Golden Apricot Daily - 2010, Day 6

DAY 6 FRIDAY JULY 16

2010

Lee Chang-dong:

"True beauty isn't visible"

ÈÇ â³Ý-¹áÝ.

§Æñ³Ï³Ý ·»Õ»óÏáõÃÛáõÝÁ ï»ë³Ý»ÉÇ ã¿¦ ºñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³` Ø»Õñ, äỽdz ØñóáõóÛÇÝ ýÇÉÙ»ñ`

ѳñó³½ñáõÛó

ºñÏáõëáí, ²ñ³ñ³ïÇó êÇáÝ

ÈÇ â³Ý-¹áÝÇ Ñ»ï

Interview

Lee Chang-dong

Interview Atom Egoyan, Dead Youth Reviews of:

Street Days, Down Here

GOLDEN APRICOT DAILY | DAY 6 | 16 JULY | 2010

2 Íñ³·Çñ/programm 16 ÑáõÉÇëÇ/ 16 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 ÐÇÝ· ÷Õ»ñáí ÏÇÝÁ/The Woman with 5 Elephants ì³¹ÇÙ ºÝ¹ñ»ÛÏá/Vadim Jendreyko, Che/Deu, 93’, DC

Lang.: German, Subt.: English ØÇ Ý³ÛÇñ ѳۻÉáõÝ/Don’t look In the Mirror êáõñ»Ý ´³μ³Û³Ý/Suren Babayan, Arm, 101’, AP, FC

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall 16:00 §àëÏ» ÍÇñ³Ý¦ μ³ñÓñ³·áõÛÝ ÏÇÝá¹åñáóÇ Íñ³·Çñ/“Golden Apricot” MasterSchool of Cinema

11:40

Lang.: Russian, Subt.: English

²ñ³ñ³ïÇó êÇáÝ/From Ararat to Zion ¾¹·³ñ ´³Õ¹³ë³ñÛ³Ý/Edgar Baghdasaryan, Arm, 70’, DC

Lang.: Armenian, Subt.: English 14:30 ²ÝÝß³Ý Ù³ñ¹ÇÏ/People of No Importance ²ÝñÇ ì»éÝÛáÛ/Henri Verneuil, Fra, 101’, R

Lang.: French, Subt.: English and Armenian 16:30 سÛñÇÏ/Mayrig ²ÝñÇ ì»éÝÛáÛ/Henri Verneuil, Fra, 157’, OF

Lang.: French, Subt.: English and Armenian 19:00 ØÇ Ý³ÛÇñ ѳۻÉáõÝ/Don’t look In the Mirror êáõñ»Ý ´³μ³Û³Ý/Suren Babayan, Arm, 101’, AP, FC

Lang.: Armenian, Subt.: English 21:30 ¸áõÙ³Ý ·»ïÁ/Dooman River âÅ³Ý Èáõ/Zhang Lu, Fra/Kor/ Chn, 89’, FC

Lang.: Chinese, Korean, Subt.: English and Armenian

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

Lang.: Portuguese, Subt.: English and Armenian 14:00 ÎÇÝáÛÇ ûñ»ñ/Movie Days üñǹñÇù Âááõñ üñǹñÇùëáÝ/Fridrik Thor Fridriksson, Isl/Deu/Dnk, 90’, R

Lang.: Icelandic, Subt.: English and Armenian

ø»éÇ ì³ÉÛ³/Uncle Valya ÜÇÏáÉ³Û ¸³íÃÛ³Ý/Nikolay Davtyan, Arm, 23’, AP

Lang.: French, Subt.: English and Armenian

18:00

16:00 ºë ßÝãáõÙ »Ù/I Do Air سñïÇݳ ²Ù³ïÇ/Martina Amati, Gbr, 7’, BC

¸ñ³ËïÇ ÷»ßÇÝ/The Edge of Heaven ü³ÃÇÑ ²ùÇÝ/Fatih Akin, Deu/Tur/Ita, 122’, R

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

Lang.: German, English, Turkish, Subt.: Russian

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

17:00

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

No Dialogues 19:00 ²Ûëï»Õ` Ý»ñù¨áõÙ/Down Here ÎáÙë Þ³Ñμ³½ Û³Ý/Comes Chahbazian, Bel/Fra, 55’, AP

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

Lang.: German, Subt.: English and Armenian

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

20:00 Ø»é³Í »ñÇï³ë³ñ¹áõÃÛáõÝ/ Dead Youth È»³Ý¹ñá ÈÇëïáñïÇ/Leandro Listorti, Arg, 74’, DC

Lang.: Turkish, Subt.: English and Armenian

Lang.: Spanish, Subt.: English and Armenian

Lang.: Multilingual, Subt.: English 18:15 ¾ëùǽݻñ áëÏ»í³½Û³Ý ¹³ßï»ñÇó/Strawberry Fields... ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý/Vardan Danielyan, Arm, 18’, AS

Lang.: Armenian, Subt.: English 19:00 ê³ÝÛ³Ý ¨ ÖÝ×ÕáõÏÁ/Sanya and Sparrow ²Ý¹ñ»Û ¶ñÛ³½¨/Andrei Gryazev, Rus, 61’, DAB

Lang.: Russian, Subt.: English 22:00 öáÕáó³ÛÇÝ ûñ»ñ/Street Days Ȩ³Ý Îá·áõ³ßíÇÉÇ/Levan Koghuashvili, Geo, 86’, FC

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

21:00 – 24:00 §¶Çß»ñ³ÛÇÝ å³ñ»Ï¦ سÉ˳ë ç³½-Ýí³·³ËáõÙμ/ Night Watch Malkhas Jazz Band ·»Õ. ջϳí³ñ` ÜÇÏáÕ³Ûáë ì³ñ¹³ÝÛ³Ý/ Artistic Director: Nikoghayos Vardanyan

Lang.: Armenian, Subt.: English

Lang.: Korean, Subt.: English and Armenian 21:00 ²ñ³ñ³ïÇó êÇáÝ/From Ararat to Zion ¾¹·³ñ ´³Õ¹³ë³ñÛ³Ý/Edgar Baghdasaryan, Arm, 70’, DC

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.

Lang.: Armenian, Subt.: English

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

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

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

18:30 äỽdz/Poetry ÈÇ â³Ý-¹áÝ/Lee Chang-dong, Kor, 139’, YP

úñ³·Çñ ÐáõÉÇëÇ 14-ÇÝ ³í³ñïí»ó §àëÏ» ÍÇñ³ÝǦ ¨ êï³ÙµáõÉÇ §²Ý³¹áÉáõ ùÛáõÉÃÛáõñ¦ ϳ½Ù³Ï»ñåáõÃÛ³Ý Ñ³Ù³ï»Õ ݳ˳ӻéÝáõÃÛ³Ý §Ð³Û³ëï³Ý-Âáõñùdz ÏÇÝáåɳïýáñÙǦ »éûñÛ³ ³ß˳ï³Ýù³ÛÇÝ Ñ³Ý¹ÇåáõÙÁ£ î³ñµ»ñ »ñÏñÝ»ñÇ Ý»ñϳ۳óáõóÇã ÷áñÓ³·»ïÝ»ñÁ ·Ý³Ñ³ï»óÇÝ ÏÇÝáåɳïýáñÙÇ Ñ³Ûï³ñ³ñ³Í ÙñóáõÛÃÇÝ Ý»ñϳ۳óí³Í í»ó ÏÇÝáݳ˳·Í»ñÁ, áñáÝù í»ñ³µ»ñáõÙ »Ý ѳÛ-Ãáõñù³Ï³Ý ѳٳï»Õ ÏÇÝá³ñï³¹ñáõÃÛ³ÝÁ£ ²ÙµáÕç³Ï³Ý ¹ñ³Ù³ßÝáñÑÇ ³ñųݳó³Ý гñáõà ε»Û³ÝÇ §îáÑÙ³Í³é¦ (г۳ëï³Ý) ¨ æ³Ý³Û ú½¹»ÝÇ §îÇÏÝÇϳÛÇÝ Ã³ïñáݦ (Âáõñùdz) ݳ˳·Í»ñÁ£ سëݳÏÇ ýÇݳÝë³íáñÙ³Ý ³ñųݳó³í ÜÇÏáÉ ä»½×Û³ÝÇ §äïáõÛï ÙÁ äáÉëá óջñáõÝ Ù»ç¦ (г۳ëï³Ý-Èǵ³Ý³Ý) ݳ˳·ÇÍÁ£ ÐÇß»óÝ»Ýù, áñ §Ð³Û³ëï³Ý-Âáõñùdz ÏÇÝáåɳïýáñÙÁ¦ 2010-ÇÝ ýÇݳÝë³íáñáõÙ ¿ г۳ëï³ÝáõÙ ²ØÜ ¹»ëå³Ý³ïáõÝÁ£

16:30 ÆѳñÏ», ²Ù»ñÇϳ/Of Course to America! äÇï»ñ Ú³Ý êÙÇÃ, ÜÇÝá öáõñóËí³ÝÇÓ»/Pieter Jan Smit, Nino Purtskhvanidze, Nld/Geo, 76’, DAB

19:00

20:00 Êáëï³óí³Í ѳݹÇåáõÙ/ Promised Meeting ²Ýݳ ´³Û³ÃÛ³Ý/Anna Bayatyan, Arm, 6’ г۳ëï³ÝÇ í»ñçÇÝ É³ñ³Ë³Õ³óÁ/The Last Tightrope Dancer in Armenia ²ñÙ³Ý ºñÇóÛ³Ý, ÆÝݳ ê³Ñ³ÏÛ³Ý/Arman Yeritsyan, Inna Sahakyan, Arm, 72’, AP

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

Lang.: English, Subt.: Armenian

Lang.: Russian, Subt.: English

No Dialogues 16:00 ê³ñë³÷ ù³Õ³ùáõÙ/Fear Over the City ²ÝñÇ ì»éÝÛáÛ/Henri Verneuil, Fra/Ita, 120’, R

15:00

18:00

Lang.: Armenian, Subt.: English 11:40 ÆÙ áõñ³ËáõÃÛáõÝ/My Joy ê»ñ·»Û Èá½ÝÇó³/Sergei Loznitsa, Deu/Ukr/Nld, 128’, FC

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

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

12:00 ÀÝï³Ý»Ï³Ý ¹ÇïáõÙ/Family Viewing ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 86’, R

Lang.: English 14:00 ²å³Ñáí³·ñ³Ï³Ý ·áñͳϳÉÁ/The Adjuster ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 102’, 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, ²ÝÇ Ð³ñáõÃÛáõÝÛ³Ý, ²ñÍíÇ ´³ËãÇÝÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, γñÇÝ ¶ñÇ·áñÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, ÐáíѳÝÝ»ë »ù·Ûá½Û³Ý Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ Þ³åÇÏÇ Éáõë³ÝϳñÁ` ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ Èáõë³ÝϳñÝ»ñÁ` Գևորգ Գասպարյան ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ

General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan Lilit Hakobyan Journalists: Kees Driessen, Jack Boghossyan, Evrim Kaya, Artsvi Bakhchinyan, Karin Grigoryan, Raffi Movsisyan, Davit Vardazaryan, Artur Vardikyan Translations: Zara Safaryan Caricature: Harutyun Chalikyan Cover photo by Vahan Stepanyan Photos: Gevorg Gasparyan Design: Gayane Grigoryan

GOLDEN APRICOT DAILY | DAY 6 | 16 JULY | 2010

»ñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³ 3

äïáõÛïÝ»ñ ë»÷³Ï³Ý ëïí»ñÇ ßáõñç

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ð³ý­ýÇ Øáí­ëÇ­ëÛ³Ý

ð³ý­ýÇ Øáí­ëÇ­ëÛ³Ý

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ØÇç³½·³ÛÇÝ Ë³Õ³ñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ

Þáõï-ßáõï ݳÛÇñ ѳۻÉáõÝ êáõ­ñ»Ý ´³­µ³­Û³­ÝÇ §ØÇ Ý³­ÛÇñ ѳ­Û»­Éáõݦ ýÇÉ­ ÙÁ å»ïù ¿ ¹³­ë»É Ù»ñ ÏÇ­Ý»­Ù³­ïá·­ñ³­ýÇ­³­ÛÇ Çñ³­ Ï³Ý Ó»éù­µ»­ñáõÙ­Ý»­ñÇ ß³ñ­ùÇÝ: üÇÉ­ÙÁ Ýϳ­ñ³­Ñ³Ý­í»É ¿ Áëï ä»ñ× ¼»Û­ÃáõÝ­óÛ³­ÝÇ Ñ³­Ù³­ÝáõÝ íÇ­å³­ÏÇ Ï³Ù ³í»­ÉÇ ×Çßï ÏÉÇ­ÝÇ ³ë»É` íÇ­å³­ÏÇ Ùá­ïÇí­Ý»­ñÇ: ê. ´³­µ³­Û³­ÝÁ ÙÇ ³éÇ­Ãáí (Çѳñ­Ï» Ï»ë­Ï³­ï³Ï) ³ë»É ¿, áñ ¼»Û­ÃáõÝ­óÛ³­ÝÇ íÇ­ å³­ÏÇó ³Ý­÷á­÷áË ¿ Ùݳ­ó»É ÙÇ­³ÛÝ Ëá­ñ³­·Ç­ñÁ: Ø»ñ ų­Ù³­Ý³­Ï³­ÏÇó л­ñáë ³Ýáõ­Ýáí ·É˳­íáñ Ñ»­ñá­ëÁ (ijÝ-äÇ­»é Üß³­ÝÛ³Ý) áõ­ÝÇ Ýϳñ­ãÇ ÏñÃáõ­ ÃÛáõÝ, µ³Ûó ³ÛÅÙ µÝáñ¹ ¿ ¨ ·á­Û³­ï¨­áõÙ ¿` ݳ˭ÝÇ­ Ý»­ñÇ Å³­é³Ý­·áõ­ÃÛáõ­ÝÁ í³­×³­é»­Éáí: Üñ³ Ï۳ݭùÁ ÑÇÙ­Ýá­íÇÝ ÷áË­íáõÙ ¿, »ñµ í³­×³­éáõÙ ¿ ÙÇ ù³­ÝÇ ¹³­ñ»­ñÇ å³ï­Ùáõ­ÃÛáõÝ áõ­Ý»­óáÕ ëñµ³­å³ï­Ï»­ñÁ: л­ñá­ëÇ ³Ý­ÓÁ »ñÏ­÷»ÕÏ­íáõÙ ¿. ϳñ­Í»ë Ïáñó­ÝáõÙ ¿ ϳåÝ Çñ ¿áõ­ÃÛ³Ý Ñ»ï: ÜáõÛ­ÝÇëÏ Ñ³­Û»­Éáõ Ù»ç ݳ ï»ë­ÝáõÙ ¿ ³Ý­Í³­Ýáà ٳñ¹­Ï³Ýó, áñáÝù, å³ñ½­ íáõÙ ¿, Çñ ¿áõ­ÃÛ³Ý µ³½­Ù³­ÏÇ ³Ýӭݳ­íá­ñáõÙ­Ý»ñÝ

»Ý: Üñ³Ýù ³Ý­óÛ³­ÉÇ å³ñ­ï³¹­ñ³Ý­ùáí ·ÉáõË »Ý µ³ñÓ­ñ³ó­ñ»É` ų­é³Ý­·áõ­ÃÛáõÝ-³í³Ý­¹áõÛíݻ­ñÇó Ññ³­Å³ñ­íáÕ Ð»­ñá­ëÇ í³ñ­ù³­·Ç­ÍÁ ·Ý³­Ñ³­ï»­Éáõ ¨ ³Û¹ ÝáõÛÝ å³ñ­ï³¹­ñ³Ý­ùáí л­ñá­ëÇ ³å³­·³­ÛÇ áõ­Õ»ñíݻ­ñÁ ϳݭËá­ñá­ß»­Éáõ ѳ­Ù³ñ:

üÇÉ­ÙÇ ¹ñ³­Ù³­ÛÇ Ï»Ý­ë³­ÝÛáõÃÝ ëÏǽµ ¿ ³é­ÝáõÙ ³ÛÝ Ï»­ïÇó, áñ­ï»Õ Ñ»­Õǭݳ­ÏÁ ·»­ñÇ­ñ³­Ï³Ý ËݹǭñÁ Ý»ñ­Ï³­Û³ó­ÝáõÙ ¿` Ññ³­Å³ñ­í»­Éáí é»­³­ ÉÇë­ï³­Ï³Ý ÏÇ­Ýá­É»½­íÇó ¨ ï»­ÕÇù ¿ ï³­ÉÇë Çñ³­ ñáõ ³Ï­ïÇ­íá­ñ»Ý µ³­ó³­éáÕ ý³Ý­ï³ëï­Ù³­·á­ñÇ­ ³­ÛÇÝ: Æѳñ­Ï», ³ÛÝ áñ ³ñ­¹Ç­³­Ï³­Ýáõ­ÃÛ³Ý Ù»ç ·á­Ûáõ­ÃÛáõÝ áõ­Ý»­óáÕ ËݹÇñ­Ý»­ñÇ í»ñ­Ñ³Ý­Ù³Ý ѳ­ Ù³ñ ý³Ý­ï³ë­ïÇ­Ï³Ý ³Ù»­Ý³­Ëá­ëáõÝ ï³ñ­µ»­ñ³Ï­ Ý»­ñÇó Ù»ÏÝ ¿, í³­Õáõó ¿ Ñ³Ûï­ÝÇ: ´³Ûó ³Ûë ï³­ñ­ µ»­ñ³­ÏáõÙ ê. ´³­µ³­Û³­ÝÇ ËݹÇñÝ áõ­ñÇß ¿ ¨ ÙÇï­ í³Í ¿Ï­ñ³­ÝÇ áõ Ï۳ݭùÇ ë³Ñ­Ù³­Ý³·­Í»­ñÇ ã»­½á­ù³ó­ Ù³­ÝÁ: àõ »Ã» ÁÝ­¹áõ­Ý»Ýù, áñ ÏÇ­ÝáÝ Å³­Ù³­Ý³­ÏÇ ¨ ³Û¹ ų­Ù³­Ý³­ÏáõÙ ³å­ñáÕ Ù³ñ¹­Ï³Ýó ³ñ­ï³­óáÉùÝ

§ØÇ Ý³­ÛÇñ ѳ­Û»­Éáõݦ` êáõ­ñ»Ý ´³­µ³­Û³Ý, г­Û³ë­ï³Ý: Հáõ­ÉÇ­ëÇ 16, §ØáëÏ­í³¦ Ï/Ã, γ­åáõÛï ¹³Ñ­ÉÇ× (10:00, 19:00)

§Ø»Õñ¦, ê»­ÙÇÑ Î³å­É³­ÝûÕ­Éáõ, Âáõñùdz, ¶»ñ­Ù³­Ýdz Ðáõ­ÉÇ­ëÇ 16, Ï/à §Ü³­Ç­ñǦ, (17:00)

GOLDEN APRICOT DAILY | DAY 6 | 16 JULY | 2010

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ armenian panorama

future competition

ÆÝãá±õ ¿ ³ÕÙÏáõÙ ·»ïÁ

ʳÕ` ɳñÇ íñ³ ²ñ­Ù³Ý ºñÇ­óÛ³­ÝÇ §Ð³­Û³ë­ï³­ÝÇ í»ñ­çÇÝ É³­ñ³­ ˳­Õ³­óÁ¦ ÏÇ­Ýáݭϳ­ñÁ ï³­ñû­ñÇ­Ý³Ï Ó¨­áí Ëáõ­ë³­ ÷áõÙ ¿ Çñ ï»ÕÝ áõ á×Á ÏáÝÏ­ñ»­ï³ó­Ý»­Éáõó: ²Ûë ýÇÉÙÝ Çñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ µ³­Ý³ë­ï»Õ­Í³­Ï³­Ý³ó­Ý»­Éáõ ¨ í³­ í»­ñ³·­ñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ ·»­Õ³ñ­í»ë­ï³­Ï³­Ý³ó­Ý»­Éáõ Ñëï³Ï ÙÇ­ïáõÙ áõ­ÝÇ: ÎÇ­ÝáݭϳñÝ Áݭϳ­É»­Éáõ µ³­Ý³­ ÉÇÝ µ»­Ù³¹­ñÇ­ãÁ ï³­ÉÇë ¿ ³Ù»­Ý³ëϽ­µáõÙ: ¸³ ß³ñ­ Åáõ­ÙÇó ï³­ñáõ­µ»ñ­íáÕ å³­ñ³ÝÝ ¿, áñÇ íñ³ ýÇÉ­ÙÇ Áݭóó­ùáõ٠ɳ­ñ³­Ë³­Õ³ó­Ý»­ñÁ §å³­ñáõÙ¦ »Ý: ê³­ ϳÛÝ §Ð³­Û³ë­ï³­ÝÇ í»ñ­çÇÝ É³­ñ³­Ë³­Õ³­óÁ¦ ÏÇ­ ÝáݭϳñÝ ÇÝ­ùÁ ϳñ­Í»ë Ûáõ­ñû­ñÇ­Ý³Ï å³­ñ³Ý ÉÇ­ÝÇ, áñÁ ²ñ­Ù³Ý ºñÇ­óÛ³­ÝÁ ÑÙïá­ñ»Ý ¿ §Ë³­Õ³ó­ÝáõÙ¦: ´»­Ù³¹­ñÇ­ãÇ ëï»Õ­Í³­·áñ­Í³­Ï³Ý §¿·á­Ç½­ÙÁ¦ ëïÇ­ åáõÙ ¿ Ýñ³Ý »ñ¨­ áõÛ­ ÃÁ ·ÉËÇ­ í³Ûñ ßñç»É: ²ñ­ Ù³Ý ºñÇ­óÛ³­ÝÇÝ ãÇ µ³­í³­ñ³­ñáõÙ í³­í»­ñ³·­ñá­ÕÇ Ï³Ù í³­í»­ñ³·­ñáõ­ÃÛ³Ý Ù»ç ï»­ë³Ý­ÏÛáõÝ ³ñ­ï³­Ñ³Û­ïá­

ÕÇ Ï³ñ­·³­íǭ׳­ÏÁ: ܳ ¹á­Ïáõ­Ù»Ý­ï³É ýáñ­Ù³­ïáõÙ ë»­÷³­Ï³Ý Çñ³­Ï³­Ýáõ­ÃÛáõÝÝ ëï»Õ­Í»­Éáõ ¨ ϳ­é³­í³­ ñ»­Éáõ ³Ý­Ã³­ùáõÛó ó³Ý­Ïáõ­ÃÛáõÝ áõ­ÝÇ, áñÁ û¨ ï»Õï»Õ áñá­ß³­ÏÇ §ë³ñù­í³­Íáõ­Ã۳ݦ ïñ³­Ù³¹­ñáõ­ ÃÛáõÝ ¿ ³é³­ç³ó­ÝáõÙ, 볭ϳÛÝ ãÇ Ë³­Ã³­ñáõÙ ýÇÉ­ ÙÇ Áݹ­Ñ³­Ýáõñ ïå³­íá­ñáõ­ÃÛáõ­ÝÁ: ê³ ÙÇ ýÇÉÙ ¿, áñ­ï»Õ Ù³ñ¹­Ï³Ýó ³å­ñ³Í áõ ³Ý­ó³Í ׳­Ý³­å³ñ­ÑÁ ɳ­ñÇ íñ³ ó³ï­Ïá­ïáÕ Å³­ Ù³­Ý³­ÏÁ í»­ñ³­ÍáõÙ ¿ ³µ­ëáõñ­¹Ç...

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γ­ñÇÝ ¶ñÇ­·á­ñÛ³Ý. Î۳ݭùÇ ÏÇ­ÝáÝ §Ð³­Û³ë­ï³­ÝÇ í»ñ­çÇÝ É³­ñ³­Ë³­Õ³­óÁ¦ ýÇÉ­ÙÇ ¹Ç­­ ïáõÙ­Ý»­ñÇó Ù»­ÏÇÝ Ý»ñ­Ï³ ¿ñ ݳ¨ Ðáí­ë»­÷Á` ýÇÉ­ÙÇ Ñ»­ñá­ëÁ: È»­óáõÝ ¹³Ñ­ÉÇ­×áõÙ ·ñ»­Ã» áã áù ãÇ­Ù³­ó³í, áñ ½ÇÝ­íá­ñ³­Ï³Ý ѳ­·áõë­ïáí ·»ï­ÝÇÝ Ýëï³Í ïÕ³Ý Ñ»Ýó ݳ ¿ñ: ²Ý­Ñ³Ý­·Çëï ¿ñ ¹Ç­ïáõÙ ýÇÉ­ÙÁ, áñáí­ Ñ»­ï¨ ѳݭ¹Ç­å»É ¿ñ ÇÝùÝ Çñ»Ý: ²Ý½­·áõÛß Ëáë­ù»­ñÁ, áñ Ý»­ï»É ¿ñ Çñ Ëݳ­Ù³­Ï³É å³­åÇ Ñ³ë­ó»­ÇÝ, ó³í ¿ÇÝ å³ï­×³­éáõÙ Ýñ³Ý: §¾ë ÇÝã ÑÇ­Ù³­ñáõ­ÃÛáõÝ »Ù ³ë»É¦,— ßßÝç³ó: л­ï¨­áõÙ ¿Ç, û ÇÝã­å»ë ¿ »ñÏ­Ëá­ ëáõ٠ɳ­ñ³­Ë³­Õ³­óÇ Çñ ³Ý­óÛ³­ÉÇ Ñ»ï: â¹Ç­Ù³­ó³í áõ ¹³Ñ­ÉÇ­×Çó ¹áõñë »Ï³í ÙÇ å³Ñ, »ñµ ýÇÉ­ÙáõÙ ³Û­ó»­ ÉáõÙ ¿ñ ²µá­í Û³­ÝÇ Ï³­Ý³Ýó ·³­Õáõ­ÃáõÙ ·ïÝíáÕ Ùá­ ñÁ: ƱÝã åÇ­ïÇ ÷á­ËÇ ýÇÉÙÝ ³Ûë ëá­íá­ñ³­Ï³Ý »ñÇ­ï³­ ë³ñ­¹Ç Ï۳ݭùáõÙ: Äá­ñ³ å³­åÁ áñ­¹»·­ñ»É ¿ñ Ýñ³Ý` ɳ­ñ³­Ë³­Õ³­óáõ­ÃÛáõÝ ëá­íá­ñ»ó­Ý»­Éáõ ѳ­Ù³ñ: س­Ñ³­ ó³Í ¿ å³­åÁ, Ù³­Ñ³­ó³Í ¿ ³Ûë ³í³Ý­¹áõÛ­ÃÇ Ñ³Ý­ ¹»å Åá­Õáíñ­¹³­Ï³Ý Ñ»­ï³ùñù­ñáõ­ÃÛáõ­ÝÁ, µ³Ûó Ðáí­ ë»­÷Á, ãëÇ­ñ»­Éáí ³Û¹ ·áñ­ÍÁ, áõ­ÝÇ É³­ñ³­Ë³­Õ³ó ¹³é­­ ݳ­Éáõ å³ñ­ï³­íá­ñáõ­ÃÛáõ­ÝÁ: ¸ñ³­ÝÇó ³½³­ï³·ñ­í»­­ Éáõ ÙÇ­çá­óÁ ¹³é­ÝáõÙ ¿ ÏÇ­ÝáÝ:

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²ÝÇ Ð³­ñáõ­ÃÛáõ­ÝÛ³Ý §²ñ³ñ³ïÇó êÇáݦ, ¾¹·³ñ ´³Õ¹³ë³ñÛ³Ý, г۳ëï³Ý: Ðáõ­ÉÇ­ëÇ 16, Ï/à §ØáëÏ­í³¦, γñ­ÙÇñ ¹³Ñ­ÉÇ×, (11:40, 21:00)

GOLDEN APRICOT DAILY | DAY 6 | 16 JULY | 2010

interview 5

Lee Chang-dong ºñ»ù ï³ñÇ ³é³ç ѳñ³íÏáñ»³óÇ é»ÅÇëáñ ÈÇ â³Ý-¹áÝÁ §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝáõÙ Ý»ñϳ۳óñ»ó Çñ ëó»Ý³ñÝ»ñÇ ÑÇÙ³Ý íñ³ Ýϳñ³Ñ³Ý³Í ³é³çÇÝ ãáñë ýÇÉÙ»ñÁ: ²Ûë ï³ñÇ Ý³ ³Ûëï»Õ ¿ Çñ ÑÇÝ·»ñáñ¹ ýÇÉÙáí` §äỽdzÛáí¦: ²ÛÝ µ³é»ñÇ ÙÇçáóáí Çñ³Ï³ÝáõÃÛáõÝÁ ÷áË»Éáõ ó³ÝÏáõÃÛ³Ý Ù³ëÇÝ ¿: §²Ûë ýÇÉÙÝ ³ÛÝ Ñ³ñ­óÇ Ù³­ëÇÝ ¿, áñÁ ï³­ÉÇë »Ù ÇÝùë ÇÝÓ` Ýá­í»É­Ý»ñ ·ñ»­Éáõ ų­Ù³­Ý³Ï­í³­ÝÇó: Ðݳ­ ñ³­íá±ñ ¿ ³ñ­¹Ûáù ·ñ»­Éáí ÷á­Ë»É Çñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ: Æñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ ÉÇ ¿ ϻխïáí ¨ ó³­íáí, ¨ ³ÛÝ µ³­ñ»­É³í­Ù³Ý ϳ­ñÇù áõ­ÝÇ: Ðݳ­ñ³­íá±ñ ¿ ·ñ»­Éáí µ³­ñ»­É³­í»É Ù»ñ Çñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ: γñ­ÍáõÙ »Ù, áñ ³Ûë ѳñ­óÁ ÝáõÛÝ­ù³Ý ÑÇÝ ¿, áñ­ù³Ý ³ñ­í»ë­ïÇ å³ï­Ùáõ­ÃÛáõ­ÝÁ, ¨ ¹»é áã áù ãÇ ·ï»É ¹ñ³ å³­ï³ë­ ˳­ ÝÁ: ´³Ûó ³ÛÝ Ñ³ñ­Ï³­ íáñ ¿ í»ñë­ ïÇÝ µ³ñÓ­ ñ³ó­Ý»É: ÆÙ ýÇÉ­ÙáõÙ »ë ³Ûë ѳñóÝ áõÕ­ÕáõÙ »Ù åá­ »­½Ç­³­ÛÇÝ: äá­»­½Ç­³Ý ³ß­Ë³ñ­ÑáõÙ ·»­Õ»ó­Ïáõ­ÃÛáõÝ, ÇëÏ Ù»ñ Ï۳ݭùáõÙ` ÇÙ³ëï ·ïÝ»­Éáõ ׳­Ý³­å³ñÑ ¿: äá­»­ïÁ ݳ ¿, áí »ñ­·áõÙ ¿ áã ÙÇ­³ÛÝ Çñ ë»­÷³­Ï³Ý, ³Û­ ɨ ùá »ñ­ ·Á: ºñ­ ·áõÙ ¿ µá­ Éáñ ³ÛÝ Ù³ñ¹­ ϳÝó ³Ýáõ­ÝÇó, áí­ù»ñ ½áõñÏ »Ý »ñ­·»­Éáõ ÁÝ­¹áõ­Ý³­Ïáõ­ÃÛáõ­ ÝÇó: ²Ûë ³éáõ­Ùáí ýÇÉÙÝ ³ñ­ï³­óá­ÉáõÙ ¿ ݳ¨ ÇÙ ÷áñ­ÓÁ, ÇÙ Ùïù»ñÝ áõ Ùï³­Ñá­·áõ­ÃÛáõÝ­Ý»­ñÁ: ÆÝÓ Ñ³­Ù³ñ Áëï ¿áõ­ÃÛ³Ý ÝáõÛÝ ¿` Ýá­í»±É »Ù ·ñáõÙ, û ýÇÉ­ÙÇ ëó»­Ý³ñ: ºñ­ÏáõëÝ ¿É ½·³ó­ÙáõÝù­Ý»­ñÁ Ù³ñ¹­ ϳÝó ÷á­Ë³Ý­ó»­Éáõ ÙÇ­çáó­Ý»ñ »Ý: ØÇ­³ÛÝ ï»Ë­ÝÇ­Ï³Ý ¿ ï³ñ­µ»ñ: ºñµ Ýá­í»É »Ù ·ñáõÙ, ÙÇ Áݭûñ­óá­ÕÇ »Ù å³ï­Ï»­ñ³ó­ÝáõÙ, áí ϳ­ñáÕ ¿ ѳë­Ï³­Ý³É ÇÙ ½·³ó­ÙáõÝù­Ý»­ñÁ: ÆëÏ »ñµ ýÇÉ­ÙÇ ëó»­Ý³ñ »Ù ·ñáõÙ, å³ï­ Ï»­ñ³ó­ÝáõÙ »Ù áã û Ù»Ï, ³ÛÉ ß³ï Ù³ñ¹­Ï³Ýó: üÇÉ­ Ù»ñÝ Çñ»Ýó ѳݭ¹Ç­ë³­ï»­ëÇÝ Ñ³Ý­¹Ç­åáõÙ »Ý ÏÇ­Ý᭠óï­ñáÝ­Ý»­ñáõÙ: γ­ñ»­ÉÇ ¿ ³ë»É, áñ Ýá­í»É ·ñ»­ÉÁ ÝÙ³Ý ¿ ëÇ­ñ³­ÛÇÝ Ý³­Ù³Ï ·ñ»­ÉáõÝ, ÇëÏ ëó»­Ý³ñ ·ñ»­ÉÁ` ×³é ·ñ»­ÉáõÝ: ´³Ûó »ñ­Ïáõ­ëÇ Ù»ç ¿É »ë Ñá­·Ç »Ù ¹ÝáõÙ: ¸³ ³Ý­Ï»Õ­Íáõ­ÃÛ³Ý ÙÇ ï»­ë³Ï ¿, áñÁ ϳ­ñáÕ ¿ ÝáõÛ­ÝÇëÏ ß÷á­Ã»ó­Ý»É ѳݭ¹Ç­ë³­ï»­ëÇÝ: ºÃ» ëÇ­ñáõÙ »ë ÇÝã-áñ Ù»­ÏÇÝ, Ññ³­ß³­ÉÇ ¿, »ñµ ³Û¹ Ù»­ÏÁ ³Ý­Ï»ÕÍ ¿ ù»½ Ñ»ï: ÆëÏ »Ã» ÏÇ­Ýá­Ã³ï­ñáÝ »ë ·Ýáõ٠ų­Ù³Ý­óÇ Ñ³­Ù³ñ, µ³Ûó ï»ë­ÝáõÙ »ë ã³­÷³­½³Ýó Éáõñç ¨ ³Ý­Ï»ÕÍ ·áñÍ, Ñݳ­ñ³­íáñ ¿` ù»½ ÝáõÛ­ÝÇëÏ ¹áõñ ã·³: Æݭ㨿, »ë Ñáõ­ ëáí »Ù, áñ ³Ûë ýÇÉ­ÙÁ ѳݭ¹Ç­ë³­ï»­ëÇ Ñ³­Ù³ñ ÏÉÇ­ÝÇ ³í»­ÉÇÝ, ù³Ý ų­Ù³Ý­óÁ: γÝ, ûñǭݳÏ, Ñá­ÉÇ­íáõ­¹Û³Ý ýÇÉ­Ù»ñ, áñáÝù ¹Ç­ïáõÙ »ë ½í³ñ­×³­Ý³­Éáõ, µ³­í³­Ï³­ Ýáõ­ÃÛáõÝ ëﳭݳ­Éáõ ѳ­Ù³ñ, µ³Ûó å»ïù ¿ ÉÇ­Ý»Ý Ý³¨ ýÇÉ­Ù»ñ, áñáÝù Ï۳ݭùÇ ¨ Ù»½ ßñç³­å³­ïáÕ ³ß­Ë³ñ­ ÑÇ Ù³­ëÇÝ ï³ñ­µ»ñ ѳñ­ó»ñ ϵ³ñÓ­ñ³ó­Ý»Ý: Æѳñ­Ï», ÝÙ³Ý ýÇÉ­Ù»ñ ¹Ç­ï»ÉÝ ³í»­ÉÇ ¹Åí³ñ ¿, µ³Ûó ÇÙ ýÇÉ­ Ù»­ñÁ Ñ»Ýó ³Û¹­åÇ­ëÇÝ »Ý: ºë ã»Ù ëÇ­ñáõ٠ݳ¨ û·­ï³­·áñ­Í»É §ëÇ­Ý»­Ù³­ïÇϦ` ³Û­ëÇÝùÝ ã³­÷³­½³Ýó Ïá­ÏÇÏ ¨ ·»­Õ»­óÇÏ å³ï­Ï»ñ­Ý»ñ: ¸³ Ç٠ϳñ­ÍÇ­ùáí ³ñ­Ñ»ë­ï³­Ï³Ý ·»­Õ»ó­Ïáõ­ÃÛáõÝ ¿: ÆÝã­å»ë ³ë³­óÇ` åá­»­½Ç­³Ý Çñ³­Ï³­Ýáõ­ÃÛ³Ý Ù»ç ·»­Õ»ó­Ïáõ­ÃÛáõÝ ·ïÝ»­Éáõ ϳ­ñá­Õáõ­ÃÛáõÝÝ ¿: ´³Ûó Çñ³­Ï³Ý ·»­Õ»ó­Ïáõ­ÃÛáõ­ÝÁ ï»­ë³­Ý»­ÉÇ ã¿, ³ÛÝ Ñ»ßï ã¿ ·ïÝ»­ÉÁ, ³ÛÝ Ù³­Ï»­ñ»­ë³­ÛÇÝ ã¿: ò³­íáù, ï»­ë³Ë­óÇÏÝ áõ ûµÛ»Ï­ïÇíÝ ³Ù»Ý ÇÝã ³í»­ÉÇ ·»­Õ»­óÇÏ »Ý ¹³ñÓ­ ÝáõÙ, ù³Ý ¹ñ³Ýù Çñ³­Ï³­Ýáõ٠ϳÝ: ò³Ý­Ï³­ó³Í ų­ Ù³­Ý³Ï ϳ­ñáÕ »ù Ó»ñ ï»­ë³Ë­óÇ­ÏÁ ѳñ­Ù³­ñ³ó­Ý»É ÙÇ ï»Õ ¨ ëï³­Ý³É ³í»­ÉÇ Ñ³­ñáõëï å³ï­Ï»ñ, ù³Ý Çñ³­Ï³­ÝáõÙ ¿: Æñ³­Ï³­Ýáõ­ÃÛ³Ý Ù»ç ÝÙ³Ý å³ï­ Ï»ñ­Ý»ñ ·á­Ûáõ­ÃÛáõÝ ãáõ­Ý»Ý: Þ³ï µ³ñ¹ ¿ í»­ñ³ó­Ý»É ýÇÉ­ÙÇ å³ï­Ï»ñ­Ý»­ñÇ ³ñ­Ñ»ë­ï³­Ï³­Ýáõ­ÃÛáõ­ÝÁ: ºñµ Ù»Ýù ýÇÉÙ »Ýù Ýϳ­ñáõÙ, ÇÙ ûå»­ñ³­ïá­ñÁ ï»­ë³Ë­ óÇ­ÏÁ ¹ÝáõÙ ¿ Çñ áõ­½³Í ï»­ÕÁ: ²Û¹­å»ë ß³ï ³í»­ ÉÇ ·»­Õ»­óÇÏ ¨ µÝ³­Ï³Ý ¿ ëï³ó­íáõÙ: øÝݳ­¹³ï­Ý»­ ñÇó ß³­ï»­ñÁ ѳ­Ù³­ñáõÙ »Ý, áñ »ë ýÇÉÙ Ýϳ­ñ»­Éáõó µ³Ý ã»Ù ѳë­Ï³­ÝáõÙ: â»Ù ϳ­ñá­Õ³­ÝáõÙ µ³­ó³ï­ñ»É Ýñ³Ýó, û ÇÝ­ãáõ »Ù ³Û¹­å»ë ýÇÉÙ Ýϳ­ñ³­Ñ³­ÝáõÙ: ´³Ûó ³ÛÉ Ï»ñå »ë å³ñ­½³­å»ë ã»Ù ϳ­ñáÕ: ÆÙ ·É˳­íáñ Ñ»­ñá­ëáõ­ÑÇÝ` ØÇ­ç³Ý, Ýáñ ¿ µ³­ó³­ ѳۭïáõÙ åá­»­½Ç­³Ý: âݳ­Û³Í ݳ ï³­ñ»ó ÏÇÝ ¿` 60Ý ³Ýó, µ³Ûó ³Ûë ·áñ­ÍáõÙ ëÏëÝ³Ï ¿: öáñÓ ãáõ­ÝÇ ¨ ³é³Ýӭݳ­å»ë ɳí ÏñÃáõ­ÃÛáõÝ ¿É ãÇ ëï³­ó»É: γ­ ñ»­ÉÇ ¿ ³ë»É` å³ï­Ï³­ÝáõÙ ¿ ѳ­ë³­ñ³­Ïáõ­ÃÛ³Ý ó³Íñ ˳­íÇÝ: ²Û­Ýá­õ³­Ù»­Ý³Û­ÝÇí ݳ ÷áñ­ÓáõÙ ¿ ·ñ»É: àõ ãݳ­Û³Í Í»ñ ¿, µ³Ûó Çñ Ñá­·áí ¨ ½·³ó­ÙáõÝù­Ý»­ñáí »ñÇ­ï³­ë³ñ¹ ³Õç­Ý³­ÏÇ ¿ ÝÙ³Ý: г·Ý­íáõÙ ¿ ç³­ Ñ»É ³Õç­Ï³ ÝÙ³Ý. ÙÇßï ·É˳ñÏ ¿ Ïñáõ٠ϳ٠߳ñý: ܳ Çñ µÝ³½¹­Ý»­ñáí ¹»é »ñÇ­ï³­ë³ñ¹ ¿, ÙÇ­³­ÙÇï ¿, Ù³­ùáõñ áõ ³Ý­Ù»Õ ¨ Ù»ñ Çñ³­Ï³­Ýáõ­ÃÛ³ÝÝ ³ÛÝ­ù³Ý ¿É ѳñ­Ù³ñ­í³Í ã¿: ê³ ¿ å³ï­Ùáõ­ÃÛ³Ý ³é³Ýó­ùÁ: ºí »ë áõ­½áõÙ »Ù, áñ ѳݭ¹Ç­ë³­ï»ëÝ ¿É ½·³, ã»Ù áõ­½áõÙ,

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øÇ­Çë ¸ñÇ­»ë­ë»Ý äá­»­½Ç³ – ÈÇ â³Ý-¹áÝ/ г­ñ³­í³­ÛÇÝ Îá ñ»³, 2009 Ã.: ÐáõÉÇëÇ 16, 18:30, ØáëÏ­í³ ÏÇ­Ýá­Ã³ï­ñáÝ, γñ­ÙÇñ ¹³Ñ­ÉÇ×, Ñáõ­ÉÇ­ ëÇ 16, 21:00, ܳ­Ç­ñÇ ÏÇ­Ýá­Ã³ï­ñáÝ, Ñáõ­ÉÇ­ ëÇ 18, 21:00, ØáëÏ­í³ ÏÇ­Ýá­Ã³ï­ñáÝ, γñ­ ÙÇñ ¹³Ñ­ÉÇ×:

Three years ago, South-Korean director Lee Chang-dong presented the first four films he wrote and directed at the Golden Apricot festival. This year, he returns with his fifth, Poetry. A film about something very close to his heart: trying to change reality with words.

“This film concerns a question which I have asked myself for a long time, ever since I first started writing as a novelist. How can writing be used to change our reality? Reality is dirty and painful, and needs to be fixed. Can writing do that? I think that's a question as old as the arts themselves, and nobody has yet found the answer.

Still, the question is worth repeating. In the film, I ask this question about poetry. Poetry is a way to find beauty in the world, to find meaning in our life. A poet is someone who sings, not only his own song, but also your song. He sings on behalf of those people who cannot sing themselves. In this way, the film is also a reflection on my own work, my thoughts, and my concerns.”

“For me, the essence of writing a novel and writing a film remains the same. It's about conveying a feeling. Only the technique is different.

When I'm writing a novel, I imagine a single reader. Not a specific person, but someone who can understand my feelings. When I'm writing a film script, I'm imagining many people, not just one. Because films should meet their audience in a theater. You can say that writing a novel is like writing a love letter, and writing a film script is like writing a speech. Still, in both cases I try to put my whole mind into it.

It's a kind of sincerity which can make an audience feel uncomfortable. If you love someone, it can be wonderful if they are sincere. But if you just want to be entertained in the cinema and you are confronted with something very serious and sincere, you might feel uncomfortable. However, I believe film can be more than just entertainment. Hollywood movies can be

very enjoyable, but there is also room for films which pose questions about life and the world.

It's true that those films are more difficult, but those are the films I make.”

“In the same way, I don't like to use what you might call 'cinematic images'. Images which are too neat and too nice, which look too good. That, to me, is a superficial beauty. As I told you, poetry is about finding beauty in reality. But true beauty isn't visible, it's not found easily, it's not on the surface of things. Unfortunately, the camera, the lens, always makes things look more beautiful than they are. Anytime you put your camera somewhere, you create more structure than actually exists. In reality, you don't feel this structure.

It's very hard to break the structure and the artificiality of film images. When we are filming, my cameraman puts his camera somewhere he likes.

Then I tell him it's too nice. So I try to break this artificiality. Often, my crew can't understand why I try to change the image, what exactly I'm trying to avoid. It's something I can't explain. It's very delicate and personal. Someone else would do it differently. Many critics also don't understand. They think I film this way, because of my background as a novelist. They think I don't understand film, that I don't understand the camera.

I cannot explain to them why I film like I do. But it's the only way I can.”

“My main character, Mija, is just discovering poetry. Even though she is an older woman, in her mid-60's, she is a beginner. She has no experience and she has not received much education.

You can say she belongs to the lower levels of society. Still, she tries to write. And although she is old, on the inside she feels like a young girl. You can see how she wears clothes like a girl, with her hats and scarves. She has young instincts. She is naive, pure, and innocent, and not well-adjusted to the realities of society. That's the point of this story. The beginner can feel something. And that's what I would like the audience to do: feel. I don't really want to make them think, I want to make them feel. Like a beginner. Like a child, who asks all kinds of questions of his parents: what is this, what is that? This Mija, even though she is old and has Alzheimer's disease, which symbolizes the approaching death, she has the ability to look at the world like a beginner. A beginner of life. At the same time, while she is learning poetry, which means creating the world and creating meaning, she is losing her words and her memory. That is the irony of life. Not just her life, but life in general.”

“It was quite hard for the actress who played Mija, Yun Jung-hee. She had not been acting for a long time, but before she made many films, more than three hundred. But they always dubbed her voice. That was normal in Korean cinema at that time. Because you can’t dub your own voice when you're doing three hundred films. She could be shooting seven, eight movies at once. This way, actors couldn't know what they were doing. They didn't know the script. They just acted, while the director told them, moment by moment, what to do and what to feel. It's unbelievable, but that's how it was. For the first time now, Yun could use her voice. The process was very difficult for her.

I had to tell her not to act, not to perform. I asked her just to be, to feel, to react. I tried to make her relax and make her feel the reality of her character, and gradually she accepted.”

“I have always been interested in people who have problematic minds. Weak people. People who carry some pain with them. But I don't like to show an analysis of a trauma. Analysis is a very reasonable approach, and life is not reasonable.

Film is not science, and I am not a doctor. I am a patient, just like the audience.”

Kees Driessen Poetry – Lee Chang-dong (South-Korea, 2009). 16-7, 18:30, Moscow Cinema, Red Hall; 16-7, 21:00, Nairi Cinema; 18-7, 21:00, Moscow Cinema, Red Hall.

GOLDEN APRICOT DAILY | DAY 6 | 16 JULY | 2010

6 films and makers

"An artist does not come from nowhere" Atom Egoyan on the artists that inspire him “I have a strong number of references in my life, people who influenced me, Actors, writers, people who gave me a lot, who inspired me intensively. It is very important to mention those names that maybe new generations do not know and be conscious of what was done in the past.

For example it is unthinkable that young people never saw the films of Bergman or Bunuel or Bresson, something that is essential for artists.

Classical films made the History of Cinema.

It is important to have the habit of reading to cultivate it, to read as many dramatic works as possible. I mean, to have references coming from television or reality shows does not contribute to having a solid base to become an artist. I feel that I have the responsibility to tell this to young people. To make sure that people understand that an artist does not come from nowhere, an artist comes from art, culture, and new generations must understand as long as they are open.”

Foreign Affairs

Henri Verneuil never stopped being Achod Malakian It is a great moment for me to be here today. In this country of my ancestors, where, 90 years ago, my father was born: Achod Malakian, known as "Henri Verneuil". The 3 letters at the end of my name unavoidably bring me back here. My father did not teach me how to speak Armenian, but he did much more than that. When I put my foot on the grounds of Armenia, I understood that in my veins runs all the history of this country, all the suffering and also all the hope of the Armenians.

Constrained to leave this country at the age of 4, the heart of my father however always remained here, Henri Verneuil never stopped being Achod Malakian. This is what he said the day of his entry into the French Academy: "Armenian I am, and Armenian I remain but anyone more French than me would die"; heir of two cultures, he signed his films with a name which did not sound Armenian, but he breathed, he thought, and told stories like the small Armenian who never left him. I would like him so much to be still here among us, and tell us his memories as the marvellous storyteller that he was.

As I discover this country, I can hear his heart singing his pride and joy of seeing us all joined together here. The loop is buckled, I found what I was looking for in Armenia: my identity and my roots.

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

There will be an extra screening of Poetry, tonight at 18:30 at the Moscow Cinema Red Hall, after Wednesday's screening had to be cancelled because the film print had been delayed. The film by Korean director Lee Chang-dong, who had a retrospective at the GAIFF in 2007, won the award for best script at the Cannes Film Festival for its intriguing story about an older woman, discovering poetry in times of duress.

Press conferences Today's press conferences kick off at 11:00 am with filmmakers Vatche Boulghourjian (The Fifth Column, Lebanon), Mahaya Petrossian & Amir Toodeh Roosta (A Beautiful Snowy Day, Iran), Nikolay Davtyan (Uncle Valya, Armenia), and David Enfenjyan (Error, Armenia), at the Golden Tulip Hotel Conference Hall. At 12:00 pm, they are followed by Belarus-born director Sergei Loznitsa (My Joy) and Russian director Pavel Kostomarov (Together), and at 13:00 pm, the day's last press conference will star Georgian filmmaker Levan Koguashvili, discussing his film Street Days.

Reading is important “It is great you always have the chance to read or see films. For example, I am reading Don Quijote, for the first time. I have never read it before, and I am really amazed because it is a great book. The story is incredible and I am enjoying it a lot. You learn so much from this book. You learn about friendship and also about the obsession and the passion of reading. Don Quijote is almost crazy about all the stories he has read. Reading is so important, I remember when I was younger that people used to recommend books to me and it was fine, all those suggestions worked and I hope they still work today for young people. And as we keep on mentioning great names if I had to mention a book to read I would say undoubtedly that people should read Peter Balakian’s Armenian Golgotha, which is one of the most important witnesses of the genocide. This book is a must for everyone and I could affirm that it is the first time that the story is completely told. The book is based on Grigoris Balakian’s memoirs, Peter’s uncle. It is compulsory reading. I think it will be soon translated in all languages. I highly recommend it.”

Extra Poetry

Better watch books

Atom Egoyan and his wife Arsinee Khanjyan

Armenian cinema of the past “One of the biggest names is Paradjanov. In terms of visual language he was superb. All his films, from Shadows of Forgotten Ancestors, Sayat Nova (The Color of Pomegranates) to Ashik-Kerib and The Legend of Suram Fortress, are unique. He is simply essential. This country has an impressive tradition in documentary. It is amazing what they have done. On this topic we must mention Pelleshyan, one of the pillars of this genre. We have classic names such as Henrik Malyan and many more. Rouben Mamoulian is another remarkable reference in my life, an incredible person. I studied all his films.

Armenian cinema today “There are wonderful Armenian directors in the Diaspora. And you can see all of this Armenian production in this festival which creates a place for all Armenian directors, from the Diaspora and from the past. But the most important thing is that the tradition of Armenian Cinema is alive.”

Atom Egoyan’s 50th birthday will be celebrated on July 16. A retrospective of his early films is held during this festival

Jack Boghossian

Catchting the impossible in images Leandro Listorti on Dead Youth Leandro Listorti was born in 1976 in Buenos Aires, Argentina. He studied filmmaking and at­ tended several documentary workshops. Dead Youth is his first feature film.

His film explores the lives of more than 30 young people who committed suicide between 1997 and 2007, in a small city called Las Heras, in Argentina. The film examines the emptiness and the mystery surrounding them and their deaths.

Quoting Borges it could be said that ‘The Things’ (Las cosas) are the real characters in your film. How did you decide to make Dead Youth (Los jóvenes muertos)?

Interest is the beginning of every project. This interest departed from a news item, from a mystery and then from the interest to represent in images, something that it is impossible to catch. My interest also lies in generating and developing a different way of seeing things and places. So instead of saying that ‘Things’ are the main characters l would say that the way of capturing them is what takes my whole attention.

Do you see your film as a documentary?

I would say it is a documentary, because it deals with people and real situations. At the same time I should admit that it has a treatment which moves away from the regular patterns of the genre.

You shot your own script and also you were in charge of the production.

It was not easy to be in charge of the whole project all alone, this is why in the middle of the way I joined a Production Company which gave me structure and support to reach to the end of

Festival guests are invited to visit the Matenadaran, Yerevan's famous repository of ancient manuscripts. It holds a great number of medieval manuscripts and books, many of which are richly illuminated, and is considered one of the main attractions of the city (see Matenadaran.am). Buses for the Matenadaran will leave in front of the Golden Tulip hotel at 10:30 am.

Pictures at Parajanov's At 19:00 pm, festival guests can visit the Museum devoted to the work of Sergei Parajanov, who was not only a filmmaker, but also created a wide variety of paintings, statues, puppets, and collages. Buses for the museum will leave in front of the Golden Tulip hotel at 18:30 pm.

Atom Egoyan 50 Invited guests are welcome to a reception to celebrate the 50th birthday of CanadianArmenian filmmaker, and President of the Festival, Atom Egoyan. Egoyan is the subject of a retrospective at this year's GAIFF, featuring films like Family Viewing (1987) and The Sweet Hereafter (1997). The reception will be held at the Latar Complex, starting at 22:00 pm. Buses for the Latar Complex will leave in front of the Golden Tulip hotel at 21:30 pm.

Open Air Film

project. They did not interfere in big decisions but contributed with their experience.

What elements should prevail in a documentary?

I did work in feature productions but my former works were documentaries. All my works had a strong relationship to reality. In a documentary I think this must prevail. We have to be open to what reality offers. Limits should be less demanding and more clearly defined; this is the way to generate original and personal works.

What expectations do you have about having your film in competition in Armenia?

It is always a pleasure to show a film and it gets more importance when it is a debut film. I have to say that it is a great opportunity to screen it in Armenia, a country which is not very easy to get.

Without doubts it is a great chance for an independent film.

Jack Boghossian Dead Youth – Leandro Listorti (Argentina, 2009). 16-7, 20:00, Puppet Theatre, Small Hall.

The Yerevan Nights in Lover's Park, near the Presidential Palace, will be showing Street Days, by Georgian filmmaker Levan Koghuashvili. The film, about an unemployed Tblisian heroin addict, will start at 22:00 pm. The organizers would like to note that Achajour Café, located at Lovers’ Park, is the only sponsor of the open-air screenings and that each 1,000 AMD spent at the café is equal to the monthly expenses for one square meter of park. See also www.boghossiangardens.org.

Jazz Battle Golden Apricot’s Jazz Competition, organized by jazz master Levon Malkhasyan, continues at the Charles Aznavour Square in front of the Moscow Cinema, tonight at 21:00 pm. Go to see and hear if tonight’s contestants are deserving of the main prize.

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 6 | 16 JULY | 2010

reviews 7

A Debt to Dostoevsky Documentary portrait of 86-year-old Svetlana Geier, originally Ukrainian, who dedicated her life to translating Russian literature into German. The reason was, as she says herself, to pay off her debts to Germany - a debt she saddled herself with during World War II. For the last 20 years, she has concentrated on the five great novels - ‘the five elephants’ - by Dostoevsky.

The film juxtaposes her meticulous intellectual effort, which she carries out with several retired friends, with Geier's everyday activities in and around the house: peeling apples, making tea and receiving the children and grandchildren. When she is invited to be a guest lecturer in Kiev, she returns to her home soil for the first time in 56 years.

Nominated for Best Documentary during the European Film Awards last December.

RR

The Lost Generation of Georgia Checkie, the main character in Levan Koguashvili's feature debut Street Days, has some of the charm of an older Humphrey Bogart. Or, to put it more precisely, Checkie is what Bogart might have looked like, had he lived for years on the streets of Tbilisi, looking for a fix.

Georgian actor Guga Kotetishvili, who impresses in his first film role, gives hints of the decency and dignity Checkie used to posses, before his life went downhill. Now, he is one of the useless drunks and junkies of Tbilisi, who are always shouting, complaining, stealing, throwing up, getting into fights, and generally making a nuisance of themselves. Every day, Checkie needs money for his next shot of heroin, for which he lies, cheats, and gets into trouble. Although Checkie clearly is a weak and selfish man, Kotetishvili lets us feel there is still something good in this man, something decent, hidden under layers of disappointment, failure, and despair.

Checkie is symbolic of a generation of Georgians, who grew up in the Soviet Union, were in their twenties when it collapsed, and are incapable of adapting to the new era. A generation that has given up. Society doesn't need them, and they wouldn't know how to live in it. It's a lost generation, haunting the streets of Tbilisi like ghosts of the past.

First time feature director Koguashvili (1973), who went back to his Georgian homeland after spending seven years in New York, portrays these men and women with hard, but compassionate realism: he shows them as they are, no better, and no worse.

As he told the Daily of the Rotterdam film festival: “To give the protagonist as realistic a character as possible, I worked with non-professional actors.

Real people are more believable than actors, who are accustomed to wearing masks. For the casting I had some help from the police, who I walked around with for a few days. I also chose a classic approach: minimal editing in long held shots. And no shaky hand-held camera.” Koguashvili used his previous experience making documentaries: “I work without

The Woman with 5 Elephants – Vadim Jendreyko (Switzerland/Germany, 2009). 167, 10:00, Moscow Cinema, Red Hall.

a storyboard and I like to get on with things quickly.

That way, I give myself room for improvisation.”

Often, Koguashvili puts his camera in between these lost souls, so that we, as spectators, become part of their small and often darkly comical world.

In the story, a series of events jolt Checkie out of his normal routine. He is forced to take a number of decisions, when his ex-wife can't pay their 7-year old son's tuition fees anymore, the son of a former school friend – who is now a minister – wants to buy drugs off of him, and corrupt police officers press him to betray his friend's son in a bust. In the meantime, the story-line points to another problematic generation: bored young school kids, who think they can start trying drugs, because 'you have to try everything', without turning into junkies themselves.

KD Street Days – Levan Koguashvili (Georgia, 2010). 16-7, 22:00, Yerevan Nights at Poghosyan Gardens.

"My film speaks about love" Comes Chahbazian on Down Here Comes Chahbazian was born in Beirut, Lebanon. He graduated as assistant director at Conservatoire Libre du Cinéma Française. He also took courses on cinema and theater, acting, circus techniques, acrobatics, mime and photography.

Chahbazian spent four years to film Down Here, which was shot in Yerevan.

Down Here is about loss of family space, work space, urban space and memory space. Time and space are the two main characters in his story.

Chahbazian: “The film is extremely linked to the ground. The title suggests a place which could be universal. Everywhere we have a 'Down Here'. I wanted to know the reality of people in need. I am very interested in this matter, even when I come from another reality. Modestly I would say that the film speaks about a lot of things, it has a universal language. Especially it speaks about love, time and all their variants.”

Do you consider your film a documentary?

I do not make any difference between a documentary and a feature film. Both genres get together in a moment. The only question for me is the film. To make a feature or a documentary I do the same way, I do not make any difference. Filming is searching for something I want to understand. I remember someone

who was about to begin a film asking Parajanov for some advice. He just answered: ‘Film with your heart’.

It maybe a common place but it is true. The heart knows. You have to believe in what you do. It is a commitment. If you believe in what you are doing the audience is going to do the same thing.

How was shooting in Yerevan?

It was very easy. I spent a year in Yerevan with my wife. We were first walking down the streets of Yerevan, we were trying to meet people then to stay with them then to share a moment with them and then film them. I could say that we only had few small problems during the filming, one was the during winter time, and people didn’t want to be filmed because of the cold, and the other was that while filming on the streets of Yerevan people sometimes used to interrupt us and ask things about the film. The shooting took almost 60 days, my wife recorded the sound and I was in charge of the camera. Shooting was very simple, but editing was very complicated because the film appears at moments as a puzzle with many different pieces that must match perfectly to each other. Many aspects of reality are included. And all these parts together form the unit of the film itself, which basically speaks about love.

How did you connect with the real-life characters of your films?

It was excellent. I would say that our relationship had different stages. First when we met, there was the moment of discovering them and then they had to accepting being filmed. The most important time was during the shooting. I always felt involves with them and their reality, but while shooting I had to stay objective.

The film is very emotional, but I had to put a distance between them and my feelings. The camera did the job.

I was making a film so I needed to be in control.

How do you see Armenian cinema?

I love this festival, where you can also see Armenian films, and I am trying to see more and more of them. There are three places where I love to screen my films: in Beirut where I was born, in Brussels where I live and in Yerevan, my homeland.

JB

The Double Effect of the Mirror A story by Perch Zeytuntsian, called Don’t Look in the Mirror, captured director Suren Babayan’s imagination, who saw in it an opportunity to turn a literary work into a film and create his own mystery in a new medium. In this sense his film, also called Don’t Look in the Mirror, seems to have developed into well-known, but also absolutely new and still undiscovered symbols, into a peculiar guide book. The characters do not appear to have a desire to transform from symbols to images, remaining as fact-underlining ‘faces’, dead bodies, whose activity is limited to their capacity to create a reality, but without any sensitive charge. In such moments the director, the characters and the atmosphere work separately and even alienated from each other. Suren Babayan has succeeded in presenting the main character’s ‘symbolic’ collisions with reflections of his alter ego in the mirror through phantasmagorical scenes, lined up with scenes resembling everyday television programs. The director’s eclectic ideas sometimes tend towards the grotesque and unrealistic and sometimes get mythologized or become commonplace. This film, in terms of its inner content, has also an inconspicuous layer, presenting the current state of Armenian filmmaking, with show business’ metastases penetrating, possibly unconsciously, into the film.

Hovhannes Tekgyozyan Don’t Look in the Mirror – Suren Babayan (Armenia, 2009). 16-7, 10:00 & 19.00, Moscow Cinema, Blue Hall.

GOLDEN APRICOT DAILY | DAY 6 | 16 JULY | 2010

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