Golden Apricot Daily - 2010, Last Day

LAST DAY SUNDAY JULY 18

2010

Semih Kaplanoglu:

"We are creatures who comprehend their own death" ê»ÙÇÑ Î³åɳÝûÕÉáõ.

§Ø»Ýù Ù»ñ Ù³ÑÁ ·Çï³ÏóáÕ ³ñ³ñ³ÍÝ»ñ »Ýù¦

ê»ñÅ ²í»­ïÇ­ùÛ³­ÝÁ` Çñ §ÞÝ»­ñÇ ÏսǦ ýÇÉÙÇ Ù³ëÇÝ È»­õ³Ý Îá­·á­õ³ß­íÇ­ÉÇ, ¶ñÇ­·áñ г­ñáõ­ÃÛáõ­ÝÛ³Ý

гñó³½ñáõÛó.

ê»ÙÇÑ Î³åɳÝûÕÉáõ

Interview

Semih Kaplanoglu

I Live, Double Territory Photos of the Award Ceremony and list of winners

GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010

2 Íñ³·Çñ/programm 18 ÑáõÉÇëÇ/ 18 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall

12:00 ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/International Documentary Competition Program Winner 14:00 гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ ÙñóáõÛÃÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/Armenian Panorama Competition Program Winner 16:00 ÄÛáõñÇÇ Ñ³ïáõÏ Ùñó³Ý³Ï ëï³ó³Í ýÇÉÙ/ Special Jury Prize Winner 18:00 ÄÛáõñÇÇ Ñ³ïáõÏ Ùñó³Ý³Ï ëï³ó³Í ýÇÉÙ/ Special Jury Prize Winner 20:00 ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/International Feature Competition Program Winner

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall

13:00 FIPRESCI ÅÛáõñÇÇ Ùñó³Ý³Ï ëï³ó³Í ýÇÉÙÁ / FIPRESCI Jury Award Winner 15:00 ÐÇí³Ý¹³ë»ÝÛ³Ï Ñ³Ù³ñ í»ó/Ward No.6 γñ»Ý Þ³Ñݳ½³ñáí/Karen Shakhnazarov, Rus, 83’, YP 17:00 гٳ¹³ë³ñ³ÝóÇÝ»ñ/Classmates ê»ñ·»Û êáÉáíÛáí/Sergei Solovyov, Rus, 100’, YP

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

Lang.: Russian, Subt.: English 21:00 äỽdz/Poetry ÈÇ â³Ý-¹áÝ/Lee Chang-dong, Kor, 139’, YP

Lang.: Korean, Subt.: English and Armenian

Foreign Affairs

²ÝñÇ ì»ñÝÛáÛÁ »ñµ»ù ãÇ ¹³¹³ñ»É ²ßáï سɳùÛ³Ý ÉÇÝ»Éáõó ÆÝÓ Ñ³­Ù³ñ ß³ï ϳ­ñ¨­áñ ¿, áñ ³Û­ëûñ ³Ûë­ï»Õ »Ù` Ç٠ݳ˭ÝÇ­Ý»­ñÇ »ñÏ­ñáõÙ, áñ­ï»Õ 90 ï³­ñÇ ³é³ç ÍÝí»É ¿ Ç٠ѳۭñÁ` ²ßáï س­É³­ùÛ³­ÝÁ, áí ѳÛï­ÝÇ ¿ ²Ý­ñÇ ì»ñ­ÝÛáÛ ³Ýáõ­Ýáí: ÆÙ ³½­·³Ý­í³Ý í»ñ­çÇÝ »ñ»ù ï³­é»ñÝ ÇÝÓ ³Ý­ù³Ï­ï»­ÉÇ­áñ­ »Ý ϳ­åáõÙ »Ý ³Ûë »ñÏ­ñÇ Ñ»ï: гÛñë ÇÝÓ ãÇ ëá­íá­ñ»ó­ñ»É ѳ­Û»­ñ»Ý Ëá­ë»É, µ³Ûó ݳ ÇÝÓ ß³ï ³í»­ÉÇÝ ¿ ëá­íá­ñ»ó­ñ»É: ºñµ áïùë ¹ñ»­óÇ Ñ³Û­Ï³­Ï³Ý Ñá­ÕÇ íñ³, ѳë­Ï³­ó³, áñ ÇÙ »ñ³Ï­Ý»­ñáí Ñá­ëáõÙ ¿ ³Ûë »ñÏ­ñÇ áÕç å³ï­Ùáõ­ÃÛáõ­ÝÁ, Ñ³Û Åá­Õáíñ­¹Ç µá­Éáñ ï³­ é³­å³Ýù­Ý»ñÝ áõ ÑáõÛ­ë»­ñÁ: âáñë ï³­ñ»­Ï³­Ýáõ٠ѳñ­Ï³¹ñ­í³Í Éù»­Éáí ѳۭñ»­ÝÇ­ùÁ` Ñáñë ëÇñ­ïÁ, ÙÇ­¨­ ÝáõÛÝ ¿, ÙÇßï ³Ûë­ï»Õ ¿ Ùݳ­ó»É. ²Ý­ñÇ ì»ñ­ÝÛá­ÛÁ »ñ­µ»ù ãÇ ¹³­¹³­ñ»É ²ßáï س­É³­ùÛ³Ý ÉÇ­Ý»­Éáõó: ²Ñ³ û ÇÝã ¿ñ ݳ ³ë»É üñ³Ý­ëÇ­³­Ï³Ý ³Ï³­¹»­Ùdz ÁÝ­¹áõÝ­í»­Éáõ ûñÁ. §ºë Ñ³Û »Ù ¨ Ñ³Û ¿É ÏÙݳÙ, µ³Ûó ÇÝ­Ó³­ÝÇó ³í»­ÉÇ ýñ³Ý­ëÇ­³­óÇ ¹Åí³ñ ¿ ·ïݻɦ: ÈÇ­Ý»­Éáí »ñ­Ïáõ Ùß³­ÏáõÛíݻ­ñÇ ÏñáÕ` ݳ Çñ ýÇÉ­Ù»­ñÇ ï³Ï ëïá­ñ³·­ñáõÙ ¿ñ ÙÇ ³Ýáõ­Ýáí, áñÁ ·áõ­ó» ãáõ­ÝÇ Ñ³Û­Ï³­Ï³Ý ÑÝãá­Õáõ­ÃÛáõÝ: ܳ ßÝãáõÙ, Ùï³­ÍáõÙ ¨ Ëá­ëáõÙ ¿ñ ³ÛÝ ÷áù­ñÇÏ Ñ³­ÛÇ ÝÙ³Ý, áñÁ »ñ­µ»ù ã¿ñ Éù»É Ýñ³Ý: ºë ³ÛÝ­ù³Ý Ïáõ­½»Ç, áñ ݳ ÑÇ­Ù³ Ù»½ Ñ»ï ÉÇ­Ý»ñ ¨ å³ï­Ù»ñ Ù»½ Çñ ÑÇ­ßá­Õáõ­ÃÛáõÝ­Ý»­ñÁ: ܳ å³ï­Ù»­Éáõ Ññ³­ß³­ÉÇ ï³­Õ³Ý¹ áõ­Ý»ñ: ÐÇ­Ù³, »ñµ ÇÝùë ÇÝÓ Ñ³­Ù³ñ µ³­ó³­Ñ³Û­ïáõÙ »Ù ³Ûë »ñ­ÏÇ­ñÁ, ½·áõÙ »Ù, û ÇÝã­å»ë ¿ Ñáñë ëÇñ­ïÁ ÉóíáõÙ µ»ñÏ­ñ³Ý­ùáí ¨ Ñå³ñ­ïáõ­ÃÛ³Ùµ, áñ Ù»Ýù µá­Éáñë ѳ­í³ù­í»É »Ýù ³Ûë­ï»Õ: γåÝ ³ñ­¹»Ý í»­ñ³­ ϳݷݭí³Í ¿. »ë ·ï³ ³ÛÝ, ÇÝã ÷ÝïñáõÙ ¿Ç г­Û³ë­ï³­ÝáõÙ` ÇÙ ÇÝù­Ýáõ­ÃÛáõÝÝ áõ ÇÙ ³ñ­Ù³ï­Ý»­ñÁ:

êá­ýÇ Ø³­É³­ùÛ³Ý

ØÇ Ù»Í ÁÝ­ï³­ÝÇù ²ñ­¹»Ý »ñ­ñáñ¹ ï³­ñÇÝ ¿, áñ »ë Ù³ë­Ý³Ï­óáõÙ »Ù §àë­Ï» ÍÇ­ñ³Ý¦ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ Daily ûñ³­Ã»ñ­ÃÇ å³ï­ñ³ëï­Ù³­ÝÁ: »ñ­ÃÁ µ³Õ­Ï³­ó³Í ¿ ³Ý·­É»­ñ»Ý ¨ ѳ­Û»­ñ»Ý Ù³­ë»­ñÇó: ºë å³­ï³ë­Ë³­Ý³­ïáõ »Ù ³Ý·­ É»­ñ»­ÝÇ Ñ³­Ù³ñ: ÆÙ »ñ­Ïáõ Éñ³·­ñáÕ­Ý»­ñÁ ß³ï Ù»Í ³ß­Ë³­ï³Ýù »Ý ³ñ»É, Ù»½ û·­ÝáõÙ ¿ñ ݳ¨ æ»ù äá­ Õá­ëÛ³­ÝÁ: ²Ý·­Ý³­Ñ³­ï»­ÉÇ ¿ÇÝ Ý³¨ ·É˳­íáñ ËáñÑñ¹³ïáõ öǭûñ í³Ý ´á­õ»­ñ»­ÝÇ Ëáñ­Ñáõñ¹­Ý»­ñÁ: ÆÝã­ å»ë ÙÇßï, ûñà ïå³·­ñ»ÉÝ ÇÝÓ Ù»Í µ³­í³­Ï³­Ýáõ­ÃÛáõÝ ¿ñ å³ï­×³­éáõÙ, ãݳ­Û³Í ëá­íá­ñ³­Ï³Ý ¹³ñ­Ó³Í Ëá­ãÁÝ­¹áï­Ý»­ñÇÝ: ø³­ÝÇ áñ ³ß­Ë³­ïáõÙ ¿Ç ûñ­ÃÇ Ñ³­Ù³ñ, ß³ï µ³Ý ã»Ù ѳëó­ñ»É ï»ë­Ý»É г­Û³ë­ï³­ ÝáõÙ: ºë ß³ï É³í ·Ç­ï»Ù §àë­Ï» ÍÇ­ñ³­Ý¦-Ç ·ñ³­ë»­ÝÛ³Ï ¨ ûñ­ÃÇ ËÙµ³·­ñáõ­ÃÛáõÝ ï³­ÝáÕ ×³­Ý³­å³ñÑ­­ Ý»­ñÁ: γ­ñáÕ »Ù ³Ý­·Çñ ³ë»É, û Ûáõ­ñ³­ù³Ý­ãÛáõñ Ñá¹­í³­ÍáõÙ ù³­ÝÇ µ³é ϳñ ¨ Ññ³­ß³­ÉÇ ·Ç­ï»Ù ûñ­ ÃÇ ïå³·ñ­Ù³Ý µá­Éáñ í»ñç­Ý³­Å³Ù­Ï»ï­Ý»­ñÁ: ØÇ ·ñ³­ë»­ÝÛ³­ÏÇó ÙÛáõ­ëÁ í³­½»­Éáõ ׳­Ý³­å³ñ­ÑÇÝ »ë ų­ Ù³­Ý³Ï ¿Ç ·ïÝáõÙ ÑÇ­³­Ý³­Éáõ ºñ¨­³­ÝÇ ·»­Õ»­óÇÏ ³ñ­Ó³Ý­Ý»­ñáí ¨ ÝáõÛ­ÝÇëÏ ÙÇ ³Ý­·³Ù ѳëó­ñ»­óÇ µ³ñÓ­ ñ³­Ý³É γë­Ï³¹: ²Ûë ï³­ñÇ »ë áõ­½áõÙ ¿Ç ·Ý³É úå»­ñ³, µ³Ûó ãѳëó­ñ»­óÇ: ºñ­µ»ÙÝ Ù³ñ­¹ÇÏ Ñ³ñó­ÝáõÙ »Ý ÇÝÓ. ¹áõ ÷³­é³­ïá­ÝáõÙ óáõ­ó³¹ñ­í³Í µá­Éáñ ýÇÉ­Ù»­ñÁ ï»­ë»±É »ë: ºë ëïÇå­í³Í å³­ï³ë­Ë³­ÝáõÙ »Ù, áñ ¹ñ³ ѳ­Ù³ñ ¿É ų­Ù³­Ý³Ï ã»Ù áõ­Ý»­ó»É: Ø»Ýù ³ß­Ë³­ïáõÙ »Ýù ³é³­íáï­í³ ų­ÙÁ 10-Çó ÙÇݭ㨠»ñ»­Ïá­Û³Ý 7-Á: л­ïá ·ÝáõÙ »Ýù ÁÝ­¹áõ­Ý»­Éáõ­ÃÛáõÝ­Ý»­ñÇ (³Ýí­×³ñ áõ­ï»­ÉÇù ¨ ËÙÇãù): Ø»Ïë ÙÛáõ­ëÇÝ ³ÝÁݹ­Ñ³ï ³ëáõÙ ¿ÇÝù, áñ ɳí ϳ­Ý»Ýù, »Ã» ³í»­ÉÇ Ñ³­×³Ë ѳ­í³ù­í»Ýù, ß÷í»Ýù: ²Ù»­Ý³½­í³ñ­×³­ÉÇÝ ³ÛÝ Ñ³­×á­Û³­Ëá­ëáõ­ ÃÛáõÝÝ ¿ñ, áñ »ë ëï³­ó³ ³Û¹ ѳ­í³­ùáõÛíݻ­ñÇó Ù»­ÏÇ Å³­Ù³­Ý³Ï: ÆÝÓ ³ë³­óÇÝ, áñ ß³ï ѳ­×»­ÉÇ ¿, áñ »ë Ãáõñ­ù»­ñ»Ý »Ù ѳë­Ï³­ÝáõÙ, ãݳ­Û³Í »ë ³Ù­µáÕç »ñ»­Ïá­ÛÇ Áݭóó­ùáõÙ Éáõé Ýëï³Í ¿Ç ³Ãá­éÇÝ: ²Ûë Ù»Ï ß³­ µ³­ÃÁ Ù»Ýù µá­Éáñë ³ë»ë ÙÇ Ù»Í ÁÝ­ï³­ÝÇù ÉÇ­Ý»­ÇÝù, áñ­ï»Õ µá­Éá­ñÁ ѳë­Ï³­ÝáõÙ »Ý Çñ³ñ, ãݳ­Û³Í ï³ñ­ µ»ñ É»­½áõ­Ý»­ñáí »Ý Ëá­ëáõÙ: Ðáõ­ëáí »Ù, áñ Ó»½ ¿É Ù»ñ å³ï­ñ³ë­ï³Í ûñ³­Ã»ñ­ÃÁ ¹áõñ »Ï³í:

²Ý¹ñ³ÝÇÏ ì³ñ¹Û³Ý (²Ý¹ñ» ì³ñ¹»Ýµáõñ·) Foreign Affairs-Á ëÛáõ­Ý³Ï ¿ ûñ³­Ã»ñ­ÃáõÙ, áñ­ï»Õ ·ñ³­éáõÙ­Ý»ñ »Ý ϳ­ï³­ñáõÙ §àë­Ï» ÍÇ­ñ³Ý¦ ÙÇ­ç³½­·³­ÛÇÝ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ ³ñ­ï³­ë³Ñ­Ù³­ÝÛ³Ý ÑÛáõ­ñ»­ñÁ:

гݹÇåÙ³Ý »½ñ³·ÍáõÙ üÇÉ­ÙÁ Ý»ñ­Ï³­Û³ó­ÝáõÙ ¿ ã»­Ëá­í Û³Ý Ñ³Ûï­ÝÇ ·ñí³Í­ùÇ ¿Ï­ñ³­Ý³­íá­ñáõ­ÙÁ: ²é³­çÇÝ ÇëÏ Ï³¹­ñáõ٠ѳÛïÝ­íáõÙ »Ý Ñá­·»­µáõ­Å³­ñ³­ÝÇ ÑÇ­í³Ý¹­Ý»­ñÁ, áñáÝù Ëá­ëáõÙ »Ý Çñ»Ýó Ï۳ݭùÇ Ù³­ëÇÝ: ²Ûë Ù³ñ­ ¹ÇÏ Ïáïñ­í³Í ׳­Ï³­ï³·­ñ»ñ áõ­Ý»­óáÕ Ù³ñ­¹ÇÏ »Ý, áñáÝù ³Ûë ϳ٠³ÛÝ å³ï­×³é­Ý»­ñáí ѳÛïÝ­í»É »Ý Ñá­·»­µáõ­Å³­ñ³­ÝáõÙ: 곭ϳÛÝ ³Ûë Ù³ñ­¹ÇÏ áõ­Ý»Ý ÝáõÛÝ »ñ³­½³Ýù­Ý»ñÝ áõ ó³Ý­Ïáõ­ÃÛáõÝ­Ý»­ñÁ, ÇÝã­å»ë ¹³ñ­å³ë­Ý»­ñÇó ³ÛÝ­ÏáÕÙ ·ïÝíáÕ Ù³ñ­¹ÇÏ: §ÐÇ­í³Ý­¹³­ë»­ÝÛ³Ï Ñ³­Ù³ñ í»ó¦ ýÇÉ­ÙÁ »ñ­Ï³ñ ï³­ñÇ­Ý»­ñÇ ³ß­Ë³­ï³Ý­ùÇ ³ñ­¹ÛáõÝù ¿. ýÇÉ­ÙÇ ëó»­ Ý³­ñÇëï ²É»ù­ë³Ý¹ñ ´á­ñá­¹Û³Ýë­ÏÇÝ ùë³Ý ï³­ñÇ ³ß­Ë³­ï»É ¿ â»­Ëá­íÇ ³Ûë íÇ­å³­ÏÇ íñ³, ÇëÏ ·É˳­ íáñ ¹»­ñÁ Ç ëϽµ³­Ý» ݳ­Ë³­ï»ë­í³Í ¿ »Õ»É Çï³­ ɳ­óÇ ¹»­ñ³­ë³Ý سñ­ã»­Éá سëï­ñá­Û³­ÝÇÇ Ñ³­Ù³ñ: üÇÉ­ÙÁ Ý»ñ­Ï³­Û³ó­ÝáõÙ ¿ Ù»­ñû­ñÛ³ ų­Ù³­Ý³Ï­Ý»­ ñÁ, áñ­ï»Õ Ù³ñ­¹áõ ѳ­Ù³ñ »ñ­Ï³­ÏÇ ¹Åí³­ñáõ­ÃÛáõÝ ¿ ¹³é­ÝáõÙ ÁÝï­ñáõ­ÃÛáõÝ Ï³­ï³­ñ»­ÉÁ: ´ÅÇßÏ è³­·Ç­ ÝÁ ãÇ Ï³­ñáÕ ¹³é­Ý³É Ùáõ­Ý»­ïÇÏ ³Ûë ϳ٠³ÛÝ å³ß­ ïá­ ÝÁ ÏñáÕ Ù³ñ¹­ ϳÝó ѳ­ Ù³ñ: ܳ ¿ ϳ­ é³­ í³­

ñáõÙ ¹ñáõ­ÃÛáõ­ÝÁ, 볭ϳÛÝ í»ñ­çáõÙ ÇÝùÝ ¿ ѳÛïÝ­íáõÙ ³ÛÝ Ù³ñ¹­Ï³Ýó Ù»ç, áñáÝù ·áõ­ó» Çñ»Ý ³í»­ÉÇ É³í »Ý Ñ³ë­Ï³­ÝáõÙ: Üñ³ ѳ­Ù³ñ Ù»­Ý³­Ïáõ­ÃÛáõ­ÝÁ ½»Ýù ¿ ¹³é­ÝáõÙ, áñÝ ³é³ç­Ýáñ­¹áõÙ ¿ ³Ù­µáÕç Ï۳ݭùáõÙ: è»­ÅÇ­ëáñ ޳ѭݳ­½³­ñá­íÁ Ý»ñ­Ï³­Û³ó­ÝáõÙ ¿ ÑÇ­í³Ý­ ¹áõ­ÃÛ³Ý ¨ Ë»­É³­·³­ñáõ­ÃÛ³Ý ½áõ­·³­Ñ»é­Ý»­ñÁ, áñáÝù ϳ­ñáÕ »Ý ·á­Û³­ï¨­»É ÏáÕù ÏáÕ­ùÇ: ¸»­ñ³­ë³Ý­Ý»ñÝ áõ ÑÇ­í³Ý¹­Ý»­ñÁ ѳݭ¹Ç­åáõÙ »Ý ÝáõÛÝ »½­ñ³·­ÍáõÙ, áñ­ ï»Õ ³Ù»Ý Ù»ÏÝ áõ­ÝÇ Ù»Õ­ùÇ Çñ µ³­ÅÇ­ÝÁ: ²Ûë å³Û­ù³­ ñÁ ÙÇ­³Û­Ý³Ï Ù³ñ­¹áõ å³Û­ù³ñ ã¿ ³Ý­Ñ³­ïÇ Ï³Ù Ñ³­ ë³­ñ³­Ïáõ­ÃÛ³Ý ¹»Ù, ³ÛÉ` ãѳë­Ï³ó­í³Í ÉÇ­Ý»­Éáõ í³Ë: ì³Ë, áñÁ ¹³é­ ÝáõÙ ¿ Ï۳ݭ ùÇ ³ñ­ ï³­ óá­ ÉáõÙ, áñÇ ßÕ³ñ­ßÇ ï³Ï óùÝ­íáõÙ »Ý ÑÇ­í³Ý­¹³­·ÇÝ Ïñù»­ñÁ:

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óÇ): ²ÛÝ Ùáñ ¨ áñ­¹áõ Ù³­ëÇÝ ¿, áí­ù»ñ ³å­ñáõÙ »Ý êï³Ù­µáõ­ÉÇ ³ñ­í³ñ­Ó³­ÝáõÙ, ¨ ëïÇå­í³Í »Ý ùá­Õ³ñ­Ï»É Çñ»Ýó ùñ¹³­Ï³Ý ÇÝù­Ýáõ­ÃÛáõ­ÝÁ: Àëï ëó»­Ý³­ñÇ` ÏÇ­Ýá­ÛáõÙ µ³­ó³­Ñ³Ûï­íáõÙ ¿ Ù»Ï ³ÛÉ ÏÇ­Ýá` »ñ­Ïáõ Ñ»­ñáë­Ý»ñÝ Çñ³­Ï³­ÝáõÙ ëÇ­ñ»­Ï³Ý­ Ý»ñ »Ý: È»Û­É³Ý (Ù³Û­ñÁ) ѳÛï­ÝÇ ³ñ­í»ë­ï³­ ·»ï ¿: гխÃáÕ »ñÇ­ï³­ë³ñ¹­Ý»­ñÁ ϳñ­ÍáõÙ »Ý, áñ §è»­ÅÇ­ëáñ­Ý»ñ ³é³Ýó ë³Ñ­Ù³Ý­Ý»­ñǦ ýá­ñáõ­ ÙÁ µ³­ó³­éÇÏ Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ ¿ñ` ѳ­Û»­ñÇ ¨ Çñ»Ýó ·áñ­ÍÁÝ­Ï»ñ­Ý»­ñÇ Ñ»ï ß÷í»­Éáõ ¨ ÇÝ­ï»Ý­ëÇí Ïáõñ­ë»ñ ëﳭݳ­Éáõ ³éáõ­Ùáí: ܳ­Ë³·­ÍÇÝ ¹ñ³­ ٳ߭ÝáñÑ ¿ ѳï­Ï³ó­íáõÙ ëó»­Ý³­ñÇ ½³ñ­·³ó­Ù³Ý ѳ­Ù³ñ, ÇÝ­ãÁ, ÅÛáõ­ñÇÇ Ï³ñ­ÍÇ­ùáí, ³Ûë ¹»å­ùáõÙ ËÇëï ϳ­ñ¨­áñ ¿, ù³Ý­½Ç ï³­ñ³­Í³ßñ­ç³­ÝÇ µ³½­ Ù³­ÃÇí áÉáñï­Ý»­ñáõÙ ³Ý­Ñ³Ý­¹áõñ­Åá­Õ³­Ï³­Ýáõ­ ÃÛáõ­ÝÁ ѳ­Ù³ñ­íáõÙ ¿ Éñç³­·áõÛÝ ËݹÇñ:

γ­ñÇÝ ¶ñÇ­·á­ñÛ³Ý Editor in chief: Andranik Waardyan (André Waardenburg)

Daily

¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ³ÝÇÏ ì³ñ¹Û³Ý (²Ý¹ñ» ì³ñ¹»Ýµáõñ·) úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` Ú³Ý㻠سñ¹»Ýµáõñ· (¶»Ýáýdz سñïÇñáëÛ³Ý) ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

General supervising manager: Peter van Bueren Coordinator Daily: Jantje Maardenburg (Genofia Martirosyan) Journalists: Kees Driessen, Jack Boghossyan, Evrim Kaya, Artsvi Bakhchinyan, Karin Grigoryan, Raffi Movsisyan, Davit Vardazaryan, Artur Vardikyan Translations: Zara Safaryan

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

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 8 | 18 JULY | 2010

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´»é­Ý³­ï³­ñÇ í³­ñáñ¹ ¶»­áñ­·ÇÝ (ìÇÏ­ïáñ Ü»­ Ù»ó) ³ÉÛáõñ ¿ ï»­Õ³­÷á­ËáõÙ: Ö³­Ý³­å³ñ­ÑÇÝ Ýñ³Ý ϳݷ­Ý»ó­ÝáõÙ »Ý ³í­ïá­×³­Ý³­å³ñ­Ñ³­ÛÇÝ áë­ïÇ­ ϳݭݻ­ñÁ: л­ñá­ëÇÝ Ñ³­çáÕ­íáõÙ ¿ ³½³ï­í»É Ïá­ éáõÙ­å³ó­í³Í ûñǭݳ­å³Ñ­Ý»­ñÇó: ´³Ûó Ýñ³ Ù»­ù»­ ݳ­Ûáõ٠ѳÛïÝ­íáõÙ ¿ ÙÇ Í»­ñáõ­ÝÇ, áí å³­ï»­ñ³½­ ÙÇó Ñ»­ïá Ïáñó­ñ»É ¿ Çñ ³Ýáõ­ÝÁ: àñáß Å³­Ù³­Ý³Ï ³Ýó ݳ ѳÛïÝ­íáõÙ ¿ Ëó³Ý­Ù³Ý Ù»ç: ²Û¹ ³Ý­·³Ù Ù»­ù»­Ý³­Ûáõ٠ѳÛïÝ­íáõÙ ¿ ÙÇ ÷á­Õá­ó³­ÛÇÝ åáé­ÝÇÏ: ¶»­áñ­·ÇÝ áñá­ßáõÙ ¿ Ýñ³Ý ïáõÝ áõ­Õ»Ï­ó»É ¨ ߻խíáõÙ ¿ ׳­ ݳ­ å³ñ­ ÑÇó: ܳ ѳÛïÝ­ íáõÙ ¿ ÙÇ ³ß­ ˳ñ­ ÑáõÙ, áñ­ï»Õ áõ­ñÇß Ï³­ÝáÝ­Ý»ñ »Ý, áñ­ï»Õ ³Ù»Ý ÇÝã, ³é³Ýó µ³­ó³­éáõ­ÃÛ³Ý, å³ï­í³Í ¿ 먭áí: ê»ñ­·»Û Èá½­ÝÇ­ó³Ý ³é³­çÇÝ Ù³ë­Ý³­·Ç­ïáõ­ÃÛ³Ùµ Ù³­Ã»­Ù³­ïÇÏ ¿, ÇÝãÝ Çñ ³ñ­ï³­Ñ³Û­ïáõÙÝ ¿ ·ï»É Ýñ³ µá­ Éáñ ýÇÉ­ Ù»­ ñáõÙ` ³Û¹ ÃíáõÙ §ÆÙ áõ­ ñ³­ Ëáõ­ ÃÛáõݦ-áõÙ: л­Õǭݳ­ÏÁ Ñ»­ï³ùñ­ùÇñ ˳­ÕÇ ¿ ¹Ç­­ ÙáõÙ: üÇÉ­ÙÇ ëÏǽ­µÁ road movie-Ç ïå³­íá­ñáõ­ÃÛáõÝ ¿ ëï»Õ­ ÍáõÙ, ÇÝãÝ Çñ³­ ϳ­ ÝáõÙ ³Û¹­ å»ë ã¿: ä³ñ­ ½³­å»ë Èá½­ÝÇ­ó³Ý ³Û¹ ųݭñÇ ³é³Ýӭݳ­Ñ³ï­ Ïáõ­ÃÛ³Ý ¨ »ñÏ­ñáñ¹ åɳ­ÝÇ ³Ï­ïÇí ÏÇ­ñ³­éáõ­ÃÛ³Ùµ ·ÉËÇ­í³Ûñ ßáõé ¿ ï³­ÉÇë ýÇÉ­ÙÇ ¹ñ³­Ù³­ïáõñ­·Ç­³Ý: ²Ûë ýÇÉ­ÙÁ ¹Åí³ñ ¿ áñ¨¿ ųݭñÇ ¹³­ë»É ¨ ÏñÏݳ­ÏÇ Ñ»ßï ¿ ³ë»É, áñ ³ÛÝ Å³Ý­ñ»­ñÇ µ³­ó³é­Ù³Ý ëϽµáõÝ­ ùáí ¿ ϳ­éáõó­í³Í: §ÆÙ áõ­ñ³­Ëáõ­ÃÛáõݦ-Á ýÇÉÙ ¿, áñÁ ѳݭ¹Ç­ë³­ï»­ëÇÝ ëÛáõ­Å»­ï³­ÛÇÝ Ï³Ý­Ëá­ñá­ßáõÙ­ Ý»­ñÇ ÝáõÛ­ÝÇëÏ ãÝãÇÝ Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ ãÇ ï³­ÉÇë:

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àõÏñ³ÇݳóÇ Ñ³ÛïÝÇ ÏÇÝáí³í»ñ³·ñáÕ ê»ñ·»Û Èá½ÝÇó³ÛÇ §ÆÙ áõñ³ËáõÃÛáõݦ ¹»µÛáõï³ÛÇÝ Ë³Õ³ñϳÛÇÝ ýÇÉÙÝ ³é³çÇÝÝ ¿ñ áõÏñ³ÇÝ³Ï³Ý ÏÇÝáÛÇ å³ïÙáõÃÛ³Ý Ù»ç, áñ ѳÛïÝí»ó γÝÝÇ ÏÇÝá÷³é³ïáÝÇ ÙñóáõóÛÇÝ å³ßïáÝ³Ï³Ý Íñ³·ñáõÙ: üÇÉÙÇ ßáõñç Ù»Í ³ÕÙáõÏ µ³ñÓñ³ó³í, ¨ áã å³ßïáݳå»ë ³ÛÝ Ñ³Ù³ñí»ó ÷³é³ïáÝÇ ³Ù»Ý³³ÕÙϳѳñáõÛó ýÇÉÙÁ:

ê»ñ­·»Û Èá½­ÝÇ­ó³Ý »ñ¨­³­ÝÛ³Ý Ù³­Ùáõ­ÉÇ ³ëáõ­ÉÇ­ëÇ Å³­Ù³­Ý³Ï Ù»Í å³ï­ñ³ë­ï³­Ï³­Ùáõ­ÃÛ³Ùµ å³­ï³ë­ ˳­Ý»ó Éñ³·­ñáÕ­Ý»­ñÇÝ Ñáõ­½áÕ µá­Éáñ ѳñ­ó»­ñÇÝ: ì³­í»­ñ³·­ñ³­Ï³Ý ¨ ˳­Õ³ñ­Ï³­ÛÇÝ ÏÇ­Ýá­ÛÇ ÙÇ­ç¨ Ó»½ ѳ­Ù³ñ ·á­Ûáõ­ÃÛáõÝ áõ­Ý»±Ý ë³Ñ­Ù³Ý­ Ý»ñ, ¨ ÇÝã ³½­¹»­óáõ­ÃÛáõÝ ¿ áõ­Ý»­ó»É í³­í»­ñ³·­ ñ³­Ï³Ý ÏÇ­ÝáÝ §ÆÙ áõ­ñ³­Ëáõ­ÃÛáõݦ ýÇÉ­ÙÇ íñ³: ê³Ñ­Ù³Ý­Ý»ñ ÙÇ­³Ý­ß³­Ý³Ï ϳÝ, ¹ñ³Ýù ÑÇ٭ݳ­ ϳ­ÝáõÙ å³Û­Ù³­Ý³­íáñ­í³Í »Ý ϳ­éáõó­í³Í­ù³­ÛÇÝ Ñ³ñ­ó»­ñáí: ì³­í»­ñ³·­ñ³­Ï³Ý ÏÇ­Ýá­ÛáõÙ Ñ»­Õǭݳ­ÏÁ ·áñ­Íá­Õáõ­ÃÛáõÝ­Ý»­ñÁ ãÇ Ï³­ñáÕ í»­ñ³Ñë­Ï»É, a˳­ Õ³ñ­Ï³­ÛÇÝ ýÇÉ­ÙáõÙ, ûñÇ­Ý³Ï Ñ»Ýó ³ÛÝ, áñ ÁÝï­ñ»É »Ù áã åñá­ý»­ëÇ­á­Ý³É ¹»­ñ³­ë³Ý­Ý»­ñÇ: ²ÛÅÙ í³­í»­ñ³·­ñ³­Ï³Ý ýÇÉ­ÙÇ ß³ï Ñ»­ÕÇ­

ݳϭݻñ Ó·ïáõÙ »Ý ¹»­åÇ Ë³­Õ³ñ­Ï³­ÛÇÝ ÏÇ­ ÝáÝ, Áëï Ó»½` á±ñÝ ¿ ËݹǭñÁ: ²Ûë­ï»Õ ËݹǭñÁ Ù»Í ·áõ­Ù³ñ í³ë­ï³­Ï»­Éáõ Ù»ç ã¿, ³ÛÉ Ï³å­í³Í ¿ ¿Ãǭϳ­Ï³Ý ËݹÇñ­Ý»­ñÇ Ñ»ï: ØÇ µ³Ý ¿ í³­í»­ñ³·­ñ³­Ï³Ý ÏÇ­Ýá­ÛáõÙ å³ï­Ï»ñ­í³Í ëå³­Ýáõ­ ÃÛáõ­ÝÁ, ÙÇ áõ­ñÇß` ˳­Õ³ñ­Ï³­ÛÇ­ÝáõÙ µ»­Ù³¹ñ­í³­ÍÁ: ì»ñ­ç»ñë ß³ï »Ý Ëá­ëáõÙ éáõ­ë³­Ï³Ý §նáñ ³ÉÇ­ ùǦ Ù³­ëÇÝ, Áëï Ó»½` ϳ± ³Û¹­åÇ­ëÇ áõÕ­Õáõ­ÃÛáõÝ: àã, §նáñ ³ÉÇù¦ éáõ­ë³­Ï³Ý ÏÇ­Ýá­ÛáõÙ ¹»­é¨ë ãϳ: Î³Ý Ñ»­ï³ùñ­ùÇñ ýÇÉ­Ù»ñ, µ³Ûó ¹ñ³Ýù ÷Ç­ÉÇ­ëá­ ÷³­Ûáõ­ÃÛ³Ý ³éÇà ã»Ý ¨ ³Ù­µáÕ­ç³­Ï³Ý áõÕ­Õáõ­ÃÛ³Ý Ï³­ñ¨­á­ñáõ­ÃÛáõÝ ã»Ý ëï³­ó»É: ÆÝã­å»±ë »ù í»­ñ³­µ»ñ­íáõÙ Ýñ³Ý, áñ Ó»ñ ýÇÉ­ ÙÇ í»­ñ³­µ»­ñÛ³É Ï³ñ­ÍÇù­Ý»ñÝ ³Û¹­ù³Ý Çñ³­ñ³­ Ù»ñÅ »Ý:

Ý»ñ­Ï³­Û³ó­Ù³Ý ѳ­ïáõÏ ï³ñ­µ»­ñ³Ï »Ý »Ý­Ã³¹­ñáõÙ: Úáõ­ñ³­ù³Ý­ãÛáõñ ýÇÉÙ ³é³­çÇÝ Ñ»ñ­ÃÇÝ åÇ­ïÇ áõ­Ý»­­ ݳ Çñ ¿Ùá­óÇá­Ý³É ϳñ­¹Ç­á·­ñ³­Ù³Ý, ÇëÏ Å³Ý­ñ»­ñÁ ß³ï å³­Û­Ù³­Ý³­Ï³Ý »Ý ¨ »ñÏ­ñáñ­¹³­Ï³Ý:

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üÇÉÙÁ åÇïÇ áõݻݳ Çñ ¿ÙáóÇáÝ³É Ï³ñ¹Çá·ñ³Ù³Ý §àë­Ï» ÍÇ­ñ³Ý¦ ÙÇ­ç³½­·³­ÛÇÝ Ûá­Ã»­ñáñ¹ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ ÷³Ï­Ù³Ý ³ñ³­ñá­Õáõ­ ÃÛ³Ý Å³­Ù³­Ý³Ï Ïóáõ­ó³¹ñ­íÇ ýñ³Ý­ë³­Ñ³Û ѳÛï­ÝÇ ÏÇ­Ýá­é»­ÅÇ­ëáñ ê»ñÅ ²í»­ïÇ­ùÛ³­ÝÇ §ÞÝ»­ñÇ ÏսǦ ϳñ­×³­Ù»ï­ñ³Å ³ÝÇ­Ù³­ óÇ­áÝ ýÇÉ­ÙÁ, áñÝ ³Ûë ï³­ñÇ Î³Ý­ÝÇ 63-ñ¹ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ Î³ñ­×³­Ù»ï­ñ³Å ýÇÉ­Ù»­ ñÇ ³Ý­í³­Ý³­Ï³ñ­·áõÙ ³ñ­Å³­Ý³­ó³í §àë­Ï» ³ñ­Ù³­í»­Ýáõ ×Ûáõ­ÕǦ: §ÞÝ»­ñÇ ÏÕ½Çݦ Ó»ñ »ñ­ñáñ¹ ³ÝÇ­Ù³­óÇ­áÝ ýÇÉÙÝ ¿, µ³Ûó ³Ûë ýÇÉ­ÙÇ ·»­Õ³ñ­í»ë­ï³­Ï³Ý ³ñ­ï³­Ñ³Ûï­ã³­ÙÇ­çáó­Ý»­ñÁ ï³ñ­µ»ñ­íáõÙ »Ý ݳ­ Ëáñ¹ »ñ­ Ïáõ ýÇÉ­ Ù»­ ñÇó: ²ÛÝ ëÏëíáõÙ ¿ 1900-³Ï³Ý­Ý»­ñÇ ëϽµÇ ·áõ­Ý³­íá­ñ³Í Éáõ­ë³Ý­ ϳñ­Ý»­ñáí, ³ñ­¹Ûá±ù ¹³ ³ñ­í³Í ¿ ýÇÉÙÝ ³é³­ í»É é»­³­ÉÇë­ï³­Ï³Ý ¹³ñÓ­Ý»­Éáõ ¨ å³ï­Ùáõ­ÃÛ³Ý Çñ³­Ï³Ý ÑÇÙ­ùÁ ߻߭ﻭÉáõ ѳ­Ù³ñ: ²Ý­óÛ³É ¹³­ñÇ ëϽµáõÙ Âáõñ­ùÇ­³­ÛáõÙ Éáõ­ë³Ý­Ï³ñ­ ãáõ­ÃÛ³Ý ÑÇ٭ݳ­¹Çñ­Ý»­ñÁ ÑÇ٭ݳ­Ï³­Ýáõ٠ѳ­Û»ñÝ ¿ÇÝ: ºë ÁÝï­ñ»É »Ù Îáë­ï³Ý¹­Ýáõ­åá­ÉÇ­ëÁ å³ï­Ï»­ñáÕ Éáõ­ë³Ý­Ï³ñ­Ý»ñ, áñáÝù, Çѳñ­Ï», áñá­ß³­ÏÇ ÷á­÷á­ Ëáõ­ÃÛáõÝ­Ý»­ñÇ »Ù »Ý­Ã³ñ­Ï»É` ³í»­É³ó­ñ»É »Ù ßÝ»ñ, áñáÝ­óÇó Ù»­ÏÁ é»­³É Çñ³­Ï³­Ýáõ­ÃÛáõ­ÝÇó å³­ïáõ­ ÙÁ ï»­Õ³­÷á­ËáõÙ ¿ ³ÝÇ­Ù³­óÇ­³­ÛÇ ³ß­Ë³ñÑ: ²Ûá°,

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ºÃ» ã»Ù ë˳ɭíáõÙ, ýÇÉ­ÙÇ Ñ³­Ù³å­ñá­¹Ûáõ­ ë»ñ­Ý»­ñÇó Ù»ÏÝ ³½­·áõ­ÃÛ³Ùµ Ãáõñù ¿, DZÝã ٻϭ ݳ­µ³­Ýáõ­ÃÛáõÝ Ïï³ù Ýñ³ Ù³ë­Ý³Ï­óáõ­ÃÛ³­ÝÁ, 㿱 áñ ýÇÉ­ÙÇ »Ý­Ã³­ï»ùë­ïáõ٠ѳ­Û»­ñÇ ó»­Õ³ë­ å³­Ýáõ­ÃÛ³Ý Ã»­Ù³Ý ¿É ϳ: ²Ûá, û¨ ýÇÉ­ÙáõÙ ³Ý­ÙÇ­ç³­Ï³Ý ÑÕáõ٠ѳ­Û»­ñÇ ó»­ Õ³ë­å³­Ýáõ­ÃÛ³­ÝÁ ãϳ, µ³Ûó, ³Û­Ýá­õ³­Ù»­Ý³Û­ÝÇí, û ѳݭ¹Ç­ë³­ï»­ëÇ, û ùÝݳ­¹³ï­Ý»­ñÇ Ù»ç ³Û¹ ³ëá­ óÇ­ ³­ óÇ³Ý Ï³: ¸³ µÝ³­ Ï³Ý ¿, ù³­ ÝÇ áñ Ëáë­ ùÁ ÝáõÛÝ Å³­Ù³­Ý³Ï­Ý»­ñÇ Ù³­ëÇÝ ¿, ¨ ¹³ ¿É ÝáõÛÝ ³½­·Ç Ó»é­ùáí Çñ³­Ï³­Ý³ó­ñ³Í Ù³ë­ë³­Û³­Ï³Ý áãÝ­ã³ó­Ù³Ý ûñÇ­Ý³Ï ¿: ²Û¹ ѳ­Ù³­Ñ»­Õǭݳ­ÏÁ` úë­Ù³Ý γ­í³­É³Ý, §²Ý³­ïá­ÉÇ­³­ÛÇ Ùß³­ÏáõÛæ ϳ½­Ù³­Ï»ñ­åáõ­ÃÛ³Ý Õ»­ ϳ­í³ñÝ ¿, ¨ Ýñ³ Ù³ë­Ý³Ï­óáõ­ÃÛáõÝÝ ³Ûë ݳ­Ë³·­ ÍáõÙ »ë ·Ý³­Ñ³­ïáõÙ »Ù áñ­å»ë ѳ­Ù³ñ­Ó³Ï ù³ÛÉ: Üñ³ Ù³ë­Ý³Ï­óáõ­ÃÛ³Ùµ ³Û¹ ³½­·Ç ÙÛáõë Ý»ñ­Ï³­Û³­ óáõ­óÇã­Ý»ñÝ ¿É ѳë­Ï³­ó³Ý, áñ ³Û¹ ýÇÉÙÝ Çñ»Ýó ¹»Ù ãÇ, ³ÛÉ ¹»Ù ¿ ëïÇÝ, ù³­ÝÇ áñ ³Ûë ¹»å­ùÁ, ÇÝã­å»ë ݳ¨ ѳ­Û»­ñÇ ó»­Õ³ë­å³­Ýáõ­ÃÛáõ­ÝÁ, Çñ»Ý­óÇó ·³Õï­ ÝÇ »Ý å³­ Ñ»É: ²ÛÅÙ ÙÇ­ ³­ ëÇÝ ³ß­ ˳­ ïáõÙ »Ýù ÙÇ Ýáñ ³ÝÇ­Ù³­óÇ­áÝ ýÇÉ­ÙÇ íñ³, áñÝ ³ñ­¹»Ý ÙáÝ­ï³Å­ Ù³Ý ÷áõ­ÉáõÙ ¿: Æ ¹»å Ãáõñ­ù³­Ï³Ý NTV Ñ»­éáõë­ ï³­³­ÉÇ­ùÁ ·Ý»É ¿ §ÞÝ»­ñÇ ÏÕ½Çݦ ýÇÉ­ÙÇ óáõ­ó³¹ñ­ Ù³Ý Çñ³­íáõÝ­ùÁ ¨ åÇ­ïÇ óáõ­ó³¹­ñÇ: ØÇݭ㨠γݭ ÝÇ ÷³­é³­ïá­ÝÁ ³ÛÝ óáõ­ó³¹ñ­í»É ¿ Ãáõñ­ù³­Ï³Ý ãáñë ѳ­Ù³É­ë³­ñ³Ý­Ý»­ñáõÙ, ϳ½­Ù³­Ï»ñå­í»É »Ý ùÝݳñ­ ÏáõÙ­Ý»ñ: ²ñ­í»ë­ïÁ ß³ï ϳ­ñ¨­áñ ¹»ñ áõ­ÝÇ »ñÏ­Ëá­ ëáõ­ÃÛ³Ý Ù»ç, ÇëÏ ÙÇ­³Ï »É­ùÁ »ñÏ­Ëá­ëáõ­ÃÛáõÝÝ ¿: §àë­Ï» ³ñ­Ù³­í»­Ýáõ ×Ûáõ­ÕÁ¦ Ù»Í Ó»éù­µ»­ñáõÙ ¿, DZÝã Ýáñ ׳­Ý³­å³ñÑ­Ý»ñ µ³ó­í»­óÇÝ §ÞÝ»­ñÇ ÏÕ½Çݦ ýÇÉ­ÙÇ ³é­ç¨: Æѳñ­Ï», ³Û¹­åÇ­ëÇ Ù»Í Ùñó³­Ý³­ÏÁ ß³ï ¹éÝ»ñ ¿ µ³­óáõÙ` ³é³­çÇÝ Ñ»ñ­ÃÇÝ åñá­¹Ûáõ­ë»ñ­Ý»­ñÇ Ñ»ï ѳ­Ù³­·áñ­Í³Ïó­Ù³Ý ׳­Ý³­å³ñ­ÑÇÝ: üÇÉ­ÙÁ Ññ³­ íÇñ­í³Í ¿ Ù³ë­Ý³Ï­ó»­Éáõ µ³½­Ù³­ÃÇí ÷³­é³­ïá­­ Ý»­ñÇ, ËݹǭñÁ ½áõï ³Û¹ Ùñó³­Ý³­ÏÇ Ù»ç ã¿: ê»å­ ï»Ù­µ»­ñÇÝ ýÇÉ­ÙÁ ÏÙ³ë­Ý³Ï­óÇ Ý³¨ г­Û³ë­ï³­ÝáõÙ ³Ýó­Ï³ó­íáÕ §è»­³­ÝÇ­Ù³­Ýdz¦ ÙÇ­ç³½­·³­ÛÇÝ ³ÝÇ­ Ù³­óÇ­áÝ ÏÇ­Ýá­÷³­é³­ïá­ÝÇÝ, áñ­ï»Õ ³ÛÝ Ý»ñ­Ï³­Û³ó­ í³Í ¿ Ùñóáõ­Ã³­ÛÇÝ Íñ³·­ñáõÙ: ÆÝùë ¿É ³Û¹ ÷³­é³­­ ïá­ÝÇ Å³­Ù³­Ý³Ï Ïáõ­Ý»­Ý³Ù í³ñ­å»­ïáõ­ÃÛ³Ý ¹³ ë»ñ` »ñÇ­ï³­ë³ñ¹ é»­ÅÇ­ëáñ­Ý»­ñÇ Ñ»ï:

ð³ý­ýÇ Øáí­ëÇ­ëÛ³Ý

Æ٠ϳñ­ÍÇ­ùáí ¹³ Ëá­ëáõÙ ¿ ýÇÉ­ÙÇ Ñ³­çá­Õáõ­ ÃÛ³Ý Ù³­ëÇÝ, ù³­ÝÇ áñ ÝÙ³­Ýû­ñÇ­Ý³Ï ùÝݳñ­ÏáõÙ­ Ý»ñÝ »Ý »ñ³ß­Ë³­íá­ñáõÙ ³ñ­í»ë­ïÇ ³é³­çÁݭó­ óÁ, ÇÝ­ãÁ ãϳñ ëá­í»­ï³­Ï³Ý ÙÇ­ç³­í³Û­ñáõÙ: ò³­ í³­ÉÇ ¿, áñ ÙÇÝã ûñë ¿É ÝÙ³­Ýû­ñÇ­Ý³Ï Ï³ñÍ­ñ³­ ïÇ­å»ñ ·á­Ûáõ­ÃÛáõÝ áõ­Ý»Ý: ÊݹǭñÁ ݳ¨ ³ÛÝ ¿, áñ ß³­ï»­ñÁ ã·Ç­ï»Ý å³ï­Ùáõ­ÃÛáõ­ÝÁ, ã·Ç­ï»Ý å³­ï»­ ñ³½­ÙÇ Çñ³­Ï³Ý å³ï­Ï»­ñÁ: ì»ñ­ç»ñë Ññ³­ï³­ ñ³Ï­í»ó ÙÇ ·Çñù` ÜÇ­Ïá­É³Û ÜÇ­Ïáõ­ÉÇ­ÝÇ §ÐÇ­ßá­Õáõ­ ÃÛáõÝ­Ý»ñ å³­ï»­ñ³½­ÙÇ Ù³­ëÇݦ, áñ­ï»Õ å³ï­ Ùáõ­ÃÛáõ­ÝÁ Ý»ñ­Ï³­Û³ó­í³Í ¿ ³é³Ýó Ïñ׳­ïáõÙ­ Ý»­ñÇ: ij­Ù³­Ý³ÏÝ ¿` ×ßÙ³ñ­ï³­óÇ å³ï­Ï»­ñ»É Çñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ:

ð³ý­ýÇ Øáí­ëÇ­ëÛ³Ý

Foreign Affairs àëÏ» ÍÇñ³ÝÁ µáÉáñÇë ¿ å³ïϳÝáõÙ ºë ·Ç­ï»Ù, áñ §àë­Ï» ÍÇ­ñ³Ý¦ ÏÇ­Ýá­÷³­é³­ ïá­ÝÇ Ù³­ëÇÝ Ëá­ë»­ÉÇë ϳ­ñáÕ »Ù ë»Ý­ïǭٻݭ ï³É Ù³ñ­¹áõ ïå³­íá­ñáõ­ÃÛáõÝ ÃáÕ­Ý»É, µ³Ûó ¹³ ÇÝÓ ãÇ Ùï³­Ñá­·áõÙ: ²Ûë ÷³­é³­ïáÝÝ ÇÝÓ Ñ³­ Ù³ñ ß³ï µ³Ý ¿ Ýß³­Ý³­ÏáõÙ: ºë Ù³ë­Ý³Ï­ó»É »Ù ÷³­é³­ïá­ÝÇÝ áñ­å»ë ÅÛáõ­ñÇÇ ³Ý­¹³Ù, áñ­å»ë ÏÇ­Ýáùݭݳ­¹³ï, ÇëÏ ³Ûë ï³­ñÇ Ý³¨ Ñݳ­ñ³­íá­ ñáõ­ÃÛáõÝ áõ­Ý»­ó³ ·ñ»­Éáõ Daily ûñ³­Ã»ñ­ÃÇ Ñ³­ Ù³ñ: ÆÝÓ ÙÇßï ÷³­é³­ïá­ÝÇ ÙÇ Ù³ëÝ »Ù ½·³ ó»É: §àë­Ï» ÍÇ­ñ³­ÝÁ¦ ÙÇ­³­íá­ñáõÙ ¿ µ³½­Ù³­ÃÇí ϳ­ñ¨­áñ û­Ù³­Ý»ñ, áñáÝù ÏÇ­Ýá­ÛÇ ë³Ñ­Ù³Ý­Ý»­ñÇó ¹áõñë »Ý: ²ÛÝ ÙÇ í³Ûñ ¿, áñ­ï»Õ ÍÝíáõÙ »Ý ýÇÉ­ Ù»ñ, ݳ­Ë³·­Í»ñ, ͳ­Ýá­Ãáõ­ÃÛáõÝ­Ý»ñ, Ñݳ­ñ³­íá­ ñáõ­ÃÛáõÝ­Ý»ñ ¨ ÑáõÛë: ºë ѳݭ¹Ç­å»­óÇ êáõ­ë³Ý­­ ݳ г­ñáõ­ÃÛáõ­ÝÛ³­ÝÇÝ ¨ г­ñáõ­ÃÛáõÝ Ê³­ã³ï­ ñÛ³­ÝÇÝ` ´á­õ»­Ýáë ²Û­ñ»­ëáõÙ, »ñµ §àë­Ï» ÍÇ­ñ³Ý¦ ÙÇ­ç³½­·³­ÛÇÝ ÏÇ­Ýá­÷³­é³­ïá­ÝÁ ¹»é Ýáñ åÇ­ïÇ ëï»ÕÍ­í»ñ: Üñ³Ýù »Ï»É ¿ÇÝ Ý»ñ­Ï³­Û³ó­Ý»­Éáõ ݳ­Ë³­·Ç­ÍÁ ¨ ß³ï ѳ­Ù»ë­ïá­ñ»Ý ¿ÇÝ Ëá­ëáõÙ ¹ñ³ Ù³­ëÇÝ: ²Û­ëûñ ÷³­é³­ïá­ÝÁ Ûáà ﳭñ»­Ï³Ý ¿ ¨ ¹³ñ­Ó»É ¿ г­Û³ë­ï³­ÝÇ áõ ï³­ñ³­Í³ßñ­ç³­ ÝÇ ³Ù»­Ý³­Ï³­ñ¨­áñ Ùß³­Ïáõ­Ã³­ÛÇÝ Çñ³­¹³ñ­Óáõ­ ÃÛáõ­ÝÁ: ²ÛÝ »ñ­Ï³ñ ¨ ѳ­çáÕ ×³­Ý³­å³ñÑ ¿ ³Ý­­ ó»É: ºí ³Û¹ ѳ­çá­Õáõ­ÃÛáõ­ÝÁ 峭ﳭѳ­Ï³Ý ã¿: ¸ñ³ ÑÇÙ­ùáõÙ ³Ý­¹áõÉ ³ß­Ë³­ï³ÝùÝ ¿, ϳ½­Ù³­ Ï»ñ­åÇã­Ý»­ñÇ ç³Ý­ù»ñÝ áõ åñá­ý»­ëÇ­á­Ý³­Éǽ­ÙÁ: ºë Ýñ³Ýó ß³ï µ³­Ýáí »Ù å³ñ­ï³­Ï³Ý, ù³­ ÝÇ áñ Ù»ñ ͳ­Ýá­Ãáõ­ÃÛáõ­ÝÇó Ñ»­ïá »ë Ùï³ Ñ³Û­ ϳ­Ï³Ý ÏÇ­Ýá­ÛÇ ³ß­Ë³ñÑ, ¨ ³ÛÝ ¹ñëáõÙ Ý»­ñ³­ ϳ­Û³ó­Ý»­ÉÁ ¹³ñ­Ó³í Ç٠ϳ­ñ¨­áñ ËݹÇñ­Ý»­ñÇó Ù»­ÏÁ: ²ÛÝ áñ ³Û­ëûñ ѳۭϳ­Ï³Ý ÏÇ­ÝáÝ È³­ïÇ­ ݳ­Ï³Ý ²Ù»­ñǭϳ­ÛáõÙ ·ï»É ¿ Çñ áõ­ñáõÛÝ ï»­ÕÁ, ÷³­é³­ïá­ÝÇ Ï³½­Ù³­Ï»ñ­åÇã­Ý»­ñÇ ¨ Ýñ³Ýó ³Ý­­ ëá­íáñ ³é³­ï³­Ó»é­Ýáõ­ÃÛ³Ý ßÝáñ­ÑÇí ¿: §àë­Ï» ÍÇ­ñ³­ÝÁ¦ µá­Éá­ñÇÝë ¿, ¨ µá­Éáñë å»ïù ¿ å³Ñ­ å³­ Ý»Ýù ³ÛÝ, ÇÝã­ å»ë å³Ñ­ å³­ ÝáõÙ »Ýù Ù»ñ Ùß³­ÏáõÛ­ÃÁ: ²ÛÝ ¹³ñ­Ó»É ¿ ÙÇ­ç³½­·³­ÛÇÝ Å³­é³Ý­ ·áõ­ÃÛáõÝ, áñÁ å³Ñ­å³­ÝáõÙ ¨ å³ßï­å³­ÝáõÙ ¿ ÏÇ­ÝáÝ Çñ µá­Éáñ ï»­ë³Ï­Ý»­ñáí: Ðݳ­ñ³­íáñ ¿, áñ ÇÙ ³ë³Í­Ý»­ñÁ ë»Ý­ïÇ­ Ù»Ýï³É ¨ á㠳ݳ­ã³é »Ý ÑÝãáõÙ, µ³Ûó (ÇÝã­ å»ë ³ñ­¹»Ý ³ë³­óÇ) ÇÝÓ ¹³ ãÇ Ùï³­Ñá­·áõÙ:

æ»ù äá­Õá­ëÛ³Ý

GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010

4 ÷³é³ïáÝÇ ¹»Ùù»ñ

²ñëÇÝ» ʳÝçÛ³Ý. §àëÏ» ÍÇñ³Ý¦

50 ï³ñÇÝ ãáù»ó ¹áõéë...

÷³é³ïáÝÝ ³ÙµáÕçáíÇÝ Édz½áñ ¿ Ý»ñϳ۳óÝ»É Ù»ñ ÅáÕáíñ¹ÇÝ ²ñ­ ëÇ­ Ý», ¸áõù §àë­ Ï» ÍÇ­ ñ³­ ÝǦ Ñ»ï »ù ÷³­é³­ïá­ÝÇ ³é³­çÇÝ ûñ»­ñÇó... ²Ûá, ³ÛÝ Å³­Ù³­Ý³Ï, »ñµ ÑÇ٭ݳ¹ñ­í»ó §àë­Ï» ÍÇ­ñ³­ÝÁ¦, Ù»Ýù ß³ï áõ­ñ³­Ë³­ó³Ýù, Éóí»­óÇÝù ÙÇ ï»­ë³Ï å³ñ­ï³­íá­ñáõ­ÃÛ³Ý ½·³­óáõ­Ùáí` ³ñ­í»ë­ïÇ ¨ ³½­·Ç ³é­ç¨:

ÙÇ­³ÛÝ Ù»ñ ÏÇ­Ýá­é»­ÅÇ­ëáñ­Ý»­ñÇÝ Ý»ñ­Ï³­Û³ó­Ý»­Éáõ, ³Û­É¨ ³ß­Ë³ñ­ÑÇ ï³ñ­µ»ñ »ñÏñ­Ý»­ñÇ ÏÇ­Ýá­é»­ÅÇ­ëáñ­ Ý»­ñÇÝ Ñ»­ï³ùñù­ñ»­Éáõ ³éáõ­Ùáí, áí­ù»ñ ·³­ÉÇë »Ý ¨ Ù»½ Ùáï å³­ñ³ñï ÑáÕ ·ïÝáõÙ` Çñ»Ýó ·áñ­Í»­ñÁ Ý»ñ­Ï³­Û³ó­Ý»­Éáõ ѳ­Ù³ñ, ݳ¨` Çñ»Ýó ·áñ­ÍÁÝ­Ï»ñ­ Ý»­ñÇ Ñ»ï ѳ­ñ³­µ»­ñáõ­ÃÛáõÝ­Ý»ñ ëï»Õ­Í»­Éáõ ɳ­í³­ ·áõÛÝ ³éÇÃ:

²ÛÅÙ ÇÝã­å»±ë Ϸݳ­Ñ³­ï»­Çù ÷³­é³­ïá­ÝÁ: î³­ñ»óï³­ñÇ Ù»Í ëÇ­ñáí »Ýù í»­ñ³­¹³é­ÝáõÙ, áñáí­Ñ»­ï¨ ï»­ë³Ýù, áñ ÷³­é³­ïá­ÝÇ Ï³½­Ù³­Ï»ñ­ åÇã­Ý»­ñÇ ç³Ý­ù»­ñÁ ѳ­çá­Õáõ­ÃÛ³Ùµ åë³Ï­í»­óÇÝ, ÷³­é³­ïá­ÝÁ Ù»Í ù³Û­É»­ñáí ³é³ç ·Ý³ó ¨ ¹»é åÇ­ ïÇ ·Ý³:

ÆëÏ »ñÏ­ñDZ ѳ­Ù³ñ: §àë­Ï» ÍÇ­ñ³­ÝÁ¦ ÙÇ­³Ï ݳ­Ë³­·ÇÍÝ ¿, áñ Ù»Í Ñ³Ù­µ³í áõ­ÝÇ ³ß­Ë³ñ­ÑÇ 4 ͳ­·»­ñáõÙ ¨ ǵ­ñ¨ ÷³­é³­ïáÝ ³Ù­µáÕ­çá­íÇÝ ÉÇ­³­½áñ ¿ Ý»ñ­Ï³­Û³ó­Ý»É Ù»ñ Åá­Õáíñ­¹ÇÝ:

Àëï Ò»½` á±ñÝ ¿ ³Ûë ÷³­é³­ïá­ÝÇ ³ñ­Å»­ùÁ ÏÇ­Ýá­ÛÇ, Ùß³­ÏáõÛ­ÃÇ Ñ³­Ù³ñ: ²Ù»Ý ï³­ ñÇ Ù»Í ½³ñ­ ٳݭ ùáí »Ù Ýϳ­ ïáõÙ §àë­Ï» ÍÇ­ñ³­ÝǦ ³×áÕ Ñ»­Õǭݳ­Ïáõ­ÃÛáõÝÝ áõ ³Ûë å³­ÑÇÝ Çñ ÙÇ­³ÝÓ­ÝÛ³ ¹»­ñÁ` Ù»ñ Ùß³­ÏáõÛ­ÃáõÙ: ºñµ ³ëáõÙ »Ù §Ù»ñ Ùß³­ÏáõÛ­ÃáõÙ¦, áõ­½áõÙ »Ù ³ë»É` áã

ØÇßï ѳ­×»­ÉÇ ¿ Ò»½ ï»ë­Ý»É §àë­Ï» ÍÇ­ñ³­ ÝÇݦ, ÇëÏ áõ­ñÇ±ß ÇÝã ݳ­Ë³·­Í»­ñáõ٠ϳ­ñ»­ÉÇ ¿ Ò»½ ï»ë­Ý»É: ö³­é³­ïá­ÝÇó îá­ñáÝ­ïá í»­ñ³­¹³é­Ý³­Éáõó Ñ»­ïá å»ïù ¿ ³ß­Ë³­ï»Ù §²Ý¹­ñá­Ù³­ù»Ç¦ ¹»­ñÇ íñ³` Áëï è³­ëÇ­ÝÇ Ñ³­Ù³­ÝáõÝ ëï»Õ­Í³­·áñ­Íáõ­ÃÛ³Ý,

µ³Ûó µ³­ó³ñ­Ó³­Ï³­å»ë Ýáñ Ùá­ï»­óáõ­Ùáí: ²ß­Ë³­ ï³ÝùÝ ³Ý·­É»­ñ»­Ýáí ¿:

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§àëÏ» ÍÇñ³Ý¦-Ç Ù³ëݳÏÇóÝ»ñÁ ¨ ÑÛáõñ»ñÁ ïáÝáõÙ »Ý ²ïáÙ ¾·áÛ³ÝÇ 50-³ÙÛ³ÏÁ: Լուսանկարները` Գևորգ Գասպարյանի

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Îá­ñ³Í ë»ñÝ­¹Ç Ù³­ëÇÝ È¨³Ý Îá·áõ³ßíÇÉáõ ³é³çÇÝ Édzٻïñ³Å ˳ճñϳÛÇÝ ýÇÉÙÁ` §öáÕáó³ÛÇÝ ûñ»ñÁ¦, Ù³ëݳÏó»ó §àëÏ» ÍÇñ³ÝǦ ÙÇç³½·³ÛÇÝ ÙñóáõÛÃÇÝ: è»ÅÇëáñÝ ³é³çÇÝ ³Ý·³Ù ¿ г۳ëï³ÝáõÙ: Ü»ñϳ۳óÝáõÙ ¿ ìñ³ëï³ÝÇ §Ïáñ³Í ë»ñáõݹÁ¦, ³ÛÝ Ù³ñ¹Ï³Ýó, áíù»ñ ѳÛïÝí»óÇÝ ÊêÐØ ÷Éáõ½Ù³Ý ¨ ³ÝÏ³Ë Ñ³Ýñ³å»ïáõÃÛ³Ý Ï³½Ù³íáñÙ³Ý Ù»çï»ÕáõÙ: §ö³ë­ïá­ñ»Ý ϳ­Ý³Ûù ³í»­ÉÇ áõ­Å»Õ ¹áõñë »Ï³Ý¦,— »½­ñ³­Ï³ó­ÝáõÙ ¿ Îá­·á­õ³ß­íÇ­ÉÇÝ í»ñ­çáõÙ: ØÇÝã ³Û¹` ½ñáõ­ óáõÙ »Ýù íñ³ó »ñÇ­ ï³­ ë³ñ¹­ Ý»­ ñÇ ßñç³­ÝáõÙ ³Û­É¨ë áã ³ÛÝ­ù³Ý åá­åáõ­ÉÛ³ñ, µ³Ûó ï³­ñ³Í­í³Í ¨ ѳë­ï³­ïáõÝ ÑÇ­í³Ý­¹áõ­ÃÛáõÝ ¹³ñ­­ Ó³Í ÃÙñ³­Ùá­Éáõ­ÃÛ³Ý ËݹñÇ ßáõñç: Àëï é»­ÅÇ­ëá­ ñÇ` ÃÙñ³­ÝÛáõ­ÃÇ Ñ³Ý­¹»å Ñ»­ï³ùñù­ñáõ­ÃÛ³Ý ÑÇÙ­ ù»­ñÁ 80-³Ï³Ý­Ý»­ñáõÙ å»ïù ¿ ÷Ýïñ»É: ÜÛáõ­Ã³­Ï³Ý ËݹÇñ­Ý»ñ ϳñ­Í»ë û ãϳ­ÛÇÝ, ¨ Çñ³­Ï³­Ýáõ­ÃÛáõ­ÝÁ ùá­Õ³ñÏ­í³Í ¿ñ: سñ­¹ÇÏ ìñ³ë­ ï³­Ýáõ٠ѳϭí³Í »Ý ѳ­×áõÛ­ùÇ ¨ ½·³ó­ÙáõÝ­ù³­ÛÇÝ »Ý: ÂÙñ³­ÝÛáõ­ÃÇ û·­ï³­·áñ­Íáõ­ÙÁ µ³­ñ»­Ï»­óáõ­ÃÛ³Ý Ñ»­ï¨­³Ýù ¿ñ, áñÁ ¹³ñ­Ó³í Ùá­¹³, ½í³ñ­×³Ýù: ìñ³ë­ï³­ÝÇ ³Ý­óáõ­Ù³­ÛÇÝ ßñç³­ÝÁ, áñÝ áõ­Õ»Ïó­ íáõÙ ¿ñ ïÝï»­ë³­Ï³Ý ³Ý­Ïáõ­Ùáí ¨ Ý»ñ­ù³­Õ³­ù³­ Ï³Ý Ñ³­Ï³­ëáõ­ÃÛáõÝ­Ý»­ñáí, ïÕ³­Ù³ñ¹­Ï³Ýó ÇÝù­ ݳ¹ñ­ë¨­áñ­Ù³Ý ¨ ϳ­Û³ó­Ù³Ý ËݹÇñ µ³ñÓ­ñ³ó­ñ»ó: ²Û¹ ׷ݳ­Å³­ÙáõÙ ³Ù»­ÝÇó ß³ï ïáõ­Å»É »Ý ÙÇ­çÇÝ ï³­ñÇ­ùÇ ïÕ³­Ù³ñ­¹ÇÏ: ¸³ ë»ñÝ­¹Ç ÇÝù­Ý³ë­å³­Ýáõ­ÃÛáõÝÝ ¿ñ: §Ø»ç­ï»­ ÕǦ ë»­ñáõÝ¹Ý ³Ù»­ÝÇó áÕ­µ»ñ­·³­Ï³Ý ׳­Ï³­ï³­­ ·ÇñÝ áõ­Ý»­ó³í: ÂÙñ³­Ùá­Éáõ­ÃÛ³Ý ï³­ñ³Í­Ù³Ý ѳ­ Ù³ñ ûñÇ­Ý³Ï Í³­é³­Û»­óÇÝ Ý³¨ §·á­Õ³­Ï³Ý­Ý»­ñÁ¦,

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γ­ñÇÝ ¶ñÇ­·á­ñÛ³Ý

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GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010

interview 5

Semih Kaplanoglu 2010 Ã. ´»éÉÇÝÛ³Ý ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ §àëÏ» ³ñç¦ Ùñó³Ý³ÏÇ ¹³÷Ý»ÏÇñ, §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ ÅÛáõñÇÇ ³Ý¹³Ù γåɳÝûÕÉáõÝ` ÷³é³ïáÝÇ ¨ իր »é³å³ïÙ³Ý Ù³ëÇÝ

ine his life in detail. What happened before my story, what could happen afterwards? Things that would not be in the film, but that I need for developing cer­ tain details. They might also look irrelevant. When I was imagining the future of Yusuf, I thought ‘why not do it as a trilogy, including childhood and matu­ rity as well?’ Then I shared this idea with my wife and the people I work with. They liked it as well.

So I started writing, first came Egg, then Milk and Honey as the last part. But when I finish a script nothing is final yet. The actors, the location, the sea­ son, the house that I will use, they all add something to my script. In that sense my script is only finished after the final editing. For example, I make the ac­ tors always wear similar clothes because then I get the chance of switching the order of scenes during editing. Attentive eyes would see it. I try to be open to every possible accidental contribution.

After I decided to do a trilogy, I had to decide which would come first. But to be realistic, you never know whether you will actually get the chance to fin­ ish all three. And since I am also the producer of my films I simply didn't know, so that is why I decided to start with the topic closest to me, adulthood.

But this was also a journey towards the roots, the soul of the character. The older we get and the more we are informed about life, the more we lose our soul and essence. Socializing limits our freedom.

We have to accept and obey. When we would meet our childhood now, we would meet innocence. We would see what a child was and what it turns into.

If I would have started with childhood, I would’ve had to tell how we distance from the soul. But I tried to approach it differently, come closer.

ÆÝÓ ¹áõñ »Ï³í ÷³­é³­ïá­ÝÇ ÙÃÝá­Éáñ­ïÁ: ºë ß³ï ϳ­ñ¨­áñ »Ù ѳ­Ù³­ñáõÙ §è»­ÅÇ­ëáñ­Ý»ñ ³é³Ýó ë³Ñ­Ù³­ÝǦ ݳ­Ë³·­ÍÇ ÝÙ³Ý Ý³­Ë³­Ó»é­Ýáõ­ÃÛáõÝ­Ý»­ ñÁ: ²ÝÑ­ñ³­Å»ßï ¿ ³ç³Ï­ó»É ëÏëÝ³Ï é»­ÅÇ­ëáñ­Ý»­ ñÇÝ: ºñµ ÇÙ ³é³­çÇÝ ýÇÉ­Ù»ñÝ ¿Ç Ýϳ­ñ³­Ñ³­ÝáõÙ, »ë ¿É ëÏëÝ³Ï é»­ÅÇ­ëáñ­Ý»­ñÇó ß³­ï»­ñÇ ÝÙ³Ý ëïÇå­í³Í ¿Ç µ³½­Ù³­ÃÇí ¹Åí³­ñáõ­ÃÛáõÝ­Ý»­ñÇ ÙÇ­çáí ³Ýó­Ý»É: ÆÝù­ ݳ¹ñ­ 먭 áñ­áõ­ ÙÁ ÙÇßï ¿É ¹Åí³ñ µ³Ý ¿: ´³Ûó ³ÛÝ Ù³ñ­¹ÇÏ, áõ٠ѳݭ¹Ç­åáõÙ »ë ÷³­é³­ïá­Ý»­ñÇ ÁÝ­ óó­ùáõÙ, ï³­ñÇ­Ý»ñ ³Ýó ùá Ï۳ݭùÇ ÙÇ Ù³ëÝ »Ý ¹³é­ÝáõÙ, Ñ»­ï³­·³­ÛáõÙ ¹áõ Ýñ³Ýó ѳݭ¹Ç­åáõÙ »ë áõ­ñÇß ÷³­é³­ïá­Ý»­ñáõÙ, Ýñ³Ýù Ñ»­ï¨­áõÙ »Ý ùá ³ß­­ ˳­ï³Ý­ùÇÝ ¨ û·­ï³­Ï³ñ ϳñ­ÍÇù­Ý»ñ ѳÛï­ÝáõÙ: ê³ ÇÙ ³é³­çÇÝ ³ÛóÝ ¿ г­Û³ë­ï³Ý: ÆÝÓ Ñ»­ ï³ùñ­ùÇñ ¿ñ, û ÇÝã­åÇ­ëÇÝ ¿ г­Û³ë­ï³­ÝÁ: Ø»Ýù Âáõñ­ùÇ­³­ÛáõÙ ÙÇ­³ÛÝ í»ñ­ç»ñë »Ýù ëÏë»É Ëá­ë»É ѳ­ Û»­ñÇ Ù³­ëÇÝ: ÈÇ­Ý»­Éáí ³é³­çÇÝ­Ý»­ñÇó Ù»­ÏÁ, áí ѳ­ Û»­ñÇó Ý»­ñá­Õáõ­ÃÛáõÝ ¿ Ëݹñ»É 1915 Ã. Çñ³­¹³ñ­Óáõ­ ÃÛáõÝ­Ý»­ñÇ Ñ³­Ù³ñ` ÇÝÓ Ñ³­Ù³ñ Çë­Ï³­å»ë ϳ­ñ¨­áñ ¿ñ ³Ûë­ï»Õ ·³ÉÝ áõ »ñÏ­Ëá­ëáõ­ÃÛ³Ý ÷áñÓ ³Ý»­ÉÁ: ØÇÝã Úáõ­ëáõ­ýÇ Ù³­ëÇÝ »é³­å³­ïáõÙ Ýϳ­ñ³­Ñ³­ Ý»­Éáõ Ùï³Ñ­Õ³­óáõ­ÙÁ` »ë ÙÇ å³ïÙ­í³Íù ¿Ç ·ñ»É §ä³Û­Í³é ûñÁ¦ í»ñ­Ý³·­ñáí ¨ Ùá­é³­ó»É ¹ñ³ Ù³­ ëÇÝ: ä³ïÙ­í³Í­ùáõÙ 17-18 ï³­ñ»­Ï³Ý µ³­Ý³ë­ï»Õ­ ÍÁ Ñáñ Ù³­ÑÇó Ñ»­ïá ³å­ñáõÙ ¿ Ùáñ Ñ»ï: ܳ ÷áñ­ ÓáõÙ ¿ ÁÝ­¹áõÝ­í»É ѳ­Ù³É­ë³­ñ³Ý, µ³Ûó ãÇ Ï³­ñá­Õ³­ ÝáõÙ: Üñ³ ÁÝ­Ï»ñ­Ý»­ñÁ ï³ñ­µ»ñ µ³­Ý»­ñÇ Ù³­ëÇÝ »Ý »ñ³­½áõÙ: Üñ³Ýù ÷áñ­ÓáõÙ »Ý ¹áõñë ·³É ³Û¹ ÷áù­ ñÇÏ ù³­Õ³­ùÇó ¨ Ýáñ ÏÛ³Ýù ëÏë»É: àÙ³Ýó µ³Ë­ïÁ µ»­ñáõÙ ¿, ÙÛáõë­Ý»­ñÇ­ÝÁ` áã: Úáõ­ëáõýÝ ³Ûë å³ïÙ­í³Í­ ùÇ Ñ»­ñáë­Ý»­ñÇó Ù»ÏÝ ¿ñ: 3-4 ï³­ñÇ ³Ýó եë áñá­ß»­óÇ ³Ûë å³ïÙ­í³Í­ùÇ ÑÇ­Ù³Ý íñ³ ëó»­Ý³ñ ·ñ»É: ºñµ »ë ÷áñ­ÓáõÙ ¿Ç å³ï­Ï»­ñ³ó­Ý»É Úáõ­ëáõ­ýÇ ³å³­ ·³Ý, »ë Ùï³­Í»­óÇ, áñ í³ï ã¿ñ ÉÇ­ÝÇ »é³­å³­ïáõÙ ëï»Õ­Í»É` Áݹ·ñ­Ï»­Éáí Ýñ³ ٳݭÏáõ­ÃÛáõÝÝ áõ ѳ­ëáõÝ ï³­ñÇ­ùÁ: ºë ÇÙ Ùï³¹­ñáõ­ÃÛ³Ý Ù³­ëÇÝ Ñ³Ûï­Ý»­óÇ ÏÝáçë ¨ ·áñ­ÍÁÝ­Ï»ñ­Ý»­ñÇë: Üñ³Ýù ¿É ѳ­í³­Ýáõ­ÃÛáõÝ ïí»­óÇÝ: ºí ëÏë»­óÇ ·ñ»É: êϽµáõÙ §Òáõݦ ¿ñ, Ñ»­ ïá §Î³­ÃÁ¦, í»ñ­çáõÙ` §Ø»Õ­ñÁ¦: ´³Ûó ëó»­Ý³ñÝ ³í³ñ­ï»­ÉÁ ¹»é ·áñ­ÍÇ Ï»ëÝ ¿: ¸»­ñ³­ë³Ý­Ý»­ñÁ, Ýϳ­ñ³­Ñ³Ý­Ù³Ý í³Û­ñÁ, »Õ³­Ý³­ÏÁ, ³ÛÝ ïáõ­ÝÁ áñ­ ï»Õ ͳ­í³É­í»­Éáõ »Ý ýÇÉ­ÙÇ Çñ³­¹³ñ­Óáõ­ÃÛáõÝ­Ý»­ñÁ... ¹ñ³Ýù µá­ÉáñÝ ¿É Çñ»Ýó Ñ»ñ­ÃÇÝ ÙÇ Ýáñ µ³Ý »Ý ³í»­ ɳó­ÝáõÙ ëó»­Ý³­ñÇÝ: ºë ëïÇ­åáõÙ »Ù, áñ ¹»­ñ³­ë³Ý­­ Ý»­ñÁ Ýϳ­ñ³­Ñ³Ý­í»­ÉÇë ÙÇßï ÝáõÛÝ Ñ³­·áõë­ïÁ Ïñ»Ý, áñ­å»ë­½Ç ϳ­ñá­Õ³­Ý³Ù ýÇÉ­ÙÇ í»ñç­Ý³­Ï³Ý ÙáÝ­ï³­ ÅÇ Å³­Ù³­Ý³Ï ÷á­Ë»É ï»­ë³­ñ³Ý­Ý»­ñÇ Ñ³­çáñ­¹³­Ï³­ Ýáõ­ÃÛáõ­ÝÁ: àõ­ß³­¹Çñ ѳݭ¹Ç­ë³­ï»­ëÁ ϳ­ñáÕ ¿ Ýϳ­ ï»É ÝÙ³Ý Ù³Ý­ñáõù­Ý»­ñÁ, ¹ñ³ ѳ­Ù³ñ ¿É »ë ÷áñ­ ÓáõÙ »Ù ³Ù»Ý ÇÝ­ãÇ Ù³­ëÇÝ Ý³­Ëû­ñáù Ùï³­Í»É, áñ Ëáõ­ë³­÷»Ù Ñݳ­ñ³­íáñ ËݹÇñ­Ý»­ñÇó: ºñ­µ»ù ã»ë ϳ­ñáÕ íëï³Ñ ÉÇ­Ý»É, áñ Ïϳ­ñá­Õ³­ Ý³ë »ñ»ù Ù³­ë»ñÝ ¿É ³í³ñ­ïÇÝ Ñ³ëó­Ý»É: ºë ݳ¨ ÇÙ ýÇÉ­Ù»­ñÇ åñá­¹Ûáõ­ë»ñÝ »Ù, áõ å³ñ­½³­å»ë ã·Ç­ ï»Ç, û ·áñ­Í»ñÝ ÇÝã­å»ë ÏÁݭó­Ý³Ý: ²Û¹ å³ï­ ׳­éáí ¿É áñá­ß»­óÇ »é³­å³­ïáõ­ÙÁ ëÏë»É ³ÛÝ ï³­ñÇ­ ùÇó, áñÝ ÇÝÓ ³í»­ÉÇ Ñá­·»­Ñ³­ñ³­½³ï ¿: Æѳñ­Ï»` ã³­÷³­Ñ³­ëáõ­ÃÛáõ­ÝÇó: àñ­ù³Ý Ù»­Í³­ÝáõÙ »Ýù, ³ÛÝ­ù³Ý ß³ï »Ýù Ñ»­é³­ ÝáõÙ ÇÝù­Ý»ñë Ù»­½³­ÝÇó áõ Ù»ñ Ý»­ñ³ß­Ë³ñ­ÑÇó: г­ ë³­ñ³­Ïáõ­ÃÛáõ­ÝÁ ë³Ñ­Ù³­Ý³­÷³­ÏáõÙ ¿ Ù»ñ ³½³­ïáõ­­ ÃÛáõ­ÝÁ: ´³Ûó »ë ÷áñ­ÓáõÙ ¿Ç ѳ­Ï³­é³ÏÝ ³Ý»É` Ñ»­ 鳭ݳ­Éáõ ÷á­Ë³­ñ»Ý Ùá­ï»­Ý³É Ù»ñ Ý»­ñ³ß­Ë³ñ­ÑÇÝ:

ijٳݳÏÁ ÏÇÝáÛÇÝ µÝáñáß Ñ³ëϳóáõÃÛáõÝ ¿... ºë ã¿Ç áõ­½áõÙ, áñ ýÇÉ­Ùáõ٠ų­Ù³­Ý³­ÏÇ Ñëï³Ï µ³­ ų­ ÝáõÙ ÉÇ­ ÝÇ: ºë áõ­ ½áõÙ ¿Ç, áñ ýÇÉ­ ÙÇ µá­ Éáñ Çñ³­¹³ñ­Óáõ­ÃÛáõÝ­Ý»­ñÁ Ý»ñ­Ï³ ų­Ù³­Ý³­ÏáõÙ ÉÇ­Ý»Ý: §Ø»Õñ¦-Ç ëϽµáõÙ ¹Ç­ï³­íá­ñÛ³É ûñ³­óáõÛó ¹ñ»­ óÇ: ºë ѳ­Ùá½­í³Í »Ù, áñ Ý»ñ­Ï³Ý å³­ñáõ­Ý³­ÏáõÙ ¿ ݳ¨ ³å³­·³ ¨ ³Ý­óÛ³É: Ü»ñ­Ï³Ý ¿, áñ ϳ­åáõÙ ¿ Ù»½ ³Ý­óÛ³­ÉÇ ¨ ³å³­·³­ÛÇ Ñ»ï: ij­Ù³­Ý³­ÏÁ ÙÇ Ñ³ë­Ï³­óáõ­ÃÛáõÝ ¿, áñÁ µÝá­ñáß ¿ ÏÇ­Ýá­ÛÇÝ, ³Û¹ ÇëÏ å³ï­ ׳­ éáí ³ÛÝ ÇÝÓ Ñ³­ Ù³ñ ß³ï ϳ­ ñ¨­ áñ ¿: ij­Ù³­Ý³ÏÝ ¿ ٳѭí³Ý áõ ݳ¨ ³Ý­Ù³­Ñáõ­ÃÛ³Ý å³ï­×³­éÁ: سñ­¹ÇÏ ÙÇ­³Ï ³ñ³­ñ³Í­Ý»ñÝ »Ý, áñ ·Ç­ï³Ï­óáõÙ »Ý Çñ»Ýó ٳѭϳ­Ý³­óáõ ÉÇ­Ý»­ÉÁ:

“Time is the matter of cinema”

äá»½Ç³Ý ¨ ³í³Ý¹³Ï³Ý É»½í³Ùï³ÍáÕáõÃÛáõÝÁ Çñ³ñ³Ù»ñÅ »Ý ºë ¿É ¹åñá­ó³­Ï³Ý ï³­ñÇ­Ý»­ñÇÝ ÝáõÛÝ ËݹÇñÝ áõ­Ý»Ç, ÇÝã Úáõ­ëáõ­ýÁ. ¹Åí³­ñáõ­ÃÛ³Ùµ ¿Ç ϳñ­¹áõÙ ¨ ³Ý­Ï³ñ­·³­å³Ñ ¿Ç: ºë ѳ­í³­ïáõÙ »Ù, áñ Ù»Ýù ÍÝíáõÙ »Ýù ·Ç­ï»­ÉÇù­Ý»­ñÇ áñá­ß³­ÏÇ å³­ß³­ñáí, ·Ç­ï³Ï­óáõ­ÃÛ³Ùµ: ÐÇÝ ·Ç­ï»­ÉÇù­Ý»­ñÁ, áñ Úáõ­ëáõ­ ýÁ ëï³­ÝáõÙ ¿ñ Çñ Ñá­ñÇó, ѳ­Ï³­ëáõÙ »Ý ³ÛÝ ³Ù»­ ÝÇÝ, ÇÝã Ýñ³Ý ¹åñáóÝ ¿ñ ëá­íá­ñ»ó­ÝáõÙ: ²Û¹ »ñ­Ïáõ ·Ç­ï»­ÉÇù­Ý»­ñÇ Ù»ç ³Ý­Ñ³Õ­Ã³­Ñ³­ñ»­ÉÇ ÏáÝý­ÉÇÏï ϳ: ´á­Éáñë ¿É, »ñµ »ñ»­Ë³ ¿ÇÝù, ³Ý­ó»É »Ýù ³Û¹ ³Ù»­ÝÇ ÙÇ­çáí: лÝó ¹åñáó »Ýù ÁÝ­¹áõÝ­íáõÙ, Ù»½ ëÏëáõÙ »Ý ë³Ñ­Ù³­Ý³­÷³­Ï»É: ºë ã»Ù áõ­½áõÙ ùÝݳ­ ¹³­ï»É ÏñÃáõ­ÃÛáõ­ÝÁ, ·áõ­ó» ³ÛÝ ã¿ñ ¿É ϳ­ñáÕ áõ­ñÇß ÉÇ­Ý»É: ´³Ûó û­ñáõ­ÃÛáõÝ­Ý»­ñÁ ³ÏݭѳÛï »Ý: äá­»­½Ç­³Ý áõ ³í³Ý­¹³­Ï³Ý É»½­í³Ù­ï³­Íá­Õáõ­ ÃÛáõ­ÝÁ Çñ³­ñ³­Ù»ñŠѳë­Ï³­óáõ­ÃÛáõÝ­Ý»ñ »Ý: È»­½áõÝ ï»­Õ»­Ï³ó­Ý»­Éáõ, Ó¨­³­Ï»ñ­åáõÙ­Ý»ñ ï³­Éáõ ¨ ѳ­Õáñ­ ¹³Ïó­í»­Éáõ ѳ­Ù³ñ ¿, ÇëÏ åá­»­½Ç­³Ý Ù»ñ­ÅáõÙ ¿ ³Ûë ³Ù»­ÝÁ: ²ÛÝ ¹»Ù ¿ É»½­í³­ÛÇÝ Ñ³­Ù³­Ï³ñ­·ÇÝ: ÆÝÓ ¹áõñ ¿ñ ·³­ÉÇë, áñ åá­»ï ­ Á ¹åñá­óáõÙ ãÇ Ï³­ñá­Õ³­ Ýáõ٠ϳñ­¹³É ³í³Ý­¹³­Ï³Ý Ó¨­áí: γ ÙÇ ³ñ¨Ù­ ïÛ³Ý ï»­ ë³­ Ï»ï, Áëï áñÇ` Ù»Ýù Ãßݳ­Ù³­Ï³Ý »Ýù Áݭϳ­ÉáõÙ ³ÛÝ ³Ù»­ÝÁ, ÇÝã µÝá­ñáß ã¿ Ù³ñ¹­Ï³Ýó, ѳ­ë³­ñ³­Ïáõ­ÃÛ³­ÝÁ: ²Û¹ ïñ³­Ù³­µ³­ Ýáõ­ÃÛ³Ùµ µÝáõ­ÃÛ³ÝÝ ¿É ϳ­ñáÕ »Ýù Ãßݳ­Ù³­µ³ñ í»­ ñ³­µ»ñ­í»É: ºë ¹Åí³­ñ³­ÝáõÙ »Ù ѳë­Ï³­Ý³É ³Ûë ï»­ ë³­Ï»­ïÁ: ÆÝÓ Ñ³­Ù³ñ ϳ­ñ¨­áñ ¿ ÙÇ­³ë­Ý³­Ï³­Ýáõ­ÃÛ³Ý ÏáÝ­ó»å­óÇ­³Ý: ²ñ¨­»­É Û³Ý ÏñáÝ­Ý»­ñÁ ѳ­Ï³­é³ÏÝ »Ý ³ëáõÙ` Ù»Ýù ²ëï­Íá ßáõÝãÝ »Ýù, ïÇ­»­½»ñ­ùÁ Ù»Ï Ù³ñ­ ÙÇÝ ¿: Æ٠ϳñ­ÍÇ­ùáí ³ñ­í»ë­ïÁ ¨ ѳï­Ï³­å»ë ÏÇ­ÝáÝ Ï³­ñáÕ »Ý ß³ï É³í ³ñ­ï³­Ñ³Û­ï»É ³Ûë ÙÇï­ùÁ: ²ÛÝ Ïû·­ÝÇ Ù»½ ѳë­Ï³­Ý³É ïÇ­»­½»­ñ³­Ï³Ý ϳ­å»­ñÁ, Ïû·­ ÝÇ, áñ µá­Éáñë Ù»½ Ù»Ï Ù³ñÙ­ÝáõÙ ½·³Ýù:

¾Î §Úáõëáõý¦ »é³å³ïáõÙ. §Òáõ¦ (2007) §Î³Ã¦ (2008) §Ø»Õñ¦ (2010)

Jury member and Turkish director Semih Kaplanoglu, who won this year’s Golden Bear for his film Honey, talks about the festival and the roots of his Yusuf trilogy.

I like the atmosphere of the festival, it reminds me a little bit of Sarajevo and Karlovy Vary, maybe because they all used to be Soviet coun­ tries once. I care very much about platforms like ‘Directors Across Borders’. It is very important to support new directors. As a matter of fact, when I was doing my first films I have been through many difficulties, like most of the new directors.

It is usually hard to express yourself. But people you meet at festivals become part of your life for years afterwards, you keep meeting them at oth­ er festivals, they follow your work and make use­ ful comments.

This is my first visit to Armenia. I have been curious about Armenia before coming. It is very recent that we started to talk about Armenians in Turkey. As one of the first who signed an apology for the events 1915, it was really important for me to come here and try to have a dialog.

Milk is the first film in your Yusuf trilogy.

Before I had any ideas about the trilogy of Yusuf, I had written a story called The Bright Day and I put it away. In the story, there is a 17-18 years old poet, living with his mother after his father’s death, he took the university exams but failed. He also has friends with different ambitions; one of them wants to be a football player, etc.

They are all trying to get out of the small town and start a new life. Some are successful, some fail. So Yusuf was one the characters of the story. After 3-4 years I looked at it again and I liked his character a lot. His issues with poetry, his issues with the moth­ er interested me, so I decided to develop a script by leaving the other characters aside. I write my scripts following characters rather than happenings. I take a character and start to think about him and I imag­

I didn't want do define the time period through objects. Instead I wanted everything that happens to be in the present time. I put on purpose a calendar at the beginning of Honey. I believe that the present in­ cludes it all: future and past. I believe that the world­ ly time is expanding in the present. It is the present that connects us with the future and the past. Time matters a lot to me since it is actually the matter of cinema. And time brings death and immortality. We are creatures who comprehend their own death.

“Poetry is a stolen good from the conventional language” I had the same problem as Yusuf in primary school, I had difficulty to read and I had problems with dis­ cipline. The fact that our civilization is turning eve­ rything into knowledge and information is interest­ ing. Knowledge is what is mirrored from the objects, and I think this is very incomplete. Knowledge is be­ coming useless today. I believe we are born with cer­ tain facilities like conscience. The ancient knowledge Yusuf receives from his father, stands in contrast to what he learns at school. There is an inevitable con­ flict between the two. We have all been through this as children. We were limited when we started school.

I don't want to criticize education, maybe it couldn’t be different. But the disadvantages are clear.

Poetry is a stolen good from the conventional language. It is against the logic of it. Language is for informing, defining and communication, and poetry rejects these. It is against the system of lan­ guage. I enjoyed the idea of a poet who couldn’t read in the conventional way.

There is a certain western viewpoint, where everything exterior to humanity is seen as the en­ emy. Then you start to see nature as the enemy as well. This is very difficult for me to understand.

For me the concept of oneness is quite impor­ tant, eastern faith says the opposite, we are god’s breath it says, and the universe is a whole body. I think that art, and especially cinema, can express this very well. It can make us feel the connections in the universe; it can make us feel one.

EK The Yusuf Trilogy: Egg / Yumurta (2007) Milk / Süt (2008) Honey / Bal (2010)

GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010

6 films and makers

"My films are always very on the edge"

"I need to love and help my characters" Armen Khachatryan on I Live

Many people told me that my films are always on the edge and it is true...

“My films have always presented a strong prob­ lematic, my films deal with reality. I like cine­ ma when it deals with reality. Each time I have to make a film I think of people and their needs. For example in I Live (Armenia, 2009) we have the case of the main character, an orphan. The concept of being an orphan is relevant; we should turn our attention to what it really means to be one. It is not possible to walk down the street without taking in­ to account what is happening there. I always want to see the reality of others and their needs.

People ask me how I choose my characters.

I choose those who have something to say. The main character of my film has so many things to discover, to find out. I am very interested in what you do in life, as well as what you leave behind in the world. Every director has a proper script, a story to develop. But I think there is a limit. We cannot say the whole. It is not necessary, it is not fair. My film has strong scenes, but not everything is shown. It is more interesting to leave something out. The audience will notice that.

I have a very close relationship with my char­ acters, who are not professional actors. During the time of shooting, we have a strong commu­ nication. I need to be their friend. I need them to trust in me. I have an intense connection with their lives. I need to love and help them. What happens to them happens to me. Their problems are my problems. I know they are not actors, but they surprise themselves of what they can think, do and say. This is what a director can inspire in people. I am concerned with responsibility. For example in my film Tale about Pegasus, the pros­ titute was conscious of being a prostitute and she was responsible for her job. I feel the necessi­ ty of helping them, for example the prostitute is not longer a prostitute now. And the main char­ acter of I Live is at school now, and has the best marks.”

Jack Boghossian

Jack Boghossian

Suren Babayan on Don't Look in the Mirror Suren Babayan was born in Yerevan.

He graduated from the Directing Department of Yerevan Institute of Art and Theatre in 1973. He has also worked as an actor and director of TV theatre. In 1979 he graduated from the Moscow High Courses in Directing as a feature film director.

“I liked the story of Don't Look in the Mirror. It is precise and accurate. It is a story which contains a great value in terms of reality. During the 90s we had important changes. It was a time of transition from communism to God knows what. It also pro­ duced a big change in people’s minds. People felt the necessity to value and reconsider their lives and moral beliefs. Faith has also changed.

This film is a part of a trilogy which began with Jeano (2004) and will finish with The Heavy Bug. In the three films there is a hero in its time.

Jeano portraits a great and recognized director who ends up filming funerals and social activities.

In Don’t Look in the Mirror the hero is a painter.

The films also deals with art and all its variants.

In The Heavy Bug we will have a writer as a main character. The story of a writer who survived the Karapagh war, and also the crisis of the 90s and he finally becomes nothing. Three heroes. Three disciplines of art. Three realities.

Foreign Affairs

One big family For the third consecutive year, I’ve been in­ volved in making the Daily of the Golden Apricot film festival. The paper is split in two parts, one in the Armenian language, and one in English. I’m responsible for the latter. My two journalists worked very hard, with additional help from Jack Boghossian and invaluable ad­ vice from ‘General Supervising Manager’ Peter van Bueren. As always, it was very satisfying to produce a paper, despite the usual setbacks (power cuts, no internet) and miscommunica­ tions. Working for the paper means I haven’t seen much of Armenia. I very well know the way to the festival office and the office where the design is done. I can recite all the deadlines and amount of words per article. Rushing from office to office, I sometimes find time to admire the many statues in Yerevan and I even climbed the Cascades once. This year I wanted to go to the opera house, but to no avail. Sometimes people ask me: have you seen many films? But I have to reply that unfortunately I don’t have time for this. We work from 10 in the morning till seven at night. And then we go to the recep­ tions (free food and drinks!). We tell each other we should mingle more, but the best I’ve done so far was to get the compliment that I under­ stood Turkish, even though I sat silent all night in a comfy chair. This I liked. For a week we’re all one big family who understand each other, despite the language barriers. Hope you enjoyed reading our Daily!

The Golden Apricot festival can 'count on Brazil' in continuing their collaboration, Floriano Regis, cultural attaché of the Brazilian embassy, said on Saturday. At the same press conference, São Paulo festival director Leon Cakoff announced his plans for a Brazilian retrospective of Armenian cinema.

Floriano Regis responded to the wish expressed

by Susanna Harutyunyan, Artistic Director of the GAIFF, to continue this year's successful partner­ ship. The collaboration between the Golden Apricot festival and Brazil was illustrated by the presence of Leon Cakoff, director of the São Paolo Film Festival, and Brazilian director Rogerio Correa, who introduced his Double Territory, which took part in the Documentary Competition.

'I'd like to thank the Golden Apricot festival for inviting my film', said Correa, who went on to ex­ plain the backgrounds of his project. 'It started with a newspaper report about a policeman, who was al­ so a painter. He makes paintings of people on the streets of São Paulo, whom he encounters during his work as a policeman. I was touched by this dou­ ble life, especially since in our country the police doesn't have such a good image. In my documenta­ ry, I wanted to compare the two sides of this person and reflect on the capacity of art to humanize.'

Correa majored in cinema at the University of São Paulo and has been directing and producing films since 1980. However, he started filmmaking when he was even younger. 'I started shooting Super8 films when I was fifteen. And now, last March, I finished my first feature film, Dismissed. This film, about a laid-off metalworker who takes his boss hos­ tage in the hope of getting his job back, will have its world premiere at the Montreal Film Festival.'

In Brazil, his documentary Double Territory reached around one and a half million televi­ sion viewers during three consecutive broadcasts.

'Television is a black box', said Correa, 'so it's hard to know what the audience thought. I only got four or five emails, commenting on the quali­ ty of the paintings by Manoel, the policeman. His paintings are really very good, but they were com­ pletely unknown. Manoel himself was pleased with the result. He told me these are the most im­ portant 52 minutes of his life.'

Leon Cakoff, director of the São Paulo Film Festival, expressed his intention to dedicate a his­ toric retrospective to Armenian cinema, starting with the silent movie era. 'I already tried this once before, in 1988, during Soviet times', he added.

'But back then, they didn't agree.'

KD

Andranik Waardyan (André Waardenburg) Foreign Affairs is a daily column written by international guests of the Golden Apricot International Film Festival

The Brazilian Connection

Friday evening guests were invited to the Latar Hotel Complex, on the outskirts of Yerevan, where a reception was given in honor of festival president Atom Egoyan's 50th birthday

GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010

closing ceremony 7

Golden Apricot: Kosmos – Reha Erdem (Turkey/Bulgaria, 2009) Silver Apricot: My Joy – Serge Loznitsa (Ukraine/Germany/The Netherlands, 2010)

Documentary Competition Golden Apricot: Together – Pavel Kostomarov (Russia, 2009) Silver Apricot: The Woman with 5 Elephants – Vadim Jendreyko (Switzerland/Germany, 2009)

Armenian Panorama Golden Apricot: The Last Tightrope Dancer of Armenia – Armen Yeritsyan, Inna Sahakyan (Armenia, 2010) Silver Apricot: Down Here – Comes Chahbazian (Belgium/France, 2010) Special Mention by the Jury: Uncle Valya – Nikolay Davtyan (Armenia, 2009)

ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛà §àëÏ» ÍÇñ³Ý¦` §Կոսմոս¦ — Ռեհա Էրդեմ (Թուրքիա/´áõÉÕ³ñdz, 2009) §²ñͳû ÍÇñ³Ý¦` §Իմ ուրախություն¦ — Սերգեյ Լոզնիցա (Գերմանիա/Ուկրաինա/ Նիդեռլանդներ, 2010)

©PanARMENIAN Photo

ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛà §àëÏ» ÍÇñ³Ý¦` §ºñÏáõëáí¦ — Պավել Կոստոմարով (Ռուսաստան, 2009) §²ñͳû ÍÇñ³Ý¦` §Հինգ փղերով կինը¦ — Վադիմ Յենդրեյկո (Շվեյցարիա/ Գերմանիա, 2009)

гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ §àëÏ» ÍÇñ³Ý¦` §Հայաստանի վերջին լարախաղացը¦ — Արման Երիցյան, Իննա Սահակյան (Հայաստան, 2010) §²ñͳû ÍÇñ³Ý¦` §Այստեղ` ներքևում¦ — Կոմս Շահբազյան (Բելգիա/Ֆրանսիա, 2010) ÄÛáõñÇÇ Ñ³ïáõÏ Ï³ñÍÇù` §Քեռի Վալյա¦ — Նիկոլայ Դավթյան (Հայաստան, 2009) Fipresci Jury On the Path – Jasmila Zbanic (Bosnia and Herzegovina/Austria/Germany/Croatia, 2009) Ecumenical Jury Don’t Look in the Mirror – Suren Babayan (Armenia, 2009) Special recommendation How I Ended This Summer – Aleksei Popogrebsky (Russia, 2010)

Fipresci ÅÛáõñÇ §Ճանապարհին¦ — Յասմիլա Ժբանիչ (Բոսնիա և Հերցեգովինա/Ավստրիա/Գերմանիա/ Խորվաթիա, 2009) ¾ÏáõÙ»ÝÇÏ ÅÛáõñÇ §Մի նայիր հայելուն¦ — Սուրեն Բաբայան (Հայաստան, 2009) гïáõÏ Ý»ñϳ۳óáõÙ §Ինչպես անցկացրի այս ամռ³Ýը¦ — Ալեքսեյ Պոպոգրեբսկի (Ռուսաստան, 2010)

British Council Prize for Best Short Film Lernavan – Marat Sargsyan (Lithuania, 2009)

´ñÇï³Ý³Ï³Ý ËáñÑñ¹Ç Ùñó³Ý³Ï` É³í³·áõÛÝ Ï³ñ׳ٻïñ³Å ýÇÉÙÇ Ñ³Ù³ñ §Լեռնավան¦ — Մարատ Սարգսյան (Լիտվա, 2009)

Grant Matevosyan Prize for Best Scenario Lernavan – Marat Sargsyan (Lithuania, 2009)

Ðñ³Ýï سèáëÛ³ÝÇ ³Ýí³Ý Ùñó³Ý³Ï É³í³·áõÛÝ ëó»Ý³ñÇ Ñ³Ù³ñ §Լեռնավան¦ — Մարատ Սարգսյան (Լիտվա, 2009)

©PanARMENIAN Photo

Feature Film Competition

GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010

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