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` Ç٠ݳËÝÇÝ»ñÇ »ñÏñáõÙ, áñï»Õ 90 ï³ñÇ ³é³ç ÍÝí»É ¿ Ç٠ѳÛñÁ` ²ßáï سɳùÛ³ÝÁ, 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 ѳۻñ»Ý Ëáë»É, µ³Ûó ݳ ÇÝÓ ß³ï ³í»ÉÇÝ ¿ ëáíáñ»óñ»É: ºñµ áïùë ¹ñ»óÇ Ñ³ÛÏ³Ï³Ý ÑáÕÇ íñ³, ѳëϳó³, áñ ÇÙ »ñ³ÏÝ»ñáí ÑáëáõÙ ¿ ³Ûë »ñÏñÇ áÕç å³ïÙáõÃÛáõÝÁ, Ñ³Û ÅáÕáíñ¹Ç µáÉáñ ï³ é³å³ÝùÝ»ñÝ áõ ÑáõÛë»ñÁ: âáñë ï³ñ»Ï³Ýáõ٠ѳñϳ¹ñí³Í Éù»Éáí ѳÛñ»ÝÇùÁ` Ñáñë ëÇñïÁ, ÙǨ ÝáõÛÝ ¿, ÙÇßï ³Ûëï»Õ ¿ Ùݳó»É. ²ÝñÇ ì»ñÝÛáÛÁ »ñµ»ù ãÇ ¹³¹³ñ»É ²ßáï سɳùÛ³Ý ÉÇÝ»Éáõó: ²Ñ³ û ÇÝã ¿ñ ݳ ³ë»É üñ³ÝëÇ³Ï³Ý ³Ï³¹»Ùdz ÁݹáõÝí»Éáõ ûñÁ. §ºë Ñ³Û »Ù ¨ Ñ³Û ¿É ÏÙݳÙ, µ³Ûó ÇÝÓ³ÝÇó ³í»ÉÇ ýñ³ÝëdzóÇ ¹Åí³ñ ¿ ·ïݻɦ: ÈÇÝ»Éáí »ñÏáõ Ùß³ÏáõÛÃÝ»ñÇ 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 ϳݷÝí³Í ¿. »ë ·ï³ ³ÛÝ, ÇÝã ÷ÝïñáõÙ ¿Ç г۳ëï³ÝáõÙ` ÇÙ ÇÝùÝáõÃÛáõÝÝ áõ ÇÙ ³ñÙ³ïÝ»ñÁ:
êáýÇ Ø³É³ùÛ³Ý
ØÇ Ù»Í ÁÝï³ÝÇù ²ñ¹»Ý »ññáñ¹ ï³ñÇÝ ¿, áñ »ë Ù³ëݳÏóáõÙ »Ù §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ Daily ûñ³Ã»ñÃÇ å³ïñ³ëïÙ³ÝÁ: »ñÃÁ µ³Õϳó³Í ¿ ³Ý·É»ñ»Ý ¨ ѳۻñ»Ý Ù³ë»ñÇó: ºë å³ï³ë˳ݳïáõ »Ù ³Ý· É»ñ»ÝÇ Ñ³Ù³ñ: ÆÙ »ñÏáõ Éñ³·ñáÕÝ»ñÁ ß³ï Ù»Í ³ß˳ï³Ýù »Ý ³ñ»É, Ù»½ û·ÝáõÙ ¿ñ ݳ¨ æ»ù äá ÕáëÛ³ÝÁ: ²Ý·Ý³Ñ³ï»ÉÇ ¿ÇÝ Ý³¨ ·É˳íáñ ËáñÑñ¹³ïáõ öÇûñ í³Ý ´áõ»ñ»ÝÇ ËáñÑáõñ¹Ý»ñÁ: ÆÝã å»ë ÙÇßï, ûñà ïå³·ñ»ÉÝ ÇÝÓ Ù»Í µ³í³Ï³ÝáõÃÛáõÝ ¿ñ å³ï׳éáõÙ, ãÝ³Û³Í ëáíáñ³Ï³Ý ¹³ñÓ³Í ËáãÁݹáïÝ»ñÇÝ: ø³ÝÇ áñ ³ß˳ïáõÙ ¿Ç ûñÃÇ Ñ³Ù³ñ, ß³ï µ³Ý ã»Ù ѳëóñ»É ï»ëÝ»É Ð³Û³ëï³ 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»ñçݳųÙÏ»ïÝ»ñÁ: ØÇ ·ñ³ë»ÝÛ³ÏÇó ÙÛáõëÁ í³½»Éáõ ׳ݳå³ñÑÇÝ »ë ų Ù³Ý³Ï ¿Ç ·ïÝáõÙ ÑdzݳÉáõ ºñ¨³ÝÇ ·»Õ»óÇÏ ³ñÓ³ÝÝ»ñáí ¨ ÝáõÛÝÇëÏ ÙÇ ³Ý·³Ù ѳëóñ»óÇ µ³ñÓ ñ³Ý³É γëϳ¹: 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 å³ï³ë˳ÝáõÙ »Ù, áñ ¹ñ³ ѳٳñ ¿É Å³Ù³Ý³Ï ã»Ù áõÝ»ó»É: Ø»Ýù ³ß˳ïáõÙ »Ýù ³é³íáïí³ Å³ÙÁ 10-Çó ÙÇÝ㨠»ñ»ÏáÛ³Ý 7-Á: лïá ·ÝáõÙ »Ýù ÁݹáõÝ»ÉáõÃÛáõÝÝ»ñÇ (³Ýí׳ñ áõï»ÉÇù ¨ ËÙÇãù): Ø»Ïë ÙÛáõëÇÝ ³ÝÁÝ¹Ñ³ï ³ëáõÙ ¿ÇÝù, áñ ɳí ϳݻÝù, »Ã» ³í»ÉÇ Ñ³×³Ë Ñ³í³ùí»Ýù, ß÷í»Ýù: ²Ù»Ý³½í³ñ׳ÉÇÝ ³ÛÝ Ñ³×áÛ³Ëáëáõ ÃÛáõÝÝ ¿ñ, áñ »ë ëï³ó³ ³Û¹ ѳí³ùáõÛÃÝ»ñÇó Ù»ÏÇ Å³Ù³Ý³Ï: ÆÝÓ ³ë³óÇÝ, áñ ß³ï ѳ׻ÉÇ ¿, áñ »ë Ãáõñù»ñ»Ý »Ù ѳëϳÝáõÙ, ãÝ³Û³Í »ë ³ÙµáÕç »ñ»ÏáÛÇ ÁÝóóùáõÙ Éáõé Ýëï³Í ¿Ç ³ÃáéÇÝ: ²Ûë Ù»Ï ß³ µ³ÃÁ Ù»Ýù µáÉáñë ³ë»ë ÙÇ Ù»Í ÁÝï³ÝÇù ÉÇÝ»ÇÝù, áñï»Õ µáÉáñÁ ѳëϳÝáõÙ »Ý Çñ³ñ, ãÝ³Û³Í 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»ñϳ۳óÝáõÙ ¿ ã»Ëáí Û³Ý Ñ³ÛïÝÇ ·ñí³ÍùÇ ¿Ïñ³Ý³íáñáõÙÁ: ²é³çÇÝ ÇëÏ Ï³¹ñáõ٠ѳÛïÝíáõÙ »Ý Ñá·»µáõųñ³ÝÇ ÑÇí³Ý¹Ý»ñÁ, áñáÝù ËáëáõÙ »Ý Çñ»Ýó ÏÛ³ÝùÇ Ù³ëÇÝ: ²Ûë Ù³ñ ¹ÇÏ Ïáïñí³Í ׳ϳﳷñ»ñ áõÝ»óáÕ Ù³ñ¹ÇÏ »Ý, áñáÝù ³Ûë ϳ٠³ÛÝ å³ï׳éÝ»ñáí ѳÛïÝí»É »Ý Ñá·»µáõųñ³ÝáõÙ: ê³Ï³ÛÝ ³Ûë Ù³ñ¹ÇÏ áõÝ»Ý ÝáõÛÝ »ñ³½³ÝùÝ»ñÝ áõ ó³ÝÏáõÃÛáõÝÝ»ñÁ, ÇÝãå»ë ¹³ñå³ëÝ»ñÇó ³ÛÝÏáÕÙ ·ïÝíáÕ Ù³ñ¹ÇÏ: §ÐÇí³Ý¹³ë»ÝÛ³Ï Ñ³Ù³ñ í»ó¦ ýÇÉÙÁ »ñϳñ ï³ñÇÝ»ñÇ ³ß˳ï³ÝùÇ ³ñ¹ÛáõÝù ¿. ýÇÉÙÇ ëó» ݳñÇëï ²É»ùë³Ý¹ñ ´áñá¹Û³ÝëÏÇÝ ùë³Ý ï³ñÇ ³ß˳ï»É ¿ â»ËáíÇ ³Ûë íÇå³ÏÇ íñ³, ÇëÏ ·É˳ íáñ ¹»ñÁ Ç ëϽµ³Ý» ݳ˳ï»ëí³Í ¿ »Õ»É Çï³ É³óÇ ¹»ñ³ë³Ý سñã»Éá سëïñáÛ³ÝÇÇ Ñ³Ù³ñ: üÇÉÙÁ Ý»ñϳ۳óÝáõÙ ¿ Ù»ñûñÛ³ ųٳݳÏÝ» ñÁ, áñï»Õ Ù³ñ¹áõ ѳٳñ »ñϳÏÇ 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
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ÎÇÝáÛÇ µ³ó ë³ÑÙ³ÝÝ»ñÁ §è»ÅÇëáñÝ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñǦ ï³ ñ³Í³ßñç³Ý³ÛÇÝ ãáññáñ¹ ѳٳï»Õ ³ñï³¹ ñáõÃÛ³Ý ýáñáõÙÁ ϳ۳ó³í ÑáõÉÇëÇ 13-15-Á` §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ ßñç³Ý³ÏÝ» ñáõÙ: üáñáõÙÇÝ Ù³ëݳÏóáõÙ ¿ÇÝ 10 ݳ˳· Í»ñ` г۳ëï³ÝÇó, ìñ³ëï³ÝÇó ¨ Âáõñùdz ÛÇó: ¸³ë³ËáëÝ»ñÝ ¿ÇÝ` ÏÇÝá³ñï³¹ñáõÃÛ³Ý áÉáñïáõÙ ³ß˳ïáÕ ³ÝÏ³Ë ËáñÑñ¹³Ï³Ý üÇÉ ÉÇë ØáÉÉ»Ý ¨ ü³µáõɳýÇÉÙÇ (2003 Ã. ÐéáÙáõÙ ÑÇÙݳ¹ñí³Í åñá¹Ûáõë»ñ³Ï³Ý ¹³ëÁÝóó Ý»ñÇ Ï³½Ù³Ï»ñåáõÃÛáõÝ) ·áñͳ¹Çñ ïÝûñ»Ý ¶ñ³óÇ»Éɳ ´Çɹ»ß»ÛÙÁ: üáñáõÙÇ 2010 Ãí³Ï³ ÝÇ ³ç³ÏÇóÁ г۳ëï³ÝáõÙ ²ØÜ ¹»ëå³Ý³ ïáõÝÝ ¿: Ü»ñϳ۳óí³Í É³í³·áõÛÝ Ý³Ë³·ÍÇ Ñ³Ù³ñ ݳ˳ï»ëíáõÙ ¿ñ ½³ñ·³óÙ³Ý ¹ñ³ Ù³ß ÝáñÑ, áñÁ ѳÝÓÝ í»ó §È»Û ɳ, ¨ë Ù»Ï ³Ý ·³Ù¦ ݳ˳·ÍÇÝ (Âáõñùdz, é»ÅÇëáñ` ´³ñÇë гÝóÇá·áõÉɳñ, åñá¹Ûáõë»ñ` â»Ù ú½ïáõý»Ï
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 ¿: гÕÃáÕ »ñÇï³ë³ñ¹Ý»ñÁ ϳñÍáõÙ »Ý, áñ §è»ÅÇëáñÝ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñǦ ýáñáõ ÙÁ µ³ó³éÇÏ Ñݳñ³íáñáõÃÛáõÝ ¿ñ` ѳۻñÇ ¨ Çñ»Ýó ·áñÍÁÝÏ»ñÝ»ñÇ Ñ»ï ß÷í»Éáõ ¨ ÇÝï»ÝëÇí Ïáõñë»ñ ëï³Ý³Éáõ ³éáõÙáí: ܳ˳·ÍÇÝ ¹ñ³ Ù³ßÝáñÑ ¿ ѳïϳóíáõÙ ëó»Ý³ñÇ ½³ñ·³óÙ³Ý Ñ³Ù³ñ, ÇÝãÁ, ÅÛáõñÇÇ Ï³ñÍÇùáí, ³Ûë ¹»åùáõÙ ËÇëï ϳñ¨áñ ¿, ù³Ý½Ç ï³ñ³Í³ßñç³ÝÇ µ³½ Ù³ÃÇí áÉáñïÝ»ñáõÙ ³ÝѳݹáõñÅáճϳÝáõ ÃÛáõÝÁ ѳٳñíáõÙ ¿ 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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GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010
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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 ѳٳñáõÙ §è»ÅÇëáñÝ»ñ ³é³Ýó ë³ÑÙ³ÝǦ ݳ˳·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 ë¨ áñáõ ÙÁ ÙÇßï ¿É ¹Åí³ñ µ³Ý ¿: ´³Ûó ³ÛÝ Ù³ñ¹ÇÏ, áõ٠ѳݹÇåáõÙ »ë ÷³é³ïáÝ»ñÇ ÁÝ Ã³óùáõÙ, ï³ñÇÝ»ñ ³Ýó ùá ÏÛ³ÝùÇ ÙÇ Ù³ëÝ »Ý ¹³éÝáõÙ, ѻﳷ³ÛáõÙ ¹áõ Ýñ³Ýó ѳݹÇåáõÙ »ë áõñÇß ÷³é³ïáÝ»ñáõÙ, Ýñ³Ýù Ñ»ï¨áõÙ »Ý ùá ³ß Ë³ï³ÝùÇÝ ¨ û·ï³Ï³ñ ϳñÍÇùÝ»ñ ѳÛïÝáõÙ: ê³ ÇÙ ³é³çÇÝ ³ÛóÝ ¿ г۳ëï³Ý: ÆÝÓ Ñ» ï³ùñùÇñ ¿ñ, û ÇÝãåÇëÇÝ ¿ г۳ëï³ÝÁ: Ø»Ýù ÂáõñùdzÛáõÙ ÙdzÛÝ 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 Çëϳå»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 §ä³Ûͳé ûñÁ¦ í»ñݳ·ñáí ¨ Ùáé³ó»É ¹ñ³ Ù³ ëÇÝ: ä³ïÙí³ÍùáõÙ 17-18 ï³ñ»Ï³Ý µ³Ý³ëï»Õ ÍÁ Ñáñ Ù³ÑÇó Ñ»ïá ³åñáõÙ ¿ Ùáñ Ñ»ï: ܳ ÷áñ ÓáõÙ ¿ ÁݹáõÝí»É ѳٳÉë³ñ³Ý, 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 Ù³ÝÏáõÃÛáõÝÝ 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 ϳñáճݳ٠ýÇÉÙÇ í»ñçÝ³Ï³Ý ÙáÝï³ ÅÇ Å³Ù³Ý³Ï ÷áË»É ï»ë³ñ³ÝÝ»ñÇ Ñ³çáñ¹³Ï³ ÝáõÃÛáõÝÁ: àõß³¹Çñ ѳݹÇë³ï»ëÁ ϳñáÕ ¿ Ýϳ ï»É ÝÙ³Ý Ù³ÝñáõùÝ»ñÁ, ¹ñ³ ѳٳñ ¿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 ÏÁÝóݳÝ: ²Û¹ å³ï ׳éáí ¿É áñáß»óÇ »é³å³ïáõÙÁ ëÏë»É ³ÛÝ ï³ñÇ ùÇó, áñÝ ÇÝÓ ³í»ÉÇ Ñ᷻ѳñ³½³ï ¿: ÆѳñÏ»` ã³÷³Ñ³ëáõÃÛáõÝÇó: àñù³Ý ٻͳÝáõÙ »Ýù, ³ÛÝù³Ý ß³ï »Ýù Ñ»é³ ÝáõÙ ÇÝùÝ»ñë Ù»½³ÝÇó áõ Ù»ñ Ý»ñ³ß˳ñÑÇó: г ë³ñ³ÏáõÃÛáõÝÁ ë³Ñٳݳ÷³ÏáõÙ ¿ Ù»ñ ³½³ïáõ ÃÛáõÝÁ: ´³Ûó »ë ÷áñÓáõÙ ¿Ç ѳϳé³ÏÝ ³Ý»É` Ñ» é³Ý³Éáõ ÷á˳ñ»Ý Ùáï»Ý³É Ù»ñ Ý»ñ³ß˳ñÑÇÝ:
ijٳݳÏÁ ÏÇÝáÛÇÝ µÝáñáß Ñ³ëϳóáõÃÛáõÝ ¿... ºë ã¿Ç áõ½áõÙ, áñ ýÇÉÙáõ٠ųٳݳÏÇ Ñëï³Ï µ³ ų ÝáõÙ ÉÇ ÝÇ: ºë áõ ½áõÙ ¿Ç, áñ ýÇÉ ÙÇ µá Éáñ Çñ³¹³ñÓáõÃÛáõÝÝ»ñÁ Ý»ñϳ ųٳݳÏáõÙ ÉÇÝ»Ý: §Ø»Õñ¦-Ç ëϽµáõÙ ¹Çï³íáñÛ³É ûñ³óáõÛó ¹ñ» óÇ: ºë ѳÙá½í³Í »Ù, áñ Ý»ñÏ³Ý å³ñáõݳÏáõÙ ¿ ݳ¨ ³å³·³ ¨ ³ÝóÛ³É: Ü»ñÏ³Ý ¿, áñ ϳåáõÙ ¿ Ù»½ ³ÝóÛ³ÉÇ ¨ ³å³·³ÛÇ Ñ»ï: ijٳݳÏÁ ÙÇ Ñ³ëϳóáõÃÛáõÝ ¿, áñÁ µÝáñáß ¿ ÏÇÝáÛÇÝ, ³Û¹ ÇëÏ å³ï ׳ éáí ³ÛÝ ÇÝÓ Ñ³ Ù³ñ ß³ï ϳ ñ¨ áñ ¿: ijٳݳÏÝ ¿ Ù³Ñí³Ý áõ ݳ¨ ³ÝÙ³ÑáõÃÛ³Ý å³ï׳éÁ: سñ¹ÇÏ ÙÇ³Ï ³ñ³ñ³ÍÝ»ñÝ »Ý, áñ ·Çï³ÏóáõÙ »Ý Çñ»Ýó Ù³Ñϳݳóáõ 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 ¨ ³Ýϳñ·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, ѳϳëáõÙ »Ý ³ÛÝ ³Ù» ÝÇÝ, ÇÝã Ýñ³Ý ¹åñáóÝ ¿ñ ëáíáñ»óÝáõÙ: ²Û¹ »ñÏáõ ·Çï»ÉÇùÝ»ñÇ Ù»ç ³ÝѳÕóѳñ»ÉÇ ÏáÝýÉÇÏï ϳ: ´áÉáñë ¿É, »ñµ »ñ»Ë³ ¿ÇÝù, ³Ýó»É »Ýù ³Û¹ ³Ù»ÝÇ ÙÇçáí: лÝó ¹åñáó »Ýù ÁݹáõÝíáõÙ, Ù»½ ëÏëáõÙ »Ý ë³Ñٳݳ÷³Ï»É: ºë ã»Ù áõ½áõÙ ùÝݳ ¹³ï»É ÏñÃáõÃÛáõÝÁ, ·áõó» ³ÛÝ ã¿ñ ¿É ϳñáÕ áõñÇß ÉÇÝ»É: ´³Ûó ûñáõÃÛáõÝÝ»ñÁ ³ÏÝѳÛï »Ý: äá»½Ç³Ý áõ ³í³Ý¹³Ï³Ý É»½í³Ùï³ÍáÕáõ ÃÛáõÝÁ Çñ³ñ³Ù»ñŠѳëϳóáõÃÛáõÝÝ»ñ »Ý: È»½áõÝ ï»Õ»Ï³óÝ»Éáõ, Ó¨³Ï»ñåáõÙÝ»ñ ï³Éáõ ¨ ѳÕáñ ¹³Ïóí»Éáõ ѳٳñ ¿, 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 ÃßÝ³Ù³Ï³Ý »Ýù ÁÝϳÉáõÙ ³ÛÝ ³Ù»ÝÁ, ÇÝã µÝáñáß ã¿ Ù³ñ¹Ï³Ýó, ѳë³ñ³ÏáõÃÛ³ÝÁ: ²Û¹ ïñ³Ù³µ³ ÝáõÃÛ³Ùµ µÝáõÃÛ³ÝÝ ¿É ϳñáÕ »Ýù Ãßݳٳµ³ñ í» ñ³µ»ñí»É: ºë ¹Åí³ñ³ÝáõÙ »Ù ѳëÏ³Ý³É ³Ûë ï» ë³Ï»ïÁ: ÆÝÓ Ñ³Ù³ñ ϳñ¨áñ ¿ ÙdzëݳϳÝáõÃÛ³Ý ÏáÝó»åódzÝ: ²ñ¨»É Û³Ý ÏñáÝÝ»ñÁ ѳϳé³ÏÝ »Ý ³ëáõÙ` Ù»Ýù ²ëïÍá ßáõÝãÝ »Ýù, ïÇ»½»ñùÁ Ù»Ï Ù³ñ ÙÇÝ ¿: Æ٠ϳñÍÇùáí ³ñí»ëïÁ ¨ ѳïϳå»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)
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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)
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Feature Film Competition
GOLDEN APRICOT DAILY | DAY 8 | 18 JULY | 2010
8 Ñáí³Ý³íáñÝ»ñ