DAY 7 SATURDAY JULY 17
2010
Theo Angelopoulos:
"To understand history became an important part of my life" Â»á ²Ý·»ÉáåáõÉáë.
§ä³ïÙáõÃÛáõÝ Ñ³ëϳݳÉÝ ÇÙ ÏÛ³ÝùÇ Ï³ñ»õáñ Ù³ëÝ ¿¦ ºñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³` Ü»ñßÝãí³Í γñ׳ٻïñ³Å ÛáÃÝÛ³Ï, ì³ã» ´áõÉÕáõñçÛ³Ý
гñó³½ñáõÛó.
Â»á ²Ý·»ÉáåáõÉáë
Interview
Theo Angelopoulos
Interview Arsinee Khanjyan, Designstudio Printinfo Reviews of:
35 Shots of Rhum, Barking Island
GOLDEN APRICOT DAILY | DAY 7 | 17 JULY | 2010
2 Íñ³·Çñ/programm 17 ÑáõÉÇëÇ/ 17 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 14:00
êåÇï³Ï Ï»ï³ÓÏÝ»ñ/White Whales üñǹñÇù Âááõñ üñǹñÇùëáÝ/Fridrik Thor Fridriksson, Isl, 80’, R
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 19:00
ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema
13:00 êÇóÇÉdzóÇÝ»ñÇ ÏɳÝÁ/The Sicilian Clan ²ÝñÇ ì»éÝÛáÛ/Henri Verneuil, Fra, 120’, R
ö³ÏÙ³Ý ³ñ³ñáÕáõÃÛáõÝ/ Closing Ceremony ö³ÏÙ³Ý ýÇÉÙ//Closing film
Lang.: French, Subt.: English and Armenian
14:00 È»áÝ Î³Ïáí – ì³ñå»ïáõÃÛ³Ý ¹³ë/Leon Cakoff - Master Class ´³ñÇ ·³Éáõëï ê³Ý ä³áõÉá/ Welcome to Sao Paulo Bra, 100’, R
15:00 35 μ³Å³Ï éáÙ/35 Shots of Rum ÎÉ»ñ ¸ÁÝÇ/Claire Denis, Fra/ Deu, 100’, R
18:00 ²ÝϳËáõÃÛ³Ý ÍÝáõݹÁ/The Birth of Independence ²ñï³Ï Øáõñ³¹Û³Ý/Artak Muradyan, Arm, 26’, AS
Lang.: French, Subt.: English and Armenian
Lang.: Icelandic, Subt.: English and Armenian
ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/Naregatsi Art Institute
г۳ëï³ÝÇ ³½·³ÛÇÝ å³ïÏ»ñ³ëñ³Ñ National Gallery Of Armenia 12:00
17:00
Èáõë³íáñ ·³ÉÇù/The Sweet Hereafter ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can, 112’, R
Lang.: Russian, Subt.: English 19:00
ØáëÏí³ÛÇ ïáõÝ ºñ¨³ÝáõÙ “Dom Moskvy” in Yerevan
ÐÇí³Ý¹³ë»ÝÛ³Ï Ñ³Ù³ñ í»ó/Ward No.6 γñ»Ý Þ³Ñݳ½³ñáí/Karen Shakhnazarov, Rus, 83’, YP
Lang.: English 14:00
17:00 Ü»ñßÝãí³Í/Imbued èáμ ÜÇÉëáÝ/Rob Nilsson, USA, 83’, YP
16:00
Lang.: English, Subt.: Armenian 19:00 ÎáÏá ޳ݻÉÁ ¨ Æ·áñ êïñ³íÇÝëÏÇÝ/Coco Chanel and Igor Stravinsky Ú³Ý ÎáõÝ»Ý/Jan Kounen, Fra, 113’, YP
²ñï³ëíáÕ Ù³ñ·³·»ïÇÝÁ/ The Weeping Meadow »á¹áñáë ²Ý·»ÉáåáõÉáë/ Theodoros Angelopoulos, Grc/Fra/Ita/Deu, 170’, R
Lang.: Russian, Subt.: English and Armenian 21:00 êåÇï³Ï ÝÛáõÃ/White Material ÎÉ»ñ ¸ÁÝÇ/Claire Denis, Fra/ Cmr, 100’, R
Lang.: Greek, Subt.: English and Armenian
öÇÕ ëå³Ý»É/To Shoot an Elephant ²Éμ»ñïá ²ñë», ØáѳÙÙ³¹ èáõç³ÛɳÑ/ Alberto Arce, Mohammad Rujailah, Esp, 112’, DAB
ü»ÉÇëdzÛÇ áõÕ¨áñáõÃÛáõÝÁ/ Felicia’s Journey ²ïáÙ ¾·áÛ³Ý/Atom Egoyan, Can/Gbr, 114’, R
Lang.: English
Lang.: English, Arabic, Spanish, Subt.: English
Lang.: French, Subt.: English and Armenian
documentary competition
ÎáñáõëÛ³É ³ß˳ñÑÁ` Ïï³íÇÝ §ÎñÏݳÏÇ ï³ñ³Íù¦ ýÇÉÙÁ Ý»ñϳ۳óÝáõÙ ¿ Ñ»ï³ùñùñáõÃÛáõÝÝ»ñÇ ¨ Ñݳñ³íáñáõÃÛáõÝÝ»ñÇ Ñ³Ï³¹ñáõÃÛáõÝÁ: سñ¹Á ÙÇ å³Ñ ϳݷݻóÝáõÙ ¿ ųٳݳÏÁ` Ïï³íÇ íñ³ ³ñï³óáÉ»Éáí ï³ñµ»ñ Ù³ñ¹Ï³Ýó å³ïÙáõÃÛáõÝÝ»ñ: ܳ, Éáõë³Ýϳñã³Ï³Ý ³å³ñ³ïÁ Ó»éùÇÝ, Ù³ñ¹Ï³ÛÇÝ å³ïÙáõÃÛáõÝÝ»ñ ¿ §áñëáõÙ¦, ³ÛÝáõ Ñ»ï¨ Ñ³ÝÓÝáõÙ Ïï³íÇÝ: ê³Ï³ÛÝ Ç±ÝãÝ ¿ ëïÇåáõÙ ê³Ý ä³áõÉáÛÇ å»ë µéÝáõÃÛ³Ùµ ÉÇ ù³Õ³ùáõÙ ³åñáÕ Ñ»ï³½áïáÕÇÝ ³ÛÝåÇëÇ Ïï³íÝ»ñ Ýϳñ»É, áñáÝù ϳñÍ»ë Ýñ³ ³éûñÛ³ ÏÛ³ÝùÇ ¹ñí³·Ý»ñÁ ÉÇÝ»Ý: سÝáõ»É ä³ »ë Ü»ïáõÇÝ ·ñ³íáõÙ »Ý ÙdzÛÝ ³Õ»ñë³Ýù, ³÷ ëáë³Ýù ¨ ³½³ïáõÃÛáõÝ ³ñï³Ñ³ÛïáÕ Ñ³Û³óù
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Foreign Affairs
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Editor in chief: André Waardenburg
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Daily
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GOLDEN APRICOT DAILY | DAY 7 | 17 JULY | 2010
úñ³·Çñ 3 ºñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³
èáµ ÜÇÉëáÝÇ §Ü»ñßÝãí³Í¦ ÏÇÝáÝϳñÁ Ù»·³ åáÉÇë³ÛÇÝ §÷³Ï¦ ï³ñ³Íùáõ٠ѳÛïÝí³Í Í» ñ³óáÕ ëï»Õͳ·áñÍáÕÇ Ù³ëÇÝ ¿: §Ü»ñßÝãí³ÍÁ¦ ýÇÉÙ ¿, áñï»Õ ³åñáÕÇ ½·³óáÕáõÃÛáõÝÝ»ñÁ ÏÇëáí ã³÷ »Ý ³ñï³Ñ³ÛïíáõÙ, ¨ ·áñÍáÕáõÃÛáõÝÝ»ñÁ Ñ³×³Ë ã»Ý ͳí³ÉíáõÙ, ³ÛÉ áñå»ë å³ïÏ»ñÝ»ñ »Ý Ý»ñϳ۳óíáõÙ: (²ñï³ëíáÕ ÏÇÝ ¨ Ýñ³ ÏáÕ ùÇÝ Ù»ñÏ ïÕ³Ù³ñ¹, Í»ñ³óáÕ ïÕ³Ù³ñ¹áõ Ñ»ï ѳٵáõñíáÕ »ñÇï³ë³ñ¹ ÏÇÝ ¨ ³ÛÉÝ): èáµ ÜÇÉ ëáÝÁ §Ñ»ñáëÝ»ñǦ ѳñ³µ»ñáõÃÛáõÝÝ»ñÁ §Ñ³ëáõ ݳóÝáõÙ¦ ¿ ϳñÍ»ë ÏÇë³ï ½·³Û³ñ³ÝÝ»ñáí ¨ ³ë»ë ÏÇëí³Í ѳ۳óùáí áõ ßÝã³éáõÃÛ³Ùµ Ñ»ï¨ áõÙ ¿ ýÇÉÙÇ ÇÝã-áñ ÇÙ³ëïáí ïñ³Ù³µ³Ý³Ï³Ý ³í³ñïÇÝ:
ÐáíѳÝÝ»ë »ù·Ûá½ Û³Ý §Ü»ñßÝãí³Í¦, èáµ ÜÇÉëáÝ, ²ØÜ ÐáõÉÇëÇ 17, Ï/à §Ü³ÇñǦ (17:00)
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GOLDEN APRICOT DAILY | DAY 7 | 17 JULY | 2010
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GOLDEN APRICOT DAILY | DAY 7 | 17 JULY | 2010
interview 5
Theo Angelopoulos ²ß˳ñѳÑéã³Ï Â»á ²Ý·»ÉáåáõÉáëÝ ³é³çÇÝ ³Ý·³Ù ºñ¨³ÝáõÙ ¿` Çñ ýÇÉÙ»ñÇ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛ³Ùµ: 75-³ÙÛ³ ÑáõÛÝ é»ÅÇëáñÁ »íñáå³Ï³Ý ÏÇݻٳïá· ñ³ýdzÛÇ ÑÇÙÝ³Ï³Ý §å³ïÙ³µ³ÝÝ» ñÇó¦ ¿: Ü»ñϳ۳óÝ»Éáí å³ïÙáõÃÛáõÝÁ` ݳ ÷áñÓáõÙ ¿ ³ÝóÛ³ÉÇ ÙÇçáóáí óáõÛó ï³É Ù»ñ ³å³·³Ý: ºë ÍÝí»É »Ù 1935 Ã.: ºñµ Ù»Ï ï³ñ»Ï³Ý ¿Ç, Ðáõ ݳëï³Ýáõ٠ѳëï³ïí»ó ³é³çÇÝ ½ÇÝíáñ³Ï³Ý ¹ÇÏï³ïáõñ³Ý: ºñµ ÑÇÝ· ï³ñ»Ï³Ý ¿Ç, ëÏëí»ó ºñÏñáñ¹ ѳٳß˳ñѳÛÇÝ å³ï»ñ³½ÙÁ, ¨ ·»ñÙ³ ݳóÇÝ»ñÁ Ùï³Ý ²Ã»Ýù: ÆÙ ³é³çÇÝ ÑÇßáÕáõÃÛáõÝ Ý»ñÝ ³ÛÝ ûñí³ Ù³ëÇÝ »Ý, »ñµ å³ï»ñ³½Ù ѳÛï³ ñ³ñí»ó: ²é³íáï ¿ñ` ųÙÁ 10-Á: ²é³çÇÝÁ, ÇÝã ÑÇ ßáõÙ »Ù, ·»ñٳݳóÇ ½ÇÝíáñÝ»ñÇ ÙáõïùÝ ¿ ²Ã»Ýù: ÆÙ §ÞñçÇÏ Ã³ï»ñ³ËáõÙµÁ¦ ýÇÉÙÁ Ñ»Ýó ³Û¹ ¹ñí³ ·áí ¿ ëÏëíáõÙ: гçáñ¹Á ù³Õ³ù³óÇ³Ï³Ý å³ï» ñ³½ÙÝ ¿ñ: ºë ³Ï³Ý³ï»ëÝ ¿Ç ³ÛÝ µ³ÝÇ, û ÇÝãå»ë ¿ñ ѳϳٳñïáõÃÛáõÝÝ ³Ý·³Ù ÁÝï³ÝÇùÇ ³Ý¹³Ù Ý»ñÇÝ ï³ñµ»ñ ׳ٵ³ñÝ»ñÇ µ³Å³Ý»É: ÆÙ ÁÝï³ ÝÇùÁ ïñáÑí»ó »ñÏáõ Ù³ëÇ: ÆÙ ½³ñÙÇÏÁ Ó»ñµ³Ï³ É»ó Ñáñë: Üñ³Ý å»ïù ¿ ٳѳå³ïÅÇ »ÝóñÏ» ÇÝ: ´³ñ»µ³Ëï³µ³ñ ¹³ ï»ÕÇ ãáõÝ»ó³í: ê³ ¿ ³ÛÝ å³ï׳éÝ»ñÇó Ù»ÏÁ, û ÇÝãáõ ÇÙ µáÉáñ ýÇÉÙ»ñáõ٠ϳ Ñáñ Ï»ñå³ñÁ` í»ñ³¹³ñÓáÕ Ñáñ, ϳ٠Ñáñ, áñÁ ÷ÝïñíáõÙ ¿: ²ÛÝ å»ë áñ, å³ï Ùáõ ÃÛáõÝÝ ³Ý Ï³Ë ÇÝÓÝÇó Ùï³í ÇÙ ÏÛ³Ýù, ¨ å³ïÙáõÃÛáõÝÁ ѳëϳ ݳÉáõ ó³ÝÏáõÃÛáõÝÁ ¹³ñÓ³í ÇÙ ·áÛáõÃÛ³Ý Ï³ñ¨áñ ÇÙ³ëïÝ»ñÇó Ù»ÏÁ: ÆëÏ ÑÇÙ³ ÙïáíÇ í»ñ³¹³éÝáõÙ »Ù ³ÝóÛ³É, í»ñÑÇßáõÙ ³Û¹ å³ïÙ³Ï³Ý Çñ³¹³ñÓáõ ÃÛáõÝÝ»ñÁ, ³ÝóÛ³ÉÝ áõ Ý»ñÏ³Ý Ñ³Ù³¹ñ»Éáí` áõëáõ٠ݳëÇñáõÙ å³ïÙáõÃÛáõÝÁ: ²Ûë áõÕÇÝ »ë ã»Ù ÁÝïñ»É: ܳ ¿ Ó»½ ÁÝïñ»É... ²Ûá, Çñ³í³óÇ »ù: ²ùëáñÁ Ó»ñ ýÇÉÙ»ñÇ Ùßï³Ï³Ý Ã»Ù³Ý ¿: ²ÛÝ Ý³¨ Ó»ñ »é³å³ïáõÙÇ ÑÇÙÝ³Ï³Ý Ã»Ù³Ý ¿, áñÝ §²ñï³ëíáÕ Ù³ñ·³·»ïÇÝÁ¦ ýÇÉÙáõÙ ëÏëíáõÙ ¿ ¾É»ÝÇÇ ¨ êåÇñáÛÇ` ïÝÇó ÷³Ëã»Éáõ ï»ë³ñ³Ýáí, ³å³ §Ä³Ù³Ý³ÏÇ ÷áßÇݦ ýÇÉ ÙáõÙ Ýñ³Ýó ï»ëÝáõÙ »Ýù ³ñ¹»Ý èáõë³ëï³ ÝÇ, γݳ¹³ÛÇ ¨ ºíñáå³ÛÇ ×³Ý³å³ñÑÝ»ñÇÝ: ´Ý³ÏãáõÃÛ³Ý Ù»Í³ù³Ý³Ï ï»Õ³ß³ñÅ»ñÝ áõ ³ùëáñÛ³ÉÝ»ñÇ Ã»Ù³Ý Ï³ñ»ÉÇ ¿ ³ë»É, áñ 20-ñ¹ ¹³ñÇ Ï³ñ¨áñ³·áõÛÝ Ã»Ù³Ý»ñÇó Ù»ÏÝ ¿: ²ÛÝ Ï³ñáÕ »Ýù ³ùëáñÇ ¹³ñ ³Ýí³Ý»É: ²Ûá, ϳñ ÍáõÙ »Ù` Ù»Ýù µá Éáñë ¿É ³ù ëá ñÛ³É Ý»ñ »Ýù: γ ³ñï³ùÇÝ ³ùëáñ ¨ Ý»ñùÇÝ ³ùëáñ: Êáë» Éáí ³ñï³ùÇÝ ³ùëáñÇ Ù³ëÇÝ` å»ïù ¿ Ëáë»Ýù ݳ¨ Ý»ñùÇÝ ³ùëáñÇ Ù³ëÇÝ: ºñµ »ë Ýϳñ³Ñ³ÝáõÙ ¿Ç ÇÙ §²ñ³·ÇÉÇ Áݹѳïí³Í ù³ÛÉÁ¦ ýÇÉÙÁ, سñã»ÉÉá سëïñáÛ³ÝÇÝ ³ë³ó ÇÝÓ. §Ø»Ýù ³Ýó»É »Ýù ë³Ñ Ù³ÝÁ, µ³Ûó ÙïáíÇ ¹»é ³ÛÝï»Õ »Ýù¦: ø³ÝDZ ë³Ñ Ù³Ý å»ïù ¿ ÏïñÇ-³ÝóÝÇ Ù³ñ¹Á, áñ ѳëÝÇ ïáõÝ: ºí DZÝã »Ýù ѳëϳÝáõÙ ïáõÝ ³ë»Éáí: îáõÝÁ Ý»ñùÇÝ ½·³óáÕáõÃÛáõÝ ¿, ÙÇ í³Ûñ, áñï»Õ Ù³ñ¹Ý Çñ»Ý Ý»ñ ¹³ßÝ³Ï ¿ ½·áõÙ Çñ ¨ ³ñï³ùÇÝ ³ß˳ñÑÇ Ñ»ï: ²Û ëÇÝùÝ ¾É»ÝÇÝ ¨ êåÇñáÝ ¿É ¿ÇÝ ÙÇßï Ý»ñùÇÝ ³ùëáñÇ íÇ׳ÏáõÙ: ÆÙ »é³å³ïáõÙáõÙ »ññáñ¹ ýÇÉÙÁ ¹³ñ ÓÛ³É ³ùëáñÇ Ù³ëÇÝ ¿ ÉÇÝ»Éáõ, ³ÛÝ Ù³ñ¹Ï³Ýó Ù³ ëÇÝ, áíù»ñ Çñ»Ýó ѳÛñ»ÝÇùáõÙ »Ý ³ùëáñÛ³É: §²ñï³ëíáÕ Ù³ñ·³·»ïÇÝÁ¦ ³ÝóÛ³ÉÇ Ù³ëÇÝ ¿ñ, §Ä³Ù³Ý³ÏÇ ÷áßÇݦ ³ÝóÛ³ÉÇ ¨ Ý»ñϳÛÇ, »ññáñ¹Á ÉÇÝ»Éáõ ¿ Ý»ñϳÛÇ ¨ ³å³·³ÛÇ Ù³ëÇÝ: ´³Ûó ýÇÉÙÇ Ñ»ñáëÝ»ñÝ áõñÇß ÏÉÇÝ»Ý: §Ä³Ù³Ý³ÏÇ ÷áßÇݦ ýÇÉÙáõÙ ¹áõù ³åß» óáõóÇã Ó¨áí »ù å³ïÏ»ñáõÙ ÑÇßáÕáõÃÛáõÝÝ» ñÁ: ÜÙ³Ý ¿ §à¹Çë¨ëÇ Ñ³Û³óùÇݦ, áñï»Õ Ù»Ï ¹ñí³ ·áõÙ ù³ é³ ëáõÝ ï³ñ í³ ÏÛ³Ýù ¿ å³ïÏ»ñíáõÙ: îå³íáñÇãÝ ³ÛÝ ¿, áñ ¹ÇïáÕÝ áõÝ»ÝáõÙ ¿ ½·³óáÕáõÃÛáõÝ, û µáÉáñë ³ÝóÛ³ ÉÇ ·»ñÇÝ »Ýù ¨ ³ÛÉÁÝïñ³Ýù ãáõÝ»Ýù: ºë ѳÙá½í³Í »Ù, áñ ÑÇßáÕáõÃÛáõÝ ãáõÝ»óáÕ Ù³ñ¹Ï³Ýó ϳñ»ÉÇ ¿ ٳѳó³Í ѳٳñ»É: ÖÇßï ¿ ݳ¨ ³ÛÝ, áñ ÑÇßáÕáõÃÛáõÝÝ»ñÇó ÷³Ëã»É Ñݳñ³íáñ ã¿: àã áù ãÇ Ï³ñáÕ çÝç»É ³ÝóÛ³ÉÁ: ø³ÝÇ áñ Ñ»Ýó ³ÝóÛ³Éáí ¿ å³Ûٳݳíáñí³Í Ù»ñ Ý»ñϳÝ: ÆÙ í»ñ çÇÝ` §Ä³Ù³Ý³ÏÇ ÷áßÇݦ ýÇÉÙáõÙ »ë ÷áñÓ»óÇ Å³ ٳݳÏÇ ·³Õ³÷³ñÁ ³ÛÝå»ë Ý»ñϳ۳óÝ»É, ÇÝãå»ë ÂáÙ³ë ¾ÉÇáÃÝ ¿ñ Ó¨³Ï»ñå»É Çñ §âáñë ùí³ñï»ï¦ åá»ÙáõÙ. §Ü»ñÏ³Ý ¨ ³ÝóÛ³ÉÁ ѳí³Ý³µ³ñ ÏÉÇÝ»Ý ³å³·³ÛáõÙ, ÇÝãå»ë ³å³·³Ý ¿ »Õ»É ³ÝóÛ³ÉáõÙ: ºí »Ã» µáÉáñ ųٳݳÏÝ»ñÝ ¿É ÙÇßï Ý»ñϳ »Ý, áõ ñ»ÙÝ Ù»Ýù ÙÇßï ųٳݳÏÇ ·»ñÇÝ »Ýù. ³ÝóÛ³ÉÝ áõ ³å³·³Ý ÙÇßï ѳݷ»Éáõ »Ý Ù»ñ Ý»ñϳÛÇÝ:
ƱÝã ¿ ËáñÑñ¹³ÝßáõÙ Ññ»ßï³ÏÇ »ññáñ¹ èÁ` §Ä³Ù³Ý³ÏÇ ÷áßÇݦ ýÇÉÙáõÙ. ³ÛÉÁÝï ñ³Ýù ÷Éáõ½í³Í ÊáñÑñ¹³ÛÇÝ ØÇáõÃÛ³±ÝÁ, û ³ÛÉÁÝïñ³Ýù ϳåÇï³ÉǽÙÇÝ, áñÇÝ ¹áõù »ñµ»ù ã»ù ѳí³ï³ó»É, ϳ٠ÏáÙáõÝÇëï³Ï³Ý ·³Õ³÷³ñ³ËáëáõÃÛ³ÝÁ, áñÁ ï³å³Éí»ó: ºññáñ¹ èÁ áõïáådz ¿: ØÇ µ³Ý, áñÇÝ ¹áõù ã»ù ϳñáÕ ¹Çåã»É: ²ÝÑݳñ ÙÇ µ³Ý: ²ÛÝ ëáódzÉǽÙÇ å³ïÙáõÃÛ³Ý áõ ÊáñÑñ¹³ÛÇÝ ØÇáõÃÛ³Ý ÷Éáõ½ Ù³Ý Ù³ëÇÝ ¿: ²ë»É ¿, û` ëáódzÉǽÙÝ Áݹ³Ù»ÝÁ áõïáåÇëï³Ï³Ý ·³Õ³÷³ñ³ËáëáõÃÛáõÝ ¿: سñ ¹ÇÏ ³Ûëûñ ËáëáõÙ »Ý ӳ˻ñÇ ¨ ³ç»ñÇ Ù³ëÇÝ, µ³Ûó Ç í»ñçá ¹ñ³Ýù ëáëÏ µ³é»ñ »Ý: ÎáÙáõÝǽÙÇ í»ñ³óáõÙÝ ³Ñé»ÉÇ ¹³ï³ñÏáõÃÛáõÝ ¿ ³é³ç³óñ»É: ²Ñ³ û ÇÝãáõ Ýáñ ë»ñáõݹÁ ѻݳñ³Ý ãáõÝÇ: Ò»ñ ϳñÍÇùáí í»ñç»ñë Ðáõݳëï³ÝáõÙ ëÏëí³Í ß³ñÅáõÙÝ Çñ µÝáõÛÃáí Ïáñͳݳñ³±ñ ¿, ÝÇÑÇÉÇëï³Ï³±Ý` Ç ï³ñµ»ñáõÃÛáõÝ 1968 Ã. ß³ñÅÙ³ÝÁ: ²Ûë ³Ù» ÝÇ ÑÇÙ ùáõÙ µéÝáõ ÃÛáõÝÝ ¿: 1968 Ã. ÷³ñǽ Û³Ý áõë³ÝáÕ³Ï³Ý ß³ñÅÙ³Ý Ñ»ñáëÁ ¸³ÝÇ»É øáÑÝ ´»Ý¹ÇÃÝ ¿ñ: Üñ³ ³é³çÝáñ¹áõ ÃÛ³Ùµ áõë³ÝáÕÝ»ñÁ ëÏë»óÇÝ ÷áÕáó ¹áõñë ·³É ¨ µáÕáù»É: ܳ ÙÇ ³Ý·³Ù ³ë»É ¿. §²ÛÝ, ÇÝã Ù»Ýù ³ñ»óÇÝù` ÙÇ ÷áùñÇÏ Ñ»Õ³÷áËáõÃÛáõÝ ¿ñ, µ³Ûó Ù»Ýù áõÝ»ÇÝù ÑáõÛë ¨ ѳí³ï¦: ²Ûëûñ ÝáõÛÝ ³· ñ»ëÇ³Ý ¿, µ³Ûó ³é³Ýó ÑáõÛëÇ ¨ ѳí³ïÇ: Կ³ñÍáõÙ »Ù, áñ ë³ Ó»ñ ³é³çÇÝ Í³ÝáÃáõ ÃÛáõÝÁ 㿠ѳÛÏ³Ï³Ý Ùß³ÏáõÛÃÇ Ñ»ï: Ðáõݳëï³ÝáõÙ ß³ï ѳۻñ ϳÝ: ÆÙ ýÇÉÙ»ñÇ ëó»Ý³ñÝ»ñÁ ·ñ»ÉÇë »ë ѳٳ·áñͳÏóáõÙ ¿Ç ä»ï ñáë سñϳñÇë ³ÝáõÝáí Ù»ÏÇ Ñ»ï, áí êï³Ùµáõ ÉÇó ¿. ѳÛñÁ Ñ³Û ¿, ÇëÏ Ù³ÛñÁ` ÑáõÛÝ: ²Ûë Ù³ñ¹Á ÷³ëïáñ»Ý ÙdzíáñáõÙ ¿ »ñ»ù ³½·áõÃÛáõÝ: ºë ϳñ ÍáõÙ »Ù, áñ ³ÝóÛ³ÉÁ å»ïù ã¿ Ùáé³Ý³É, ³ÛÝ å»ïù ¿ ׳ݳã»É ¨ áõëáõÙݳëÇñ»É, µ³Ûó ÙǨÝáõÛÝ Å³Ù³Ý³Ï å»ïù 㿠ݳ¨ Ý»ñϳÛÇ áõ ³å³·³ÛÇ Ù³ëÇÝ Ùáé³ Ý³É: Ü»ñÏ³Ý ¨ ³å³·³Ý å³Ñ³ÝçáõÙ »Ý, áñ Ù»Ýù ϳñáճݳÝù ѳÕóѳñ»É ³ÛÝ, ÇÝãÁ µ³Å³ÝáõÙ ¿ Ù»½ ¨ ß³ñÅí»Ýù ³é³ç: Ø»½ Ýáñ ë»ñáõݹ ¿ å»ïù:
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Legendary Theo Angelopoulos was for the first time in Yerevan with a retrospective of his films. The 75 year old Greek director has been one of the main ‘historians’ of European cinema. His concern for expressing history with cinema is a way of working for a future that is captivated by the past.
“I was born in 1935. When I was one year old, there was the first military dictatorship in Greece. When I was five years old, there was the Second World War and the Germans entering Athens at ten o’clock in the morning. So, the first image that was imprinted on my mind was the declara tion of war and the entrance of German soldiers into Athens. If you see my film The Travelling Players, it starts with this episode. Then came the civil war, and I have also been through a civ il war between families. My family was divid ed into two parts. My father was arrested by my cousin to be executed. Luckily it didn't happen. This is also the reason for the theme of the father which exists in all of my films; the father who returns, or the search for the father. Therefore, I think history entered my life beyond my will and to understand it became an important part of my existence. In the present day, I need to go back wards and look at history, or better still, study history through a confrontation with these past experiences and with those of today. This was not a matter of choice.” It chose you... Yes. Exactly. Exile is an ever-returning theme in your oeuvre. It is also a dominant theme of your ‘Trilogy’, which in The Weeping Meadow starts with Eleni and Spyros running away from their home and we follow them in Dust of Time on the road to Russia, Canada and Europe. At the same time the movements of large populations and being in exile have been in a sense the
dominant themes of the 20th century. This was a century of exile... Yes, I believe that we are all exiles. There is an exterior exile and there also is an interior exile. When one speaks of the exterior exile, one speaks of the interior exile as well. When I was doing my film The Suspended Step of the Stork Marcello Mastroianni said to me: ‘We traversed the border, but we are still there in our minds’. How many borders one has to cross to arrive home? What is this home? It is the interior home, where one feels in harmony with oneself and with the world. Hence Eleni and Spyros were also continuously in an interior exile. The third film in my trilogy will also be about exile, about people who are exiles in their own land. The Weeping Meadow was about the past and Dust of Time was about past and the present, the third will be about the present and future. But this time we won’t follow the same characters. Dust of Time was a film where you visualized memory in a striking way. This is similar to the famous scene in Ulysses’ Gaze where forty years pass in a single shot. The effect of it upon the viewer is a feeling of being captured in the past with no other choice. I believe that people who don't have a memory are dead. It is also true that memory is inescapable as you say. I think that one cannot erase the past, because the past conditions the present. I think one has to look at the past, remember it, but try to see the present and the future at the same time. In my last film Dust of Time I tried to evoke the idea of time that was defined by T. S. Eliot in his po em ‘4 Quartets’: 'Time present and time past/Are both perhaps present in time future/And time fu ture contained in time past.' That means that time is intertwined, our present with our past, and the future that is not finished yet but that exists. This sounds very much Bergsonian. Yes, he is one of the biggest philosophers of the twentieth century. What does the third wing of the angel in Dust of Time stand for? Is it a metaphor for an alternative after the collapse of the Soviet Union? An alternative to capitalism that you never believed in and to the fallen ideals of communism in the way it was realized? The third wing is utopia. Something you cannot touch. Something impossible. It is about the histo ry of socialism and the fall of the Soviet Empire, but especially the fact that socialism nowadays represents nothing more than an idea and that it became utopian. People talk about left and right today but in the end these are just words. The dis appearance of communism has left an enormous void. That is why the new generation doesn't have a point of reference. Nothing. That is why more and more there are acts of aggression. This is what happened recently in Athens with the riots for ex ample. Because this is a youth without a future. So what to believe in? Who to believe? Do you regard the latest movements in Greece as self-destructive, nihilistic acts standing in contrast to 1968? Above all this is violence. The protagonist of the student movement in 1968 was Daniel Cohn-Bendit in Paris. He was the leader of an epoch in which students went to the streets and protested. He said ‘we did a small revolution in this epoch, but with hope. We had faith’. Today there is the same aggression, but without hope and faith. Since Greece and Armenia used to be within the boundaries of the same empire once, I don't think this is your first encounter with Armenian culture. There are many Armenians in Greece. One of the people I collaborated with on my scenarios is Petros Markaris, who was born in Istanbul to an Armenian father and a Greek mother. As you see this is a man who unites three nations in him self, a great symbol for identities that move be yond borders.
Evrim Kaya
GOLDEN APRICOT DAILY | DAY 7 | 17 JULY | 2010
6 films and makers Winner Across Borders The winner of the 2010 Directors Across Borders development award, consisting of 5000 US dollar, is Turkish filmmaker Baris Hanciogullari. His project Leila, Once Again is about a young Turkish nationalist, living in an Istanbul suburb with his mother, who sud denly finds out he is actually Kurdish. As ju ry member Ulf Sigvardson wrote on his blog: "Hopefully we’ll get to see a feature debut in a few years, digging in to the highly politically hot Turkish-Kurdish question." The Directors Across Borders Regional Co-Production Forum is a regional network of film profes sionals in the Caucasus and neighboring coun tries, aiming to use cinema to transcend politi cal, ideological, racial, and religious borders.
Art director Garegin Martirosian of Printinfo:
"The poster was inspired by Robinson Crusoe" For the past six years, design studio Printinfo has designed the festival poster. This year, they went minimalist, explains art director Garegin Martirosian.
It is like a retrospective, the seven festival posters which are hanging on the front of Moscow Cinema. Garegin Martirosian, art director of design studio Printinfo, smiles, although he stresses his studio only designed six of the posters. "The first one, with the festival logo, wasn't ours. But since then, we have designed each year's festival poster." That's almost hard to believe, as the six posters are so different. If you wouldn't know, you would be hard pressed to guess these were all made by the same team. This, Martirosian explains, is done on purpose. "First of all, we want to have some thing recognizably different each year. People are looking forward to the poster. They expect some thing special and new. What's it going to be? Also, Golden Apricot is not the only festival we work for. There is a theater festival, for example, we also make posters for. We should make sure our posters do not resemble each other too much." This year's poster is one of Martirosian's per sonal favorites. "It was a difficult process this year. We always start well in advance of the new
Foreign Affairs
Caricatures in Moscow
festival, in November or December. We already presented our first ideas in February. Normally, the festival agrees to our first suggestion, but this time it was only our third design they accepted." Still, Martirosian is very pleased with the result. "The main idea came from one of our young de signers – it helps to have new people with new ide as, if you want to have something different. The number seven made us think of the number of days in a week, and then we thought of Robinson Crusoe, who lived alone on an island and counted the days by carving lines. The result is very graphic and min imalist, which is something I like for a poster." The festival even used this year's design for a short festival teaser, directed by Naira Muratyan, in which the seven lines are animated to reference all six poster designs. Including the fourth, anoth er of Martirosian's favorites. "It's hard to say why, I just think it is a strong image and very differ ent from the other ones. It is of course inspired by René Magritte, the Belgian surrealist painter. I like his work very much. Our studio also made the film poster for Harutyun Khachatryan's film Return of the Poet. If you see that one, you'll see there is also some Magritte in there."
KD
Arsinee Khanjyan: "I've never been very
Golden Apricot interested in the technical part of acting" belongs to all of us I know I run the risk to sound sentimental speak ing of the Golden Apricot festival but l really don’t care. This festival means a lot to me. I have been part of it as a jury, as film critic, and this year l had the possibility to write for the Daily. I always felt a part of it. Golden Apricot is a point of convergence of many important topics which go much beyond cine ma itself. It is a tool which generates films, projects, meetings, possibilities and hope. I met Susanna Harutyunyan and Harutyun Khachatryan in Buenos Aires when the Golden Apricot International Film Festival was about to be born. They had gone to present Documentarist and they also spoke with re al modesty about their festival project. The festival is already seven years old and has become the most important cultural event of Armenia and the region. It has traveled a long successful way. And this suc cess is not accidental. It is based on permanent toil ing, effort and professionalism. I owe them many things, because since we met I got involved with Armenian cinema and l took it as a task. If today Armenian cinema has a solid place in Latin America it is because of them, and their unusual generosity Golden Apricot belongs to all of us and hence the need to protect it, as we have to protect our culture. It has became a (inter)national patrimony preserving and defending cinema and all its variants. I may have sounded sentimental and not objec tive but (as said before) l really do not care.
Jack Boghossian Foreign Affairs is a daily column written by international guests of the Golden Apricot International Film Festival
“I think my career comes from something very ancestral and cultural. Armenian people have been interested in arts forever. They have adored theat er, singing, dance and they developed those dis ciplines all around the world. The first sensation, the first memory that I have is my father’s voice. A wonderful voice. He always loved singing and as an adult he began to take classes at the opera in Beirut. His voice surely has influenced my choice. To see and listen to my father singing is one of the greatest sensations of my life. And my uncle, who is also my godfather, my father’s brother, Arsen (my name is Arsinee in his honor) was a great actor who played in Hamazgaín. His theater was amateur but he be came a great professional actor. He has been a very active actor in Beirut. I remember him play ing, I was very small, I was 7 or 8 years old. I saw him so huge, so immense on the stage. I remember him not only for his physical presence but also for his incredible voice. I think that my vocation and exposition is born from the combination of my fa ther’s singing and my uncle’s acting I always wanted to sing. I did not have a soprano register and in our society that register is very im portant for a woman. My sister sings wonderfully and she encouraged me to sing. At the beginning it was a bit bothering but I could appreciate my voice. I sometimes sang on stage. Singing is a wonderful and liberating act. The human voice is always a sa cred tool. The voice allows us to get the talent of an actor or singer on stage or screen. I feel privileged because I could work in both fields. I’ve never been very interested in the technical part of acting. I know actresses who know about lenses and those things, some of them take great part
Renowned Armenian caricaturist Ha rutyun Chalikyan, who is responsible for the interview portraits featured in the Golden Apricot Daily, will be showing his work in the Moscow Cinema. The temporary exhibi tion will likely include portraits of Canadian filmmaker of Armenian descent and Festival President Atom Egoyan, South-Korean film maker Lee Chang-dong, and German film maker of Turkish descent Fatih Akin.
Press Conferences
On the last full day of press conferenc es, Turkish director Semih Kaplanoglu will talk about the last part in his Yusuf-trilogy, Golden Bear winner Honey in the Golden Tulip Hotel Conference Hall. The third press conference, at 13:00 pm, will feature three festival guests, Brazilian filmmaker Rogerio Correa (Double Territory), Croatian director Nenah Puhovski (Together), and São Paulo festival director Leon Cakoff.
The Master Speaks in the technical process and they interfere in the re lationship between the camera and themselves. I al ways have trust in the director, production and in technical staff. I prefer to concentrate myself in my acting and in what the emotional and psychological development of the character implies. I like to work in a more natural way, acting in front of a camera is calibrated in a different way. The risks of bad light ing could be terrible, especially in close-ups. But I always want to keep trust in those who are in charge and know about the matter. I learnt to renounce the ambition of controlling everything. I had never thought in acting as a career, not even when I studied drama. I have been interested in the arts, more in theater than cinema, but I nev er thought it could become my profession. It was not the career my family wanted for me.”
Jack Boghossian
Brazilian film critic, writer, director, and festival director Leon Cakoff will give a mas ter class at the Naregatsi Art Institute, today at 14:00 pm. As he told the Golden Apricot Daily, his master class will be about "my life experiences. It's always a question of surviv ing. 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."
Famous Last Words Tomorrow at 12:00 pm, Festival Director Harutyun Khachatryan will host the final press conference at the Golden Tulip Hotel Conference Hall, presenting the juries who are responsible for deciding the winner's of this year's Golden and Silver Apricots.
GOLDEN APRICOT DAILY | DAY 7 | 17 JULY | 2010
reviews 7
Insanity as salvation
Dogs from our past In 1910 more than 30.000 street dogs in Istanbul were deported to Sivriada, a desert island with an Ararat-shaped silhouette, were they were abandoned to starve. This was part of a systemat ic plan by the Jeune Turcs administration. Ittihat ve Terakki, The Committee of Union and Progress was trying to architecture a new nation with eyes directed to the west. Enthusiastically they want ed to follow the positivistic, modernist ideals of Europe and they didn't hesitate to do what it takes to bring more hygienic standards for their streets first and to homogenize the demographical struc ture of the collapsing empire later on. A project that we are familiar with through the tragic out comes that are still haunting two nations. Based on the historical incident, the brilliant Barking Island gives an inside to an expansive project by limiting itself to a small, relatively trivial part. The film brought its director Serge Avedikian al ready a price in Cannes but more importantly it brings us a new perspective on this unfortunate history of ours. Avedikian’s film has been immediately recog nized as a metaphor for the Genocide. Yet the pro found and elegant style and the well-constructed
details give the clue that this film deserves a cau tious analysis first. Avedikian is a man who can understand things in their complexity. When he makes a film about dogs within a very controver sial historical episode, he actually makes a film about dogs and about much more at the same time. In that sense we should try to avoid sim plistic approaches. First of all, Avedikian real ly cares about these dogs that faced a “forced emigration” five years before the Armenians of the empire. Just during the festival he participat ed in a colloquium on animal rights in Yerevan. He also cares about the dogs in Istanbul today that are diminishing in population and also dogs in Yerevan and other cities that are not exactly “europeanized” yet. “It is sad that every city in the world is trying to lose the animals on their streets now” says he. “These animals used to be part of our lives.” But this is obviously only one layer of the film. He doesn't say that this is a metaphor for 1915 but he sees the two incidents as parts of one big ger story. “Everybody immediately makes a con nection to Genocide of course” he says, “this is because the incident with dogs was organized by
Changing lives A train is moving towards Paris, we see a lab yrinth of railway tracks. Tracks come together, move apart again and then disappear from sight. French filmmaker Claire Denis uses the rail tracks as a metaphor for her story about four people liv ing in the same flat in a Paris suburb: a father, his daughter and two neighbours. At first sight, the railway tracks look chaot ic, just like the life of machinist Lionel and his daughter Josephine. During the day, they lead their own lives, but in the evening their sepa rate worlds touch again. Each evening they eat together. You sense they are close to each oth er. You can feel the familiarity they share, when they are standing in the kitchen or silently em brace each other. Sometimes Denis loses her gift to subtly show what their relationship en tails. She shows for instance a close-up of the entangled hands of father and daughter. In a film
that leaves everything implicit, these shots are al ready a bit too much. Everyday Lionel has a fixed route. That such a rou tine isn’t just mind-numbing, but could also ground your life is proven by the story of a colleague of Lionel who is retiring. When he suddenly has noth ing to do anymore, he starts missing his job. Lionel also feels his life is about to change. His daughter is grown-up, and there will be a moment when she will leave the parental house. Although Josephine knows this too, she’s suppressing this reality. 35 Shots of Rhum is about letting go. Although it will be difficult, Lionel and Josephine have to let each other go. Just like their young neighbor Noe, who’s patiently waiting for a sign of love from Josephine, has to let go: he’s still living in the apartment that belonged to his deceased parents. And neighbour Gabrielle has to accept the fact her ex-boyfriend Lionel moved on with his life.
the same government: Ittihat Terakki, Les Jeunes Turcs. I understand this, it is the same period, just five years earlier. I think that Jeune Turcs and their modernism, positivism, hygienism and Europeanism was trying to create a pure society. That included annihilation of elements that were different or that wouldn't conform. And this was made in an organized, scientific way. Talat ap proached things scientifically when he decided to change the demographic percentages of Anatolian cities. This film is basically about this period in the history of the Empire in which positivism started to dominate. I also like to see it as a film about the perverse relationship between Turkey and Europe because this positivism had its roots in Europe of course.” Barking Island is a heartbreakingly beau tiful way to shed light on the dark history and Avedikian’s delicate sensitivity makes it a bridge to a future, which could be bright.
EK Barking Island Serge Avedikian (France, 2010).
In a key scene the four visit a café. Here, the different relationships are sketched, as well as the impending changes in their life. The bar owner is playing the slow dance song ‘Nightshift’ by the Commodores. Lionel is dancing with his daugh ter, but then exchanges his place with Noe. He re alizes the symbolism of his act and melancholical ly observes the two. In another scene of this psychologically as tute film, Lionel and Josephine visit an aunt in the German town Lübeck. She’s played by Ingrid Caven, well-known for the films she made with Rainer Werner Fassbinder. In Denis’ ode to Fassbinder, the colours become more saturated (in true Fassbinder style) and the stylized acting of Caven forms a big contrast with the restrained act ing of the others. It’s a bit of a stylistic break in a film that is a moving portrait of people at a cross road in their lives.
AW 35 Shots of Rhum – Claire Denis (France/ Germany, 2009). 17-7, 15:00, Nairi Cinema.
The script of Ward No. 6 was written by Russian film director, Karen Shahnazarov, and scriptwriter Alexander Borodaynski back in 1988. The movie was to be shot in Russia, with the money of Italian producers. The main part was to be played by Marcello Mastroianni. However, the producers did not like the con cept of the film (the background was changed from the 19th century to that of our days) and the project failed. Twenty years later Karen Shahnazarov decided to return to his old idea and make Ward No. 6. The film, based on Anton Chekhov’s famous short story of the same name, is about a chief doc tor of a provincial asylum- Ragin, who discov ers in one of his patients- Alexander Gromov- a philosophical man with an original way of think ing. When talking to this inmate Doctor Ragin comes to see the insanity of the world and goes mad himself... The tragedy of disbelief is actual ly the main theme of Ward No. 6. Doctor Ragin simply does not have faith. But his opponent, the patient of the Ward No. 6, has it. Looking back at his entire life Ragin realizes he lived it wrong. But he is no longer able to find an answer to the question ‘how to live right,’- he lacks the idea. What is insanity? It is the absence of idea and thought! Almost the whole film is a documentary-like investigation of how Ragin contrived to become its patient. These people, engaged in addition to everything else into an interaction of genera tions, have no alternative but to go insane, for in sanity is the only possible way to protest against the absurdity, ferocity and desolation of human life. Karen Shahnazarov has revised a great deal Chekhov’s novel to adapt it to the current cin ematic language by using extensively investi gative interviews. The film was shot at a real mental asylum and Shahnazarov’s film achieves a frightening authenticity with a combination of professional and non-professional actors; nei ther group condescends to the flashy theatrics that mark the downfall of so many portrayals of madness. The characters are giving interviews, share their impressions about the former chief doctor, who is standing calmly by their side. The eventual effect is very strong. What was a meta phor with Anton Chekhov is a hyperrealism with Karen Shahnazarov. But at the end the film tries to turn to light, coming in through the guarded window of the asylum.
GM Ward No. 6 - Karen Shahnazarov (Russia, 2009). 17-7, 17:00, “Dom Mosky” in Yerevan; 18-7, 15:00, Moscow Cinema, Red Hall.
GOLDEN APRICOT DAILY | DAY 7 | 17 JULY | 2010
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