GOLDEN APRICOT DAILY | DAY 5 | 12 JULY | 2012
12 ÑáõÉÇëÇ/ 12 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00, 14:00
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 ì³ï ѳÛñÁ/Bad Father îÇ·ñ³Ý ²í»ïÇùÛ³Ý/Tigrane Avedikian, Fra, 29', AP
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 2/ Moscow Cinema, Small Hall 2 12:00
îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, Ø»Í ¹³ÑÉÇ× Puppet theatre, Big Hall 10:00
îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet theatre, Small Hall 10:00
Lang.: French, Subt.: English and Armenian ÆÙ ÷áùñÇÏ Çß˳ÝÁ/My Little Prince ²ñÙ»Ý èáÝáí/Armen Ronov, Fra/Arm, 57', AP
ÎñÏݳÏÇ ù³ÛÉ»ñ/The Double Steps Æë³ÏÇ È³Ïáõ»ëï³/ Isaki Lacuesta, Esp/Che, 87', FC
Lang.: French/English/Armenian, Subt.: English and Armenian 13:00
Lang.: Bambara/Dogon/French, Subt.: English and Armenian
Lang.: English/Turkish/ Armenian, Subt.: English and Armenian
12:00, 20:00 ²Ù³é/Summertime Êáë» ÈáõÇë îáññ»ë È»Ûí³/José Luis Torres Leiva, Chl, 93', FC
12:00 ê³ñ». áõÕ¨áñáõÃÛáõÝ/ Sare-Voyage ²Ýݳ î»ñÛ³Ý/ Anna Terean, Fra/USA, 35', AP
Lang.: Spanish, Subt.: English and Armenian 16:00 ºñí³Ý¹ øáã³ñÇ ï³ñ³Í³Ï³Ý ÝϳñãáõÃÛáõÝÁ/ Yervand Kochar Painting in Space èáõµ»Ý øáã³ñ/Ruben Kochar, Arm, 16', YP
àõÕ¨áñáõÃÛáõÝ ²Ù³ëdz/ Voyage to Amasia è»Ý¹Ç ´»É, ¾ñÇÏ ì. гãÇÏÛ³Ý/Randy Bell, Eric V. Hachikian, Arm/ Tur/USA, 84', AP
úÉÇí»ñ/Oliver ø»ñáÉ èǹ/ Carol Reed, UK, 153', BF
Lang.: English, Subt.: Armenian 16:00
Lang.: Armenian, Subt.: English ²é³Ýó ¶áñÏáõ/Without Gorky Îá½ÇÙ³ ê÷»Ý¹»ñ/Cosima Spender, UK, 80', YP
15:30 ²ñÙÇÝ»Ý ¨ É»¹Ç سϵ»ÃÁ/ Armine and Lady Macbeth ØÇß³ Ô³½³ñÛ³Ý/Misha Ghazaryan, Arm, 54', AP ÆÝÓ ³ßáõÕ »Ý ³ëáõÙ/They Call Me Ashik ²ñÃáõñ Êáõ¹áÛ³Ý/Arthur Khudoyan, Arm, 31', AP
Lang.: Armenian, Subt.: English 18:00
ʳóµ³É³/Khatabala ÚáõñÇ ºñ½ÝÏÛ³Ý/Yuri Yerznkyan, Arm, 69', YY, BF
Lang.: Armenian, Subt.: English 18:00 î»Õ ÏÇÝáÛáõÙ/A Place in Cinema ²Éµ»ñïá Øáñ³Çë/ Alberto Morais, Esp, 101', R
Æß˳ݳíáñÁ/The Minister äÇ»é ÞÛáÉ»ñ/Pierre Schoeller, Fra, 112', FC
Lang.: Spanish/Italian/Greek, Subt.: English and Armenian
17:30 гÛÏ³Ï³Ý é³åëá¹Ç³/ Armenian Rhapsody γëdzݳ î»ñгñáõÃÛáõÝÛ³Ý, 껽³ñ γݳÝÛ³Ý, ¶³ñÇ Î³Ý³ÝÛ³Ý/Cassiana Der Haroutiounian, Cesar Gananian and Gary Gananian, Bra, 63', AP 19:00
20:00
Lang.: French, Subt.: English and Armenian
ü³áõëï/Faust ²É»ùë³Ý¹ñ êáÏáõñáí/Aleksandr Sokurov, Rus, 134', TET
´³óûÃÛ³ óáõó³¹ñáõÃÛáõÝÝ»ñ ·³½³Ý³ÝáóáõÙ/ Open-air Film Program at Yerevan Zoo 21:00
19:00 ´³ñµ³ñ³/Barbara øñÇëïÇ³Ý ö»óáɹ/Christian Petzold, Deu, 105', YP
Lang.: Armenian, Subt.: English
17:00
Lang.: Armenian/Turkish Subt.: English and Armenian 20:30 ø³Õ³ùáõÙ ß³ï ßÝ»ñ ϳÝ/ There Are Many Dogs in The City ¶áé سñ·³ñÛ³Ý/Gor Margaryan, Arm/ Deu, 14'
´³ó³Ï³ ѳ۳óùÝ»ñ/The Missing Looks ¸³ÙÇ³Ý ¸ÇáÝÇëÇá/Damian Dionisio, Arg, 11', SC
Lang.: Spanish, Subt.: English ºñµ Ù»éÝ»Ýù ·Çß»ñÁ/When We Die At Night ¾¹áõ³ñ¹áõ Øáõñáõïá/Eduardo Morotó, Bra, 20', SC
Lang.: Turkish, Subt.: English 12:00, 20:00 üǹ»ÉÇ Ñ»ï, ÇÝã ¿É áñ ÉÇÝÇ/ With Fidel Whatever Happens ¶áñ³Ý è³¹áí³ÝáíÇã/Goran Radovanovic, Srb, 47', DC
ÐÇÙ³ ã»Ù ϳñáÕ/I Can't Right Now èáë»ñ ²·Çɳñ/Roser Aguilar, Esp, 12', SC
Lang.: Spanish, Subt.: English
Lang.: Spanish, Subt.: English ØÇ ùÇã ¹ñ³Ëï/A Little of Paradise سùëÇÙ ØÇ˳Éóáí/ Maxim Mihaltsov, Blr, 42', CIS
Lang.: Russian, Subt.: English ØdzÝÓÝáõÑÇÝ/The Nun ¶³ÉÇݳ ²¹³ÙáíÇã/Galina Adamovich, Blr, 56', CIS
Lang.: Russian, Subt.: English 19:00
Lang.: Armenian, Subt.: English
12:00, 20:00 ä³ïñí³ÏÝ»ñ/Under the Colours ¾ëÙ³ÛÇÉ ØáÝë»ý/ Esmaeel Monsef, Irn, 21', SC
Ö³Ù÷»½ñÇÝ/At The Roadside ܳñÇÝ» ØÏñïãÛ³Ý, ²ñë»Ý ²½³ïÛ³Ý/Narine Mkrtchyan, Arsen Azatyan, Arm, 18', YY
Lang.: Persian, Subt.: English
Lang.: Armenian, Subt.: English
ÎáßÇÏ/Shoes Îáëï³ ü³Ù/ Costa Fam, Rus/Blr/Pol/Cze/ Fra, 17', SC
àñ¹áõ ÍÝݹ۳ÝÁ ëå³ëáÕ ÑÛáõëÝÁ/Carpenter Expecting a Son ܳñÇÝ» سÉÛ³Ý/Narineh Malyan, Arm, 15', AP, YY
No dialogues ÒÙé³Ý ·áñï/Winter Frog êÉáÝÇ êááõ/Slony Sow, Fra, 18', SC
Lang.: French, Subt.: English 15:00 ì³ñå»ïáõÃÛ³Ý ¹³ë ì³¹ÇÙ ²µ¹é³ßÇïáíÇ Ñ»ï/Master Class with Vadim Abdrashitov
²Ýµ³ÝÝ»ñÁ/The Layabouts ²Ý¹ñ»Û ¼³Ûó¨/Andrey Zaytsev, Rus, 93', CIS
16:00 ²Ùáõñ ÁÝÏáõÛ½/Tough Nut ȨáÝ ø³É³Ýóñ/Levon Kalantar, Arm, 15', YY
Lang.: Armenian, Subt.: English 18:00 ì»ñ³Ù߳ϻÉáí ÏÛ³ÝùÁ. ³ÕµÇ Ù»ç ¸áëïá¨ëÏÇ ·ï³/ Recycling Life-I Found Dostoyevsky in the Garbage ¾ÝÇë èÁ½³/Enis Riza, Turkey, 100', DC
Lang.: Turkish, Subt.: English and Armenian
18:00 ³÷»ñÙ³Ý/Tapperman ²Éµ»ñïá Ø»ñáÝÇ/Alberto Meroni, Che, 15', SC
ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens
Lang.: Italian, Subt.: English and Armenian ´³ó³Ï³ ѳ۳óùÝ»ñ/The Missing Looks ¸³ÙÇ³Ý ¸ÇáÝÇëÇá/Damian Dionisio, Arg, 11', SC
22:00
ºñµ Ù»éÝ»Ýù ·Çß»ñÁ/When We Die At Night ¾¹áõ³ñ¹áõ Øáõñáõïá/Eduardo Morotó, Bra, 20', SC ºíñáå³ÛÇ Ñ³ÛÏ³Ï³Ý Å³é³Ý·áõÃÛáõÝÁ/Armenian Legacy of Europe ì³É»ñÇ ´³É³Û³Ý/Valery Balayan, Ukr, 90', CIS
Lang.: Russian
Lang.: Portuguese, Subt.: English and Armenian ÐÇÙ³ ã»Ù ϳñáÕ/I Can't Right Now èáë»ñ ²·Çɳñ/Roser Aguilar, Esp, 12', SC
Lang.: Spanish, Subt.: English and Armenian
²åñ»É/Living ì³ëÇÉÇ êÇ·³ñ¨/Vasily Sigarev, Rus, 117', FC
Lang.: Russian, Subt.: English
Lang.: Armenian/Russian, Subt.: English
Editor in chief: Ronald Rovers
ºñÏáõ ׳ݳå³ñÑ/Two paths ì³Ñ» Ú³Ý/Vahe Yan, Arm, 26', AP
General supervising manager: Peter van Bueren
21:30 î³ïÇÏÇÝ ¹³çí³ÍùÝ»ñÁ/ Grandma's Tattoos êÛáõ½³Ý ʳñï³ÉÛ³Ý/Suzanne Khardalian, Swe, 58', AP ì³ÛñÇ µÝáõÃÛ³Ý å³Ñ³å³ÝÁ/Keeper of the Wilderness èáµ»ñï è³ÛËÉ/ Robert Rajchl, Svk, 53'
ì»ñ³Ù߳ϻÉáí ÏÛ³ÝùÁ. ³ÕµÇ Ù»ç ¸áëïá¨ëÏÇ ·ï³/ Recycling Life-I Found Dostoyevsky in the Garbage ¾ÝÇë èÁ½³/Enis Riza, Turkey, 100', DC
Lang.: Portuguese, Subt.: English
ÎáßÇÏÝ»ñë äáÉÇë Ó·»óÇ/I Left My Shoes in Istanbul ÜÇÏáÉ ä»½×Û³Ý/Nigol Bezjian, Arm/Lbn/Tur, 64', AP
Lang.: Armenian, Subt.: English
Lang.: German, Subt.: English and Armenian 21:00 ÐÝÓ³Ý/Winepress ´³·ñ³ï ÐáíѳÝÝÇëÛ³Ý/Bagrat Hovhannisyan, Armenia, 77', T
15:00 ÊÕ×Ç ÏÇÝá/Films About Conscience
Lang.: Spanish, Subt.: English and Armenian
ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema
Lang.: Russian, Sub.: English
Lang.: Italian, Subt.: English
21:00
Lang.: German, Subt.: English and Armenian
17:00 òáõÉ/Taurus ²É»ùë³Ý¹ñ êáÏáõñáí/Aleksandr Sokurov, Rus, 90', TET
Lang.: Turkish, Subt.: English
Lang.: Russian, Subt.: English
22:00 ²å³·³Ý Ó·íáõÙ ¿ ѳí»ñÅ/ Future Lasts Forever ú½ç³Ý ²É÷»ñ/Özcan Alper, Tur, 108', FC
Language: Turkish/Kurdish/ Armenian Subtitles: English and Armenian
³÷»ñÙ³Ý/Tapperman ²Éµ»ñïá Ø»ñáÝÇ/Alberto Meroni, Che, 15', SC
Lang.: Armenian/Russian/French, Subt.: English and Armenian
Lang.: Armenian, Subt.: English
Lang.: English/Italian, Subt.: English and Armenian
´ÉñÇó ³ÛÝ ÏáÕÙ/Beyond the Hill ¾ÙÇÝ ²É÷»ñ/Emin Alper, Tur/Gre, 94', FAB
Lang.: English/Armenian/Arabic/ Swedish, Subt.: English and Armenian
Lang.: English, Subt.: Armenian
The Golden Apricot Festival Daily is published with the assistance of the European Union in the frames of DAB Eastern Partnership Programme. The contents of this daily are the sole responsibility of GOLDEN APRICOT FCD and can in no way be taken to reflect the views of the European Union.
¶É˳íáñ ËÙµ³·Çñ` èáݳɹ èáí»ñë úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý ²ß˳ï³Ï³½Ù` ²ñÍíÇ ´³ËãÇÝÛ³Ý, êáõë³Ýݳ гñáõÃÛáõÝÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, êÇñ³ÝáõÛß ¶³ÉëïÛ³Ý, ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý, êáݳ ²¹³ÙÛ³Ý, ²ÉÇë ÐáíѳÝÝÇëÛ³Ý, ܳݻ ê³Ñ³ÏÛ³Ý, سñÇßϳ ¶ñ»Ûíɳݹ سñÇÝ» Ô³ñ³Ë³ÝÛ³Ý, èÇÙ³ ²Õ»ÏÛ³Ý
Èáõë³ÝϳñÝ»ñÁ` ¶¨áñ· ¶³ëå³ñÛ³ÝÇ, ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ ©PanARMENIAN Photo ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ îå³·ñí³Í ` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ
Coordinator Daily: Genofia Martirosyan Journalists: Evrim Kaya, Berend Jan Bockting, Mariska Graveland, Artur Vardikyan, Susanna Harutyunyan Photos: Vahan Stepanyan ©PanARMENIAN Photo, Gevorg Gasparyan Design: Gayane Grigoryan
GOLDEN APRICOT DAILY | DAY 5 | 12 JULY | 2012
سÙáõÉÇ ³ëáõÉÇëÝ»ñ ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙÇç³½·³ÛÇÝ ÙñóáõÛÃÇ Ù³ëݳÏÇó é»ÅÇëáñÝ»ñÇ` îáÙÙ³½á ÎáïñáÝ»Ç (§îÕ³Ù³ñ¹Ï³Ýó ¹åñáó¦), ê³ÉáÙ» æ³ßÇ (§´³ËÙ³ñá¦) ¨ ²ñÙ³Ý ºñÇóÛ³ÝÇ (Donkeymentary) Ù³ÙáõÉÇ ³ëáõÉÇëÝ»ñÁ ï»ÕÇ ÏáõÝ»Ý³Ý §¶áɹ»Ý ÂáõÉÇ÷ ºñ¨³Ý¦ ÑÛáõñ³ÝáóÇ §ìÇí³É¹Ç¦ ëñ³ÑáõÙ, ųÙÁ 11:00-ÇÝ: гçáñ¹Çí` ÝáõÛÝ í³ÛñáõÙ, ųÙÁ 12:00-ÇÝ Ïϳ۳ݳ ˳ճñϳÛÇÝ ýÇÉÙ»ñÇ ÙÇç³½·³ÛÇÝ ÙñóáõÛÃÇ é»ÅÇëáñÝ»ñ äÇ»é ÞÛáÉ»ñÇ (§Æß˳ݳíáñÁ¦) ¨ س۳ ø»ÝÇ·Ç (§´³ó³Ñ³Ûïí³Í ³ÝÙ»Õ ëï»ñ¦) ³ëáõÉÇëÝ»ñÁ: سÙáõÉÇ Ý»ñϳ۳óáõóÇãÝ»ñÇ Ñ»ï ųÙÁ 13:00-ÇÝ ÏѳݹÇå»Ý ˳ճñϳÛÇÝ ýÇÉÙ»ñÇ ÙÇç³½·³ÛÇÝ ÙñóáõÛÃÇ ¨ë »ñÏáõ Ù³ëݳÏÇó` Êáë» ÈáõÇë îáññ»ë È»Ûí³Ý (§²Ù³é¦) ¨ ú½ç³Ý ²É÷»ñÁ (§²å³·³Ý Ó·íáõÙ ¿ ѳí»ñŦ):
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GOLDEN APRICOT DAILY | DAY 5 | 12 JULY | 2012
§ÎáßÇÏÝ»ñë äáÉÇë Ó·»óǦ ýÇÉÙÁ Ý»ñϳ۳óÝáõÙ ¿ ͳ·áõÙáí Éǵ³Ý³Ý³Ñ³Û µ³Ý³ëï»ÕÍ ê³·á ²ñÛ³ÝÇ êï³ÙµáõÉÇ ÁÝϳÉáõÙÁ, Ýñ³ ѳ۳óùÝ áõ ³é³çÇÝ Í³ÝáÃáõÃÛáõÝÁ í³Õáõó ͳÝáà Ãí³óáÕ ù³Õ³ùÇ å³Ñå³Ý³Í áõ ÏáõÉ ãïí³Í ѳÛÏ³Ï³Ý Ùß³ÏáõÛÃÇ µ»ÏáñÝ»ñÇÝ: ê³Ï³ÛÝ, ³Ýßáõßï, ÝٳݳïÇå ÁÝϳÉáõ٠ϳñáÕ »Ý áõÝ»Ý³É ³ñ¨Ùï³Ñ³Û ³ñÙ³ïÝ»ñ áõÝ»óáÕ ß³ï ³ÝÓÇÝù£ Üê
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§üǹ»ÉÇ Ñ»ï, ÇÝã ¾É áñ ÉÇÝǦ, é»Å.` ¶áñ³Ý è³¹áí³ÝáíÇã, ê»ñµÇ³ (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ) îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× 12.07 (12:00, 20:00) §üǹ»ÉÇ Ñ»ï, ÇÝã ¿É áñ ÉÇÝǦ ýÇÉÙÇ ÑÇÝ· Ýáí»ÉÝ»ñÁ Îáõµ³ÛÇ êÇ»é³ Ø³»ëïñ³ ßñç³ÝáõÙ ³åñáÕ Ù³ñ¹Ï³Ýó Ù³ëÇÝ Çñ³Ï³Ý å³ïÙáõÃÛáõÝÝ»ñ »Ý, áñáÝù ͳí³ÉíáõÙ »Ý Îáõµ³ÛÇ Ñ»Õ³÷áËáõÃÛ³Ý 52-ñ¹ ï³ñ»¹³ñÓÇ ûñ»ñÇÝ: 47 ñáå»Ý ÉñÇí µ³í³ñ³ñ ¿` Îáõµ³ÛÇ Ùdzɳñ áõ Ùdz·áõÛÝ ÏÛ³ÝùÇ éÇÃÙÁ ѳëϳݳÉáõ ѳٳñ: ֳݳå³ñÑÝ»ñÁ êÇ»é³ Ø³»ëïñ³ÛáõÙ ß³ï í³Õáõó ã»Ý Ýáñá·í»É, ·»ï»ñÇ íñ³ ϳÙáõñçÝ»ñ ãϳÝ, ïÝ»ñÁ ¨ ³ÛÉ Ï³éáõÛóÝ»ñÝ ³ñ¨Çó áõ ³éûñÛ³ ÏÛ³ÝùÇ Ùdzå³Õ³ÕáõÃÛáõÝÇó Ñá·Ý³Í ï»ëù áõÝ»Ý: ´³Ûó Ù³ñ¹ÇÏ áãÝãÇó ã»Ý ·³Ý·³ïíáõÙ` Ýñ³Ýù ëáíáñ »Ý: γݷ³éÝ»ñáõÙ »ñϳñ ëå³ëáõÙ »Ý ³íïáµáõëÇ Ï³Ù áñå»ë ù³Õ³ù³ÛÇÝ ïñ³Ýëåáñï ͳé³ÛáÕ µ»éݳï³ñÇ, û¨ Ñݳñ³íáñ ¿` ïñ³ÝëåáñïÁ Ï»ë׳ݳå³ñÑÇÝ ÷ã³Ý³, ³Û¹ ¹»åùáõÙ áõÕ¨áñÝ»ñÝ ëïÇåí³Í ÏÉÇÝ»Ý ¹áõñë ·³É Ù»ù»Ý³ÛÇó áõ Ññ»É ³ÛÝ Ï³Ù ÁݹѳÝñ³å»ë ãųٳÝÇ: ê»÷³Ï³Ý ÙáïáóÇÏÉ»ïáí ³ß˳ï³ÝùÇ ·Ý³óáÕ Ïáõµ³óÇÝ ×³Ý³å³ñÑÇÝ ³ÝÁݹѳï ÇçÝáõÙ áõ Ýáñá·áõÙ ¿ ³ÛÝ, áñ ß³ñÅÇãÁ ÝáñÇó ³ß˳ïÇ: ÂíáõÙ ¿` Ù³ñ¹ÇÏ ÝáõÛÝÇëÏ Ñá·Ý»É »Ý ·³Ý·³ïí»Éáõó áõ µ³ñϳݳÉáõó: ²ï³ÙݳµáõÛÅÇ Ñ³Ù³ñ ëáíáñ³Ï³Ý ¿` ÁݹáõÝ»É ÑÇí³Ý¹Ç, áõÙ µáÉáñ ³ï³ÙÝ»ñÁ ÷ã³ó³Í »Ý£ àã ìɳ¹ÇÙÇñ ÆÉÛÇã èá¹ñÇ·»ëÇ ³ÝáõÝÁ, áã ¿É ³ï³ÙÝ»ñÁ êÇ»ñ³ س»ëïñ³ÛáõÙ ½³ñÙ³ÝùÇ ³éÇà ã»Ý ¹³éÝáõÙ: ÎÛ³ÝùÝ ³Ýï³Ý»ÉÇ ¹³Ý¹³Õ ¿, ù³Õ³ùÇ Ññ³å³ñ³ÏÁ ѳٳñÛ³ ¹³ï³ñÏ, áõ ÃíáõÙ ¿` Ù³ñ¹Ï³Ýó ÏÛ³ÝùáõÙ ³Ûëï»Õ ß³ï í³Õáõó áã ÙÇ Ï³-
Æñ³¹³ñÓáõÃÛáõÝÝ»ñÁ ½³ñ·³ÝáõÙ »Ý ѳñ³í³ÛÇÝ âÇÉÇÇ Ñ³Ý·ëïÛ³Ý ïÝ»ñÇó Ù»ÏáõÙ, áñï»Õ »ñ»ù Ñ»ñáëáõÑÇÝ»ñÝ ³åñáõÙ »Ý Çñ»Ýó ³éûñÛ³ ÏÛ³Ýùáí. Ù³ïáõóáÕáõÑÇÝ ëáíáñáõÙ ¿ ³ÝÓ»éáóÇÏÝ»ñ ͳɻÉ, Æë³Ý ÇÙ³ÝáõÙ ¿, áñ ÑÕÇ ¿, ÇëÏ æáõÉÇ»ïÝ ³ëáõÙ ¿ ³ÙáõëÝáõÝ, áñ ãÇ áõ½áõÙ »ñ»Ë³ áõݻݳÉ: ê³Ï³ÛÝ ëÛáõÅ»ï³ÛÇÝ ³Ûë ·Í»ñÁ ϳñÍ»ë ³ÝÑ»ï³ÝáõÙ »Ý` ³ñ³· áõ ë³ÑáõÝ ÓáõÉí»Éáí ýÇÉÙÇ ·»Õ»óÇÏ µÝ³å³ïÏ»ñÝ»ñÇÝ: îáññ»ë È»Ûí³Ý ã³÷³½³Ýó áõß³¹Çñ ¿ Ù³ÝñáõùÝ»ñÇ Ñ³Ý¹»å, ¨ §²Ù³éáõÙ¦ Ñ³×³Ë ¿ å³ï³ÑáõÙ, áñ ËóÇÏÁ, ß»Õí»Éáí »ñÏáõ Ñ»ñáëÝ»ñÇ »ñÏËáëáõÃÛáõÝÇó, Çñ §Ñ³Û³óùÝ áõÕÕáõÙ ¿¦ áñ¨¿ ͳÕÇÏÇ Ï³Ù Ï»Ý¹³Ýáõ íñ³` ï³Éáí Ù»½ ïå³íáñÇã áõ ³½¹»óÇÏ Ëáßáñ åɳÝÝ»ñ: êñ³Ýáí é»ÅÇëáñÝ ëï»ÕÍáõÙ ¿ ѳݹ³ñï, µ³Ûó ÙǨÝáõÛÝ Å³Ù³Ý³Ï É³ñí³Í ÙÃÝáÉáñï: гݹ³ñï, ù³ÝÇ áñ §²Ù³éáõÙ¦ µÝáõÃÛáõÝÁ ÙÇßï ³Ù³é³ÛÇÝ ¿` ѳݷÇëï, ³ñ¨³ÛÇÝ áõ ³ÝÑá·: ȳñí³Í, ù³ÝÇ áñ µÝáõÃÛ³Ý ³ñï³ùÇÝ áõ Ý»ñùÇÝ Ë³Õ³ÕáõÃÛ³ÝÁ ѳϳ¹ñíáõÙ »Ý ýÇÉÙÇ Ñ»ñáëÝ»ñÇ ³ÝѳݷÇëï Ñá·»íÇ׳ÏÝ»ñÁ: ²ì
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§ì»ñ³Ù߳ϻÉáí ÏÛ³ÝùÁ. ³ÕµÇ Ù»ç ¸áëïá¨ëÏÇ ·ï³¦, é»Å.` ¾ÝÇë èÁ½³, Âáõñùdz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ): îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ×, 12.07 (10:00, 18:00)
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ÎáñÝÃáëÇ ¨ ´áëïáÝÇ Ãáõñù³Ï³Ý ÏÇÝá÷³é³ïáÝ»ñÇ 2011-Ç §È³í³·áõÛÝ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ¦ Ùñó³Ý³ÏÇÝ ³ñųݳó³Í Ãáõñù é»ÅÇëáñ ¾ÝÇë èÁ½³ÛÇ §ì»ñ³Ù߳ϻÉáí ÏÛ³ÝùÁ. ³ÕµÇ Ù»ç ¸áëïá¨ëÏÇ ·ï³¦ ýÇÉÙÁ Ù³ñ¹Ï³ÛÇÝ á·áõ ³Ýå³ñï»ÉÇáõÃÛ³Ý, å³Ûù³ñÇ áõ ѳÕóݳÏÇ Ù³ëÇÝ ¿: ²¹³Ý³ÛáõÙ ÍÝí³Í ÃáõñùÇ ¨ ùáõñ¹Ç ˳éÝáõñ¹ úùóÛÇÝ ÏÛ³ÝùÁ ¹»é ÷áùñáõó ãÇ Ååï³ó»É. »Õµ³ÛñÝ»ñÇó Ù»ÏÁ ٳѳó»É ¿ ë³éݳٳÝÇùÇó, ÙÛáõëÁ` ÑÇí³Ý¹³ÝáóáõÙ, ѳÛñÁ ѳñµ»óáÕ ¿, áí Í»ÍáõÙ ¿ ÙáñÁ, ë³ ¿É Çñ Ñ»ñÃÇÝ Í»ÍáõÙ ¿ »ñ»Ë³Ý»ñÇÝ: ÈÇÝáõÙ »Ý ݳ¨ ûñ»ñ, »ñµ ïÕ³Ý Ùáñ Ñ»ï ÷áÕ ¿ ÙáõñáõÙ, ÏáßÇÏ Ù³ùñáõÙ, ÃÕóѳí³ùáõÃÛ³Ùµ ½µ³ÕíáõÙ` ûñ³Ï³Ý ѳí³ù»Éáí Ùáï 300-400 ÏÇÉá·ñ³Ù ÃáõÕÃ: ´³Ûó êï³ÙµáõÉáõÙ úùóÛÇ ÏÛ³ÝùÁ ÷áËíáõÙ ¿, ݳ ѳݹÇåáõÙ ¿ ÃÙñ³ÙáÉ »ñ»Ë³Ý»ñÇ, áñáÝó ÷áñÓáõÙ ¿ ¹³ñÓÇ µ»ñ»É, ëÏëáõÙ ¿ Çñ»Ý ѳñ-
GOLDEN APRICOT DAILY | DAY 5 | 12 JULY | 2012
5
° Valerie Massadian üñ³Ýë³Ñ³Û é»ÅÇëáñ-Éáõë³ÝϳñÇã ì³É»ñÇ Ø³ë³¹Û³ÝÁ »ñϳñ Å³Ù³Ý³Ï ³ß˳ï»É ¿ ѳÛïÝÇ Éáõë³ÝϳñÇã Ü³Ý ¶áɹÇÝÇ Ñ»ï: ²ÛÅ٠ݳ Ý»ñϳ۳óñ»É ¿ Çñ áõß³·ñ³í ¹»µÛáõïÁ` §Ü³Ý³Ý¦` ýÇÉÙ ãáñë³ÙÛ³ ³Õçϳ Ù³ëÇÝ, áí ÙdzÛÝ³Ï Ñ³ÛïÝíáõÙ ¿ ³Ýï³éáõÙ, ¹³Å³Ý ÙÇ ³ß˳ñÑáõÙ, áñÁ ÙÇ³Å³Ù³Ý³Ï Ý³¨ ¹ñ³Ëï ¿ ÑÇß»óÝáõÙ:
the same level. You’re clearly not sentimental about cruelty. Kids can be nasty and cruel themselves. They’re stronger than you think. And they’re very honest. They bluntly say: ‘You’re getting old and you die’, or they ask: ‘Why is she so fat?’ For kids, life and death is not a big problem: to eat an animal you have to kill it. And humans are animals too. Violence is part of our nature and when it is restrained it comes out in a fucked up way. Most people are so disconnected to nature, they don’t know how to grow food or kill an animal. If their favorite yoghurt is missing from the supermarket, they panic. In the world of the girl nothing is more important than something else. Children make their own priorities and they have a pre-language before they speak. I also saw an animality in the character of her mother, in the way she moves her body. I trust what the body and the eyes say, more than I trust words. Once you watch the body language carefully, you notice small things that turn out to be very important. For example, if somebody looks at his shoes you realise he has a problem. In my film, all those little gestures are composed like music.
îå³íáñáõÃÛáõÝ ¿ ëï»ÕÍíáõÙ, áñ ³Û¹ ãáñë³ÙÛ³ Ñ»ñáëáõÑÇÝ ãÇ Ë³ÕáõÙ: ¸áõù Ýñ³Ý ã»ù å³ñï³¹ñ»É áñ¨¿ µ³Ý ³Ý»É, ¹áõù ÃáõÛÉ »ù ïí»É Ýñ³Ý ³Ý»É ³ÛÝ, ÇÝã ó³ÝϳÝáõÙ ¿: ê³ Ï³ñÍ»ë û µÝáñáß ã¿ é»ÅÇëáõñ³ÛÇÝ: ÆѳñÏ», »ë ÇÙ Ù»Í³Ï³Ý ·³Õ³÷³ñÝ»ñáí ã¿Ç ³½¹áõÙ ³Õçϳ íñ³: ÆÝã áñ »ë Ùï³ÍáõÙ ¿Ç Ýϳñ³Ñ³ÝáõÙÝ»ñÇ ÁÝóóùáõÙ` ϳñ¨áñ ã¿ñ£ ºë áõÕÕáõÃÛáõÝ ¿Ç óáõÛó ï³ÉÇë ³ÕçϳÝ, µ³Ûó ã¿Ç µ»Ù³¹ñáõÙ: Ø»Ýù »ñϳñ Å³Ù³Ý³Ï ¿ÇÝù ³ÝóϳóÝáõÙ ÙdzëÇÝ ¨ ÝáõÛÝÇëÏ ýÇÉÙÇ Å³Ù³Ý³Ï³óáõÛó ãáõÝ»ÇÝù, ýÇÉÙÁ ûñ ûñÇ Ï³éáõóíáõÙ ¿ñ ÇÝùÝ Çñ»Ý: ºñ»Ë³Ý»ñÁ ųٳݳÏÇ ½·³óáÕáõÃÛáõÝ ãáõÝ»Ý, ¨ »ë ÝáõÛÝå»ë ÙïÝáõÙ ¿Ç ³Û¹ éÇÃÙÇ Ù»ç: Ü³Ý³Ý ÉÇáíÇÝ Ë»ÝÃáõÏ ¿ñ, ¨ Ù»Ýù ëñ³Ýáí ß³ï ¿ÇÝù Çñ³ñ ÝÙ³Ý. ë³ ÝÙ³Ý ¿ñ »ñÏáõ ϻݹ³ÝÇÝ»ñÇ` Çñ³ñ Ñáïáï»ÉáõÝ, áñáÝù ѳëϳÝáõÙ »Ý, áñ ÙdzÝÙ³Ý »Ý: ºë áõà ³ÙÇë ³ÝóϳóñÇ` áõëáõÙݳëÇñ»Éáí Ýñ³ Ûáõñ³ù³ÝãÛáõñ ß³ñÅáõÙÁ, ÇÝãÁ ã¿Ç ϳï³ñ»É ³Ý·³Ù ë»÷³Ï³Ý ½³í³ÏÇë Ñ»ï£ ºë ã¿Ç û·ï³·áñÍáõÙ Ùǽ³Ýëó»Ý, ³ÛÉ å³ïÏ»ñáõÙ ¿Ç Çñ³¹ñáõÃÛáõÝÁ: ²ÛÉ Ï»ñå ³ë³Í, »ë Ýñ³Ý ѳñóÝáõÙ ¿Ç` §Ç±Ýã ϳݻÇñ ³Ûë Çñ³íÇ׳ÏáõÙ, »Ã» Ù»Ýù Ýϳñ³Ñ³Ý»ÉÇë ãÉÇÝ»ÇÝù¦: ²ÕçÇÏÁ ãÇ ×³Ý³ãáõÙ áã ÙÇ ³ëïÇ׳ݳϳñ·, Ýñ³ ³ß˳ñÑáõÙ ³Ù»Ý ÇÝã ÝáõÛÝ ³ñÅ»ùÝ áõÝÇ: ʳïáõïÇÏÝ áõ Ù³ÙáõéÁ ɳí Ñݳñù »Ý: ܳ¨ Ù³ñ¹áõ ¨ ϻݹ³ÝÇÝ»ñÇ ÙÇç¨ µ³Å³Ý³ñ³ñ ·ÇÍÝ ¿ çÝçí³Í: سñ¹Á, ³ÝßÝã³ó³Í ݳå³ëï³ÏÁ ¨ ëå³Ýí³Í Ëá½Á ÝáõÛÝ Ñ³ñÃáõÃÛ³Ý íñ³ »Ý: ¸áõù ³ÛÝù³Ý ¿É ½·³ÛáõÝ ã»ù ¹³Å³ÝáõÃÛ³Ý Ýϳïٳٵ: ºñ»Ë³Ý»ñÁ Çñ»Ýù ¿É ϳñáÕ »Ý ÉÇÝ»É ã³ñ ¨ ¹³Å³Ý: Üñ³Ýù ³í»ÉÇ áõÅ»Õ »Ý, ù³Ý ϳñáÕ »ù å³ïÏ»ñ³óÝ»É: ´³Ûó ݳ¨ ß³ï ³½ÝÇí »Ý ¨ ϳñáÕ »Ý µ³é³óÇáñ»Ý ³ë»É. §¸áõ ٻͳÝáõÙ »ë ¨ Ïٳѳݳë¦, ¨ ϳ٠ѳñóÝáõÙ »Ý` §ÇÝãá±õ ¿ ݳ ³Û¹ù³Ý ·»ñ¦: ºñ»Ë³Ý»ñÇ Ñ³Ù³ñ ÏÛ³ÝùÇ áõ Ù³Ñí³Ý ËݹÇñÝ ³ÛÝù³Ý ¿É ¿³Ï³Ý ã¿: ØÇë áõï»Éáõ ѳٳñ ¹áõ å»ïù ¿ ëå³Ý»ë ϻݹ³ÝáõÝ: ºí Ù³ñ¹ÇÏ ÝáõÛÝå»ë ϻݹ³ÝÇÝ»ñ »Ý: ´éÝáõÃÛáõÝÁ Ù»ñ ÏÛ³ÝùÇ Ù³ëÝ ¿, ¨ »ñµ ¹³ ×ÝßíáõÙ ¿, ³ÛÝ Ñ»ï³·³ÛáõÙ ³ñï³Ñ³ÛïíáõÙ ¿ Çñ ³Ù»Ý³í³ï ¹ñë¨áñáõÙÝ»ñáí: Þ³ï Ù³ñ¹ÇÏ ³ÛÝù³Ý Ïïñí³Í »Ý µÝáõÃÛáõÝÇó, áñ ÝáõÛÝÇëÏ ã·Çï»Ý` ÇÝãå»ë µáõÛë ³×»óÝ»É Ï³Ù Ï»Ý¹³ÝÇ ÙáñûÉ: àõ »Ã» Çñ»Ýó ëÇñ»ÉÇ Ûá·áõñïÁ ã·ïÝ»Ý ëáõå»ñÙ³ñÏ»ïáõÙ, Ýñ³Ýù Ëáõ׳åÇ ÏÙ³ïÝí»Ý: ²Ûë ³Õçϳ ³ß˳ñÑáõÙ ÙÇ µ³ÝÁ ÙÛáõëÇó ϳñ¨áñ ã¿: ºñ»Ë³Ý»ñÁ ëï»ÕÍáõÙ »Ý Çñ»Ýó ë»÷³Ï³Ý ³é³çݳѻñÃáõÃÛáõÝÝ»ñÁ ¨ ÙÇÝ㨠Ëáë»ÉÁ Ýñ³Ýù áõÝ»Ý Ý³¨ ݳ˳ɻ½áõ: ºë ³í»ÉÇ ß³ï íëï³ÑáõÙ »Ù Ù³ñÙÝÇÝ ¨ ³ãù»ñÇÝ, ù³Ý Ëáëù»ñÇÝ: ºñµ Ù³Ýñ³Ù³ëÝáñ»Ý áõëáõÙݳëÇñáõÙ »ë Ù»ÏÇ Ù³ñÙÝÇ É»½áõÝ, ³ÝÝß³Ý µ³Ý»ñ »ë ÝϳïáõÙ, áñáÝù, å³ñ½íáõÙ ¿, ß³ï ϳñ¨áñ »Ý: ê³ ÇëÏ³Ï³Ý ýǽÇÏ³Ï³Ý ¨ áã û Ñá·»µ³Ý³Ï³Ý ýÇÉÙ ¿: ¸áõù ÷áñÓáõÙ »ù ÷áË»±É Ù»ñ ¹ÇïáÕ³Ï³Ý ëáíáñáõÃÛáõÝÝ»ñÁ: àÙ³Ýù ÇÝÓ ³ë³óÇÝ, áñ ëå³ëáõÙ ¿ÇÝ, û »ñ»Ë³Ý áñáß³ÏÇ å³Ñ»ñÇ É³ó ÏÉÇÝÇ, µ³Ûó ë³ ÑÇÙÝí³Í ¿ ³ÛÝ ·³Õ³÷³ñÇ íñ³, û ÇÝãå»ë ÇÝã-áñ Ù»ÏÁ Ïí³ñí»ñ Çñ³Ï³Ý ÏÛ³ÝùáõÙ: ¸áõù ãå»ïù ¿ ÇÝãáñ µ³ÝÇ ëå³ë»ù ýÇÉÙáõ٠ϳÙ, ³éѳë³ñ³Ï, ÏÛ³ÝùáõÙ, ¹áõù å»ïù ¿ ¹ñ³Ýáí ³åñ»ù ùÇã-ùÇã, ù³ÛÉ ³é ù³ÛÉ: §Ü³Ý³Ý¦ Çñ³Ï³Ý å³ïÙáõÃÛáõÝ ã¿, ³ÛÝ ëï»ÕÍí»É ¿ ë³ñë³÷-Ñ»ùdzÃÇ Ó¨áí: ºë ·Çï»Ù` ÏÇÝáå³ïÏ»ñÁ »ñµ»ù ¹³ï³ñÏ ãÇ ÉÇÝáõÙ, Ù»Ýù ³ÛÝ ³ÝÙÇç³å»ë ÉóÝáõÙ »Ýù Ù»ñ í»ñÉáõÍáõÃÛáõÝÝ»ñáí: ´³Ûó »ë ³í»ÉÇ ß³ï Ñ»ï³ùñùñí³Í »Ù »ñÏËáëáõÃÛáõÝÝ»ñáí, ù³Ý ѳëï³ïáõÝ ·³Õ³÷³ñÝ»ñáí: üÇÉÙ»ñÇ Ù»Í Ù³ëáõÙ ³ñ¹»Ý ·Çï»ë` ÇÝã ³ÏÝϳɻÉ: ê³Ï³ÛÝ »ë áõ½áõÙ »Ù áõÝ»Ý³É ÇÙ ë»÷³Ï³Ý ϳñÍÇùÁ, ³ÛÉ áã û Ï»ñ³Ïñí»É ѳíÇ ÝÙ³Ý: ºë ÷áùñÇÏ ËáõÉÇ·³Ý »Ù ¨ ËݹÇñ áõݻ٠ѻÕÇݳÏáõÃÛ³Ý Ñ»ï£ ´³Ûó Ýϳñ³Ñ³ÝÙ³Ý ï³Õ³í³ñáõÙ »ë ÇÝÓ
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French director/photographer Valérie Massadian for a long time worked with well-known photographer Nan Goldin. Now she’s realised her remarkable debut Nana, about a four-year-old girl who walks into the woods one day. Now she's on her own in a cruel world that is at the same time her own little paradise. It looks like your four-year-old protagonist could really be herself during shooting. You didn’t impose any gestures on her, you let her move by herself. That sounds like the exact opposite of direction. Indeed I didn’t project my adult ideas on the girl. What I thought was not important during shooting. I did interact with her but I was not directing. We spent a lot of time together, we had no schedule, the film was building itself day after day. Children lack a sense of time and I was tuning in to her rhythm. She’s completely crazy and we’re very similar, it was like two animals smelling each other, knowing they’re the same. I spent eight months studying her every gesture with an intensity that I didn’t even use with my own son. I didn’t use a mise-en-scène but a mise-en-situation. In other words I asked her: ‘What would you do in this situation’ instead of filling it in beforehand. The girl knows no hierarchy, all things have the same value in her world. Dandelions and moss are a great adventure. Also line between human and animals is crossed: humans, a dead rabbit and a killed pig are on
It’s indeed a physical film instead of a psychological one. Are you trying to change our viewing habits? Some people told me they expected the girl to cry at a certain moment, but this is only based on the idea of how someone would react in the real world. You shouldn’t expect anything in films and life in general, you should live it little by little, step by step. Nana is not a real story, it is shaped in the form of a dark fairytale. I know a film image is not just light on a screen, we immediately fill it with analysis. But I’m more interested in dialogue instead of fixed ideas. In most films you know what to expect. But I want to think for myself, I don’t want to be fed like a chicken. I’m a punk head, I have a problem with authority. On the set I’m not playing the boss, I feel more like a 7-yearold. I need quietness and intimacy on the set, just a small crew without any distraction. Spare me the producer with a nervous breakdown. I want to create a free space where you can dance, with the body as an instrument. In my film I let you, the viewer decide whether you look at a hand or a chair. You are building the film yourself. I ‘m not making a closeup to control your view, or take you by the throat and force you to look at something. Everybody’s brain builds a different image. In Nana the difference between reality and fairytale is blurry, every interpretation is possible. I’m fond of the original word for film: ‘bioscope’, which means watching life. Nothing is excluded when you look at something. I love it when a cloud gets before the sun; normally a director would say ‘cut’ because it’s getting too dark, but not me, I want that cloud to be included. You do shape the film by using a low camera perspective, from the point of view of the child. It had to be filmed from her perspective, from the height of the child and with her full body in front of the lens. Take the scene with a bunch of wood on the background: if you see it from our perspective it’s just wood, from hers it’s like an image from a fairytale. Her perspective changes the space. What are you working on now? I’m writing a script for a film about a 13-year-old girl. What interests me are the changes in the body, kids of that age have all those desires and don’t know what to do with them. They have to learn how to live with their body. The bottom line is that you have to do it all alone, like Nana without her mother. Some people have less tools, some have a suitcase full but don’t know what to do with it. But even when you have a loving mother you’re on your own in this life. MG
GOLDEN APRICOT DAILY | DAY 5 | 12 JULY | 2012
Oliver! (Carol Reed, UK, 1968). AP. 12-7, 13:00, Moscow Cinema, Red Hall.
Faust (Alexander Sokurov, Russia, 2011). TET. 12-7, 20:00 Moscow Cinema, Red Hall. Alexander Sokurov’s Faust is the final part of his historical tetralogy about the nature of power and about the history of relations between man and the devil. His earlier films featured Adolf Hitler in Molokh, Lenin in Taurus and Japanese emperor Hirohito in The Sun. All of them are portrayed as real characters and real people. In Sokurov's interpretation Doctor Faust is a real man too, not a mythical character. Moreover, at the press conference after the Venice premiere in September 2011 the director conveyed one of his key messages: "All the heroes of the Tetralogy appear to be approximately of the same age, of the same level of conscience and all stand in one line... Just like brothers." So, on the one hand Doctor Faust closes the tetralogy and on the oth-
er he brings us back to the historical, religious and cultural sources on which the tetralogy is built and which create the barbaric historical realities of the 20th century in the other films. That is precisely the reason why the final film was to serve a special purpose. And that's the reason why Faust is not the film version of Goethe’s classical poem. It's rather a free and playful interpretation by scriptwriter Yuri Arabov of the first part of the poem. The director himself said that his Faust was born out of thorough exploration of national character. The film is full of allusions to works by Hoffman and other German classics of a later era. German language, German actors, German spirit and German art coexist here in a complexity of ideas. A powerful graphic solution distinguishes the film and this solution is monochrome, with inclusion of artistic light, landscapes which seem to grow out of the art of German romantics, with por-
traits of men and women in the style of Dürer and Cranakh. The heroes’ metamorphosis in Sokurov's version is very significant. Mephistopheles here appears not just as the devil in human form but rather as an image of petty evil. He turns from a mythic seducer into a money-lender which arouses in Faust dark dictatorial power. In turn Doctor Faust is obsessed not by a thirst for knowledge. He is a rationalist and an atheist who idolizes individual will and power. And that is the direct path to the very radical conception of superman, to a manipulation of the masses and to the triumph of neo-barbarism. It is the direct path to Lenin and Hitler. The image of Hell, where the final scenes of the film are shot, undergoes a strange metamorphosis as well. The Icelandic cliffs turned out to be an fitting environment for the final scenes. It is here that Faust pelts miserable Mephistopheles with mountain stones thus disdaining the terms of the deal signed with blood. And it is from here that he takes the path - the path of evil- and goes further towards 20th century reality where cynicism and neo-barbarism prevail. SH
Living (Vasili Sigarev, Russia, 2012). IC. 12-7, 10:00 Yerevan Nights at Poghosyan Gardens 13-7, 15:30 Moscow Cinema, Blue Hall. Artyom longs to see his father again, who presumably drowned in a river. Grishka the thirtyish newly wed punk is searching in the snow for her husband who was beaten to death by prowlers. Galya sees her two daughters breathing in their grave and digs them out late at night. What these three parallel stories of Vasili Sigarev's second feature Living share is the rural winter of a small town and a bitter taste of loss and denial. Living depicts the Russian province in full seriousness and darkness. This is a place where people are cruel and
Summertime/Verano (José Luis Torres Leiva, Chile, 2011). FC. 12-7, 12:00, 12-7, 20:00, Moscow Cinema, Blue Hall. Some locations are perfect for slow cinema. Like the old thermal resort in southern Chile where Verano was shot as a variation on slow cinema: ‘relaxed cinema’. At this holiday resort the guests and workers spent long hours during one hot summer day that slowly unfolds. It’s not all paradise though; beauty and inner desperation, happiness and secret solitude alternate in this tranquil world. People sleep and swim, kiss for the first time, wander in the forest or learn how to fold a napkin in the restaurant. Some look out of place here: which is maybe the essence of being on holiday. Almost all the
actors in Verano are close friends of director José Luis Torres Leiva (El cielo, la tierra y la lluvia). Although many characters find shelter, Torres Leiva chooses not to tie them together. He prefers to leave events unsolved. Verano was shot at the old hot springs where young Torres Leiva used to spend his holidays with his grandparents. His inspiration comes from small details he remembers from back then, like the sound of water falling, the smell of the hot springs or the chirping of birds. Filmed with an Hi8 camcorder, Verano has the look and feel of a home movie. In extreme close-ups eyes or water drops on a skin are shown. The director focuses on things unnoticed and unheard by most of us, as a parallel world that deserves and needs to be seen. Preferably slowly and thoughtfully to let yourself be positively distracted. MG
Carol Reed’s 1968 film Oliver! is a screen adaptation of Lionel Bart’s musical of the same name, which in turn is based on the famous Dickens novel Oliver Twist. One might ask: “Why did they change the name? Is there such a big difference between Oliver Twist and Oliver!?” Believe it or not, but the difference is essential. The novel is named Oliver Twist because it tells the story of a poor orphan called Oliver Twist. The film and the musical on the other hand circle not so much around the adventures of Oliver, but on the faith of those whom he meets along his journey and who always happily or angrily shout his name out loud. Thus: “Oliver!” At the time of its release Oliver! turned out to be a smashing success both artistically and commercially. Critics praised the choreography, the musical arrangement and the stunning directorial work and cinematography. Oliver! has a peculiar trait which in a way makes it a rather exceptional movie in the history of musical cinema. The secret lies in the structural and conceptual features of the film. Oliver! is made in the form of an opera (rather than a musical) with its own overture, intermission and ending music. However it's not just an opera but a true cinema-opera. Despite all its loveliness the music plays a somewhat secondary role while the image always dominates: it’s more about the close-ups on the Artful Dodgers friendly face, it’s about Fagin’s and the pickpocket boys’ dancing and fooling around, it’s about the beautiful frames of Mr. Bumble’s workhouse and the magnificent panoramas of early XIX century London. That doesn’t mean that the music is a minor accessory. After all, the film is based on a Broadway musical. Image and music interact with each other creating a line of memorable characters and catchy tunes. Almost every character has a leitmotif that enriches him. And in this respect, Oliver! is a very original creation. AV
heartless and victims don’t have any place to turn to when disasters happens. Galya is a recovering alcoholic, who does everything the right way to take her daughters back from the orphanage. When on their way home they get killed in an accident she looses both her sense of reality and joy of life forever. After Grishka and Anton have a small wedding they part forever when Anton gets killed for a couple of rubles and Grishka is left alone in the middle of nowhere with her unbearable pain. Little Artyom doesn’t get any compassion, not even from his mother. Mixing surrealist elements with a harsh reality Vasili Sigarev makes his viewers share his protagonist’s pain. The result is a powerful sense of bitterness. EK
GOLDEN APRICOT DAILY | DAY 5 | 12 JULY | 2012
Sokurov Day
Armenian film is rooted deeper in history than most people know. While national historians thought their cinema started when Soviet rule was established in 1920, Armenian film historian Artsvi Bakhchinyan (41), working at the Institute of History in the National Academy of Armenia, took on a vast research and stumbled upon tons of interesting, unusual and unexpected facts that connect Armenians from around the world with the early years of cinema. Today at 19:30 Bakhchinyan will present the results of this tour de force in his book Armenian Cinema 100, which was translated into both English and Russian, at Yerevan’s Parajanov Museum, “the only proper place to do it", says Bakhchinyan. “I’m crazy for old newspapers. Ten years ago I went to the library without knowing what treasures I would find. I was surprised to learn that many of the things I found were unknown to our national researchers.” Bakhchinyan started researching papers dating back to the birth of international cinema around 1895 and ends his work in the mid twenties, when the first Armenian feature film was made. Inevitably the Armenian diaspora found its way into his research. One of Bakhchinyan’s biggest discoveries consists of the fact that Armenians from many different countries were making films even before Soviet times. But Bakhchinyan’s writing doesn’t only concern films and filmmakers. He uncovered interesting facts about spectators too. “In 1895, when the world’s first film screenings took place in Paris, we already had an Armenian spectator among them – the well-known Armenian linguist Hrachya Acharyan. This fact represents the earliest known connection between Armenians and cinema.”
Four years later in 1899 the first public film screening took place in Yerevan. “In the same year I found the word cinematograph printed in Armenian letters. Maybe today’s readers think these facts are not so important, but if you dig deeper and deeper, looking for the earliest connections you can find, such minor facts also obtain a fascinating significance.” In 1908 the first film shootings took place in Armenia. Interesting fact: these filmmakers were filming funerals and clergymen. “Because most Armenians didn’t have any statehood, their lives revolved around the church. So filming funerals was actually not that strange. And the appearance of the
Armenian clergymen seemed quite exotic for the Russian and European cameramen.” So why is the birth of Armenian cinema directly connected to a funeral – and not to any other event that takes place in a church? “The report showed the funeral of one of the most charismatic leaders of that church, catolicos Khrimyan Hayrik”, says Bakhchinyan. “The cameraman must have thought he could make him immortal by putting him on film.” Four years after shooting the first images on Armenian soil, the first feature film on Armenian reality was made by Armenians. This film, together with the other earliest films made in that same period, didn’t survive the ravages of time. But, says Bakhchinyan, in the same year Armenian intellectual from Egypt Vahan Zartarian had an idea to present his compatriots Armenian history and culture through moving pictures. It marked the official start of Armenian cinema. “This fact remained unknown for a century and I can proudly announce that I found this in old newspapers and through my book I present it to all who want to know.” With everything now known about Armenian film history we can officially speak of one hundred years of Armenian cinema history, Bakhchinyan says. “This year we can celebrate all those people and films who remained in the shadow for a century.” This is an important development because the presence of Armenian cinema on the world’s stage is still relatively small. Already a lot has changed since the festival’s first edition nine years ago but more international recognition would be welcomed. “It’s a dream of filmmakers, fans and historians to have an Armenian film in each film festival around the world.” BJB
Taurus
At 16:00 honorary guest Alexandr Sokurov will be given the “Let There Be Light Award” at the festivity hall of the Gevorkian Seminary of Holy Etchmiadzin in a ceremony followed by a reception. At 20:00 at Moscow Cinema, Red Hall there is the opening of Sokurov’s Tetralogy with the screening of Faust.
Press Conferences A new day full of press conferences. The day will start at 11:00 with three documentary directors from Italy, Georgia and Armenia. Tommaso Cotronei will talk about Men’s School and Italian laborers who never gave up on education. Salome Jashi from Georgia has a documentary on everyday life in a three-story brick building in a small Georgian town whereas Armenian director Arman Yeritsyan of The Last Tightrope Dancer in Armenia is back with a new documentary – rather a Donkeymentary. Through the Eyes of a Donkey. At 12:00 two directors competing for the best feature film will share a press conference. French Pierre Schoeller and young Israeli Maya Kenig will talk about The Minister and Off White Lies. Turkish director Özcan Alper already won two prizes at the festival three years ago. Now he is back with Future Lasts Forever while Chilean José Luis Torres Leiva is competing with Summertime, a rather warm film about the Chilean holidays. All conferences will be held in Vivaldi Meeting-Room at the Golden Tulip Hotel Yerevan.
Meeting at Parajanov Museum Artsvi Bakhchinyan will present his new book Armenian Cinema 100 at the Armenian National Academy Meeting at the Parajanov Museum at 19:30. The book, that was translated to English and Russian, will give the curious reader the chance to get in touch with one hundred-years of Armenian cinema.
Open air events
Where would the seventh art be without proper funding? This year’s festival houses the sixth edition of its Directors Across Borders co-production forum. Its goal is to facilitate cross-border cultural and economic collaboration by providing a networking platform for regional filmmakers and cinema support organizations and also industry experts from around the world; improving the capacities of emerging filmmakers; and launching promising film projects through seed grants. Every year twelve film-teams pitch independent projects and participate in more than 100 one-onone meetings with film industry experts. In 2011, DAB launched a three-year collaboration with EU’s Eastern Partnership Program. The new DAB Eastern Partnership Program will help DAB expand and strengthen its vision of regional creative and economic collaboration in the cinematic arts. This year’s edition of DAB focuses on building cross-border collaboration and co-production between countries within the Eastern Partnership Region (including Armenia, Azerbaijan, Georgia,
Belarus, Moldova and Ukraine) and the EU. The platform motivates its raison d’etre on its website. “The relationships of the countries in the Caucasus and neighboring regions have evolved into a complex reality, where ethnic, religious and cultural identities have polarized groups. In the area of filmmaking, these new realities have posed many challenges to producers, directors and script writers. How is the filmmaker, uniquely poised to address these issues through her or his lens, to reconcile and move forward into the 21st century? Should the filmmaker hide behind his individual border or look across it and into the world? Is she or he to see only those elements that sets him apart or address the common humanity that once made it possible for population groups and states to co-exist?” “DAB success stories continue to grow each year”, says Golden Apricot artistic director Susanna Harutyunyan. “Winning projects from previous years have been successfully released and presented at a number of acclaimed festivals around the world. Each year DAB is becoming more effective in sup-
porting the development of our regional film industry and opening new doors for filmmakers to expand beyond the region.” Two of DAB’s biggest achievements were The Last Tightrope Dancer by Inna Sahakyan and Arman Eritsyan (producer Vardan Hovhannisyan, Armenia) and Autumn by Özcan Alper (producers Feyzullah Serkan Acar, Kadir Sözen, Turkey/Germany), both of which won several prizes at international film festivals, including a Golden Apricot Prize for The Last Tightrope Dancer in 2010 and both a FIPRESCI film critics prize and a Special Jury Prize for Autumn in 2009 at the Golden Apricot IFF. Harutyunyan feels that “the co-production Forum’s sixth edition is a cornerstone of the new DAB Eastern Partnership Programme. This year we have brought together regional filmmakers and highly experienced industry professionals from Europe for a three-day program of networking, project development and project pitching. We are very excited to see what new film projects will be launched during this year’s program.” AV
Living
At Yerevan Zoo, Robert Rajchl’s Slovakian documentary Keeper of the Wilderness will be screened at 21:00. Simultaneously there is the daily open-air concert at Charles Aznavour Square starting at 21:00. At 22:00 Living by Vassily Sigarev will be shown in Yerevan Nights at Poghosyan Gardens.
Wrap-up Midnight wrap-up at THE CLUB, 40 Toumanyan Str., for film gurus and festival guests. Each evening a special guest of the day will be invited.