. What comes when politics ends? I would say it should be philosophy.

It is love in your film.

That is also true. I was after the transformation of a leftist character. First she believes in the gun.

Eventually she just realizes that is the wrong way.

I was criticized for this by the leftwing community. I don’t think many people were able to identify themselves with the protagonist. In that sense this was my most distant, most German film.

Soul Kitchen is set around a restaurant and food is at the center of the film. It gives the film a certain energy.

When human beings don’t eat, they die. They also die when they don’t make love, in the sense that they wouldn’t produce the next generation.

Food and sex are essentially human, everybody eats three, four times a day. Sex is a little different in the sense that it is not done in front of other people. At least usually... But we eat with other people around and it is a very visual thing. When you see scenes with tables, subconsciously they bring us the feeling of joy.

As a Turkish director could you contemplate for a second on the borders we have?

My work always is always an expression of the same thing: wherever there is a border, it should be pulled down. Head-on, Gegen die Wand! If that is not possible, better build a bridge. This is my world view. I grew up in Germany and went to a Kindergarten with children from all over the world. Arabs, Italians... It was a Christian Kindergarten actually, my parents sent me there because they did not know this. Facing so many different cultures as a child, you don’t grow a fear of neighbors. Everything boils down to politics of course but artists don’t have borders. I wish everybody were an artist. It takes always a long time until politics catches up with art. But it will.

Evrim Kaya Films shown in the retrospective: 1998 Short Sharp Shock 2000 In July 2004 Head-On 2005 Crossing The Bridge 2007 The Edge Of Heaven 2009 Soul Kitchen

GOLDEN APRICOT DAILY | DAY 4 | 14 JULY | 2010

6 films and makers

German Master German filmmaker of Turkish descent Fatih Akin will be giving a Masterclass at the Babajanyan Philharmonic Concert Hall, starting at 15:00 pm. Akin, whose films are both critically and commercially successful, is known for award-winning productions like Gegen die Wand/Head-On and The Edge of Heaven/Auf der anderen Seite. The festival is showcasing his work, including his latest film, the comedy Soul Kitchen, winner of the Special Jury Prize at the Venice Film Festival.

French Film Day

Continuing the tradition Arman Yeritsyan on The Last Tightrope Dancer in Armenia How was the idea for the film born?

I was out of Armenia when I received a phone call from producer Vardan Hovhannisyan, who told me about the project of the film and offered me to direct it. When I got to Yerevan I began working on the script. Bars Media is one of the most important Documentary Film Studios and not only in Armenia so it was a pride for me to direct a film for BM. It meant a lot to me, firstly, because the project was really interesting and secondly because I had to direct the film with Inna Sahakyan.

That was my first experience co-directing, a very productive experience. We divided the tasks, and I learnt a lot from her. The documentary took a year and a half to make and we shot all over Armenia.

We travelled a lot around the country and we obvi-

"Stalin was a small time thug" Coming over the Black Sea, we are soon over Armenia. Doesn’t look like it did last year.

Majestic and snow capped. The hanging mist obscures it. And there is less snow.

Now back with a festival I believe in. People who are direct, who laugh, who represent and make the real work. Where I come from there are more film schools than used car lots.

I am a big admirer of what festival director Harutyun Khachatryan has done here with his staff of remarkable women. I am also a fan of his films for which he is going to receive the Nilsson Award in LA this August. Perhaps it’s an embarrassment to have a film award named for a living toiler but maybe it’s better than a boulevard or a skyscraper. No maintenance required and I get to give it to someone else every year.

A thrill to have Claudia Cardinale here this year. 8 1/2 was for me, as for all of us who came to love cinema through the Fellinis, Bergmans, Cassavetes, Rays (Satyajit, not Nick), Kurosawas, et als, a revelation and she was a big part of it.

And good to see Atom again after many years So much wisdom these days. The Internet reeks of it, and so I am content to hold off the heavy artillery. I am glad to be here with people I care about and whose work I respect. At the party last night someone told me, “Stalin was a small time thug compared with the harm the world wide markets have done.” Let that be my bon mot for today. So quote him, not me.

Rob Nilsson Foreign Affairs is a daily column written by international guests of the Golden Apricot International Film Festival

ously found some problems but we discovered that our problems were the people’s problems and their problems were ours. It was a great experience and we made some good friends during the shooting.

The result has so far been screened in Spain, Japan, America and it will continue its way. It really had an important commercial distribution worldwide.

What about the characters in the film?

There are three main characters. Zhora and Knyaz, 78 and 77 years old, are professional tightrope dancers. They were really popular years ago. They represent the tradition and the responsibility of transmitting it. The third important character is Hovsep, who lives in Yerevan. He represents the possible continuity of the tradition. He is in the Army now and I am not sure if he will continue with tightrope dancing after he fin-

ishes his army service. But the film is not only about the matter of preserving a tradition. It also presents the dilemma of personal decision, the topic of the vocation and people’s needs. Zhora died during the shooting and that was something that evoked strong emotions. You never know what can happen when you are making a film. Anyway, the film is not about his death, the film itself contains a dramatic plot.

Jack Boghossian The Last Tightrope Dancer of Armenia – Arman Yeritsyan & Inna Sahakyan (Armenia, 2010). 14-7, 18:00, Moscow Cinema, Video Hall; 16-7, 20:10, Moscow Cinema, Video Hall.

Henrik Malyan's pensive eyes Henrik Malyan was Armenia’s Jean Renoir. He was a natural-born man of cinema and one of those very rare people in this world who carry a certain fire in their presence that inspires students and the people around them to do great work in art. I was a child in Los Angeles, no more than six or seven when the image of apples rolling down a road flickered on our little television set, followed by the ancient eyes of a man called ‘Nahapet’. My father Haik inspired me to become a filmmaker.

Whenever he spoke about Henrik Malyan, I felt he was speaking about an uncle he admired greatly in Armenia who I would meet one day.

Mr. Malyan was not just one of the greatest treasures of Twentieth Century Armenian cinema, he was a father figure to his students, a role model for aspiring directors and a man with a ‘Zoolal’ heart. Every time I hear his name, a feeling of gratitude overwhelms me as well as sadness. Gratitude because he walked the earth of Armenia with a camera and immortalized some of the greatest images ever committed to film in our homeland, and a sadness at the passage of time because I will never meet him, sit at a table with him and soak in his wisdom earned by years of struggle and devotion to the cinematic art. My father was in his first class at the Khatchadour Abovian Pedagogical Institute. I remember the first time I saw a photo of Mr. Malyan. There was something benign, gracious and deeply contemplative about his gaze.

They had seen a thousand years and been through the centuries. He had walked the roads of the ancient Armenian storytellers and image-makers. I think back to all of his great films. My childhood would not have been the same if it wasn’t for the mu-

French film master Claire Denis, who has a retrospective at the festival, will be present for a discussion of her work before the screening of her latest film, White Material, at the Moscow Cinema Red Hall at 16:00 pm. For White Material, Denis revisited Africa, land of her youth and her feature debut, Chocolat (1988). At 18:30 pm, invited guests are welcome at the French Day Reception at the French Embassy.

Press Conferences One, two, three press conferences. At 11:00 am, Armenian director Suren Babayan, whose Don't Look Into the Mirror is screened at the festival. At 12:00 pm, he is followed by compatriot Edgar Baghdasaryan, director of From Ararat to Zion. And at 13:00 pm, Korean director Lee Chang-dong will discuss his latest film, Poetry.

Henri Malyan 85 The GAIFF honors Armenian filmmaker Henri Malyan, who died in 1988 and would have otherwise celebrated his 85th birthday in 2010, with a special program starting at 19:30 pm at the Babajanyan Philharmonic Concert Hall. After 1954, Malyan was one of the major directors at the Armenfilm film studio. He is possibly best known for his 1967 film Yerankyuni (Triangle). His 1977 film Nahapet (Life Triumphs), which dealt with the Armenian Genocide, was screened at the 1978 Cannes Film Festival.

Open Air Film

sic of A Piece of Sky (Ktor Mi Yergink), the images of Nahapet or the working-class heroes of Triangle (Yerankyuni). I grew up with these and many other films on the weekends in America. The little television set in our living room transported me to the hills of Armenia with my heroes from the lands of Malyan. Anytime I see a red apple, I think back to the hills of Nahapet. Any time I think of cinema in Armenia, Mr. Malyan’s pensive eyes always come to mind. He was a rare breed, a visionary, a builder of roads and a gift to the evolution of Armenian cinema in the twentieth and twenty-first century.

Eric Nazarian

The Yerevan Nights at Lover's Park, near the Presidential Palace, today screen The Book of Eli by twin brothers Albert and Allen Hughes. The film, about a sacred book which has to be protected in post-apocalyptic times, stars Denzel Washington, Gary Oldman, and Tom Waits, and will start at 21:00 pm. At the same time, a new jazz ensemble will take part in Golden Apricot's Jazz Competition, organized by jazz master Levon Malkhasyan, at the Charles Aznavour Square in front of the Moscow Cinema.

The End The Midnight Wrap-up at The Club (AKUMB), 40, Toumanyan Street, will feature a New Special Mystery Guest. 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 4 | 14 JULY | 2010

reviews 7

Finding poetry in pain Poetry, art as such, evokes something, but never reports. If a film named Poetry is consistent, than it evokes but doesn’t give away, it stays with hints, but doesn’t explain. And yes, although there are facts and happenings in Lee Chang-dong’s new film, the meaning is not so clear or one sided; the film raises questions, but doesn’t offer answers. Lee takes his audience serious, designs open spaces to be filled in, and that is not easy for an audience not used to be taken seriously.

Nowadays audiences are constantly dictated by directors who not only tell stories without any secret, but also needlessly explain that story and force the spectator, by all possible tricks, to have only the attitude he imposes, without leaving room for their own thoughts or feelings.

Some facts are clear: the protagonist is a 66 years old woman, named Mija, who lives in a small town along the river Han. She earns money by cleaning the house of an old man who is disabled after a stroke and whom she also washes in the bath. At home she takes care of her teenager grandson. She is dressed in fashion from former times, showing off a simplicity that is more than ordinary. Then things happen that change her life: she is told to be affected by Alzheimer, she takes part in a course for writing poems, and she finds out that her grandson is involved in a horrible crime: some schoolboys raped a girl who afterwards committed suicide by throwing herself in the Han, the river that streams so quietly and peacefully, but hides many cruelties.

Those and more elements Lee Chang-dong works out in detailed portrait of a woman who detects the beauty of normal things and finds poetry in her pain. His film is also a portrait of a humanity that has many sides, which are mingled in a sometimes contradictory way. For instance, while losing her memory of words, the woman does find the words to write a poem. She learns that writing a poem starts with observing, seeing things well and describe them in a pureness that may only exist in the youth, the time of discovery.

The events in her life confront the woman also with morality; she has to react, to make decisions. In some cases she does, but Lee not always explains why, in some other situations her reaction is not clear, although Lee gives some hints. For the men around her solving problems is easier: with money you can do everything.

Not that the woman is a saint, some of her decisions are not so clean. Certainly she becomes able to write her poem, with the title Agnes’ Song. We know that Agnes is the name of the unlucky girl that killed herself and we also see the hat of the suddenly disappeared old woman in the river Han, where in the beginning the dead body of the raped Agnes was passing by.

In his highly poetic and complex film, that is perfectly consistent with the title and earns to be reflected on in a five times longer review than is possible in this small summary of notes, Lee Chang-dong involves his audience into a human’s life and gives that audience food for thinking over (the meaning of) poetry, but most of all one’s own life.

Peter van Bueren This year, Lee Chang-dong won the award for best script at the Cannes film festival for Poetry. He is probably the best writer among his colleagues; his scenarios give his films a special flavor, a specific Lee Chang-dong touch.

The main role is played by the Korean actress Yong Jung-hee, who was famous during the sixties, performing in about 300 films and 24 times awarded as best actress. She didn’t appear in films for about fifteen years, after she left her country to live in Paris, following her husband, the famous pianist Piak Kun-Woo. Poetry – Lee Chang-dong (South Korea, 2010). July 14, 21:00, Moscow Cinema, Red Hall; July 16, 21:00, Nairi Cinema; July 18, 21:00, Moscow Cinema, Red Hall.

At the end of the world

Drinking is a sin

Sergei and Pavel could be the two most isolated people in the world. They work at the end of the earth: a meteorological station on an ice-cold Russian island in the Arctic Ocean. Sergei has been there for several years, performing his scientific tasks methodically and taking his job seriously, living almost like a monk. His wife and child are back at the mainland.

He hopes to see them soon, as a ship is expected to pick him and Pavel up.

Pavel is much younger and has just graduated from high school. He was expecting some sort of adventure, and wasn’t prepared for the solitude and repetitive nature of the work. He prefers listening to his walkman. A radio message he receives and dares not pass on to Sergei leads to a chain of events, during which the tension between the two men, which starts out innocently enough, spirals dramatically out of control.

Director Aleksei Popogrebsky places the two men at the mercy of nature. The little house they inhabit, with its cozy

Golden Bear winner Jasmila Zbanic’s second feature film On the Path is another powerful portrait from postwar Bosnia. After her debut with Grbavica that depicted with compassion the complicated relationship between a mother and her daughter, she now jumps to the water for a film about the dynamics of a relationship between a couple and their struggle for preservation of their love despite the dramatic change in worldviews.

Luna and Amar are an ordinary couple with common problems. They have difficulties having a child and Amar’s addiction to alcohol makes life a little harder than it should be. But until the day he comes into contact with a sectarian religious order, they are able to overcome every complication with understanding and love. The fundamentalist Wahhabis embrace the confused man immediately while turning him little by little against his former lifestyle: Drinking is a sin, revealing clothes are

sauna, is protective but tiny compared to the bleak and menacing surroundings, which light is captured magnificently by cameraman Pavel Kostomarov. It is an impressive example of digital filmmaking, with Kostomarov shooting with a Red digital camera.

Popogrebsky made his feature debut in 2004 with Koktebel (2004), co-directed by Boris Khlebnikow, to critical acclaim. How I Ended This Summer raked

up three Silver Bears at the Berlin Film Festival, two for both lead actors and one for the outstanding camera work.

KD How I Ended This Summer – Aleksei Popogrebsky (Russia, 2010). 14-7, 10:00, Moscow Cinema, Blue Hall; 14-7, 19:00, Moscow Cinema, Blue Hall.

bad and eventually he comes to the point where sex with his longtime beloved becomes adultery. “It is usually people from a very secular background that turned into stubborn fundamentalists after the war” says Zbanic. It is easy to see that she is very receptive and is trying to understand with her film rather than to preach. Her modest camera and well-defined script follow the couple throughout their path shedding light on the weaknesses and confusions of the postwar society. The leading actors are very persuasive and they successfully carry the story to its hazy conclusion.

EK On the Path – Jasmila Zbanic (Bosnia and Herzegovina/Austria/ Croatia/Germany, 2009). 13-7, 12:00 Moscow Cinema, Blue Hall; 14-7, 21:00, Moscow Cinema, Blue Hall.

GOLDEN APRICOT DAILY | DAY 4 | 14 JULY | 2010

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