Golden Apricot Daily - 2010, Day 5

È»áÝ Î³Ïáì.

§²í³Ý¹³Ï³Ý ÏÇÝáëÇñáÕÁ ³ÝÑ»ï³ÝáõÙ ¿¦

GOLDEN APRICOT DAILY | DAY 5 | 15 JULY | 2010

2 Íñ³·Çñ/programm 15 ÑáõÉÇëÇ/ 15 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 12:40

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall 16:00

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

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

15:00

10:00

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/Naregatsi Art Institute 16:00 Èí³óùÇ ûñ»ñÁ/Washdays ê³ÛÙáÝ ÜÇÉ/Simon Neal, Gbr, 11’, BC

Lang.: English, Subt.: Armenian

ÌáíÇ å³Õ çáõñÁ/Agua Fria de Mar ä³ë ü³μñ»·³/Paz Fábrega, Cri/Fra/Esp/Nld/Mex, 83', FC

γ۳óáõÙ/Kayatsum ¶ñÇ·áñ гñáõÃÛáõÝÛ³Ý/ Grigor Harutyunyan, Arm, 60’, AP

Lang.: Spanish, Subt.: English

No Dialogues

11:30 زºêîðà/MAESTRO ìÇ·»Ý â³É¹ñ³ÝÛ³Ý/Vigen Chaldranian, Arm, 103’, FC, AP

Lang.: Armenian, Subt.: English 14:30 ÌáíÇ å³Õ çáõñÁ/Agua Fria de Mar ä³ë ü³μñ»·³/Paz Fábrega, Cri/Fra/Esp/Nld/Mex, 83’, FC

Lang.: Spanish, Subt.: English and Armenian 16:30 öá˳Ûó/Revisited øßÇßïáý ¼³ÝáõëÇ/Krzysztof Zanussi, Pol, 85’, YP

Lang.: Polish, Subt.: English and Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 19:00 öáÕáó³ÛÇÝ ûñ»ñ/Street Days Ȩ³Ý Îá·áõ³ßíÇÉÇ/Levan Koghuashvili, Geo, 86’, FC

Lang.: Georgian, Subt.: English and Armenian 21:30 ÆÙ áõñ³ËáõÃÛáõÝ/My Joy ê»ñ·»Û Èá½ÝÇó³/Sergei Loznitsa, Deu/Ukr/Nld, 128’, FC

Lang.: Russian, Subt.: English

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

Lang.: Armenian, Subt.: English

ÐÇÝ·»ñáñ¹ ½áñ³ëÛáõÝÁ/ The Fifth Column ì³ã» ´áõÉÕáõñçÛ³Ý/Vatche Boulghourjian, Lbn, 29’, AP

Error ¸³íÇà ¾Ýý»ÝçÛ³Ý/Davit Enfenjyan, Arm, 10’, AP

Lang.: Armenian, Subt.: English

18:00 ¸áñdzÝ/Dorian 껽³ñ γݳÝÛ³Ý, ¶ñ»·áñÇáõ γݳÝÛ³Ý/Cesar Gananian, Gregorio Gananian, Bra, 14’, AP

14:00 ê³ï³Ý³ÛÇ ÏÕ½ÇÝ/Devil’s Island üñǹñÇÏ Âááõñ üñǹñÇùëáÝ /Fridrik Thor Fridriksson, Isl, 103’, R

Lang.: Icelandic, Subt.: English and Armenian 16:00 ÆɳÛÇ ·ÇñùÁ/The Book of Eli ²Éμ»ñï ÐÛáõ½, ²É»Ý ÐÛáõ½/ Albert Hughes, Allen Hughes, USA, 118’, YP

Lang.: English, Subt.: Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 18:30 ijٳݳÏÇ ÷áßÇÝ/The Dust of Time »á¹áñáë ²Ý·»ÉáåáõÉáë/Theodoros Angelopoulos, Grc/Ita/Deu/ Fra/Rus, 125’, R

Lang.: Greek, Subt.: Armenian ê³Ñٳݳ÷³Ï ïáÙë»ñ/Limited Tickets 21:00 ÐÇÝ·»ñáñ¹ ½áñ³ëÛáõÝÁ/ The Fifth Column ì³ã» ´áõÉÕáõñçÛ³Ý/Vatche Boulghourjian, Lbn, 29’, AP

No Dialogues

Lang.: Portuguese, Subt.: English and Armenian

Lang.: German, English, Turkish, Subt.: Russian 17:00 êÇóÇÉdzóÇÝ»ñÇ ÏɳÝÁ/The Sicilian Clan ²ÝñÇ ì»éÝÛáÛ/ Henri Verneuil, Fra, 120’, R

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

Lang.: Lithuanian, Subt.: English and Armenian

Lang.: German, Subt.: English and Armenian

19:00 лÕÇݳÏÝ»ñ/Written By ¶³éÝÇ ä³ÕïÇÏÛ³Ý/Karni Baghdikian, USA, 15’, AP

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

Lang.: Dari, Subt.: English 11:40 ²Õ»ï. ó»Õ³ëå³ÝáõÃÛáõÝ/ Aghet-A Genocide ¾ñÇÏ üñǹɻñ/Eric Friedler, Deu, 93’, DC

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

21:00 ÀÝÓ³éÛáõÍÁ/The Leopard ÈáõÏÇÝá ìÇëÏáÝïÇ/Luchino Visconti, Ita, 185’, YP

Lang.: Italian, Subt.: English and Armenian

18:00 γñÙ»ÝÁ ѳݹÇåáõÙ ¿ ´áñ³ïÇÝ/Carmen Meets Borat Ø»ñ뻹»ë êï³É»ÝÑáý/ Mercedes Stalenhoef, Nld, 85’, DC

Lang.: Romanian, Subt.: English and Armenian 20:00 Ü»ñáõÙ/The Forgiveness ì»Ýïáõñ³ ¸áõñ³É/Ventura Durall, Esp, 65’, DC

Lang.: Armenian, English, Subt.: English 17:00 ¸ÇëÏáÝ ¨ ÙÇçáõϳÛÇÝ å³ï»ñ³½Ù/Disco and Atomic War Ú³³Ï ÎÇÉÙÇ/Jaak Kilmi, Est/Fin, 80’, DAB

Lang.: Multilingual, Subt.: English 18:30 Øáõë³ É»é³Ý 40 ûñÁ/40 Days of Musah Dagh: 94 Years of Genocide Survival eaμ»ñï ¸³íǹ۳Ý/Robert Davidian, USA, 17’, AS

Lang.: English 19:00 ì»ñ³¹³ñÓ/Return eaμ»ñï ¸³íǹ۳Ý/Robert Davidian, USA, 59’, AS

Lang.: English

Lang.: Spanish, Catalan, Subt.: English and Armenian

Lang.: Farsi, Subt.: English and Armenian 20:00 ºñÏËáëáõÃÛáõÝÝ»ñ/Dialogues ¶³·ÇÏ Ô³½³ñ¿/Gagik Ghazare, Arm, 90’,AP

Lang.: Armenian, Subt.: English

§²éÝá ´³µ³ç³Ý۳ݦ ѳٻñ·³ëñ³Ñ “Arno Babajanyan” Concert Hall 14:00 »á¹áñáë ²Ý·»ÉáåáõÉáë – гݹÇåáõÙ é»ÅÇëáñÇ Ñ»ï/ Theodoros Angelopoulos – Meeting with the director

γ۳óáõÙ/Kayatsum ¶ñÇ·áñ гñáõÃÛáõÝÛ³Ý/ Grigor Harutyunyan, Arm, 60’, AP

No Dialogues 19:00 ºñÏáõëáí /Together ä³í»É ÎáëïáÙ³ñáí/Pavel Kostomarov, Rus, 52’, DC

19:30 ²ßáõÕ Ô³ñÇμ/Ashik-Kerib ûå»ñ³ïáñ` ²Éμ»ñï Ú³íáõñÛ³Ý/Cinematographer: Albert Yavuryan, Arm, 85’, T

Lang.: Russian, Subt.: English

Lang.: Russian, Subt.: English

Foreign Affairs

êï³ÉÇÝÝ Áݹ³Ù»ÝÁ Ù³Ýñ á×ñ³·áñÍ ¿ñ ÐÇ­Ù³, »ñµ ³ñ­¹»Ý Ù³ë­Ý³Ï­óáõÙ »Ù ÷³­é³­ïá­ÝÇÝ, ѳ­í³­ïáõÙ »Ù, áñ г­Û³ë­ï³­ÝáõÙ »Ù. ³Ý­ÙÇ­ç³­Ï³Ý Ù³ñ­¹ÇÏ` ÙÇßï ÍǭͳխÏáï, áí­ù»ñ ɳí ϳ­ï³­ñáõÙ »Ý Çñ»Ýó ³ß­Ë³­ï³Ý­ùÁ: ²ÛÝ­ï»Õ, áñ­ï»­ÕÇó »ë »Ù ·³­ÉÇë, ÏÇ­Ýá¹å­ñáó­Ý»ñÝ ³í»­ÉÇ ß³ï »Ý, ù³Ý Ù»­ù»­Ý³­Ý»­ ñÁ: äáå Ùß³­ÏáõÛ­ÃÇ ¹³­ñ³ßñ­ç³­ÝÁ ¹»é ãÇ ³í³ñï­ í»É, ³ÛÝ­å»ë áñ ùÝݳ­¹³­ï³­Ï³Ý ÙïùÇ Ù³­Ï³ñ­¹³­ÏÁ ¸á­áõ æáÝ­ëÇ ·áñ­Í³Ï­óÇó ó³Íñ ¿: ºë ÑÇ­³­ó³Í »Ù ³ÛÝ ³ß­Ë³­ï³Ý­ùáí, áñ ÷³­é³­­ ïá­ÝÇ ïÝû­ñ»Ý г­ñáõ­ÃÛáõÝ Ê³­ã³ï­ñÛ³ÝÝ ³ñ»É ¿ Çñ Ññ³­ß³­ÉÇ ·áñ­ÍÁÝ­Ï»­ñ­Ý»­ñÇ û·­Ýáõ­ÃÛ³Ùµ: ºë ݳ¨ г­ñáõ­ÃÛáõ­ÝÇ ýÇÉ­Ù»­ñÇ »ñÏñ­å³­·áõÝ »Ù, áñáÝó ѳ­ Ù³ñ ݳ û·áë­ïá­ëÇÝ Èáë ²Ý­ç»­É»­ëáõÙ ÜÇÉ­ëá­ÝÇ ³Ý­­ í³Ý Ùñó³­Ý³Ï å»ïù ¿ ëﳭݳ: ¶áõ­ó» ï³­ñû­ñÇ­ Ý³Ï ¿ ÃíáõÙ, áñ ³å­ñáÕ ¨ ëï»Õ­Í³­·áñ­ÍáÕ Ù³ñ­¹áõ ³Ýáõ­Ýáí Ùñó³­Ý³Ï ·á­Ûáõ­ÃÛáõÝ áõ­ÝÇ, µ³Ûó ¹³ ³í»­ ÉÇ É³í ¿, ù³Ý ùá ³Ýáõ­Ýáí åá­Õá­ï³Ý ϳ٠»ñϭݳ­ ù»­ñÁ: ÊݳÙù ãÇ å³­Ñ³Ý­çáõÙ áõ ³Ù»Ý ï³­ñÇ »ë ³ÛÝ ÇÝã-áñ Ù»­ÏÇÝ »Ù ѳÝÓ­ÝáõÙ: Þ³ï Ñáõ­½Çã ¿ñ ³Ûë­ï»Õ ï»ë­Ý»É Îɳ­áõ­¹Ç³ γñ­ ¹Ç­Ý³­É»­ÇÝ: §8 1/2¦-Á ѳÛï­Ý³­·áñ­Íáõ­ÃÛáõÝ ¿ñ ÇÝÓ` ÇÝã­å»ë ¨ µá­Éáñ Ýñ³Ýó ѳ­Ù³ñ, áí­ù»ñ ëÇ­ñ»É »Ý ÏÇ­ÝáÝ

²ýÕ³Ýëï³ÝÇ ÃÙñ³ÙáÉÝ»ñÁ/Addicted in Afghanistan æ³áõ»¹ ³ÛÙ³Ý/Jawed Taiman, Afg/Gbr, 78’, DC

Lang.: French, Subt.: English and Armenian 19:00 Ðá·áõ ËáѳÝáó/Soul Kitchen ü³ÃÇÑ ²ùÇÝ /Fatih Akin, Deu, 99’, R

Lang.: Armenian, Subt.: English

ØáëÏí³ÛÇ ïáõÝ ºñ¨³ÝáõÙ “Dom Moskvy” in Yerevan

γÙñçÇ ÙÛáõë ÏáÕÙáõÙ. êï³ÙμáõÉÇ Ó³ÛÝÁ/Crossing the Bridge: The Sound of Istanbul ü³ÃÇÑ ²ùÇÝ/Fatih Akin, Deu/ Tur, 91’, R

16:30 ÆÝãå»ë »Ýù ³åñáõÙ/How We Live γéÉá γñ³μ»ÏÛ³Ý/ Karlo Gharabegian, USA, 14’, DAB

ü»­ÉÇ­ÝÇÇ, ´»ñ·­Ù³­ÝÇ, γ­ë³­í»­ï»­ëÇ, è³Û­ëÇ (ê³­ ïÛ³­çÇ­ïÇ, ¨ áã û ÜÇù), Îáõ­ñá­ë³­í³­ÛÇ ýÇÉ­Ù»­ñáí, ¨ Îɳ­áõ­¹Ç­³­ÛÇ ¹»ñÝ ³Û¹­ï»Õ Ù»Í ¿ñ: àõ­ñ³Ë »Ù ݳ¨, áñ ³Ûë­ù³Ý ï³­ñÇ ³Ýó Ýá­ñÇó ѳݭ¹Ç­å»­óÇ ²ïá­ÙÇÝ: ²ÛÝ­ù³Ý Ëáñ­Ñ»­Éáõ µ³Ý ϳ ³Ûë ûñ»­ñÇÝ: ÆÝ­ï»ñ­ Ý»­ïÁ ÉÇùÝ ¿ ùÝݳñ­ÏáõÙ­Ý»­ñáí, ¨ »ë ·áÑ »Ù, áñ ͳÝñ Ññ»­ï³­Ýáõ ¹»ñÝ ÇÝÓ íñ³ ã¿: àõ­ñ³Ë »Ù, áñ ³Ûë­ï»Õ »Ù, ßñç³­å³ï­í³Í ³ÛÝ Ù³ñ¹­Ï³Ý­óáí, áõÙ ëÇ­ñáõÙ »Ù áõ ѳñ­·áõÙ: ºñ»Ï ѳ­í³­ùáõÛ­ÃÇ Å³­Ù³­ Ý³Ï ÇÝã-áñ Ù»ÏÝ ÇÝÓ ³ë³ó. §êï³­ÉÇ­ÝÇÝ Ï³­ñ»­ÉÇ ¿ Ù³Ýñ á×­ñ³­·áñÍ Ñ³­Ù³­ñ»É, »Ã» Ýñ³ å³ï­×³­é³Í íݳë­Ý»­ñÁ ѳ­Ù»­Ù³­ï»Ýù ³ÛÝ ³Ù»­ÝÇ Ñ»ï, ÇÝã ѳ­ ٳ߭˳ñ­Ñ³­ÛÇÝ ßáõ­Ï³Ý ¿ ³ñ»É¦: ²ÛÝ­å»ë áñ, »ë áõ­ ½áõÙ »Ù ³Û­ëûñ ³í³ñ­ï»É ³Û¹ Ù³ñ­¹áõ Ëáë­ù»­ñáí ¨ áã û ÇÙ:

èáµ ÜÇÉ­ëáÝ Foreign Affairs-Á ûñ³Ã»ñÃÇ ëÛáõÝ³Ï ¿, áñÇ Ñ»ÕÇݳÏÝ»ñÁ §àëÏ» ÍÇñ³Ý¦ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ ³ñï³ë³ÑÙ³ÝóÇ ÑÛáõñ»ñÝ »Ý

22:00 ¾Ï½áïÇϳ/Exotica ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 103’, R

Lang.: English, Subt.: Armenian

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

§æ³½½–ÏÇÝᦠ޳éÉ ²½Ý³íáõñÇ Ññ³å³ñ³Ï “Jazz - Cinema” Charles Aznavour Square 21:00 – 24:00 ³ÛÙ-è»÷áñÃ/Time-Report Գ»Õ. ջϳí³ñÝ»ñ` ²ñÙ»Ý àõëÝáõÝó, ʳãÇÏ ê³Ñ³ÏÛ³Ý/ Artistic Directors: Armen Usnunts, Khachik Sahakyan 24:00 AFG ³ÏáõÙμÁ Ññ³íÇñáõÙ ¿ ÏÇÝáÛÇ μáÉáñ ·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.

11:00 Atom Egoyan - Meeting with the Students/²ïáÙ ¾·áÛ³Ý. ѳݹÇåáõÙ áõë³ÝáÕÝ»ñÇ Ñ»ï 14:30 Èáõë³íáñ ·³ÉÇù/The Sweet Hereafter ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 112’, R

Lang.: English, Subt.: Armenian

Editor in chief: André Waardenburg

Daily

General supervising manager: Peter van Bueren

úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý

Journalists: Kees Driessen, Jack Boghossyan, Evrim Kaya, Artsvi Bakhchinyan, Karin Grigoryan, Raffi Movsisyan, Davit Vardazaryan, Artur Vardikyan

¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ·

¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

Coordinator Daily: Genofia Martirosyan

Translations: Zara Safaryan

Èñ³·ñáÕÝ»ñ` λÛë ¸ñÇ»ë»Ý, ²ÝÇ Î³Û³, ²ñÍíÇ ´³ËãÇÝÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, γñÇÝ ¶ñÇ·áñÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, ÐáíѳÝÝ»ë »ù·Ûá½Û³Ý

Caricature: Harutyun Chalikyan

Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ

Design: Gayane Grigoryan

Þ³åÇÏÇ Éáõë³ÝϳñÁ` ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ Èáõë³ÝϳñÝ»ñÁ` Գևորգ Գասպարյան ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ

Cover photo by Vahan Stepanyan Photos: Gevorg Gasparyan

GOLDEN APRICOT DAILY | DAY 5 | 15 JULY | 2010

ûñ³·Çñ 3 ì³ñå»ïáõÃÛ³Ý ¹³ë

È»Ñ³Ï³Ý ýÇÉÙÇ ûñ

ÎÉ»ñ ¸Á­ÝÇ. Ø»Ýù

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§ÎÇ­ÝáÝ Ýϳñ­ãáõ­ÃÛáõÝ Ï³Ù »ñ³Åß­ïáõ­ÃÛáõÝ ã¿, ³ÛÝ ÃÇ­Ù³­ÛÇÝ ³ß­Ë³­ï³Ýù ¿: ºñµ Ýáñ ¿Ç Ùï»É ÏÇ­ Ý᭳߭˳ñÑ, ÁÝ­¹áõÝ­í³Í ã¿ñ, áñ ϳ­Ý³Ûù ÉÇ­Ý»Ý é»­ ÅÇ­ëáñ­Ý»ñ: ´á­Éá­ñÁ ϳñ­ÍáõÙ ¿ÇÝ, áñ ÃÇÙ Õ»­Ï³­í³­ ñ»­ÉÁ ýÇ­½Ç­Ï³­Ï³Ý ³ß­Ë³­ï³Ýù ¿: ÎÇ­ÝÁ ϳ­ñáÕ ¿ ¹Ç­Ù³­Ñ³ñ­¹³ñ ÉÇ­Ý»É Ï³Ù ¿É ½·»ë­ï³­íá­ñáÕ, ³é³­ í»­É³­·áõÛ­ÝÁ` ÙáÝ­ï³­ÅáÕ, µ³Ûó áã »ñ­µ»ù é»­ÅÇ­ëáñ: ºë áñá­ß»­óÇ ýÇÉ­Ù»ñ Ýϳ­ñ»É, áñ ù³Ý­¹»Ù ³Û¹ ϳñÍ­ ñ³­ïÇ­åÁ, û¨ Ñ»­éáõ »Ù ý»­ÙÇ­ÝÇëï ÉÇ­Ý»­Éáõó¦: §àë­Ï» ÍÇ­ñ³Ý¦ ³Ù»­Ý³­ÙÛ³ 7-ñ¹ ÏÇ­Ýá­÷³­é³­ïá­ ÝÇ Áݭóó­ùáõÙ ï»­ÕÇ áõ­Ý»­ó³í ÎÉ»ñ ¸Á­ÝÇÇ í³ñ­å»­ ïáõ­ÃÛ³Ý ¹³­ëÁ, áñÇ Ù»Í Ù³­ëÁ ýñ³Ý­ëáõ­ÑÇ é»­ÅÇ­ëá­ ñÁ ÝíÇ­ñ»ó ýÇÉÙ Ýϳ­ñ³­Ñ³­Ý»­Éáõ ѳ­Ù³ñ ³ÝÑ­ñ³­Å»ßï ·áõ­Ù³ñ ѳۭóۭû­Éáõ »Õ³­Ý³Ï­Ý»­ñÇ áõ ׳­Ý³­å³ñÑ­Ý»­ñÇ Ýϳ­ñ³·ñ­Ù³­ÝÁ: Àëï Ýñ³` Ñ³Û é»­ÅÇ­ëáñ­Ý»­ ñÁ å»ïù ¿ ÷áñ­Ó»Ý Ñ»­ï¨­»É ýñ³Ý­ëÇ­³­óÇ ·áñ­ÍÁÝ­Ï»ñ­Ý»­ñÇ ûñǭݳ­ÏÇÝ ¨ ÇÝù­Ýáõ­ñáõÛÝ ·áñ­Í»Ý. §üñ³Ý­ëÇ­ ³Ý Ðá­ÉÇ­íáõ¹ ã¿: ÆÝã­å»ë Ùݳ­ó³Í »í­ñá­å³­Ï³Ý »ñÏñ­Ý»­ñáõÙ, Ù»Ýù ÝáõÛÝ­å»ë §Ù»Í¦ ýÇÉ­Ù»ñ ã»Ýù Ýϳ­ ñáõÙ, ³ÛÉ ÉÇ­Ý»­Éáí ÙÇ­³Û­Ý³Ï` Çñ³­Ï³­Ý³ó­ÝáõÙ »Ýù ³Ý­Ñ³­ï³­Ï³Ý Íñ³·­ñ»ñ: Î³Ý ³Ý­íÇ­×»­ÉÇ ·ÉáõË­·áñ­Íáó­ Ý»ñ, µ³Ûó ÏÇ­Ýá­ÛÇÝ Ï³­ñ»­ÉÇ ¿ í»­ñ³­µ»ñ­í»É ß³ï ѳ­ë³­ñ³Ï, ³ñ­Ñ»ë­ï³­íá­ñÇ ÝÙ³Ý, ¨ ¹ñ³­Ýáí ³ÛÝ ¹³ñÓ­ Ý»É ùáÝÝ áõ ¹Çå­ã»É Ù³ñ¹­Ï³Ýó ëñï»­ñÇݦ: §Æ±Ýã ¿ Ò»½ ѳ­Ù³ñ ÏÇ­Ýáݦ ³í³Ý­¹³­Ï³Ý ѳñ­óÇÝ é»­ÅÇ­ëá­ñÁ å³­ï³ë­Ë³­Ý»ó. §ÎÇ­ÝáÝ Ùß³­Ïáõ­Ã³­ ÛÇÝ ³ñ­ï³­Ñ³Ûï­ã³­ÙÇ­çáó ¿, áñÝ, Áëï Çë, »ñ­Ï³­ÏÇ ¿: ²Ý­Ï³Ë »ñÏ­ñÇ å³ï­Ï³­Ý»­Éáõ­ÃÛáõ­ÝÇó` ³ÛÝ Ñ³­Ù³­ Ù³ñ¹­Ï³­ÛÇÝ ¿ ¨ ÙÇ­³­íá­ñáõÙ ¿ µá­Éá­ñÇÝ: ºñÏ­ñáñ¹` ÏÇ­ÝáÝ µ³Õ­Ï³­ó³Í ¿ ¹»­ï³É­Ý»­ñÇó: úñǭݳÏ` É»­½áõÝ, áñÁ ýÇÉ­ÙÇÝ Ñ³­Õáñ­¹áõÙ ¿ Ñ»Ýó ³Û¹ »ñÏ­ñÇÝ µÝá­ñáß ßáõÝã¦: àñ­å»ë í»ñ­ç³­µ³Ý ÎÉ»ñ ¸Á­ÝÇÝ ³í»­É³ó­ñ»ó. §üÇÉ­ÙÁ Ï۳ݭùÇó 2-3 ï³­ñÇ ¿ §í»ñó­ÝáõÙ¦: ÆëÏ Ýϳ­ ñ³­Ñ³­ÝáõÙ­Ý»­ñÇó Ñ»­ïá ÃáÕ­ÝáõÙ ¿ ¹³­ï³ñ­Ïáõ­ÃÛáõÝ, áñÁ ·³­ÉÇë »Ý Éñ³ó­Ý»­Éáõ Ýáñ ·³­Õ³­÷³ñ­Ý»­ñÁ, Ýáñ ýÇÉ­Ù»ñ Ýϳ­ñ³­Ñ³­Ý»­Éáõ Ó·ïáõ­ÙÁ¦:

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γñ­¹Ç­Ý³­É»)` Ýáñ ù³­Õ³­ù³­å»­ïÇ ¹ëï»ñ ³Ùáõë­ Ýáõ­ÃÛ³­ÝÁ` ãݳ­Û³Í ½³ñ­ÙÇ­ÏÁ Ëáë­ï³­ó»É ¿ñ ÏÝáõ­ ÃÛ³Ý í»ñó­Ý»É Ç߭˳­ÝÇ ¹ëï»­ñÁ... üÇÉ­ÙÇ ÏáÙ­å᭽ǭïá­ñÁ Ýß³­Ý³­íáñ ÜÇ­Ýá èá­ï³Ý ¿, 볭ϳÛÝ §ÀÝ­Ó³­éÛáõ­ÍÁ¦ ýÇÉ­ÙáõÙ áã å³­Ï³ë ¹»ñ »Ý ˳­Õáõ٠ݳ¨ æáõ­½»­å» ì»ñ­¹ÇÇ ãݳ߭˳ñ­ÑÇÏ í³É­ë»­ñÁ: ¸ñ³Ýù Ù³ë­Ý³­íá­ñ³­å»ë ÑÝãáõÙ »Ý 51 ñá­å» 鶴á­Õáõ­ÃÛ³Ùµ å³­ñ³­Ñ³Ý­¹»­ëÇ ï»­ë³­ñ³­ ÝáõÙ, áñ­ï»Õ Ç ÙÇ »Ý µ»ñ­íáõÙ å³ï­Ùáõ­ÃÛ³Ý µá­ Éáñ ѳݭ·áõÛó­Ý»­ñÁ: ²½Ý­í³­Ï³Ý­Ý»­ñÇ ³Ûë å³­ñ³­ ѳݭ¹»­ëáõÙ ·»­ñ³­Ï³­ÛáõÙ »Ý ϳñ­ÙÇ­ñÁ, ëåÇ­ï³ÏÝ áõ ϳ­Ý³­ãÁ` ¶³­ñÇ­µ³É­¹ÇÇ ¹ñá­ßÇ ·áõÛ­Ý»­ñÁ: лÝó ³Ûë å³­ñ³­Ñ³Ý­¹»­ëÇ Å³­Ù³­Ý³Ï ¿ ݳ¨ Îɳ­ áõ­¹Ç³ γñ­¹Ç­Ý³­É»Ý óáõÛó ï³­ÉÇë Çñ áÕç ÑÙ³ÛùÝ áõ ﳭճݭ¹Á: Àݹ­Ñ³Ý­ñ³­å»ë ²Ý­ç»­Éǭϳ­ÛÇ Ï»ñ­å³­ ñÁ ÙÇ­³Ý­ß³­Ý³Ï ã¿: Üñ³ Ûáõ­ñ³­ù³Ý­ãÛáõñ ß³ñ­ÅáõÙÝ áõ ѳ­Û³ó­ùÁ »ñ­Ï³­ÏÇ ÇÙ³ëï áõ­Ý»Ý. ¹ñ³Ýù ÙÇ­³­ ų­Ù³­Ý³Ï ¨ ÑÇ­³ë­ù³Ýã »Ý, ¨ µéݳ½­µá­ëÇÏ: Æ í»ñ­ çá å³ñ½ ã¿` ÇÝã­å»±ë Áݭϳ­É»É ²Ý­ç»­Éǭϳ­ÛÇÝ` áñ­å»ë ¹ñ³­Ï³±Ý, û µ³­ó³­ë³­Ï³Ý Ï»ñ­å³ñ: üÇÉ­ÙÇ í»ñ­Ý³­·Ç­ñÁ ѳë­Ï³­Ý³­Éáõ ѳ­Ù³ñ µ³­í³­ Ï³Ý ¿ ÑÇ­ß»É ¹áÝ ê³­Éǭݳ­ÛÇ Ëáë­ù»­ñÁ. §Ø»Ýù ÁÝ­ Ó³­éÛáõÍ­Ý»ñ »Ýù: Üñ³Ýù, áí­ù»ñ Ù»½ ÷á­Ë³­ñÇ­Ý»­Éáõ »Ý, ßݳ­·³Û­ÉÇÏ­Ý»ñ ÏÉÇ­Ý»Ý, µá­ñ»­ÝÇ­Ý»ñ¦: ìÇë­ÏáÝ­ ïÇÝ ³Û­É¨ë ϳ­ñÇù ãáõ­ÝÇ óáõÛó ï³­Éáõ Ç߭˳­ÝÇ Ù³­ ÑÁ: ä³ñ½ ¿, áñ ³Û¹­åÇ­ëÇ ³½­ÝÇí å³ï­Ï»­ñ³­óáõÙ­ Ý»­ñáí Ù³ñ­¹Á ãÇ Ï³­ñáÕ »ñ­Ï³ñ ·á­Û³­ï¨­»É ³ÛÝ ³ß­­ ˳ñ­ÑáõÙ, áñÁ Õ»­Ï³­í³­ñáõÙ »Ý §ßݳ­·³Û­ÉÇÏ­Ý»­ñÁ¦:

²ñ­Ãáõñ ì³ñ­¹Ç­ÏÛ³Ý §ÀÝÓ³éÛáõÍÁ¦, ÈáõÏÇÝá ìÇëÏáÝïÇ, Æï³Édz, üñ³Ýëdz Ðáõ­ÉÇ­ëÇ 15, Ï/à §Ü³­Ç­ñǦ (21:00)

GOLDEN APRICOT DAILY | DAY 5 | 15 JULY | 2010

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ

ºñÏ­Ëá­ëáõ­ÃÛáõÝ ÇÝù­Ýáõ­ÃÛ³Ý ËݹñÇ ßáõñç

ØÇç³½·³ÛÇÝ Ë³Õ³ñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ

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ѳ­ñ³­½³ï ù»­éÇÝ ëÇ­ñ³­Ñ»­ïáõÙ ¿ Çñ»Ý: êÇ­ñ³­Ñ³ñ­ Ý»­ñÁ Ëáñ­ÑáõÙ »Ý` ÇÝã­å»±ë û·­Ý»É ³Õç­Ï³Ý ¨ áñá­ßáõÙ »Ý ëå³­ë»É Éáõ­ë³­µ³­óÇÝ: 곭ϳÛÝ ³é³­íá­ïÛ³Ý Î³­ ñÇ­Ý³Ý ³Ý­Ñ»­ï³­ÝáõÙ ¿... ²Ûë ·Ç­ß»­ñ³­ÛÇÝ Çñ³­¹³ñ­ Óáõ­ÃÛáõ­ÝÁ, áñÝ ³Ý­ï³ñ­µ»ñ ¿ ÃáÕ­ÝáõÙ èá¹­ñÇ­·á­ÛÇÝ, Ëá­ñ³­å»ë Ñáõ­½áõÙ ¿ Ýñ³ Ýß³­Ý³­ÍÇÝ: س­ñÇ­³­Ý³Ý ëÏëáõÙ ¿ ÷áË­í»É` ѳϭíáõÙ ¿ Ù»­Ýáõ­ÃÛ³Ý, ³Ù»Ý ÇÝã ëÏëáõÙ ¿ Çñ»Ý ûï³ñ Ãí³É: ´³Ûó ³Ù»­Ý³­Ù»Í ÑÇ­³ë­ ó­÷áõ­ÃÛáõ­ÝÁ ÉÇ­Ý»­Éáõ ¿ Ñ»­ïá` س­ñÇ­³­Ý³­ÛÇ áõ γ­ñÇ­ ݳ­ÛÇ Ýáñ áõ ³Ý³ÏÝ­Ï³É Ñ³Ý­¹Ç­åáõ­ÙÇó Ñ»­ïá ... ü³µ­ñ»­·³Ý ϳ­ñá­Õ³­ó»É ¿ ëï»Õ­Í»É é»­³­ÉÇë­ï³­ Ï³Ý áÕ­µ»ñ­·áõ­ÃÛáõÝ: Àݹ áñáõÙ, ³ÛÝ ï»­ÕÇ ¿ áõ­Ý»­ ÝáõÙ áã û ³ñ­ï³­ùÇÝ, ³ÛÉ ·áñ­ÍáÕ Ñ»­ñáë­Ý»­ñÇ Ý»­ ñ³ß­Ë³ñ­ÑáõÙ, ù³­ÝÇ áñ ßñç³­å³­ïáõÙ (Ëáë­ùÁ ÙÇ­ ³ÛÝ Îáë­ï³ èǭϳ­ÛÇ Ù³­ëÇÝ ã¿) ³Ù»Ý ÇÝã ÙÝáõÙ ¿ ÝáõÛ­ÝÁ: ÆëÏ ·É˳­íáñ Ñ»­ñá­ëáõ­ÑÇÝ` س­ñÇ­³­Ý³Ý, ѳÛïÝ­í»É ¿ ¹³­ï³ñ­Ïáõ­ÃÛ³Ý Ù»ç: ÆÝã-áñ µ³Ý Ù³­ ñ»É ¿ Ýñ³ Ù»ç: س­ñ»±É: » ³ñíݳ­ó»É...

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²ýÕ³Ýëï³ÝÇ ëåÇï³Ï ÃßݳÙÇÝ»ñÁ ºñ­Ïáõ Ãßݳ­ÙÇ áõ­Ý»Ý` »ñ­ÏáõëÝ ¿É ëåÇ­ï³Ï, »ñ­ÏáõëÝ ¿É ³ï»­ÉÇ: Ø»­ÏÁ ûï³­ñ»ñÏ­ñ³­óÇ­Ý»ñÝ »Ý, ÙÛáõ­ëÁ` Ñ»­ñá­Ç­ÝÁ: ²é³­çÇÝÝ ³í»­ñ»É ¿ Ýñ³Ýó ù³­Õ³­ ùÁ, í»­ñ³­Í»É ÷ɳ­ï³Ï­Ý»­ñÇ, ÙÛáõ­ëÁ Ù³ñ­ÙÇÝÝ ¿ ³í»­ ñáõÙ, ¹³ñÓ­ÝáõÙ ÷ɳ­ï³Ï` ÷ï³Í áë­Ïáñ­Ý»­ñÇ ÏáõÛï, ͳÏÍÏ­í³Í Ù³ñ­ÙÇÝ, Ïáïñï­í³Í »ÕáõÝ·­Ý»ñ áõ ϻխ ïáï Ù³­½»ñ: ÆëÏ ³ã­ù»­ñÁ ·»­Õ»­óÇÏ »Ý, ó˭Íáï` ÝáõÛ­ÝÇëÏ ÇÝù­Ý³­Ùá­é³ó ѳ­×áõÛ­ùÇ å³­ÑÇÝ: æ³­í»¹ ³ۭٳ­ÝÇ §²ý­Õ³Ýë­ï³­ÝÇ ÃÙñ³­ÙáÉ­Ý»­ ñÁ¦ ýÇÉ­ÙÇ Ñ»­ñáë­Ý»ñÝ ³å­ñáõÙ »Ý Ù³Û­ñ³­ù³­Õ³ù ø³­µáõ­ÉáõÙ: æ³­µ³­ñÁ ¨ ¼³­ÑÇ­ñÁ ٳݭÏáõ­ÃÛ³Ý ÁÝ­Ï»ñ­ Ý»ñ »Ý: Üñ³Ýù 15-16 ï³­ñ»­Ï³Ý »Ý, µ³Ûó ³ñ­¹»Ý` ÷áñ­Ó³­éáõ ÃÙñ³­ÙáÉ­Ý»ñ: î»­ë³Ë­óÇ­ÏÁ Ñ»­ï¨­áõÙ ¿ Ýñ³Ýó` ˳­ÕáõÙ »Ý, Éí³ó­íáõÙ, ë³ñ »Ý µ³ñÓ­ñ³­ÝáõÙ: ²Ûë ³Ù»­ÝÁ ¿³­Ï³Ý ã¿, »ñÏ­ñáñ­¹³­Ï³Ý ¿: Üñ³Ýó ûñ³­ ϳñ­·áõÙ ³Ý­÷á­÷áË ¿ ÙÇ­³ÛÝ ûñÁ »ñ­Ïáõ ³Ý­·³Ù Ñ»­ ñá­ÇÝ ÁÝ­¹áõ­Ý»­ÉÁ: л­ñá­Ç­ÝÁ ï»ñ áõ ïÇ­ñ³­Ï³É ¿ Ýñ³Ýó ÁÝ­ï³­ÝÇù­Ý»­ñáõÙ ¨ ÷á­Ë³Ýó­íáõÙ ¿ ų­é³Ý­·³­µ³ñ` Ñá­ñÇó áñ­¹áõÝ, Ùá­ñÇó ³Õç­Ï³Ý, »Õ­µá­ñÇó ùñá­çÁ: ò³íÝ ³Ù»­Ýáõñ ó³í ¿: ȳóÝ ³Ù»­Ýáõñ ɳó ¿: ºñ»­ ˳­Ý»ñÝ ¿É ³Ù»­Ýáõñ »ñ³­½áõÙ »Ý û¹³­ãáõ ¹³é­Ý³É:

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²ñ­Ãáõñ ì³ñ­¹Ç­ÏÛ³Ý §ÌáíÇ å³Õ çáõñÁ¦, ä³ë ü³µñ»·³, Îáëï³ èÇϳ, üñ³Ýëdz, Æëå³Ýdz, Üǹ»éɳݹݻñ, Ø»ùëÇϳ Ðáõ­ÉÇ­ëÇ 15, Ï/à §ØáëÏ­í³¦, γ­åáõÛï ¹³Ñ­ÉÇ×, (10:00)

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γ­ñÇÝ ¶ñÇ­·á­ñÛ³Ý §ºñÏ­Ëá­ëáõ­ÃÛáõÝ­Ý»ñ¦, ¶³­·ÇÏ Ô³­½³­ñ¿, г­Û³ë­ï³Ý Ðáõ­ÉÇ­ëÇ 15, Ï/à §ØáëÏ­í³¦, öáùñ ¹³Ñ­ÉÇ× (20:00)

GOLDEN APRICOT DAILY | DAY 5 | 15 JULY | 2010

interview 5

Leon Cakoff È»áÝ Î³ÏáíÁ ѳÛïÝÇ ¿ áñå»ë ÏÇÝáùÝݳ¹³ï, é»ÅÇëáñ ¨ ê³Ý ä³áõÉá ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ ïÝûñ»Ý: ´³Ûó áã µáÉáñÁ ·Çï»Ý Ýñ³ Çñ³Ï³Ý ³ÝáõÝÁ` È»áÝ â³¹³ñ¨Û³Ý: È»­áÝ Î³­Ïá­íÁ ÏÇ­Ýá­ÛÇ ÙÇ­ç³½­·³­ÛÇÝ ³ë­å³­ñ»­ ½áõ٠׳­Ý³ã­í³Í ¿ áñ­å»ë ê³Ý ä³­áõ­Éá­ÛÇ ÙÇ­ç³½­ ·³­ÛÇÝ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ ïÝû­ñ»Ý (ѳÛï­ÝÇ ¿ ݳ¨ Øáëíñ³ ³Ýáõ­Ýáí), áñÁ ݳ ÑÇ٭ݳ¹­ñ»É ¿ 1977 Ã.: ܳ¨ ÏÇ­Ýáùݭݳ­¹³ï ¿, ·ñ»É ¿ ·ñù»ñ ýÇÉ­Ù»­ñÇ ¨ é»­ÅÇ­ëáñ­Ý»­ñÇ Ù³­ëÇÝ, ýÇÉ­Ù»ñ ¿ Ýϳ­ñ³­Ñ³­ÝáõÙ: Üñ³ §´³­ñÇ ·³­Éáõëï ê³Ý ä³­áõ­Éá¦-Ý óáõ­ó³¹ñ­ í»­Éáõ ¿ §àë­Ï» ÍÇ­ñ³Ý¦ ÏÇ­Ýá­÷³­é³­ïá­ÝáõÙ, Ñáõ­ÉÇ­ ëÇ 17-ÇÝ, γ­Ïá­íÇ í³ñ­å»­ïáõ­ÃÛ³Ý ¹³­ëÁݭóó­Ý»­­ ñÇ ßñ糭ݳϭݻ­ñáõÙ: ¸³ ų­Ù³­Ý³­Ï³­ÏÇó ÏÇ­Ýá­ ÛÇ í³ñ­å»ï­Ý»­ñÇ, ³Û¹ ÃíáõÙ ²Ùáë ¶Ç­Ã³­ÛÇÇ, üÇ­ ÉÇå ÜáÛ­ù»Ç ¨ ò³Û ØÇÝ·-ÈÇ­³Ý­·Ç ϳñ­×³­Ù»ï­ñ³Å ýÇÉ­Ù»­ñÇ Ñ³­í³­ù³­Íáõ ¿: 2005 Ã. γ­Ïá­íÁ Ó»é­Ý³ñ­Ï»ó §²Ý­ï»­ë³­Ý»­ÉÇ ³ß­Ë³ñѦ ݳ­Ë³­·Ç­ÍÁ` µ³­ó»­Éáí åáñ­ïáõ­·³­É³­ óÇ í³ñ­å»ï س­Ýá­»É úÉÇ­í»Û­ñ³­ÛÇ Ï³ñ­×³­Ù»ï­ñ³Å ýÇÉ­Ùáí, Ý»­ñ³­é»­Éáí ݳ¨ ìÇÙ ì»Ý­¹»ñ­ëÇ, ²ïáÙ ¾·á­Û³­ÝÇ ¨ Â»á ²Ý­·»­Éá­åáõ­Éá­ëÇ ýÇÉ­Ù»­ñÁ: ܳ ݳ­Ë³­ï»­ëáõÙ ¿ ݳ­Ë³­·ÇÍÝ ³í³ñ­ïÇÝ Ñ³ëó­Ý»É ³Ûë ï³ñ­í³ í»ñ­çÇÝ: §´³Ûó å»ïù ã¿ ßï³­å»É¦,— Ååï³­Éáí ³ëáõÙ ¿ ݳ ¨ ѻݭíáõÙ ³Ãá­éÇÝ: ö³­é³­ïá­Ýáõ٠ݳ ÉÇ­³­Ù»ï­ñ³Å ýÇÉ­Ù»­ñÇ ÅÛáõ­ ñÇÇ ³Ý­¹³Ù ¿, µ³Ûó ų­Ù³­Ý³Ï ¿ ·ïÝáõÙ ½ñáõ­ó»­ Éáõ §àë­Ï» ÍÇ­ñ³Ý¦ ûñ³­Ã»ñ­ÃÇ ÃÕóϭóÇ Ñ»ï` Çñ Ï۳ݭùÇ, ´ñ³­½Ç­ÉÇ­³­ÛÇ ÏÇ­Ýá­Ù³­ïá·­ñ³­ýÇ­³­ÛÇ ¨ Çñ ѳۭϳ­Ï³Ý ³ñ­Ù³ï­Ý»­ñÇ Ù³­ëÇÝ: ¸áõù ³é³­çÇ±Ý ³Ý­·³Ù »ù г­Û³ë­ï³­ÝáõÙ: àã, ³é³­çÇÝ ³Ý­·³Ù »Ï³ 1988-ÇÝ: ºë ýÇÉ­Ù»­ ñÇ ³ñ­ËÇí­Ý»­ñáõÙ Ñ»­ï³­½á­ïáõ­ÃÛáõÝ­Ý»ñ ϳ­ï³­ ñ»­Éáõ ÃáõÛÉï­íáõ­ÃÛáõÝ ëï³­ó³: ¸Ç­ïáõÙ ¿Ç ÑÇÝ Ñ³Û­Ï³­Ï³Ý ѳÙñ ÏÇ­Ýá­Ý»ñ: ¶Ç­ï»Ç, áñ ³Û¹ ÁÝ­ óó­ùáõÙ ·áñ­Í³­¹áõÉ ¿ ϳ½­Ù³­Ï»ñå­íáõÙ: ¸³ ÊáñÑñ­¹³­ÛÇÝ ØÇ­áõ­ÃÛ³Ý ³é³­çÇÝ ·áñ­Í³­¹áõÉ­Ý»­ ñÇó ¿ñ: ºë Éáõ­ë³Ý­Ï³­ñ»­óÇ ·áñ­Í³­¹áõ­É³­íáñ­Ý»­ ñÇÝ, ÇÝãÝ Çѳñ­Ï» ã¿ñ ϳ­ñ»­ÉÇ ³Ý»É: Ø»Ï ß³­ µ³Ã »ë ß³ï í³­Ë»­ó³Í ¿Ç: л­ïá í»­ñ³­¹³ñ­Ó³ ö³­ñǽ ¨ Éáõ­ë³Ý­Ï³ñ­Ý»ñë ï³­ñ³ Ù³­Ùáõ­ÉÇ ·áñ­ ͳ­Ï³­Éáõ­ÃÛáõÝ: г­çáñ¹ ûñÝ ÇÙ Éáõ­ë³Ý­Ï³ñ­Ý»­ ñÁ ѳÛïÝ­í»­óÇÝ ³ß­Ë³ñ­Ñáí Ù»Ï Ññ³­ï³­ñ³Ï­ íáÕ 54 ûñ­Ã»­ñÇ ³é³­çÇÝ ¿ç»­ñÇÝ: ¸ñ³Ýù µ³­ ó³­éÇÏ Éáõ­ë³Ý­Ï³ñ­Ý»ñ ¿ÇÝ, ù³­ÝÇ áñ ³Û¹ ·áñ­Í³­ ¹áõÉÝ áõ­ñÇß áã áù ã¿ñ Éáõ­ë³Ý­Ï³­ñ»É: Ò»ñ Ù³Û­ñÁ ÍÝáõÝ­¹áí г­Û³ë­ï³­ÝÇó ¿, ³Û¹­ å»ë 㿱: ܳ ó»­Õ³ë­å³­Ýáõ­ÃÛáõ­ÝÁ í»­ñ³å­ñ³Í­Ý»­ñÇó ¿: 1915-ÇÝ Ý³ ÁÝ­¹³­Ù»­ÝÁ ãáñë ï³­ñ»­Ï³Ý ¿ñ: Øáñë ÁÝ­ï³­ÝÇ­ùÁ ß³ï ÷áñ­Óáõ­ÃÛáõÝ­Ý»­ñáí ¿ ³Ý­ó»É: ²Ý³­ å³­ ïáõÙ Ññ³ß­ ùáí ϻݭ ¹³­ ÝÇ »Ý Ùݳ­ ó»É, ³å³ ï³­ïÇÏë Ùáñë ·ñÏ³Í ÷³­Ë»É ¿ êÇ­ñdz, áñ­ï»Õ ¿É 1948-ÇÝ ÍÝí»É »Ù »ë: л­ïá ³½­·³Û­Ý³­Ï³­Ýáõ­ÃÛ³Ý ³ÉÇù µ³ñÓ­ñ³­ó³í, ¨ Ù»½ Ýá­ñÇó ëÏë»­óÇÝ í»­ñ³­ µ»ñ­í»É áñ­å»ë Ãßݳ­ÙÇ­Ý»­ñÇ: Ø»Ýù ѳ­Û»ñ ¿ÇÝù, ϳ­Ãá­ÉÇÏ, ³ÛÝ­å»ë áñ Ù»Ýù ëïÇå­í³Í »Õ³Ýù êÇ­ ñÇ­³­ÛÇó ¿É Ñ»­é³­Ý³É: ²±Û¹ ¿ å³ï­×³­éÁ, áñ ¹áõù ÷á­Ë»É »ù Ó»ñ ³Ýáõ­ÝÁ: ¸³ ³ñ­¹»Ý µá­Éá­ñá­íÇÝ áõ­ñÇß å³ï­Ùáõ­ÃÛáõÝ ¿: ºñµ Éñ³·­ñáÕ ¿Ç ´ñ³­½Ç­ÉÇ­³­ÛáõÙ, ëϽµÝ³­Ï³Ý ßñç³­ÝáõÙ ëïá­ñ³·­ñáõÙ ¿Ç ÇÙ Çë­Ï³­Ï³Ý ³½­·³­­ Ýáõ­Ýáí` â³­¹³­ñ¨­Û³Ý: ´³Ûó 20 ï³­ñÇ ß³­ñáõ­Ý³Ï Ù»Ýù ³å­ñáõÙ ¿ÇÝù ½ÇÝ­íá­ñ³­Ï³Ý µéݳ­å»­ï³­Ï³Ý í³ñ­ã³­Ï³ñ­·áõÙ: ØÇ ³Ý­·³Ù ׳­åá­Ý³­Ï³Ý ÙÇ ýÇÉ­ ÙÇ Ù³­ëÇÝ ·ñ³Í Ñá¹­í³­ÍáõÙ ß³ï ½·áõ­ß³­íáñ, ùá­ Õ³ñÏ­í³Í Ï»ñ­åáí ùÝݳ­¹³­ï»­óÇ ·ñ³ùÝ­Ýáõ­ÃÛáõ­ ÝÁ: ä³ß­ïá­ÝÛ³­Ý»­ñÁ ÙÇ­³Ý­·³­ÙÇó 峭ѳݭ续óÇÝ ÇÙ Õ»­Ï³­í³ñ­Ý»­ñÇó, áñ ÇÝÓ Ñ»­é³ó­Ý»Ý ³ß­Ë³­ï³Ý­ ùÇó: ´³Ûó Ýñ³Ýù ÇÙ ÁÝ­Ï»ñ­Ý»ñÝ ¿ÇÝ, ³ÛÝ­å»ë áñ å³ñ­½³­å»ë ³ë³­óÇÝ ÇÝÓ, áñ ÷á­Ë»Ù ³ÝáõÝë ¨ ³Û­É¨ë ÝÙ³Ý µ³­Ý»ñ ã·ñ»Ù: Ò»ñ í³ñ­å»­ïáõ­ÃÛ³Ý ¹³­ëÁݭóóÝ ÇÝ­ãDZ Ù³­ ëÇÝ ¿ ÉÇ­Ý»­Éáõ: ÆÙ Ï۳ݭùÇ ÷áñ­ÓÇ: سñ­¹ÇÏ ÙÇßï ¿É ·á­Û³­ï¨­»­ Éáõ ËݹÇñ áõ­Ý»Ý, ³í»­ÉÇ áõ­Å»Õ ¹³é­Ý³­Éáõ` ѳ­Ï³­ é³­Ïáñ¹­Ý»­ñÇÝ ¹Ç­Ù³¹­ñ»­Éáõ ѳ­Ù³ñ: ÜáõÛ­ÝÇëÏ »Ã» ýÇÉÙ »ë Ýϳ­ñáõ٠ϳ٠÷³­é³­ïáÝ Ï³½­Ù³­Ï»ñ­åáõÙ, ùá ËݹÇñÝ ¿` Ýáñ ׳­Ý³­å³ñÑ­Ý»ñ µ³­ó»É Ù³ñ¹­ ϳÝó ѳ­Ù³ñ: â»±ù ϳñ­ÍáõÙ, áñ ¹³ ѳ­ÛÇÝ ¿ µÝá­ñáß: ºë ϳñ­ÍáõÙ »Ù, áñ ¹³ ѳ­Ù³­Ù³ñ¹­Ï³­ÛÇÝ ¿: ºë

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λÛë ¸ñÇ­»ë­ë»Ý §´³­ñÇ ·³­Éáõëï ê³Ý ä³áõÉá¦, È»áÝ Î³Ïáí, ´ñ³½ÇÉdz ÐáõÉÇëÇ 17, ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ, (14:00)

Leon Cakoff is well-known as a film critic, writer, and filmmaker, and as the director of the São Paulo International Film Festival. But not everyone knows his real name is Leon Chadarevian. 'Resisting other cultures is a dangerous thing.'

Leon Cakoff is well-known in the international film community as the director of the São Paulo International Film Festival (also known as the Mostra), which he founded in 1977. He is also a film critic, writes books on film and filmmakers, and makes films. His Welcome to São Paulo will be screened on July 17th, during a Master Class Cakoff will be giving at the Golden Apricot Film Festival. It is a collection of short films by mod­ ern masters, including Amos Gitai, Phillip Noyce, and Tsai Ming-liang.

In 2005, Cakoff began the project ‘Invisible World’, starting with a short by Portuguese maes­ tro Manoel de Oliveira and also involving film­ makers like Wim Wenders, Atom Egoyan, and Theo Angelopoulos. He plans to finish this project by the end of the year. 'But no rush', he smiles, and he leans back in his chair.

For such a busy man, Cakoff is remarka­ bly relaxed. At the festival he is a member of the Feature Jury, but he finds time to talk to the Golden Apricot Daily about his life, the state of cinema in Brazil, and his Armenian beginnings.

Is this the first time you have been to Armenia?

No, that was in 1988. I managed to get a visa to do research at the film archives, looking at old Armenian silent movies. But I knew there was a strike going on, one of the first of its kind in the Soviet Union. I took pictures of the strike, which was of course illegal. For one week, I was very scared. Then I went back to Paris and gave my work to a press agency. The next day, my picture was on the front page of 54 newspapers world­ wide. It was something very special, because there were no other images of the strike.

Your mother was born in Armenia.

She is a survivor of the Genocide. She was four years old in 1915. They suffered many hardships.

They had to survive in the desert, she escaped in the arms of my grandmother to Syria, where I was born. Then, with the rise of nationalism, we be­ came enemies again! We were Armenian, catho­ lic, and francophone – so we had to leave.

Is that why you changed your name?

That is another story. As a journalist in Brazil, I originally published under my real name, Chadarevian. But for twenty years we lived under a military dictatorship. One time, I hid some crit­ icism of censorship, very carefully worded, in the review of a Japanese film. Immediately, the of­ ficials wanted my superiors to fire me. But they were my friends, so they just told me to change my name – and to stop fucking around!

What will your Master Class be about?

About my life experiences. It's always a ques­ tion of surviving. Doing things to feel stronger, to resist whoever is opposing you. Even when you're making films, or organizing a festival. Your job is to open new ways for people.

Do you think there is something Armenian about that?

I think it's universal. I don't feel only Armenian.

I don't like borders and I don't like the conserv­ ative way of looking at your roots. You must re­ main very open. Otherwise, even without noticing it yourself, you will start to resist other cultures.

And that is a very dangerous thing.

What was it like to start the festival in São Paulo?

It was very hard. And it still is. Every year I start at ground zero. In the beginning it was much hard­ er, because of the dictatorship. There was fear. Fear to walk on the street, to talk to friends, to take a cab, to talk to the driver, fear of the walls around you! That is a dictatorship. It was the same here, dur­ ing the Soviet times. Starting the festival was part of my fight against repression. Using the cinema as my weapon. And we got stronger and stronger.

What is the situation at the festival now?

Last year, we had 22 theaters. That is enough, we don't need 30. Otherwise, films at the festi­ val will have a hard time finding their audience.

We also produce films, program theaters, publish books, and release films and DVD’s.

And the state of cinema in Brazil?

These are hard times everywhere. The traditional cinephile is disappearing, the people who watch in­ dependent films, follow directors, read books. It's be­ come old-fashioned and that's a pity. Maybe the new style will be multimedia. Last year, we were the first festival in the world to add a virtual, online theater, with 300 streaming screens. Some other good news is that the government is supporting the creation of more cinemas. We need 6,000 in Brazil, and right now we only have 2,000, mostly in the big cities.

Do you think some of your experiences in Brazil could be relevant to Armenia?

Well, one thing that works very well, which we started in Brazil, is to have theaters which show both major releases and independent films. We mixed the two. We built a theater in a cinephile style, with lots of big pictures on the walls, and with a good place to stay and have a drink af­ ter the screening, so you don't throw your audi­ ence out on the streets. You know, I might like to go and see Shrek 4. But I never felt like going to cinemas which show only these kinds of films. I dreamt to have one place to do both.

To show Shrek, next to Angelopoulos?

Exactly. That was the original idea and it works very well. I was sure I wasn't the only person who wanted this, and we find the audience is very pleased.

Kees Driessen Master Class Leon Cakoff, Naregetsi Art Institute, 17-7, 14:00 pm.

Including a screening of Cakoff's Welcome to São Paulo (2004).

GOLDEN APRICOT DAILY | DAY 5 | 15 JULY | 2010

6 films and makers Greek Master Greek master filmmaker Theodoros Angelopoulos will be present at the Babajanyan Philharmonic Concert Hall for a public meeting at 14:00 pm. This year's GAIFF is honoring Angelopoulos with a ret­ rospective, showing films like Voyage to Cythera (1984) and The Beekeeper (1986).

Press conferences Celebrated Polish director Krzysztof Zanussi will be present at a press conference at the Golden Tulip hotel at 11.00 am. At 12.00 pm, he is followed by Allen Hughes, half of the Hughes twins, whose The Book of Eli is shown at the festival. Then at 13:00 pm, Armenian director Vigen Chaldranyan will talk about his latest film, Maestro.

Polish Film Day After his press conference, Polish direc­ tor Krzysztof Zanussi will be present at the Opening of the Polish Day of the festival, screening his 2009 film Revisited, in which Zanussi literally revisits the protagonists of his own films from the 1970s: Family Life (1971), Camouflage (1976), and The Constant Factor (1980), to see what happened to them after the film was finished. Later today, invit­ ed guests are welcome at the reception hosted by the Polish Embassy, from 19:30 pm.

Breathing Images Apart from his images, the inner rhythm of the scenes and brilliantly constructed images, director of photography Albert Yavuryan’s visual style has an­ other important feature, reflected especially conspicuously in Ashik-Kerib, directed by Sergei Parajanov.

Albert Yavuryan’s images look like the storehouse of the nation’s genetic memory. But this is not a frontal phenomenon because they are only implicated.

Any scene or image, even a routine one, gets purified when going through Yavuryan's camera, becoming extremely intelligent and very national.

Hovhannes Tekgyozyan Ashik-Kerib, photographed by Albert Yavuryan and directed by Sergei Parajanov (Georgia, 1988). July 15, 19:30, Arno Babajanian Concert Hall.

Foreign Affairs

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

Festival guests are invited for a trip to 1stcentury Garni temple and nearby 13th-cen­ tury Geghard monastery, dramatically carved out of the surrounding rock. The trip to two of the most famous sights in Armenia will start at 11.00 am, when buses will be waiting in front of the Golden Tulip hotel.

Drinking Across Borders Festival guests and participants of the Directors Across Borders Regional CoProduction Forum are invited to the closing cocktail of this pan-Caucasian and regional platform, which aims to use cinema to tran­ scend political, ideological, racial, and reli­ gious borders.

A window opened to the world This is not the first time that I am coming to the Golden Apricot International Film Festival; it is al­ ready the third time. And my films came before me.

I have known the founder of the festival, Harutyun Khachatryan, for a long time from his visits to France, where I organize a festival of Armenian films. So I was the host first. I think it is a nice idea that some­ body like me, who was born in Yerevan and who has been living in Paris for a long time, could build the bridge between Armenians at home and Armenians of the Diaspora. I think there is more than one bridge in the festival, there are many bridges connecting us to many places. So it is difficult to choose one of them. I go over all the bridges because I have been standing in front, behind and next to the festival.

I think the particular problem of Armenia and Yerevan is that there is not enough film distribution.

Except the festival and cinema Moscow, which most­ ly programs American films, there are not many op­ tions to show art house films. This might be because the city is too small. And perhaps social conditions don't allow people to go to the cinema every day. I think the festival plays the role of a catalyst for con­ tinuity of the cinematic atmosphere in the city very well. The festival is a window opened to the world, but also opened to the interior of Armenia. This is a two-way window. And it should be like that, direct­ ed to inside and outside at the same time.

Tripping in Armenia

Albert Yavuryan 75 Today is the opening of the program ded­ icated to Albert Yavuryan, one of the best cameramen of Armenian cinema, who passed away in 2007 and would have cele­ brated his 75th birthday in 2010. The pro­ gram starts at 19:30 pm, at the Babajanyan Philharmonic Concert Hall. The festival is showing Parajanov’s Ashik-Kerib (1988), one of the films for which Yavuryan did the camera work.

Bravo, Maestro Vigen Chaldranian's latest cinematographic opus, Maestro, is an original approach to the dra­ matic incident of two years ago, called ‘the 1st of March events’. The director himself describes the film as a “philosophical parable about modern so­ ciety”. This statement needs two amendments.

Firstly, it's about an embarrassed Armenian so­ ciety. And the inescapable clash of the individu­ al and society. And secondly, it's about the same Armenian society which earlier in the year gave a cold shoulder to the film and did not pay appropri­ ate attention to its aesthetic and ideological mer­ its. The presentation of the very film at the Golden Apricot International Film Festival 2010 may pos­ sibly improve something. In this case reevaluation is strongly needed, as the work is distinguished for its message, stresses and intense acting. And though Maestro is considered the second part of

Open Air Film

the dilogy with another film by Chaldranian, Der Voghormia, at the same time it can be seen as a separate film that can be viewed independently.

Besides Maestro is audacious, both in its message and in some sequences: a few scenes of an intimate nature are shown for the first time in Armenian cinema. Maestro, in general, is something pan-Ar­ menian. It's not by chance the main character is called Armen Tigranian. The film also pertains to all, and it's stressed by the director, with plenty of mass scenes and stylizations. The musical theme of the film is certainly one of its benefits.

David Vardazarian Maestro – Vigen Chaldranian (Armenia, 2010). 15-7, 11:30, Moscow Cinema, Blue Hall.

At the Yerevan Nights in Lover's Park, in front of the Presidential Palace, you can see Atom Egoyan's 1994 award-winning Exotica.

The film, a many-layered story mostly set in an exotic nightclub, will start at 22:00 pm. Also free, starting one hour earlier, is the next con­ testant 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 fea­ ture 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 5 | 15 JULY | 2010

reviews 7

After Borat has left

Women in Cold Water According to her father Karina is a princess.

Mother thinks that she is the only of her four chil­ dren that she can’t understand. Her three brothers can’t help being jealous. But she feels lonely and sad, so one night she runs away. Mariana finds her around the bushes, sleeping. Karina tells her how all her family died in an accident, how an uncle says that they will get married one day, how he likes to kiss her on the mouth with a tongue. Then she runs away, back where she came from.

Mariana is microbiologist. Her boyfriend Rodrigo is in real estate. For the new years holiday they drive to a coast where he has to work, while she spends the whole time waiting. It doesn’t feel like time passes, her boyfriend is out of reach. She shows some signs of emotional disorder, Rodrigo simply doesn't understand. According to him, she is unhappy because she wants it that way. What Mariana has in mind, what is eating her inside is unclear. She feels useless, powerless and forgot­ ten. Maybe she should find Karina again, maybe

the only way of helping ourselves is helping oth­ ers, as a wise man once said. Perhaps she should just run away. Yet, when she finds the little runa­ way Karina again, she gets even more confused by the ambiguities of the stories Karina tells.

“I wanted to call to mind the feeling of a very hot place where you have nothing to do. A place where you hang around in the open landscape and sink deeper into your own thoughts. That feeling of dis­ orientation. With this I created an atmosphere where it's obvious that what happens to the girl mirrors the inner world of the woman”, says Costa Rican Paz Fabrega about her debut film. It has all the charac­ teristics of a small budget independent film, where the disadvantages arising from technical difficulties seem to be turned into advantages in the sense that a simple, calm and realistic atmosphere is created and the viewer is given enough space to follow the diso­ rientation of the characters.

Fabrega: “It's really cool to film in Costa Rica.

There's no film industry, so it's still sort of naïve.

It's a small community. I found my actors, none of them professional, in a cafe, for example or in a school. I just held the auditions at my house and I was very happy with them. The lead actor, like in the film, is really a microbiologist. She'd never been in front of a camera before. The mother of a girl was just a housewife and the father a taxi driver. The lit­ tle girl was very special and even more rebellious in real life than in the film. Finding a good crew was a bit more difficult and most of them came from the advertising world. Technically they were very good but they had no experience of making a small art film. That cost a lot of energy”.

EK Cold Water of the Sea – Paz Fabrega (Costa Rica/France/Spain/The Netherlands/ Mexico, 2009). 15-7, 10:00, Moscow Cinema, Blue Hall; 15-7, 14:30, Moscow Cinema, Blue Hall.

The opening titles leave no doubt about the main subject of this documentary: 'Carmen' appears alone, in large letters. Only then are two smaller words add­ ed, 'Meets Borat'. Still, the world-famous Kazakh al­ ter-ego of British comedian Sacha Baron Cohen plays an important role in Carmen Meets Borat.

When Baron Cohen was looking for a place to portray his fictitious Kazakh hometown, he chose the poor Rumanian village of Glod. The villagers claim they thought 'Borat' was shooting a documentary, and only later discovered he was making fun of them, presenting one of the villagers as 'the town rapist'.

At that moment, Dutch director Mercedes Stalenhoef was already filming her portrait of Carmen. Suddenly, Stalenhoef's crew gets threatened by angry villagers, who now distrust all documentary makers. Then for­ eign lawyers arrive, telling the villagers to sue 'Borat' for millions. Soon, anger, jealousy, and gossip start to tear the small community apart, which is already bur­ dened by alcoholism and poverty.

Although Stalenhoef shows the effects the inter­ national mass media have on Glod, her main focus remains on Carmen. Stalenhoef follows her during her daily activities: helping out in her parents' shop and bar, talking with her friends.

Images of village life show drunks on the streets, trucks passing by, and snow falling in the surround­ ing countryside, supported by a melancholy sound­ track. It is a sleepy village, rudely awakened by Borat's crude – but funny – blockbuster comedy.

KD Carmen Meets Borat – Mercedes Stalenhoef (The Netherlands, 2008). 15-7, 18:00, Puppet Theatre, Small Hall.

Together Forever!

Dallas takes down the Soviet Union When Estonian director Jaak Kimli was a young boy, he illegally sold television guides for Finnish TV. These were Soviet times, and watching Finnish television programs was for­ bidden. Many Estonians secretly had their tele­ vision sets modified to receive the Helsinki sig­ nal; Kimli's father was one of the engineers in­ volved.

In this entertaining documentary, Kimli recalls his youth with both nostalgia and realism. Using old photographs of himself and his family, and a wide array of fascinating archive material (of­ ten with realistic sound effects added), he portrays an era where, for an 8-year old boy, the next epi­

sode of Dallas or Knight Rider was more impor­ tant than politics. Deadpan reconstructions of eve­ ryday life in Soviet Estonia illustrate his lighthearted approach.

Kimli also addresses more serious issues, in­ terviewing those involved, including the former heads of Finnish and Estonian TV, and points to the grimmer aspects of Cold War propaganda and the fear of an atomic war.

Still, in the end, even Karl Vaino, last Soviet leader of Estonia, admits the soft power of Western pop culture had undermined the totalitarian state.

How could people believe communist propagan­ da, when they saw their capitalist counterparts be­

ing richer and more free? And having disco, rock, and punk?

It wasn't long after Emmanuelle was shown on Finnish TV (during which, as Kimli recalls, the streets of Tallinn were deserted), that Communist rule in Estonia ended. Fittingly, Kimli adds the music of the soft-erotic classic to images of the ju­ bilant crowds celebrating Estonian independence.

KD Disco and Atomic War – Jaak Kilmi (Estonia/Finland, 2009). 15-7, 17:00, Naregatsi Art Center.

What does it mean to be together? Pavel Kostamarov has a poetic answer. His sensitive camera is directed towards two old people who have been together over decades and have been building their nest in one of the most artistic ways possible. Lyudmila and Vladimir‘s shared inspiration for Celtic art and their talent for painting and wooden sculpture turned their home in­ to a temple of a private religion. Following the cou­ ple throughout their peaceful daily life, Kostamarov’s camera introduces the viewer the private moments of a relationship with its ups and downs.

The old couple’s life provides an insight into the nature of love. Over years they have become eve­ rything: family, friend, enemy. Vladimir considers himself as the provocateur that sets free the genius inside Lyudmila while she has a method of her own for dealing with him: a woman must absorb and never dominate if she wants to keep the love alive.

That is how the roles are distributed in nature and apparently this is how people sometimes want it to be. Kostamarov is probably hesitant to accept it; he is objective and impartial yet he has his own way to appreciate and admire their love. And through one short period in their lifetime, he is able to create the feeling of eternity. Isn’t that what we call love?

EK Together - Pavel Kostamarov (Russia, 2009). 11-7, 11:00, Puppet Theater, Small Hall; 15-7, 19:00, “Dom Moskvy” in Yerevan; 16-7, 18:00, Puppet Theater, Small Hall.

GOLDEN APRICOT DAILY | DAY 4 | 14 JULY | 2010

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