GOLDEN APRICOT DAILY | DAY 1&2 | 7/8 JULY | 2013
2 Íñ³·Çñ/program 7 ÑáõÉÇëÇ/ 7 july
8 ÑáõÉÇëÇ/ 8 july
ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall
ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall
11:00 ºñϳñ, »ñç³ÝÇÏ ÏÛ³Ýù/ A Long and Happy Life ´áñÇë ÊÉ»μÝÇÏáí/Boris Khlebnikov, Rus/77'/FC
Lang.: Russian, Subt.: English 13:00 11 ѳݹÇåáõÙ Ñáñë Ñ»ï/11 Meetings with My Father ÜÇÏáë ÎáñÝÇÉÇáë/Nikos Kornilios, Grc/92'/FC
Lang.: Greek/Swedish, Subt.: English
10:00, 19:30 ÐÇÝ·»ñáñ¹ »Õ³Ý³Ï/ The Fifth Season ä»ï»ñ ´ñá½³Ýë, æ»ëÇù³ ìáõ¹áõáñÃ/Peter Brosens, Jessica Woodworth, Bel-Fra-Nld/93'/FC
Lang.: French/Dutch, Subt.: English 12:00 ä³ñáõݳÏÝ»ñ/Circles êñç³Ý ¶áÉáõμáíÇã/Srdan Golubovic, Nld/87', FC
Lang.: Serbo-Croatian, Subt.: English
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 11:00 ¸Çï³ßï³ñ³Ï/Watchtower ö»ÉÇÝ ¾ëÙ»ñ/Pelin Esmer Fra-Deu-Tur/100'/FAB
Lang.: Turkish, Subt.: English
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 11:00, 18:00 ì..., ³ÛëÇÝùݪ ì»éÝÛáÛ/V... For Verneuil ²ñïá ö»ÑÉÇí³ÝÛ³Ý/Arto Pehlivanian, Fra/82'/AP
Lang.: French, Subt.: English and Armenian 13:00 гÛÏ³Ï³Ý ³ñÓ³·³ÝùÝ»ñ/ Armenian Echoes Part Three гÏáμ ¶áõ¹ëáõ½ Û³Ý/Hagop Goudsouzian, Can/52'/AP
Lang.: Armenian, Subt.: English æñÇó Ñ»ïá ³í³½ ¿ ÙÝáõÙ/ After Water There Is Sand ê³ñá ì³ñųå»ïÛ³Ý/ Saro Varjabedian, Arm/18'/AP
Lang.: English/Armenian/ Russian, Subt.: English and Armenian 18:00 ì..., ³ÛëÇÝùݪ ì»éÝÛáÛ/ V... For Verneuil ²ñïá ö»ÑÉÇí³ÝÛ³Ý/ Arto Pehlivanian, Fra/82'/AP
Lang.: French, Subt.: English and Armenian 19:30 æñÇó Ñ»ïá ³í³½ ¿ ÙÝáõÙ/ After Water There Is Sand ê³ñá ì³ñųå»ïÛ³Ý/Saro Varjabedian, Arm/18'/AP
Lang.: English/Armenian/ Russian, Subt.: English and Armenian
14:00 úï³ñ ˳ջñ/Strange Games Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý/Nerses Hovhannisyan, Arm/79'/T
Lang.: Armenian, Subt.: English 16:00 ºñϳñ, »ñç³ÝÇÏ ÏÛ³Ýù/A Long and Happy Life ´áñÇë ÊÉ»μÝÇÏáí/Boris Khlebnikov, Rus/77'/FC
Lang.: Russian, Subt.: English 17:30 ¶³ñáõÝ ¿/It’s Springtime سñÏ ¹Ç ¸áÙ»ÝÇÏá/Marc di Domenico, Fra/75', YP
Lang.: French, Subt.: English and Armenian 19:30 ÐÇÝ·»ñáñ¹ »Õ³Ý³Ï/ The Fifth Season ä»ï»ñ ´ñá½³Ýë, æ»ëÇù³ ìáõ¹áõáñÃ/Peter Brosens, Jessica Woodworth, Bel-Fra-Nld/93'/FC
Lang.: French/Dutch, Subt.: English
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 òÙ³Ñ/Lifelong ²ëÉÇ ú½·»/ Aslı Özge, Tur/102',FAB
Lang.: Turkish, Subt.: English 12:00 Ð᷻ѳݷÇëï/Panihida ²Ý³-ü»ÉÇódz êÏáõï»ÉÝÇÏáõ/ Ana-Felicia Scutelnicu, Deu-Mda/61'/FAB
Lang.: Romanian, Subt.: English
Lang.: English/Albanian, Subt.: English and Armenian
ØáëÏí³ ÏÇÝáóïñáÝ, ²Ù³é³ÛÇÝ ¹³ÑÉÇ×/ Moscow Cinema, Summer Hall
Lang.: English/Armenian/ Turkish/Kurdish, Subt.: English and Armenian 17:00 ê¨ ÑÇÝ·ß³μÃÇ/Black Thursday ²ÝïáÝÇ Îñ³áõ½»/ Antoni, Krauze, Pol/105'/PFP
Lang.: Polish, Subt.: English and Armenian 19:30 Ø»ýÇëïá/Mephisto Æßïí³Ý ê³μá/ István Szabó, Hun/140'/R
Lang.: English/German, Subt.: English and Armenian
Ð. سÉÛ³ÝÇ ³Ýí³Ý ÏÇÝá¹»ñ³ë³ÝÇ Ã³ïñáÝ Theater-Studio of Cinema Artists After H. Malyand 12:00 ì»ñçÁ/…The End ì³ñ¹·»ë سÝáõÏÛ³Ý/Vardges Manukyan, Arm/5'/FV ². ³Ýë³ÑÙ³Ý »ñÏËáëáõÃÛáõÝ/A ƷݳëÇá ¸ÇÙ³ïdz/Ignacio Dimattia, Arg/118'/FV
Lang.: Spanish, Subt.: English 16:00 ÎÇÝÁ/The Woman ²ñß³Ï ¼³ù³ñÛ³Ý/Arshak Zakaryan, Arm/14'/FV
Lang.: Armenian Subt.: English àñëáñ¹Á/The Hunter ²ñ³ ²éáõß³ÝÛ³Ý/Ara Arushanyan, Arm-Rus/20'/FV
Lang.: Russian, Subt.: English 21:00 ø³ÝÇ ¹»é ·Çß»ñÁ ãÇ μ³Å³Ý»É Ù»½/Till Night Do Us Part ´áñÇë ÊÉ»μÝÇÏáí/Boris Khlebnikov, Rus/65'/YP
Lang.: Russian, Subt.: English 23:00 ºë ÏáÕùǹ ÏÉÇÝ»Ù/I’ll Be Around ä³í»É èáõÙÇÝáí/ Pavel Ruminov, Rus/93'/RFD
10:00 ÐÇÙ³ μáÉáñë ÙdzëÇÝ/ All Together Now ²É»ùë³Ý¹ñ ØÇñ»óÏÇ/Alexander Mirecki, USA/82'/AP
Lang.: English, Subt.: Armenian 12:00 ÐáÕÇ Ï³ÝãÁ/Figure of Armen سéÉ»Ý ¾¹áÛ³Ý/Marlene Edoyan, Can/74'/AP
Lang.: Armenian, Subt.: English 15:00 ²ñ¨»É³μ³ÕÓáõÃÛáõÝ/ Eastalgia ¸³ñÛ³ úÝÇßã»ÝÏá/ Daria Onyshchenko, Deu-Ukr-Srb/93', FAB
Lang.: Armenian, Subt.: English
21:30 êÇñá Çñ³íáõÝù/The Right to Love öáÉ øáõñÃÇ/Paul Kurti, USA-Rus/92'/YP
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1
ÈáÕáñ¹Á/Swimmer ê»ñ·»Û èáõë³Ïáí/Sergey Rusakov, Rus/26'/FV
Lang.: Russian
Îáñ³Í ÑáñǽáÝÝ»ñ/ Lost Horizons ²éÝá ʳ۳ç³ÝÛ³Ý/ Arnaud Khayadjanian, Fra/15'/AP
Lang.: French, Subt.: English and Armenian 16:00 ´³í³Ï³Ý/Enough ²¹ñÇÝ» ¶ñÇ·áñÛ³Ý/Adrineh Gregorian, Arm/17'/AP
Lang.: Armenian, Subt.: English êåÇï³Ï ·³é³Ý »ñ³½Á/ White Lamb's Dream Ðñ³Ýï ì³ñ¹³ÝÛ³Ý/ Hrant Vardanyan, Arm/14'/AP
Lang.: Armenian, Subt.: English 17:00 ê³ñáÛ³Ýɻݹ/SaroyanLand ÈáõëÇÝ ¸ÇÝù/Lusin Dink, Tur-Arm-Fra/72'/AP
Lang.: English/Armenian/ Turkish, Subt.: English and Armenian ²ÉË³ë ¨ æáõÉÇ»ï/Alhas and Juliet ²ßáï ø»ßÇßÛ³Ý/Ashot Keschyan, Rus/27'/AP
Lang.: Abkhazian, Subt.: English and Armenian 19:00 ÐáÕÇ Ï³ÝãÁ/Figure of Armen سéÉ»Ý ¾¹áÛ³Ý/ Marlene Edoyan, Can/74'/AP
Lang.: Armenian, Subt.: English Îáñ³Í ÑáñǽáÝÝ»ñ/ Lost Horizons ²éÝá ʳ۳ç³ÝÛ³Ý/ Arnaud Khayadjanian, Fra/15'/AP
Lang.: French, Subt.: English and Armenian 21:00 ºë ÏáÕùǹ ÏÉÇÝ»Ù/I’ll Be Around ä³í»É èáõÙÇÝáí/ Pavel Ruminov, Rus/93'/RFD
Lang.: Russian, Subt.: English
гÙß»ÝÁ ³ÝóÛ³ÉÇ áõ Ý»ñϳÛÇ Ë³ãÙ»ñáõÏÝ»ñáõÙ/Hamshen at Crossroads of Past and Present ÈáõëÇÝ» ê³Ñ³ÏÛ³Ý/ Lusine Sahakyan, Arm/64'/FV
Lang.: Armenian, Subt.: English
Lang.: Russian, Subt.: English
ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 2/ Moscow Cinema, Small Hall 2 10:00, 18:00 ØáÙá/Momo »á¹áñ ÎáõÝ/ Teodor Kuhn, Svk/30'/SC
Lang.: Slovak, Subt.: English ¼ñáõÛó ѳݷáõóÛ³É ÏÝáç Ñ»ï/Conversation With a Dead Woman êáÝÛ³ ػݹ»ë/ Sonia Méndez, Esp/15'/SC
¶É˳íáñ ËÙµ³·Çñ` Ռոնալդ Ռովերս úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý ԱշËատակազմ` ²ñÍíÇ ´³ËãÇÝÛ³Ý, ²ñÙ»Ý Þ³ËÏÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ÈÇÉÇà ä»ïñáëÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, Մարինե Ղարախանյան, Ռիմա Աղեկյան
Coordinator Daily: Genofia Martirosyan Journalists: Berend Jan Bockting, Artur Vardikyan Photos: Vahan Stepanyan ©PanARMENIAN Photo
Design: Gayane Grigoryan
Èáõë³ÝϳñÝ»ñÁ` Վահան ՍտեփանյանÇ ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ Տպագրված ` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ
15:00 ì³ñå»ïáõÃÛ³Ý ¹³ë ä³í»É üÇÝÝÇ Ñ»ï/Master Class with Pavel Finn
âáñë å³ï. ê³ñ³¨á/Four Walls Sarajevo ܳ¹ÇÙ ¶Ûáõã/ Nadim Güç, Tur/24'/SC
Lang.: Bosnian, Subt.: English Sub ÊáëÇ» سÉÇë ²Éí³ñ»ë/ Jossie Malis Álvarez, Esp/15'/SC
Lang.: Multilingual, Subt.: English Ø»Ï, »ñÏáõ, »ñ»ù, ãáñë/Un deux trois quatre ø³ñÃÇù êÇÝ·/Kartik Singh, Fra/19'/SC
Lang.: French/Japanese, Subt.: English 12:00, 20:00 ´³ñÇ ·³Éáõëï, Û³ÝÏÇ/ Welcome Yankee ´»Ýáõ³ ¸»Å³ñ¹»Ý/Benoit Desjardins, Can/30'/SC
Lang.: French/Chechen, Subt.: English àñï»±Õ ¿ ¹ñ³ËïÁ/Where is the Heaven... ü³Ã»Ù» Ô³¹ÇñÇ Ü»Å³¹Û³Ý/Fatemeh Ghadiri Nezhadian, Irn/13'/SC
Lang.: English/Persian, Subt.: English ì»óï³é³Ýáó μ³é/Six Letter Word ÈÇë³Ý ê³ñïáñ/ Lisanne Sartor, USA/17'/SC
Lang.: English Ø»Í ó³ïÏÁ/The Big Leap øñÇëïáý»ñ èáõë/Kristoffer, Rus, Pol-Swe/13'/SC
20:00 ÂáμñáõÏ ·Ý³óáÕ ï³ùëÇÝ/ Taxi for Tobruk ¸ÁÝÇë ¹Á ɳ ä³ï»ÉÛ»/Denys de La Patellière, Fra/Esp/93'/R
Lang.: French, Subt.: English and Armenian 22:00 λÕïáï ÑÙ³ÛùÝ»ñ/Dirty Pretty Things êÃÇí»Ý üñÇñ½/ Stephen Frears, UK/97'/R
Lang.: English/Somali/Spanish/ French, Subt.: English and Armenian
îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet theatre, Small Hall 10:00 ÆÙ ²ýÕ³Ýëï³Ý. ÏÛ³ÝùÝ ³ñ·»Éí³Í ·áïáõÙ/My Afghanistan – Life in the Forbidden Zone ܳ·Çμ ʳ۳/ Nagieb Khaja, Dnk/88'/DC
Lang.: Danish/Dari/English/ Pasthu, Subt.: English
Lang.: English ø³áë/Chaos ØÇ·»É ØáÝﻳ·áõ¹á/Miguel Monteagudo, Esp/14'/SC
Lang.: Spanish, Subt.: English 16:00 ²ßï³ñ³Ï³íáñ ïáõÝÁ/House With a Turret ºí³ Ü»ÛÙ³Ý/ Eva Neymann, Ukr/78'/FAB
12:00 ºñÏáõ Ñá·áõ ÙÇç¨/Between Two-Spirit Èáñ³Ýë ä»ñÇ·á/ Laurence Périgaud, Che/77'/DC
Lang.: English/French/German, Subt.: English 14:00 ÊÕ×Ç ÏÇÝá/Films About Conscience
Lang.: Russian, Subt.: English
ºñև³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens
18:00 ÆÙ ²ýÕ³Ýëï³Ý. ÏÛ³ÝùÝ ³ñ·»Éí³Í ·áïáõÙ/My Afghanistan – Life in the Forbidden Zone ܳ·Çμ ʳ۳/Nagieb Khaja Dnk/88'/DC
22:00 γñïáýÇÉ/Jiseul ú Øáõ»É/ O Muel, Kor/109'/SF
Lang.: Danish/Dari/English/ Pasthu, Subt.: English and Armenian
Lang.: Korean, Subt.: English and Armenian
20:00 ºñÏáõ Ñá·áõ ÙÇç¨/Between Two-Spirit Èáñ³Ýë ä»ñÇ·á/ Laurence Périgaud, Che/77'/DC
SUBMIT YOUR DOCUMENTARY FILM TO CAUCADOC ONLINE CATALOGUE
Lang.: English/French/German, Subt.: English and Armenian
CAUCADOC launches an online catalogue for creative/artistic documentaries (both completed and in progress), produced in Armenia, Georgia, and Azerbaijan since 2007.
лÙÇÝ·áõ»Û ÷³µ/ Hemingway Pub
companies, both local and international broadcasters and festivals. It will contribute to the exchange,
22:00 ܹáõ·áõÇ Ù³ëÇÝ/About Ndugu ¸³íǹ ØáõÝÛáë/David Muñoz, Esp/17'/SC
last 5 years in the South Caucasus. The Application form is available at www.caucadoc.com and www.sakdoc.ge.
Lang.: Kikamba, Subt.: English and Armenian ²Û¹ ³Ù»ÝÁ/All of That ´ñ³ÝÇëɳí ØÇɳïáíÇã/
For additional information please contact:
Branislav Milatović, Mne/27'/SC
Georgia : Anna Dziapshipa anna@sakdoc.ge Armenia: Karine Aroyan k.aroyan@internews.am Azerbaijan: Alina Abdullaeva motorproduction@gmail.com
CAUCADOC is a project run by Czech NGO People in Need, Sakdoc Film and Internews Armenia. It aims гٳ½·³ÛÇÝ Ã»ñÃ
Lang.: Armenian, Subt.: English
Lang.: Galician, Subt.: English
Editor in chief: Ronald Rovers General supervising manager: Peter van Bueren
13:00 гÙß»ÝÁ ³ÝóÛ³ÉÇ áõ Ý»ñϳÛÇ Ë³ãÙ»ñáõÏÝ»ñáõÙ/Hamshen at Crossroads of Past and Present ÈáõëÇÝ» ê³Ñ³ÏÛ³Ý/ Lusine Sahakyan, Arm/64'/FV
ship Culture programme and the Development Cooperation of the Czech Republic.
Lang.: Montenegrin, Subt.: English and Armenian -
ê¨ å³ïÙáõÃÛáõÝ/Blackstory øñÇëïáý ´ñáõÝ»ñ, Þï»ý³Ý ´ñáõÝ»ñ/Christoph Brunner, Stefan Brunner, Aut/30'/SC
Lang.: German, Subt.: English and Armenian
GOLDEN APRICOT DAILY | DAY 1&2 | 7/8 JULY | 2013
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ÜáõÛÝ ûñÁ, ÝáõÛÝ í³Ûñáõ٠ųÙÁ 17:00‑ÇÝ ï»ÕÇ Ïáõݻݳ ݳ¨ È»Ñ³Ï³Ý ýÇÉÙ»ñÇ Íñ³· ñÇ µ³óáõÙÁ: Îóáõó³¹ñíÇ ²ÝïáÝÇ Îñ³áõ½»Ç §ê¨ ÑÇÝ·ß³µÃǦ ýÇÉÙÁ:
GOLDEN APRICOT DAILY | DAY 1&2 | 7/8 JULY | 2013
4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ ØÇ µáõé ˳ճÕáõÃÛáõÝ` å³ï»ñ³½ÙÇ Ù»ç §ÆÙ ²ýÕ³Ýëï³Ý. ÏÛ³ÝùÝ ³ñ·»Éí³Í ·áïáõÙ¦, é»Å.` ܳ·Çµ ʳ۳, ¸³Ýdz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ), îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, 08.07 (10:00, 18:00):
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GOLDEN APRICOT DAILY | DAY 1&2 | 7/8 JULY | 2013
interview 5
Harutyun Khachatryan Which achievement are you most proud of? “I’m proud of our film school. I’m proud of our graduates who are already making movies. I’m proud of our international friends, whom we gained thanks to the festival. And of course I am happy that Golden Apricot has made a name for itself: a couple of years back the festival was awar ded the Hollywood Foreign Press Honor Award, which was quite unexpected. I am actually proud of many things, but if I have to choose one, than I’m proud that the festival exists and its successful.”
§àëÏ» ÍÇñ³ÝǦ ÑÇÙݳ¹Çñ-ïÝûñ»Ý, ÏÇÝáé»ÅÇëáñ гñáõÃÛáõÝ Ê³ã³ïñÛ³ÝÁ å³ïÙáõÙ ¿ ÷³é³ïáÝÇ Ó»éùµ»ñáõÙÝ»ñÇ, áõÅ»Õ ¨ ÃáõÛÉ ÏáÕÙ»ñÇ Ù³ëÇÝ ØÇÝã ÷³é³ïáÝÁ áñá±Ýù ¿ÇÝ Ó»ñ »ñ³½³Ýù Ý»ñÁ, ¨ áñù³Ýá±í »Ý ¹ñ³Ýù Çñ³Ï³Ý³ó»É: ö³é³ïáÝÝ ëï»ÕÍí»ó ÙdzÛÝ Ýñ³ ѳٳñ, áñáí Ñ»ï¨ Ù»Í í³Ë ¨ ë³ñë³÷ ϳñ, áñ ѳÛÏ³Ï³Ý ÏÇ ÝáÝ ³ñ¹»Ý Ù»éÝáõÙ ¿: ²Û¹ Å³Ù³Ý³Ï ·ñ»Ã» ëå³ Ý»É ¿ÇÝ Ñ³ÛÏ³Ï³Ý ÏÇÝáÝ` ¨ Çñ³íÇ׳ÏÝ ¿ñ ³Û¹åÇ ëÇÝ, ¨ ջϳí³ñÝ»ñÁ: ì³×³éí»É ¿ÇÝ ÏÇÝáóïñáÝ Ý»ñÁ, ÏÇÝáëïáõ¹Ç³Ý ¨ ýÇÉÙ-³ñËÇíÁ: ÜϳñíáõÙ ¿ÇÝ ÑÇÙݳϳÝáõÙ ó³Íñáñ³Ï ýÇÉÙ»ñ, Ñ»éáõëï³ï» ë³ÛÇÝ í³ï ë»ñdzÉÝ»ñ, ¨ ϳñÍ»ë û µáÉáñÁ Ùáé³ ó»É ¿ÇÝ §Ù³ùáõñ¦ ÏÇÝáÛÇ Ù³ëÇÝ: ÎÇÝáÝ í»ñ³Ï»Ý ¹³Ý³óÝ»Éáõ »ñÏáõ ׳ݳå³ñÑ Ï³ñ: Ø»ÏÁ, áñ ß³ï Ù»Í Ý»ñ¹ñáõÙ ³ñí»ñ ÏÇÝáëïáõ¹Ç³Ý í»ñ³µ³ó»Éáõ, ï»ËÝÇϳ ·Ý»Éáõ ¨ Ýáñ ýÇÉÙ»ñ ýÇݳÝë³íáñ»Éáõ ѳ Ù³ñ, ÇÝãÁ Ñݳñ³íáñ ã¿ñ г۳ëï³ÝáõÙ: ºí ϳñ áõ ñÇß ×³Ý³å³ñÑ, áñÁ ß³ï ¹Åí³ñ ¿ñ áõ »ñϳñ, µ³Ûó Çñ³Ï³Ý³Ý³ÉÇ: ¸³ г۳ëï³ÝáõÙ ÏÇÝáÙÃÝáÉáñï Ó¨³íáñ»ÉÝ ¿ñ: ²ÛëÇÝùݪ ëï»ÕÍ»É ÷³é³ïáÝ, ÙÇç³½ ·³ÛÇÝ ÏÇÝá¹åñáó, í³ñå»ïáõÃÛ³Ý ¹³ë»ñ ϳ½Ù³ Ï»ñå»É, ³ß˳ñÑÇ ýÇÉÙ»ñÁ г۳ëï³Ý µ»ñ»É ¨ óáõ ó³¹ñ»É, »Õ³Í ÙÇ ù³ÝÇ Ñ³ÛÏ³Ï³Ý ýÇÉÙ»ñÝ ³ß˳ñ ÑÇÝ óáõÛó ï³É: ä»ïù ¿ñ »ñÇï³ë³ñ¹Ý»ñÇ ßñç³ÝáõÙ ÏÇÝáÛÇ Ñ³Ý¹»å ³ËáñÅ³Ï µ³ó»É: γñÍáõÙ ¿ÇÝù, û ÑÇÝ· ï³ñÇÝ µ³í³Ï³Ý ÏÉÇÝÇ ¹³ Çñ³Ï³Ý³óÝ» Éáõ ѳٳñ, µ³Ûó å³ñ½í»ó, áñ å»ïù ¿ñ ï³ëÁ: ÐÇ Ù³ ¿ ÙdzÛÝ, áñ ëÏëáõÙ »Ýù åïáõÕÝ»ñ ï»ëÝ»É: ºÃ» ³é³çÇÝ ï³ñÇÝ»ñÇÝ Ñ³ÛÏ³Ï³Ý ÙñóáõÛÃáõÙ 2-3 ýÇÉÙ ¿ñ Ù³ëݳÏóáõÙ, ³å³ ³Ûë ï³ñÇ ¹ñ³Ýù Ùáï ÑÇ ëáõÝÝ »Ý: Üáñ ѳÛÏ³Ï³Ý ýÇÉÙ»ñÁ Ù³ëݳÏóáõÙ »Ý ½³Ý³½³Ý ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝ»ñÇ ¨ ÝáõÛ ÝÇëÏ Ùñó³Ý³ÏÝ»ñÇ ³ñųݳÝáõÙ: γñá±Õ »ù Ýß»É, û ³Ûë ï³ëÁ ï³ñí³ Ó»éù µ»ñáõÙÝ»ñÇó áñáí »ù ѳïϳå»ë Ñå³ñï³ ÝáõÙ: Ðå³ñï³ÝáõÙ »Ù ÏÇÝá¹åñáóáí, Ù»ñ áõë³ÝáÕÝ» ñáí, áíù»ñ ³ñ¹»Ý ³í³ñï»É »Ý ¨ ýÇÉÙ»ñ »Ý Ýϳ ñ³Ñ³ÝáõÙ: Ðå³ñï »Ù Ù»ñ ³ñï³ë³ÑÙ³ÝóÇ µ³ ñ»Ï³ÙÝ»ñáí, áñ Ó»éùµ»ñ»óÇÝù ÷³é³ïáÝÇ ßÝáñ ÑÇí: Ðå³ñï »Ù Ý³¨, ÇѳñÏ», áñ §àëÏ» ÍÇñ³ÝÁ¦ ׳ݳãáõÙ ¿ ëï³ó»É ¨ Çñ ï»ë³ÏÇ Ù»ç É³í³·áõÛÝ Ý»ñÇó ¿ Ñ³Ù³ñíáõÙ: àõñ³Ë »Ù, áñ ÙÇ ù³ÝÇ ï³ ñÇ ³é³ç ÷³é³ïáÝÝ ³ñųݳó³í Hollywood Foreign Press Association's-Ç å³ïí³íáñ Ùñó³Ý³ ÏÇÝ, ÇÝãÁ ß³ï ³Ýëå³ë»ÉÇ ¿ñ: Þ³ï µ³Ý»ñáí »Ù Ñå³ñï³ÝáõÙ, µ³Ûó »Ã» å»ïù ¿ ÁÝïñ»Ù ÙdzÛÝ Ù» ÏÁ, ³å³ »ë Ñå³ñï »Ù, áñ ÷³é³ïáÝÁ ϳ۳ó³í: ÆÝãå»ë ¨ µáÉáñ ÷³é³ïáÝ»ñÁ, §àëÏ» ÍÇ ñ³ÝÁ¦ ¨ë ѳí³Ý³µ³ñ áõÝÇ ÃáõÛÉ ÏáÕÙ»ñ: àñá±Ýù »Ý ¹ñ³Ýù: ÂáõÛÉ ÏáÕÙ»ñÇó Ù»ÏÁ ÏÇÝáóïñáÝÝ»ñÇ å³ Ï³ëÝ ¿: Ø»Ýù áã ÙÇßï »Ýù ѳßíÇ ³éÝáõÙ Ù»ñ Ñݳ ñ³íáñáõÃÛáõÝÝ»ñÁ ¨ í»ñóÝáõÙ »Ýù ³í»ÉÇ ß³ï ýÇÉ Ù»ñ, ù³Ý ϳñáÕ »Ýù óáõó³¹ñ»Éª ³·³ÑáõÃÛáõÝ »Ýù ³ÝáõÙ: ê³Ï³ÛÝ ³Ù»Ý³ÃáõÛÉ ÏáÕÙÝ ³ÛÝ ¿, áñ Ù»Ýù ã»Ýù ÷ÝïñáõÙ ÝáñáõÃÛáõÝÝ»ñ. ³ß˳ñÑáõÙ ³ñ¹»Ý Ýϳïí³Í áõ ·ïÝí³Í ýÇÉÙ»ñ »Ýù µ»ñáõÙ: ê³Ï³ÛÝ Ï³ñÍáõÙ »Ùª Ûáõñ³ù³ÝãÛáõñ ÷³é³ïáÝÇ ³é³ù»Éáõ ÃÛáõÝÝ ¿ Ýáñ ³ñí»ëï³·»ïÝ»ñ, Ýáñ ï³Õ³Ý¹Ý»ñ ÷Ýïñ»ÉÝ áõ ·ïÝ»ÉÁ: Üß»óÇù, áñ ÃáõÛÉ ÏáÕÙ»ñÇó Ù»ÏÁ ÏÇÝáóï ñáÝÝ»ñÇ å³Ï³ëÝ ¿: ê³Ï³ÛÝ »Ã» ÝÙ³Ý ù³ ݳÏáõÃÛ³Ý Ñ³Ý¹Çë³ï»ë áõÝ»ù, ¹³ ËÃ³Ý ã¿± Ýáñ ÏáÙ»ñóÇáÝ ÏÇÝáóïñáÝÝ»ñ ϳéáõó»Éáõ ѳٳñ: гۻñÁ ·»ñ³½³Ýó ³é¨ïñ³Ï³ÝÝ»ñ »Ý, ë³Ï³ÛÝ áã ³ñí»ëïÇ áÉáñïáõÙ: ²ÛÝáõ³Ù»Ý³ÛÝÇí ÙÇÝ㨠³Ûë ï³ñí³ í»ñçÝ ³é¨ïñÇ ïÝ»ñáõÙ 5-6 ÏÇÝá¹³ÑÉÇ× ¿ µ³óí»Éáõ: ºí ¹ñ³ÝóÇó Ù»ÏÁ ϳ٠»ñÏáõëÝ ³Ýå³Û Ù³Ý ÝíÇñí³Í ÏÉÇÝ»Ý ³ñÃѳáõë ÏÇÝáÛÇÝ: ²ñ¹»Ý ³ß˳ïáõÙ »Ýù ³Û¹ áõÕÕáõÃÛ³Ùµ ¨ ÙÛáõë ï³ñí³ ÷³é³ïáÝÇÝ ³ÛÝï»Õ óáõó³¹ñáõÃÛáõÝÝ»ñ ÏÇñ³ ϳݳóÝ»Ýù: ܳ¨ ÷áñÓáõÙ »Ýù í»ñ³Ï»Ý¹³Ý³ó Ý»É §ØáëÏí³¦ ÏÇÝáóïñáÝÇ ²Ù³é³ÛÇÝ ¹³ÑÉÇ ×Á, áñÇ íñ³ ÁݹѳÝñ³å»ë §Ë³ã ¿ ù³ßí³Í¦: ²Ûë ï³ñÇ ³Û¹ ¹³ÑÉÇ×áõÙ áñáß³ÏÇ óáõó³¹ñáõÃÛáõÝÝ»ñ ϳÝóϳóí»Ý: ÆÝùÝ»ñë Ù»Í ¿Ïñ³Ý »Ýù µ»ñ»É, ï»Ë ÝÇϳ® ²ÛëåÇëáíª Ñáõëáí »Ýù ²Ù³é³ÛÇÝ ¹³ÑÉÇ×Á Ïß³ñáõݳÏÇ ß³Ñ³·áñÍí»É ݳ¨ ÷³é³ïáÝÇó Ñ»ïá:
Still, there's always room for improvement. What are the weak points of the festival? “One of our weak points is the lack of cinemas. We don’t always see our limitations and bring more films than we can show. We’re a bit greedy. Yet our most serious weakness is that we don’t seek anything new and screen a lot of films that others have already discovered. We want to satisfy Armenia’s hunger for cinema. Yet I think that the mission of any festival is to find unknown ta lents. We don’t work hard enough in that regard. This “policy” is of course a weak point. But I think it’s time we also start looking for new ta lents, and first of all among Armenian filmma kers.”
ò³Ýϳó³Í ýÇÉ٠ϳñá±Õ ¿ ÷³é³ïáݳÛÇÝ Íñ³·ñáõÙ Áݹ·ñÏí»É, û áñáß³ÏÇ ë³Ñٳݳ ÷³ÏáõÙÝ»ñ ϳÝ: îíÛ³É ýÇÉÙÁ å»ïù ¿ ÉÇÝÇ ³ñí»ëïÇ ·áñÍ: ØÇ³Ï å³ÛÙ³ÝÁ ¹³ ¿: Ø»Ýù ³ñÃѳáõë áõÕÕáõÃÛáõÝÝ »Ýù ÁÝïñ»É: ÎáÙ»ñóÇáÝ ýÇÉÙ»ñ ã»Ýù óáõó³¹ñáõÙ: ¸³ ¿ ÙÇ³Ï ë³Ñٳݳ÷³ÏáõÙÁ: àã ÙÇ ÏñáݳϳÝ, ù³Õ³ ù³Ï³Ý ϳ٠³½·³ÛÇÝ ë³Ñٳݳ÷³ÏáõÙÝ»ñ ãϳÝ: ÆëÏ á±ñ ýÇÉÙÁ ϳñ»ÉÇ ¿ ѳٳñ»É ÏáÙ»ñóÇáÝ: Àëï Çëª ÏáÙ»ñóÇáÝ »Ý ³ÛÝ ýÇÉÙ»ñÁ, áñáÝù ã»Ý ËóÝáõÙ ÏÇÝáÉ»½íÇ ½³ñ·³óÙ³ÝÁ, Ùï³Íí³Í »Ý Ù³ñ¹Ï³Ýó ÏáÕÙÇóª ѳïáõÏ ÷áÕ í³ëï³Ï»Éáõ Ýå³ï³Ïáí: ¸ñ³Ýù ÇÝùÝÁëïÇÝùÛ³Ý Ïóáõó³¹ñ í»Ýª ³é³Ýó Ù»ñ ÙÇçÝáñ¹áõÃÛ³Ý: ÆëÏ ¶á¹ýñÇ è» çÇáÛÇÝ, سñ·³ñ»Ã» ýáÝ ÂñáóÛÇÝ áã ÙÇ §ÏáÙ»ñ óÇáݦ Ù³ñ¹ ³Ûë ï»Õ ã¿ñ µ» ñÇ: ö³ é³ ïá ÝÁ Ñ»Ýó ѳϳé³ÏÝ ¿ ³ÝáõÙª Ññ³íÇñáõÙ ¿ Ù³ñ¹Ï³Ýó, áí ù»ñ ѳñëï³óÝáõÙ »Ý ÏÇÝáÛÇ É»½áõÝ: ê³ ¿É ¿ ѳÛϳ Ï³Ý ÏÇÝáÝ ÏñûÉáõ ÙÇ Ó¨: ²Ûë ï³ñí³ Î³ÝÝÇ ÏÇÝá÷³é³ïáÝÇ Ñ³Õ ÃáÕ ²µ¹»É³ïÇý ø»ßÇßÇ §²¹»ÉÇ ÏÛ³ÝùÁ¦ ýÇÉÙÁ, áñÁ ë»ùëáõ³É ÇÙ³ëïáí µ³í³Ï³ÝÇÝ ³½³ï ¿ áñáß ï»ë³ñ³ÝÝ»ñáõÙ, ϳñá±Õ ¿ óáõ ó³¹ñí»É ÷³é³ïáÝÇÝ: Ø»Ýù §àëÏ» ÍÇñ³ÝÇݦ ÙÇßï óáõó³¹ñáõÙ »Ýù γÝÝÇ Ñ³ÕÃáÕÝ»ñÇÝ: ²Ûë ³Ý·³Ù ¿É ¿ÇÝù ¹Çٻɪ ýÇÉÙÇ óáõó³¹ñÙ³Ý Çñ³íáõÝùÝ»ñÝ ëï³Ý³Éáõ ѳ Ù³ñ, µ³Ûó ¹ÇëïñǵÛáõïáñÝ»ñÁ Ù»ñÅ»óÇÝ: ØÇÝ㨠ë»å ï»Ù µ»ñ ³ñ ·»É í³Í ¿ ³Û¹ ýÇÉÙÝ ³Ûë ï³ ñ³ ͳßñç³Ýáõ٠߳ѳ·áñÍ»É: ì³ï ÙÇïáõ٠ϳ Ñ»ï ËáñÑñ¹³ÛÇÝ »ñÏñÝ»ñáõÙ: Ø»Ï Ù»Í ¹ÇëïñǵÛáõïáñª ÑÇÙݳϳÝáõÙ éáõë³ëï³ÝÛ³Ý, ·ÝáõÙ ¿ ýÇÉÙÇ µáÉáñ Çñ³íáõÝùÝ»ñÁ ¨ ãÇ ï³ÉÇë ¹ñ³Ýù ï³ñ³Í³ßñç³ ÝÇ áã ÙÇ ÷³é³ïáÝÇݪ ÙÇÝ㨠áñ ·³ ýÇÉÙÇ í³ñÓáõÛà ¹áõñë ·³Éáõ ųٳݳÏÁ: ê³ ß³ï íï³Ý·³íáñ ¿ ѳïϳå»ë ÷áùñ ÷³é³ïáÝ»ñÇ Ñ³Ù³ñ: àñá±Ýù »Ý ³Ûë ï³ñí³ Ï³ñ¨áñ³·áõÛÝ Çñ³ ¹³ñÓáõÃÛáõÝÝ»ñÁ: γñ¨áñ Çñ³¹³ñÓáõÃÛáõÝÝ»ñÇó ¿ ³ÛÝ, áñ ³Ûëù³Ý ß³ï ѳÛÏ³Ï³Ý ýÇÉÙ ¿ Áݹ·ñÏí³Í Íñ³·ñ»ñáõÙ: ö³é³ïáÝÁ Ç ëϽµ³Ý» Ñ»Ýó ëñ³ ѳٳñ ¿ñ Ùï³Í í³Í: ºí ÇѳñÏ» ß³ï áõñ³Ë »Ù, áñ ³Ûë ï³ñÇ ÑÛáõ ñÁÝϳÉáõÙ »Ýù Þ³éÉ ²½Ý³íáõñÇÝ, ²ñï³í³½¹ ö» É»ßÛ³ÝÇÝ, ÎÇÙ ¸áÝ-ÑáÛÇÝ ¨ ß³ï áõñÇßÝ»ñÇ: ²÷ëáë, áñ ødzéáëóÙÇÝ ãÇ Ï³ñáÕ ·³É: ²ì/èè
On the eve of the 10th edition of Golden Apricot, founding director Harutyun Khachatryan talks about the festival’s achievements and his plans for the future. When you started the festival, what was your dream? And to what extent have you realized it? “We had a great fear that Armenian cinema was coming to its end. That was the primary reason the festival was created. The political situation was such that cinema was nearly killed. Movie theatres were being sold as were the film studio and the film archives. Only substandard films and TV series were being produced. Hardly anyone remembered pure cinema. There were only two ways to reboot Armenian ci nema. The first was to make huge investments and reopen the studio, buy new equipment and finance new movies but that was impossible in Armenia at that time. And there was a more realistic but much harder and time consuming option: to bring the old Armenian cinema culture back to life: to start a festival, to open an international film school, organize master classes, bring movies from all over the world to Armenia and show the few Armenian films that were still being made to the world. We had to crea te an appetite for cinema among the youngsters. We thought that five years would be enough to accomp lish this, but as it turns out it took ten years; it is only now that we’re starting to see the results of our work. If during the first years only two or three Armenian films were included in the competition program, this year we have about 50. Also, more and more Armenian films compete in international film festivals and some of them even win awards. Besides the Golden Apricot film school some other schools have also been opened. Young directors have developed and learned to interact with international funds and get financing. New international festivals appeared in Armenia. Cinema gained a primary role in the education of our creative young generation. This was Golden Apricots dream and now it is reality. Obviously the appetite for cinema has risen within the population as well. In the first years we were happy to have 1000-2000 spectators during the whole festival. Today the number of our viewers has reached 50.000. So we think we’re on the right track.”
You said that one of the weaknesses is the lack of cinemas. But if you have so many spectators watching films, isn’t there an initiative to set up new commercial cinemas? People are obvious ly interested. “Armenians are excellent tradesman, but not in the field of arts. Nevertheless five or six new movie halls are going to be opened in commercial areas, mainly malls. And at least two of them will be de dicated to arthouse cinema. We will use those halls during next year’s festival. We also want to start using Moscow Cinema’s Summer Hall again, which is now all but forgotten. Some of this year’s scree nings will be held there. We hope that the Summer Hall will screen films even outside the festival.” Would you say that every film can potentially be selected in the festival program or are there limits as to what you show? “It must be a work of art. That’s the only condition. We do not show commercial films. And that in turn is the only limitation. There are no religious, political or national limits.” What films do you consider commercial? “I think that commercial films do not enrich the language of film; they are made only to make money. Those films will be screened anyway, they don’t need us. But no commercial person will invite Godfrey Reggio or Margarethe von Trotta to Armenia. That’s what the festival is for – invite people who help define the language of ci nema.” So this year’s Palm d’Or winner in Cannes La Vie d’Adèle by Abdellatif Kechiche, which has a number of very explicit erotic scenes, can be shown? “We always try to show the winners of Cannes. This year we also appealed to get screening rights, but sadly the distributors didn’t give them. There is a bad tendency in post-Soviet countries. Usually a big Russian distributor buys the rights for the entire area and doesn’t give them to the festivals in the region until it’s time for the films official release. This is really dangerous for small festivals. But we can’t do anything about it, it’s internatio nal law.” What are the highlights of this year’s edition? “The highlight for me is that there are so many Armenian films in the program. That’s what the festival was founded for. And of course I’m very happy to have Charles Aznavour, Artavazd Peleshyan, Kim Dong-ho and many other guests. It’s a pity that our good friend Kiarostami can’t come.” AV/RR
GOLDEN APRICOT DAILY | DAY 1&2 | 7/8 JULY | 2013
6 reviews
Aznavour, mind of a dreamer Shoot the Piano Player (Francois Truffaut, France, 1960) 7-7, 20:00, National Opera Theatre The light grin on his thin lips says it all. He’s a cynic who went through fame and fortune. And now he’s here – playing the piano in a cheap joint, surrounded by butterflies of the night and crooks. He’s lost everything in a se cond but he’s learned to live with it. The piano is his savior, the only soul he’s honest to. But the way he looks at someone’s face – calm, yet strained, through semi enclosed limpid eyelids – argues that no matter what there’s still a heart of a lion and deep down – a mind of a dreamer. He is Charlie Kohler and Édouard Saroyan. But most of all he is Charles Aznavour on the silver screen. In this case he’s in François Truffaut’s second feature film Shoot the Piano Player (Tirez sur le pianist, 1960). As a forefather of the new French crime drama, and essentially even New Hollywood’s crime films, especially Coppola’s The Godfather, this was an iconic work of art for the French New Wave paying homage to lowbudget American gangster movies. Though it wasn’t famous French chansonnier of Armenian descent Charles Aznavour’s first role in cinema, Charlie Kohler is certainly his most recognizable character and has become a quintessential part of his on-screen image. In this light paced, dynamic, sometimes meditating film Aznavour, who at that time already gained fame in France as a singer, gave a subtle performance portraying a sad man trying to recover his identity, but destined for perdition. Throughout the second half of the film Charlie Kohler is trying to bring back the initial Édouard Saroyan in him, but it seems as though those attempts are destined to fail. This is common in many of his characters: nearly always Aznavour plays a likable loner with a dark and mysterious backstory on a quest of finding either new life or death. Denys de La Patellière’s amusingly amiable war (or antiwar) film Taxi for Tobruk (Un taxi pour Tobrouk, 1960) featured Aznavour in the skin of Samuel Goldmann, a Jew who fled a concentration camp and ended up in the French army on the northern cost of Africa.
While Allied forces are commencing a frontal offensive against the Nazis, in El Alamein a group of four French soldiers and a captive German aristocrat are making their way through the Nazi lines. Goldmann’s reasons for escaping Europe are never said out loud but they gradually reveal themelves through Aznavour’s crooked figure and tired and sorrowful eyes. The eyes of Édouard Saroyan.
The character of Saroyan returns in Atom Egoyan’s 2002 Ararat and is again played by Aznavour. He is a film director making a mo vie about the Armenian Genocide. Basically he is making the movie that Egoyan chose not to make. Egoyan chose the path of a more versatile and complex exploration of what the Genocide of 1915 today means for Armenians living all over
Breaking Bad Russian style A Long and Happy Life (Boris Khlebnikov, Russia, 2013). 7-7, 11:00 Moscow Cinema, Blue Hall; 8-7 16:00 Moscow Cinema, Blue Hall; 9-7, 18:00 Cinema October (Gyumri)
You live your life trying to make ends meet and then one fine morning they hand you an eviction notice. The premise of A Long and Happy Life is as simple as that. An unknown investor is buying out the property of Russian farmers who failed to call in their mortgages. One of them, Sasha, is
given a choice: either leave his property and receive compensation or face trial. Either way the people working on Sasha’s farm are going to be left in a predicament. Of course Sasha will give them a slice of that compensation, but where will they go when the new owners start demolishing
the world. It is Saroyan who asks the questions troubling Egoyan and essentially it’s through him that some of the main characters come to terms with themselves. Saroyan-Aznavour has no grin like Kohler once had; now it’s a smile. And the tense look in his eyes has become appeased. In the end Charlie Kohler found what he was loo king for. AV
their houses? The people persuade Sasha to confront the officials. He agrees to fight the system and even his girlfriend who works in a local lawfirm. Soon the workers regret leaving Sasha alone. This is director Boris Khlebnikov’s and screenwri ter Alexander Radionov’s fourth collaboration and perhaps their most sharp and straightforward film to date. While basing the plot on a stereotypical, yet very specific social and domestic issue, the authors manage to avoid political and social valuations and bring A Long and Happy Life to a more universally comprehensible level. In that sense the resemblance between this film and Sergey Loznitsa’s My Joy (2010), a story of a truck driver traveling across Russia and coming to know the vile side of the essence of man, is quite evident. Both belong to the so-called “black” (or dark) films of modern Russian cinema and both have ironic tit les that mock their own substance. Both feature very light camerawork: cinematographer Pavel Kostamarov’s dynamic camera in Life easily floats around the characters finding the most telling detail to focus on and at times even becoming a cha racter itself: one can think that the camera is literally making fun of the characters by immortalizing their unconsciously appearing facial expressions. Yet most importantly neither My Joy nor A Long and Happy Life show a right and a wrong: the source of the issues raised are buried so deep in history that everyone is guilty one way or another. Khlebnikov’s film, per se, is a story of a man who wanted to be a hero, yet didn’t know his limitations. Bitter irony follows him everywhere he goes but the filmmakers refrain from judgement. Some scenes are utterly funny but even the dark finale is not as simple as it seems at first glance: while certainly depressing, the ending creates a peculiar mix of tragedy and comedy. By willing to bring back the past Sasha ironically makes the past impossible. AV
GOLDEN APRICOT DAILY | DAY 1&2 | 7/8 JULY | 2013
reviews 7 Water day
The Fifth Season 'The world in revolt' The Fifth Season (Peter Brosens, Jessica Woodworth, Belgium, Netherlands, France, 2013). 8-7, 10:00, 19:30, Moscow Cinema, Blue Hall A village. A disaster. It could have been every village where four seasons pass each year, says Jessica Woodworth. Every village where spring comes. But in The Fith Season spring does not come. And the wood does not burn. The crops do not grow and the bees stay away. As food runs out, this once prosperous community breaks down and civilization disappears. It could have been every village, but after Mongolia (Khadak) and Peru (Altiplano) directors Peter Brosens and Jessica Woodworth chose a location near the Walloon city of Dinant, their home turf. Many farmers from the area appear in the film, a number of them even play a role. A few days before the interview, the villagers have seen the movie for the first time'', says Woodworth. ''Six hundred people. Many farmers. And the ba ron of the village. Because he allowed us to film in his village and forests and fields. I was nervous because the film is not exactly tourism promotion for the area and the farmers in the film seem like a bunch of psychopaths. But the baron was delighted. One of
the best things he had ever seen, he said. Too bad he is not on Facebook to promote the film. And then the others, all those farm families who had invited their families. Some found the film too obscure but almost everyone understood that the story is not about their particular village. It’s talking about all the villages of the world. About us. Even though it is a Belgian man who is lynched and even though we cut off the head of a rooster, the symbol of Wallonia.'' ''We are acquainted with the majority of farming families in the area. They live in an ecological crisis, things are very unpredictable. The seasons are getting restless. Last year was the apple harvest disaster and the bees are really disappearing. This is no fairy tale. People said after the screening: ‘Yes, these are our times. Everyone needs to see this.’ I understand that it was hard for them to see this story because the characters in the film actually lynch someone. But that is the behavior of the collective, the fear and paranoia that you get when people do not understand something. That fear is universal and timeless. They are looking for a scapegoat. Usually this is the outsider.'' ''We left a lot out. Much is not said or shown. There is only the tsunami of silence. Peter and I always look for the essence. So we show a falling tree
as a symbol of nature starting to resist. A simple image. A protest against the way people deal with nature and with each other.'' In the script we played with the idea of trees as carriers of history for two years. Thomas, one of the characters, would find a bullet in a tree. That would be such a powerful image representing the relationship between man and nature... that bullet as a remnant of two world wars that were fought in the area. Many people have died there. Eventually we decided not to put that sequence in the film. That was painful as we decided it on the day we would film it. Everything was planned and paid for. The extras were on the set. But no, it felt unnecessary. Not essential. That’s the way we have always worked. For us, the image is still sacred.'' ''Yes, you could say that this film is the final part of a trilogy but that’s irrelevant. Even though Khadak, Altiplano and The Fifth Season are thematically related. In all three, we show how fragile things are, how man relates to nature. And how that is changing. Especially in Europe where our relationship with nature has deteriorated. Most people’s daily lives have nothing to do with nature anymore. There’s a total disconnect. We become aware of the landscape only when the train stops. And then only for a moment. RR
Blood-ties in nowhereland
Afghan home videos
11 Meetings With my Father (Nikos Kornilios, Greece, 2012). 7-7, 13:00 and 10‑7, 16:00, Moscow Cinema, Blue Hall.
My Afghanistan Life in the Forbidden Zone (Nagieb Khaja, Afghanistan, 2012) 8-7, 10:00, 18:00, Puppet theatre
20-year old Eva never met her father. In the opening scene of this subtle Greek drama, directed by not widely known but experienced filmmaker Nikos Kornilios (who started making films more than 30 years ago), the moving camera shows her face in close-up, while she rides her bike through the outskirts of the city. When asking for directions, we hear only the howling wind and wheels grinding the road. Within a few minutes Kornilios makes clear his movie is not about an aimless character cycling around randomly. Her trip feels very much like an inner journey. Eva’s not-so-surprising goal: to actually meet her father, a 40-something man called Thomas (a po werful performance by Lambros Apostolou, who uses way more than just his droopy eyes to show the viewer what he might be thinking), who lives in a container at a truck-depot. Responding to one of Eva’s first questions, Thomas seems to remember an affair with a Swedish woman 20 years ago, but he never knew their encounter resulted in the exis tence of Eva, who’s ready to investigate the family-ties which where unknown to her for such a long time.
Nagieb Khaja’s haunting documentary reveals the lives of ordinary Afghans through the edited images from mobile phones he secretly distributed among the population. With war raging in their backyard and roads paved with mines, people still have to do their daily shopping or collect grass for the cows. They have no choice but to dodge the bullets fired by Taliban and international military forces and hope for the best. For some this will prove a deadly strategy. One of the cameras even gets used by the Taliban, with three men sitting in a living room, making phone calls about an apparently successful bombing. On the receiving end of the horror and oppression, we meet a mother who is obviously risking her life by filming herself and her surroundings because women are not allowed on camera in the Taliban controled province of Helmand. But she needs the money Khaja is paying her, until the Danish born journalist himself decides she has to stop because of the risks involved. Painfully direct but utterly convincing My Afghanistan shows the innocents who have lost houses and relatives in a war that is being fought literally over their heads, when they lay face down in the dirt. RR
Director Kornilios uses this relationship to raise some thought-provoking questions about choice, fatherhood, responsibility and human connection. After they both did a DNA-test, Thomas asks Eva if she prefers a ‘positive or negative’ result. The answer remains unspoken – in 11 Meetings With my Father the questions are far more important. What does it actually mean to be related to someone? While hinting at a possible answer, Kornilios shows both their bodies (if they are blood related, then why is Eva model-like skinny while Thomas is round and fat?) and living spaces (his container and her tidy apartment reveal more than just the visible contrast), delving deeper into hidden feelings of longing and frustration, while leaving a clear definition of their relationship out there in nowhereland, a space inhabited by the viewer’s mind. BJB
If you carry around any electronic equipment on Sunday, be sure it’s wrapped in waterproof plastic. Guests of the festival should be aware Armenians celebrate Vartavar or Water Day or Bucket Day, an ancient national tradition, held every year fourteen weeks after Easter. Water Day means the perfect excuse to throw water at other people all day, while nobody’s allowed to get mad. Originally Vartavar took place before harvest time, to honour Astghik, the goddess of water, beauty, love and fertility. Today you can expect buckets full of water being thrown trough open windows of public transport vehicles – and boys chasing girls in what has become a true modern-day fertility-ritual. The day will be celebrated in combination with traditional music, dance and food everywhere in town.
Apricot-blessing opening ceremony
Golden Apricot Yerevan International Film Festival’s 10th edition starts on Sunday July 7th with a unique tradition. Before festival visitors lock themselves up in the dark for a week of film, priests at St. Zoravor Church will bless the apricots. The ceremony starts at 14:00, busses leave 30 minutes before in front of the Royal Tulip Grand Hotel. After the ritual, the blessed apricots will be available to enjoy with a glass of the good ol’ Armenian apricot cognac.
Charles Aznavour’s star and opening film Just before the screening of the ope ning film, François Truffaut’s Shoot the Piano Player (1960), which stars Charles Aznavour in the lead (invitations only), Mr. Aznavour will attend the unveiling of his Walk of Fame-like star at Charles Aznavour Square, at 18:00. ‘He has a lucid mind despite his age,’ said Golden Apricot founder and festival director Harutyun Khachatryan about the legendary 89-year old chansonnier, during a press conference on Friday.
Istvan Szabo Retrospective Also on Monday, at 19:30, the Istvan Szabó retrospective opens with the screening of his famous 1981 drama Mephisto at Moscow Cinema, Red Hall.
SHOCKING During the concert of Charles Aznavour, Just when he was singing La Boheme, They shot the piano player. Peter
Come and pick your apricot at Ani Plaza Hotel 19 Sayat-Nova Ave., 0001, Yerevan, Republic of Armenia Tel.: (+374 10) 594500, Fax: (+374 10) 565343