Golden Apricot Daily - 2013, Day 3

GOLDEN APRICOT DAILY | DAY 3 | 9 JULY | 2013

2 Íñ³·Çñ/program 8 ÑáõÉÇëÇ/ 8 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00, 20:00

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 ²ßï³ñ³Ï³íáñ ïáõÝÁ/House With a Turret ºí³ Ü»ÛÙ³Ý/ Eva Neymann, Ukr/78'/FAB

Lang.: Russian, Subt.: English

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00, 21:30 ³÷³éáõÙ/Wandering ²ñß³ÉáõÛë гñáõÃÛáõÝÛ³Ý/ Arshaluys Harutyunyan, Arm/82'/AP

10:00, 18:00

Lang.: Armenian, Subt.: English

Èáõë³ÝϳñÁ/The Photograph سã»Û ²¹³Ù»Ï/Maciej Adamek, Pol-Deu-Hun/85'/FC

Lang.: Polish, Subt.: English 12:00, 18:00 гݹÇåáõÙ ÎÇñáõݳÛáõÙ/ Rendez-Vous in Kiruna ²Ýݳ ÜáíÇáÝ/Anna Novion, Fra/99'/FC

Lang.: French/Swedish, Subt.: English

12:00, 15:00 Äåï³ó»ù/Keep Smiling èáõëáõ¹³Ý âÏáÝdz/Rusudan Chkonia, Geo-Fra-Lux/91'/FAB

Lang.: Georgian, Subt.: English 17:00 ºñç³ÝÏáõÃÛ³Ý Ù»Ë³ÝÇϳ/ Mechanics of Happiness Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý/ Nerses Hovhannisyan, Arm/88'/R

Lang.: Armenian, Subt.: English

12:00 êï»Õͳ·áñÍ»Éáõ μ³Ý³Ó¨/ Create a Formula ÜÇÏáÉ³Û ¸³íÃÛ³Ý/Nikolay Davtyan, Arm/22'/AP

Lang.: Armenian, Subt.: English ´³í³Ï³Ý/Enough ²¹ñÇÝ» ¶ñÇ·áñÛ³Ý/Adrineh Gregorian, Arm/17'/AP

Lang.: Armenian, Subt.: English ÈÛ³ÉÇÏ/Lyalik ²ñ³ Ö³Õ³ñÛ³Ý/ Ara Tshagharyan, Arm/20'/AP

Lang.: Armenian, Subt.: English

19:00

15:30 ä»åÇïïá/Pepitto ¶áõñ·»Ý æ³ÝÇμ»ÏÛ³Ý/Gurgen Janibekyan, Arm/22'/AP

14:00

Lang.: Armenian, Subt.: English

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 16:00 ä³ñáõݳÏÝ»ñ/Circles êñç³Ý ¶áÉáõμáíÇã/Srdan Golubovic, Nld/87', FC

Lang.: Serbo-Croatian, Subt.: English and Armenian

гÝݳ ²ñ»Ý¹ï/Hannah Arendt سñ·³ñ»Ã» ýáÝ Âñáó/Margarethe von Trotta, Deu-Lux-Fra/113'/YP

Lang.: German, Subt.: English and Armenian 21:30 îÇñáç ï³å³ÝÇ ÙáÙÁ/The Candle Alight on the Grave of the Lord 軽á âË»ÇÓ»/Rezo Chkheidze, Geo/125'/R

Lang.: Russian, Subt.: English

22:00 ³·áõÑÇÝ/The Queen êÃÇí»Ý üñÇñ½/Stephen Frears, UK-Fra-Ita/103'/R

Lang.: English, Subt.: Armenian

лÙÇÝ·áõ»Û ÷³µ/ Hemingway Pub 22:00

Ü»ñ»Ûß³/Nereysha ê»ñ·á àõëïÛ³Ý/Sergo Ustyan, Rus/13'/AP

Lang.: Russian, Subt.: English 16:30 ²ÝûÕ/Embers ³ٳñ³ êï»÷³ÝÛ³Ý/Tamara Stepanyan, Arm-Lbn-Qat/77'/ AP-SF

Lang.: Armenian/Russian, Subt.: English ƹ³Ý ³Ûëï»Õ ¿/Ida Is Here ¾ÙÇÉ ØÏñïãÛ³Ý/Emil Mkrttchian, Swe/20'/AP

Lang.: Swedish/English/ Armenian, Subt.: English and Armenian 18:00 ÈÛ³ÉÇÏ/Lyalik ²ñ³ Ö³Õ³ñÛ³Ý/ Ara Tshagharyan Arm/20'/AP

Lang.: Armenian, Subt.: English

ØáëÏí³ ÏÇÝáóïñáÝ, ²Ù³é³ÛÇÝ ¹³ÑÉÇ×/ Moscow Cinema, Summer Hall 21:00 ²ñù³Û³¹ëï»ñ å³ï»ñ³½ÙÁ/ Princess' War ìɳ¹ÇÙÇñ ²É»ÝÇÏáí/Vladimir Alenikov, Rus/90'/FV

Lang.: Russian Subt.: English 23:00 Äåï³ó»ù/Keep Smiling èáõëáõ¹³Ý âÏáÝdz/Rusudan Chkonia Geo-Fra-Lux/91'/FAB

Lang.: Georgian Subt.: English and Armenian

Àݹѳïí³Í Ù³ÝÏáõÃÛáõÝ/ Broken Childhood æÇí³Ý ²í»ïÇëÛ³Ý/Jivan Avetisyan Arm/46'/AP

Lang.: Armenian, Subt.: English лùdzÃ/Fairy Tale ²Ý¹ñ³ÝÇÏ Ð³ñáõÃÛáõÝÛ³Ý/ Andranik Harutyunyan Arm/14'/SC

Lang.: Armenian, Subt.: English âáñë å³ï. ê³ñ³¨á/Four Walls Sarajevo ܳ¹ÇÙ ¶Ûáõã/ Nadim Güç, Tur/24'/SC

Lang.: Bosnian, Subt.: English and Armenian γ½Ù³ÉáõÍí³Í ѳÝó³·áñÍáõÃÛáõÝ/The Disorganized Crime êï»ý³Ý ÐáýÙ³Ý/Stephan Hofmann, Esp/15'/SC

Lang.: Spanish, Subt.: English and Armenian

19:30 ʳí³ñáõÙ/Eclipse ²ñ³ ºñÝç³ÏÛ³Ý/Ara Yernjakyan Arm/12'/AP

Lang.: Armenian/English, Subt.: English and Armenian гÛÏ³Ï³Ý ³ñÓ³·³ÝùÝ»ñ/ Armenian Echoes Part Three гÏáμ ¶áõ¹ëáõ½ Û³Ý/Hagop Goudsouzian, Can/52'/AP

ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 2/ Moscow Cinema, Small Hall 2

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ/ Puppet theatre

13:00 ºí ³Û¹ ûñÁ »Ï»É ¿/And That Day Has Come ÜÇÏáÉ³Û ¸³íÃÛ³Ý/Nikolay Davtyan Arm/23'/FV

10:00, 18:00

Lang.: Armenian, Sub.: English

´³ñÇ ·³Éáõëï ¨... ó³í³ÏóáõÙ »Ýù/Welcome and... our Condolences È»áÝ äñáõ¹áíëÏÇ/Leon Prudovsky Isr/30'/SC

Lang.: Russian/Hebrew, Subt.: English ºë ·Çï»Ù/I Know سÝáõ»É³ Øáñ»Ýá/Manuela Moreno Est/15'/SC

Lang.: Spanish, Subt.: English γñÙÇñ ÓÛáõÝ/Red Snow Èáõϳ äáå³¹Çã/Luka Popadic Che/Srb/23'/SC

Lang.: German/Serbian, Subt.: English

ÈÇÝ»É ï³ñμ»ñ/Being Different ²ßáï ØÏñïãÛ³Ý/ Ashot Mkrtchyan, Arm/50'/FV

²ñÛáõݳÏÇó »Õμ³Ûñ/Blood Brother êÃÇí Ðáõí»ñ/Steve Hoover, USA/93'/DC

Lang.: Armenian, Sub.: English 15:00 ì³ñå»ïáõÃÛ³Ý ¹³ë سñ·³ñ»Ã» ýáÝ ÂñáóÛÇ Ñ»ï/Master Class with Margarethe von Trotta

Lang.: English/Tamil, Subt.: English 12:00, 20:00 ê¨ ÍáíÇ í»ñçÇÝ Íáí³Ñ»ÝÝ»ñÁ/The Last Black Sea Pirates êí»ïáëɳí êïáÛ³Ýáí/Svetoslav Stoyanov, Bgr/72'/DC

18:00 ÐÇÙ³ μáÉáñë ÙdzëÇÝ/All Together Now ²É»ùë³Ý¹ñ ØÇñ»óÏÇ/Alexander Mirecki, USA/82'/AP

Lang.: Bulgarian, Subt.: English

Lang.: English, Subt.: Armenian

16:00

20:00

¶áñÇÇó »Ï³Í ³ÕçÇÏÁ/The Girl From Gori ¾Ï³ ä³ådzßíÇÉÇ/Eka Papiashvili, Deu-Geo/14'/SC

Lang.: Georgian, Subt.: English 12:00, 20:00 ¸³·³Õ³·áñÍÇ ×á׳ݳÏÁ/ The Swing of the Coffin Maker ¾ÉÙ³ñ ÆÙ³Ýáí/Elmar Imanov, Deu/29'/SC

Lang.: Azerbaijani, Subt.: English Þ³Ë/Check ä³μÉá ²ëëÇÝá/ Pablo Accino, Esp/20'/SC Lang.: Spanish, Subt.: English úñáñáó³ÛÇÝ/Lullaby ²ñÃáõñá ê³μáÛ³/Arturo Saboia Bra/23'/SC

Lang.: Portuguese, Subt.: English ܹáõ·áõÇ Ù³ëÇÝ/About Ndugu ¸³íǹ ØáõÝÛáë/David Muñoz, Esp/17'/SC

гÛñÁ/Father Æßïí³Ý ê³μá/ István Szabó, Hun/86'/R

Lang.: Hungarian, Subt.: English and Armenian 22:00 îÇÏÇÝ Ð»Ý¹»ñëáÝÁ Ý»ñϳ۳óÝáõÙ ¿/Mrs Henderson Presents êÃÇí»Ý üñÇñ½/Stephen Frears.

UK/103'/R

Lang.: Armenian, Subt.: English

Ð. سÉÛ³ÝÇ ³Ýí³Ý ÏÇÝá¹»ñ³ë³ÝÇ Ã³ïñáÝ Theater-Studio of Cinema Artists After H. Malyand

Lang.: English, Subt.: Armenian

Lang.: Kikamba, Subt.: English ²ñï³ëáíáñ ³íïáμáõëÁ/The Fantastic Bus ¸³Ý³ ÞÛáÉ/ Dana Schoel Can/12'/SC

Lang.: English 16:00 ֳݳå³ñÑÇ ëϽμÇÝ/ Beginnings êáÙÝáõñ ì³ñ¹³ñ/Somnur Vardar Tur-Arm/86'/FAB

Lang.: English/Armenian/ Turkish/Kurdish, Subt.: English and Armenian

ÐÇßáÕáõÃÛáõÝÝ»ñª ³é³Ýó ë³ÑÙ³ÝÝ»ñÇ/Memories Without Borders ȨáÝ ø³É³Ýóñ, Ø»Ñٻà ´ÇݳÛ, ²Û³½ ê³É³¨/Levon Kalantar, Mehmet, Binay, Ayaz Salayev, Arm-Tur-Aze/55'/FAB

ºñև³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens

12:00

22:00 ê¨ ÑÇÝ·ß³μÃÇ/Black Thursday ²ÝïáÝÇ Îñ³áõ½»/ Antoni Krauze Pol/105'/PFP

Lang.: Polish, Subt.: English and Armenian

¸³ï³ñÏáõÃÛáõÝ/Emptiness ²ñë»Ý гÙμ³ñÓáõÙÛ³Ý/ Arsen Hambardzumyan Rus/15'/FV

Lang.: Russian Subt.: English г۳ëï³Ý. ·ñ»ñÇ Ññ³ßùÁ/ Armenia, the Magic of Writes ²ñïá ö»ÑÉÇí³ÝÛ³Ý/Arto Pahlevanyan, Fra/11'/FV

Lang.: Armenian, Subt.: English سñ³ÃáÝ/Marathon гñáõà ޳ïÛ³Ý/Harut Shatyan, Arm/18'/AP

Lang.: French

Lang.: Armenian, Subt.: English

16:00

SUBMIT YOUR DOCUMENTARY FILM TO CAUCADOC ONLINE CATALOGUE

Editor in chief: Ronald Rovers General supervising manager: Peter van Bueren ¶É˳íáñ ËÙµ³·Çñ` Ռոնալդ Ռովերս úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý ԱշËատակազմ` ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ²ñÍíÇ ´³ËãÇÝÛ³Ý, ²ñÙ»Ý Þ³ËÏÛ³Ý, ÈÇÉÇà ä»ïñáëÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, 껹³ ä³åáÛ³Ý, Մարինե Ղարախանյան, Ռիմա Աղեկյան

Coordinator Daily: Genofia Martirosyan Journalists: Berend Jan Bockting, Artur Vardikyan, Evrim Kaya, Seda

Տպագրված ` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

companies, both local and international broadcasters and festivals. It will contribute to the exchange,

X γñÉ ²ñÙ»Ý ´áõçÇϳÝÛ³Ý/ Karl Armen (Karl Armen Boudjikanian), Hun/6'/FV

last 5 years in the South Caucasus.

The Application form is available at www.caucadoc.com and www.sakdoc.ge.

No dialogues ÜíÇñáõÙ/Devotion ìñáõÛñ êÇÙáÝÛ³Ý/Vruyr Simonyan, Arm/15'/FV

Papoyan

Photos: Vahan Stepanyan ©PanARMENIAN Photo

Design: Gayane Grigoryan

Èáõë³ÝϳñÝ»ñÁ` Վահան ՍտեփանյանÇ ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ

CAUCADOC launches an online catalogue for creative/artistic documentaries (both completed and in progress), produced in Armenia, Georgia, and Azerbaijan since 2007.

For additional information please contact:

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

Georgia : Anna Dziapshipa anna@sakdoc.ge Armenia: Karine Aroyan k.aroyan@internews.am Azerbaijan: Alina Abdullaeva motorproduction@gmail.com

ship Culture programme and the Development Cooperation of the Czech Republic.

êå³Ñ³ÝÇ áñ¹ÇÝ/Isfahan's Son ü³ñß³¹ ¾ùûë³μÇ/ Farshad Ektesabi, Irn/32'/FV

Lang.: Persian, Subt.: English -

àõÕ¨áñáõÃÛáõÝ ¹»åÇ ²ñ³ñ³ï/Journey to Ararat èÇÑá ìÛ³ëïñÇÏ/Riho Västrik, Est/68'/FV

Lang.: Estonian, Subt.: English

GOLDEN APRICOT DAILY | DAY 3 | 9 JULY | 2013

ýÇÉÙ»ñ »õ é»ÅÇëáñÝ»ñ 3

Ð³Û ÏÇÝá»ñ³ÅßïáõÃÛ³Ý Ñ³ÛñÁ

è»ÅÇëáñÝ»ñ` ³é³Ýó ë³ÑÙ³ÝÝ»ñÇ

øë³­Ý»­ñáñ¹ ¹³­ñÇ Ù»­Í³­·áõÛÝ ÏáÙ­å᭽ǭïáñ­Ý»­ ñÇ ß³ñ­ùáõÙ í³­Õáõó Çñ å³ï­í³­íáñ ï»ÕÝ áõ­Ý»­ óáÕ ²ñ³Ù ʳ­ã³ï­ñÛ³­ÝÇ (1903–1978) ëï»Õ­Í³­ ·áñ­Í³­Ï³Ý ¹Ç­Ù³Ý­Ï³­ñÇ ³Ý­ù³Ï­ï»­ÉÇ Ù³ë ¿ ÏÇ­Ýá­ »­ñ³Åß­ïáõ­ÃÛáõ­ÝÁ£ Üñ³ ÏÇ­Ýá­ÏáÙ­å᭽ǭïá­ñÇ Ï³­ñÇ­»­ñ³Ý ëÏëí»ó 1935 Ãí³­Ï³­ÝÇݪ Ñ³Û ÏÇ­Ýá­ÛÇ ³é³­çÇÝ Ó³Û­Ý³­ÛÇÝ §ä»­åᦠýÇÉ­ÙÇó, áñÇ é»­ÅÇ­ëáñÝ ¿ñ Ñ³Û ýÇÉ­Ù³ñ­ í»ë­ïÇ é³Ñ­íÇ­ñ³ г­Ùá ´»Ï­Ý³­½³­ñÛ³­ÝÁ: ÎáÙ­åá­ ½Ç­ïáñÝ ³é³­çÇÝ ÇëÏ ÷áñ­Óáí ÁÙµé­Ý»ó ¨ Ûáõ­ñ³ó­ ñ»ó ÏÇ­Ýá­ÛÇ É»­½áõÝ: ÎÇ­Ýá­ÛÇ Ûáõ­ñ³­Ñ³ï­Ïáõ­ÃÛáõ­ÝÁ ÏáÙ­å᭽ǭïá­ñÇó 峭ѳݭçáõÙ ¿ áñá­ß³­ÏÇ ë³Ñ­Ù³­ ݳ­÷³­ÏáõÙ­Ý»ñ ¨ Ù»Í í³ñ­å»­ïáõ­ÃÛáõÝ: ʳ­ã³ï­ñÛ³­ÝÇ ÏÇ­Ýá­ÏáÙ­å᭽ǭïá­ñ³­Ï³Ý Ó»­ é³·­ñÇ ³é³Ýӭݳ­Ñ³ï­Ïáõ­ÃÛáõÝ­Ý»­ñÁ Ó¨­³­íáñ­í»­óÇÝ ³é³­çÇÝ ýÇÉ­Ùáí ¨ ³Ù­ñ³åݹ­í»­óÇÝ áõ ÑÕÏí»­óÇÝ Ñ»­ï³­·³ ³ß­Ë³­ï³Ýù­Ý»­ñÇ Áݭóó­ùáõÙ: ʳ­ã³ïñ­ Û³­ÝÁ ýÇÉ­ÙÇ »ñ³Åß­ï³­Ï³Ý Ó¨­³­íá­ñáõ­ÙÝ Çñ³­Ï³­ ݳó­ÝáõÙ ¿ Ïá­É³­Å³­ÛÇÝ ëϽµáõÝ­ùáí: ܳ »ñ³Åß­ ï³­Ï³Ý ï³ñ­µ»ñ ѳï­í³Í­Ý»­ñáí ëï³­ÝáõÙ ¿ ÏÇ­Ýá­ å³­ïáõ­ÙÇ »ñ³Åß­ï³­Ï³Ý Ýϳ­ñ³­·Ç­ñÁ, Ï»ñ­å³­ñ³­ ÛÇÝ »ñ³Åß­ïáõ­ÃÛ³Ý ÙÇ­çá­óáí Éñ³ó­ÝáõÙ ¿ Ñ»­ñáë­Ý»­ñÇ ¹Ç­Ù³­·Ç­ÍÁ, ·áõ­Ý³­íá­ñáõÙ Ýñ³Ýó Ïá­Éá­ñÇ­ïÁ, Áݹ·­ ÍáõÙ ³å­ñáõÙ­Ý»ñÝ áõ ÑáõÛ­½»­ñÁ: §ä»­åá­ÛáõÙ¦ ݳ í³ñ­å»­ïá­ñ»Ý ÏÇ­ñ³­é»ó »ñ³Åß­ï³­Ï³Ý É³ÛíÙá­ïÇ­ íÁ, ³ñ­ï³­Ï³¹­ñ³­ÛÇÝ ¨ Ý»ñ­Ï³¹­ñ³­ÛÇÝ »ñ³Åß­ïáõ­ ÃÛ³Ý Ó¨­»­ñÁ: Þ³ï ϳ­ñ¨­áñ ³é³Ýӭݳ­Ñ³ï­Ïáõ­ÃÛáõÝ ¿ ³ÛÝ, áñ ÏáÙ­å᭽ǭïá­ñÁ ýÇÉ­Ùáõ٠ѳ­Ù³¹­ñáõÙ ¿ ëÇÙ­ ýá­ÝÇÏ »ñ³Åß­ïáõ­ÃÛáõ­ÝÁ ¨ ýáÉÏ­Éá­ñÁ: ²ÛÝ­ù³Ý ë³­ ÑáõÝ ¿ Çñ³­Ï³­Ý³ó­ÝáõÙ ³Ý­óáõÙ­Ý»­ñÁ, áñ ³Û¹ ï»­ë³­ ϳ­ÛÇÝ ¨ ųݭñ³­ÛÇÝ ï³ñ­µ»­ñáõ­ÃÛáõ­ÝÁ ýÇÉÙÝ ¿Ï­É»Ï­ ïÇÏ ëï»Õ­Í³­·áñ­Íáõ­ÃÛ³Ý ãÇ í»­ñ³­ÍáõÙ: ÀÝ­ ¹áõÝ­ í³Í ϳñ­ ÍÇù ¿, áñ ãݳ­ Û³Í ýÇÉ­ ÙÇ ë¨ëåÇ­ï³Ï ÉÇ­Ý»­Éáõݪ ÏÇ­Ý᭹ǭïá­ÕÇ ÑÇ­ßá­Õáõ­ÃÛ³Ý Ù»ç §ä»­åáݦ ïå³­íáñ­íáõÙ ¿ áñ­å»ë ß³ï ·áõ­Ý»Õ ¨ í³é ýÇÉÙ: ¸ñ³ å³ï­×³é­Ý»­ñÇó Ù»ÏÝ ¿É Ñ»Ýó ʳ­ã³ï­ñÛ³­ÝÇ »ñ³Åß­ïáõ­ÃÛáõÝÝ ¿, áñáí ÉóíáõÙ ¿ ÃÇý­ÉÇ­ëÛ³Ý ÙÃÝá­Éáñ­ïÁ: Üñ³ »ñ³Åß­ïáõ­ÃÛáõ­ÝÁ ϻݭ¹³­Ýáõ­ÃÛáõÝ ¿ ï³­ÉÇë å³ï­Ï»­ñÇÝ ¨ ýÇÉ­ÙÁ ÏÇ­ Ý᭹ǭïá­ÕÇ Ñá­·áõÝ ³í»­ÉÇ Ùáï ¿ ¹³ñÓ­ÝáõÙ: ²ñ³Ù ʳ­ã³ï­ñÛ³­ÝÇ ¨ г­Ùá ´»Ï­Ý³­½³­ñÛ³­ ÝÇ Ñ³­Ù³­·áñ­Í³Ï­óáõ­ÃÛáõ­ÝÁ åñá­ý»­ëÇ­á­Ý³É ¨ ³Ùáõñ ÑÇÙù ¹ñ»ó Ñ³Û ÏÇ­Ý»­Ù³­ïá·­ñ³­ýÇ­³­ÛáõÙ é»­ÅÇ­ëáñÏáÙ­å᭽ǭïáñ ѳ­Ù³­ï»Õ ³ß­Ë³­ï³Ý­ùÇ áÉáñ­ïáõÙ: §¼³Ý­·»­½áõ­ñáõÙ¦ (1938), áñÁ ¹³ñ­ÓÛ³É ´»Ï­Ý³­ ½³­ñÛ³­ÝÇ ýÇÉÙÝ ¿, ʳ­ã³ï­ñÛ³ÝÝ Çñ »ñ³Åß­ïáõ­ ÃÛ³Ùµ Ï»ñ­ ï»É ¿ ³Û¹ ų­ Ù³­ ݳϭ Ý»­ ñÇ Ñ³Û Çñ³­ ϳ­Ýáõ­ÃÛ³Ý »ñ³Åß­ï³­Ï³Ý Ï»ñ­å³­ñÁ: Üñ³Ý ѳ­ çá­Õ»É ¿ ëï³­Ý³É ³Û¹ ų­Ù³­Ý³Ï­Ý»­ñÇÝ Ñ³­ïáõÏ ³Ý­Ñ³Ý·ë­ïáõ­ÃÛáõÝÝ áõ ˳é­Ý³ß­÷á­ÃÁ: л­ï³ùñù­ñ³­Ï³Ý ¨ Ûáõ­ñû­ñÇ­Ý³Ï ÏáÙ­å᭽ǭïá­ ñ³­Ï³Ý ³ß­Ë³­ï³Ýù ¿ ϳ­ï³ñ­í³Í ÝáõÛÝ­ù³Ý Ûáõ­ ñû­ñÇ­Ý³Ï é»­ÅÇ­ëá­ñ³­Ï³Ý ³ß­Ë³­ï³Ý­ùáí ³ã­ùÇ ÁÝÏ­

ÐáõÉÇëÇ 9-ÇÝ, ųÙÁ` 10:00-ÇÝ, »ù»Û³Ý Ï»ÝïñáÝáõÙ ï»ÕÇ Ïáõݻݳ §àë­Ï» ÍÇ­ñ³­ÝǦ §è»­ÅÇ­ëáñ­Ý»ñ ³é³Ýó ë³Ñ­Ù³Ý­Ý»­ñǦ (è²ê) ï³­ñ³­Í³ßñ­ç³­Ý³­ÛÇÝ Ñ³­Ù³­ï»Õ ³ñ­ï³¹­ñáõ­ ÃÛ³Ý 7-ñ¹ ýá­ñáõ­ÙÁ: è²ê-Á ³Ù»­Ý³­ÙÛ³ ÙÇ­çá­ ó³­éáõÙ ¿, áñÇ Ýå³­ï³ÏÝ ¿ Ëñ³­Ëáõ­ë»É ²ñ¨­ »­É Û³Ý ·áñ­ÍÁÝ­Ï»­ñáõ­ÃÛ³Ý »ñÏñ­Ý»­ñáõ٠ѳ­Ù³­ ï»Õ ýÇÉ­Ù³ñ­ï³¹­ñáõ­ÃÛ³Ý ½³ñ­·³­óáõ­ÙÁ: ²Ûë ï³­ñÇ ýá­ñáõ­ÙÇÝ Ù³ë­Ý³Ï­ó»­Éáõ ¿ 12 ݳ­Ë³­ ·ÇÍ, áñáÝ­óÇó »ñ»­ùÁ Ïëï³­Ý³Ý 5000, »ñ­Ïáõ­ ëÁ` 2000 »í­ñá ½³ñ­·³ó­Ù³Ý ¹ñ³­Ù³ß­ÝáñÑ:

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GOLDEN APRICOT DAILY | DAY 3 | 9 JULY | 2013

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ

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GOLDEN APRICOT DAILY | DAY 3 | 9 JULY | 2013

interview 5

Kim Dong-ho ÎÇÙ ¸áÝ-ÑáÝ 76 ï³ñ»Ï³Ý ¿ ¨ ³ñ¹»Ý ëÏë»É ¿ Çñ »ññáñ¹ ÏÛ³ÝùÁ: §ºë ã»Ù ϳñÍáõÙ, áñ ÙdzÛÝ ÏÇÝáÝ ¿ »ñ³½Ç ÝÙ³Ý, ÏÇÝá÷³é³ïáÝ»ñÁ ÝáõÛÝå»ë »ñ³½ »Ý ÑÇß»óÝáõÙ¦:

“It’s all about finding and keeping the balance.

The Yerevan Film Festival should keep selecting films from local regions, focusing on Eastern Europe, made by young and new directors. But they should also invite good films from big festivals, preferably the award winners, who attract bigger audiences.”

ÎÇÙ ¸áÝ-ÑáÝ Çñ ϳ­ ñÇ­ »­ ñ³Ý ëÏë»É ¿ áñ­ å»ë г­ñ³­í³­ÛÇÝ Îá­ñ»­³­ÛÇ Ï³­é³­í³­ñáõ­ÃÛ³Ý å³ß­ ïá­ÝÛ³` ³ß­Ë³­ï»­Éáí Ùß³­ÏáõÛ­ÃÇ Ý³­Ë³­ñ³­ñáõ­ ÃÛáõ­ÝáõÙ: Üñ³ »ñÏ­ñáñ¹ Ï۳ݭùÁ ëÏëí»ó 1996-ÇÝ, »ñµ ÑÇ٭ݳ¹­ñ»ó äáõ­ë³­ÝÇ ÙÇ­ç³½­·³­ÛÇÝ ÏÇ­Ýá­÷³­ é³­ïá­ÝÁ, áñÁ ÑÇ­Ù³ ³é³­çÇÝÝ ¿ ²ëÇ­³­ÛáõÙ: ܳ 2010-ÇÝ Ññ³­Å³ñ­í»ó ÷³­é³­ïá­ÝÇ ïÝû­ñ»­ÝÇ å³ß­ ïá­ÝÇó, µ³Ûó Ùݳó Ïá­ñ»­³­Ï³Ý ÏÇ­Ýá­ÛÇ ³Ù»­Ý³­Ù»Í ¹»ë­å³­ÝÁ: §àë­Ï» ÍÇ­ñ³­ÝÁ¦ ³Ûë ï³ñ­í³ Áݭóó­ ùáõÙ ³ñ­¹»Ý áõ­Ã»­ñáñ¹ ÷³­é³­ïáÝÝ ¿, áñ ݳ ³Û­ó»­ ÉáõÙ ¿: ÆëÏ Ñ»­ïá ëÏëíáõÙ ¿ Ýñ³ »ñ­ñáñ¹ Ï۳ݭùÁ. ݳ ÇÝùÝ ¿ ÏÇ­Ýá­é»­ÅÇ­ëáñ ¹³é­ÝáõÙ ª Çñ §ÄÛáõ­ñÇݦ ϳñ­×³­Ù»ï­ñ³Å ˳­Õ³ñ­Ï³­ÛÇÝ ýÇÉ­Ùáí:

While working for the government you made an end to the strict Korean film censorship. How did you deal with the political opposition while making that decision?

“I worked for two years as head of the Censorship Board and managed to let it operate more freely. At that time a part of the government didn’t like me very much because of the decisions I made, so I deliberately stepped down after those two years.”

Could you elaborate on one of those decisions?

“At that time, around 1992, it was impossible to show the image of a penis on screen. When the film The Crying Game was released, in which a man discovers the lady he loves is actually a man when he sees ‘her’ penis, I realised this movie would have no meaning when the penis-image was removed. So I allowed that scene to be shown. Besides that, I lifted the ban on films classics like Battleship Potemkin en October by Sergei Eisenstein, who where all still illegal until then.”

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By banning the censorship, do you consider yourself the founder of the contemporary Korean film spirit in a way? Korean movies can be pretty violent.

“A little bit, maybe. But it was much more due to the international trend in cinema, and a way of reflecting the changing Korean society.”

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Kim Dong-ho is 76 and he just started his third life. ‘I think not only cinema is like a dream, but film festivals are dream-like too.’

Kim Dong-ho started as a South Korean government official, working for the Ministry of Culture. His second life began in 1996 when he founded the Busan International Film Festival, now Asia’s number one film festival. Mr. Kim resigned as a director in 2010 but he still is very much an ambassador of Korean cinema. And then began his third life: he became a film director himself, with his short fiction Jury.

I understand you go jogging every morning.

Even during film festivals?

“Haha, I’m starting tomorrow. I arrived in Yerevan at 5 o’clock this morning, so I couldn’t do it today. But yes – I’m doing daily morning exercises since I’m very young, around 35 years old. Not only to start the day with a fresh spirit, but also to maintain a healthy condition.”

What could other festival directors learn from you?

“The main role of the festival director is to promote the films and filmmakers in their country. I’ve visited more than 70 festivals in the world and everywhere I found a way to promote Korean cinema.

For example, last year Pieta by Kim Ki-duk won the Golden Lion at the Venice Film Festival. A few days after the award ceremony we held a party for him in Korea. There he said: ‘51 percent of this trophy must go to Kim Dong-ho.’ He also said he owed his existence to me – his first film had its world premiere during the very first edition of the Busan film festival. That made me very proud.”

Golden Apricot-director Harutyun Khachat­ ryan said in Sunday’s Golden Apricot Daily that his festival needs to program more new films, and focus less on films that are already discovered. What would your advice to him be?

You’re making your debut film while you’re 76. Was becoming a film maker a life-long dream?

“When I attended mayor festivals like Cannes, seeing the red carpets and award ceremony’s, I realised the protagonists of this festivals aren’t the real stars in the movies; the film directors are most important. When I retired as festival director, I decided to finally become a film maker.”

Your short film, Jury, is actually about film festivals. In the film jury members are literally fighting to decide what the winning film will be.

Was that based on reality?

“Of course I used my own experience for this movie, I attended many jury’s at international film festivals, but I never experienced physical fights. I liked the idea of making the movie like a dream. I think not only cinema is like a dream, but film festivals are dream-like too. It’s a good place for audiences to release negative feelings about life through the films.

Also film makers see a dream fulfilled when walking on the red carpet. Even the conversation we’re having know, this interview, is like a dream – our meeting at this moment would never have taken place if there wasn’t a film festival in Yerevan.”

Are you working on a new film?

“I’m making another short fiction film about volunteers at a festival. I’m planning to shoot it during the next Busan film festival. I’ll start two days before and finish two days after the opening day, hoping to show a rough cut one day before the closing of the festival. There’s also a documentary made about me, called Ongoing Smile, that will be shown during the same festival. It would be wonderful if both films can be shown together.”

Do you see any limits to your dreams as a film maker?

“I want to make my first feature film in about two years from now. It would be another dream come true if one of my future features will be shown in Cannes or Berlin. I don’t know yet what the topic or story will be though. And if it doesn’t work, I just keep on dreaming.” BJB Jury (Kim Dong-ho, South Korea, 2012) 10‑7, 17:00, Moscow Cinema Red Hall

GOLDEN APRICOT DAILY | DAY 3 | 9 JULY | 2013

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The Heavy Stones of War Circles (Goran Joksimović, Serbia, 2013).

9-7, 16:00, Moscow Cinema, Blue Hall Srdan Golubovic takes us back to a time of war when a pack of cigarettes could be a reason for killing someone. Serbian officer Todor gets angry at Muslim kiosk owner Harris when he hears that his favorite brand is sold out. Young, goodhearted Serbian soldier Marko who just bought the last pack intervenes and saves Harris, but the price is his own life. Beaten to death by a gang of his fellow soldiers, he leaves a beautiful fiancé and a devastated father behind.

This prologue is inspired by a true event that happened on January 21st of 1993 in Trebinje. The soldier’s name was Srđan Aleksić, remembered by the real-life Harris, Alen Glavović who still visits Aleksić’s father every year. Circles tells the aftermath of this powerful story. In a way it tries to reconcile the parties, if only fictitious.

Twelve years after the event Harris has a peaceful life in Germany with his beautiful wife and two children, but he does not forget to whom he owes it all. When Marko’s widowed fiancé needs his help for running away from her violent husband, there is nothing that he won’t sacrifice. For if Marko would have let him die in 1993, this would have never happened to her.

Meanwhile in Serbia, Todor is forced to face his guilt when his life depends on Nebojša, the only surgeon in town who can perform the operation he needs. Ironically he was a dear friend of Marko.

Marko’s father is carrying stones up a hill like a modern day Sisyphus, to rebuild a church that was removed to build a power central. Another former soldier from the gang is already dead, but his son is young, curious and stubborn and he follows Marko’s father, he just wants to work by helping him. At one point he gets himself injured by almost throwing himself under the rocks, rendering them

symbols of life’s heavy tragedies. Is there a meaning to all this pain? Even Sisyphus didn’t know.

Circles follows the events that unfold like circles in water after you throw a stone. They might look independent seen from the bottom but Golubovic’s unagitated gaze slowly rises to the

sky until there is a clear sight. This is not to provide answers to the basic questions of life: What is guilt and how do we reconcile? After an innocent son or comrade is gone forever, does it even make sense to forgive someone? How can one pay a sacrifice without being caught in the vi-

cious cycle of other sacrifices? No, Circles simply shows us that although there are no real answers for what one should do, life demands that we go on. And if people are capable of coping even with tragedies as big as this one, there might be hope for all of us. EK

Teenage journey The photograph (Maciej Adamek, Poland, 2012). 9-7, 10:00, 20:00, Moscow Cinema, Blue Hall

My Dinner with Boris Till Night Do Us Part (Boris Khlebnikov, Russia, 2012) 8-7, 21:00 Moscow Cinema, Summer Hall, 9-7, 14:00, Moscow Cinema, Blue Hall While in a restaurant have you ever been curious about who the people at the other tables are and what they are talking about? One of them is red in the face and laughs a lot while devouring an expensive meal – surly an oligarch. On the far right of the hall sits a young woman – blushing and smiling, watching with awe and amazement: perhaps a dweller of the countryside on her first trip to the big city. Look around: so many characters and so much life. A great basis for a movie, a comedy maybe. Imagine that.

Actually there’s really no need to imagine anything, because director Boris Khlebnikov along with his screenwriter Alexander Radionov and

cinematographer Pavel Kostomarov have already made the film. Till Night Do Us Part. This hourlong satire was in fact based on a magazine article called “Tasty Talks”. The author simply wrote down the conversations he overheard in a luxurious Moscow restaurant. And that’s exactly where we see the heroes of the film – troubled waiters and mistresses, emigrant cooks from Kazakhstan and a rough, but kind-hearted Turkmen chef, a depressed rock-musician and an pompous harpist.

There’s no single main character; everyone gets almost the same amount of screen time. As a result there’s no definite plot either. Every group of characters is doing his own thing. Still the progress of the movie is surprisingly smooth and logical.

And despite the characters being so stereotypical, they’re never boring. Some likable and some certainly not, they are all familiar particle of modern reality, very droll and fun to watch. AV

The sudden, unexplainable disappearance of Adam’s father in his dream becomes a freudian interpretation of the sixteen years old's subconcious doubts. These become even stronger when he discovers an old photo of his pregnant mother being hugged by an unknown man. It marks the beginning of a journey of discovering identity, love, friendship and even death.

In his coming-of-age debut feature Maciej Adamek tackles the existential confusion of teenagers growing up without role models. Full of lush seaside landscapes and slowly evolving events The Photograph unobtrusively creates a sense of suspense. In his search for answers, Adam discovers the beauty, the joy, but also the anxiety and haziness of teenage life. With people around him violating the harmony of family life, including a cheating father with whom he has a distant relationship, being betrayed by a friend and caught in a love triangle, when he has to face the death of his grandmother, Adam finds a retreat in filming.

Since understanding reality is such a huge task, he uses an intermediate, the camera. It becomes his comrade on the path of self-discovery: filming his own reflection on streets or in windows signifies the introverted teenager’s attempt of determining who he is and where he stands in this reality. AC

A Time to Bond Rendez-vous à Kiruna (Anna Novion, France, 2012) 9-7, 12:00, 18:00 Moscow Cinema, Blue Hall How strange is it to identify a person you never saw? It must be even stranger when that person is your dead child. As he receives a call from Sweden informing that his 27-year-old son has drowned, cocky Ernest Toussaint, a successful architect running his own company, sets off to identify the body.

On the way to Kiruna, where the son awaits him, Ernest picks up Magnus who’s traveling to his grandfather. Along the way, they get to know each other and Ernest starts seeing Magnus as the son he should have cared for but never did.

The journey of French director Anna Novion Rendez-vous à Kiruna seems pretty basic for a traditional road-movie. A guy, a nagger goes on a trip, which eventually changes his life. But the premise of the plot takes this tale of a life changing experience to unusual depths. It’s not just about the bonds between a parent and a child. For one thing, Novion co-wrote the script with her father Pierre Novion who also shot the film and this makes Kiruna a much more personal movie.

Rendez-vous à Kiruna tells of people’s need to find mutual recognition in others, not just in their sons and daughters. Pierre Novion’s gentle and insightful camerawork emphasizes the ethereal bond between Ernest and Magnus so tellingly, that no words are needed. The elder finds a son he never had, the younger discovers a friend. AV

GOLDEN APRICOT DAILY | DAY 3 | 9 JULY | 2013

news 7

Fresh fruits from the Directors Across Borders tree

German Film Day

Today, the festival celebrates the kickoff of the 7th edition of the Directors Across Borders regional co-production forum. DAB's goal: facilitating crossborder cultural and economic collaboration between the Eastern Partnership countries.

Each year the Directors Across Borders initiative proves more successful. Each year since 2007 twelve film-teams with independent projects participated in more than 100 one-on-one 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 is intended to help expand the initiative and strengthen its vision of regional creative and economic collaboration in the cinematic arts.

Susanna Harutyunyan, Artistic Manager of GAIFF and for seven years program manager of DAB, explains the importance of the forum as a vital support for regional filmmakers at the beginning of their careers. But the effectiveness of DAB operates well beyond the region. “The EU partnership underlines the multiregional character and importance of the program”, she says. “Each year we invite many producers from Europe and it has become essential for filmmakers in the region to be here.”

As one it this years highlights Harutyunyan brings up a feature film project that made its baby steps in 2008 at the forum, and is now part of the international competition program of GAIFF; Maria Sahakyan’s poetic I Am Going to Change My Name will is proving to be one the more successful projects coming out of DAB. Other selected projects for this year’s forum are Conveyor by Dmytro Sukholytky-Sobchuk from Ukraine, All Roads Lead to Rome by

Right: DAB director Susanna Harutyunyan

Dumitru Marian from Moldova, Blood Money by Kıvanç Sezer from Turkey and Sunbeam by Lali Kiknavelidze from Georgia. From Armenia Tamara Stepanyan participates with As Long as Heaven Allows, Hasmik Hovhannisyan with A Song for Nola, Inna Sahakyan with Imprisoned Souls and Victoria Aleksanyan with A Day from Marie’s Life. Plus, Levon Minasian’s The Second Journey is an Armenian-French coproduction and Nora Martirosyan participates with an Armenian-Italian coproduction: Territoria.

Two of DAB’s biggest achievements in the past

have been The Last Tightrope Dancer by Inna Sahakyan and Arman Eritsyan and Autumn by Özcan Alper, 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. This year’s forum will take place between July 9th and July 11th at Tekeyan Centre. It’ll start with a presentation by Éric Garandeau, the president of CNC France, the Centre National du Cinéma et de l'Image Animé. EK

Sony's Pottermore is an example of a successful transmedia project that expanded the Potter universe after the book series had finished.

Transmedia storytelling

According to Canadian-Armenian director and Golden Apricot honorary president Atom Egoyan, the story has totally different contracts with film and transmedia: the one with film is based on empathy, he said yesterday during the Transmedia Narratives panel discussion held at Tumo Center for Creative Technologies. “When making a film, I’m thinking about the people who’ll watch it and how it will empathetically enhance their feelings. On the contrary, when I post something on Facebook, I wish to see a reaction, to

reach a status, that’s the power of transmedia.”

During the panel discussion, Egoyan presented his own example of a transmedia art, when he involved the live video of the opera singer’s mouth transmitted on a huge screen during the performance. “Through the different layers of engagement that transmedia storytelling uses, people feel the reality of being in a universal space and through the creative linkage of the book, the movie, the videogame and the website feel a part of the unified story,” explained Spanish transmedia artist Daniel Calabuig, connected to the discussion via Skype, thus creating a bit of a transmedia experience for the audience. “Of course the scrambling of transmediation creates confusion, so you should not concentrate on the story itself but more on the universe, on the fact that a story can flow

FESTIVAL GENRE GUIDE n Positive films

n Films about

A Long and Happy Life Fairy Tale My Baby The Fantastic Bus All Together Now Dirty Pretty Things Paradise: Love Paradise: Faith Paradise: Hope Mechanics of Happiness Right to Love Expectation Imagination Keep Smiling Confidence

Places Watchtower Rendez-vous à Kurina Char... The NoMan’s Island My Afghanistan Life in the Forbidden Zone The Waiting Point Ararat Four Walls Sarajevo The Girl from Gori Lost Horizons Taxi for Tobruk Inside Llewys Davis

n Films for the

n Films about

Whole Family

Professions

11 meetings with my Father Blood Brother My Baby The Mother The Son Father (2x) Soldier’s Father Isfahan's Son

Swimmer The Hunter My Dog Killer Chippendale The last Black Sea Pirates Colonel Redl

n Films about

Hit the Road: India The Machine that Makes Everything Disappear That wasn’t me Everybody’s Gone Where is the Heaven?

Distance Char... The NoMan’s Island

Meetings

The flow of stories across platforms The digital 21st century forces media professionals to expand stories across and beyond the single medium, with the help of tools such as participation, interpretation and collective knowledge.

German filmmaker Margarethe von Trotta, once one of the driving forces of the Neuer Deutscher Film-movement, which lasted from the late sixties to the early eighties, will present a master class at 15:00 in Nairi Cinema.

After the screening there will be a reception at the Royal Tulip Grand Hotel, hosted by the German Embassy.

It’s part of German Film Day, which will reach its climax with the screening of Von Trotta’s latest film Hannah Arendt, a bio­ pic about the famous German-Jewish philo­ sopher. For the project Trotta collaborated with Jewish-American feminist writer Pam Katz for the se­cond time after Rosenstrasse (2003).

They have been developing a biographical project on the thinker since 2004 until they decided to focus solely on the four years when Ahrendt went to Israel.

and engage people across media. If people love a film they’d prefer not to see it end. They want it to grow, to expand, to become interactive, eventually creating a universe they can engage in.”

Henry Jenkins, Provost Professor of Com­ munication, Journalism, and Cinematic Arts at the USC Annenberg School for Communication, who’s known as the forefather of transmedia storytelling, has a famous saying: “If it doesn’t spread, it’s dead.” Yesterday’s panel discussion made clear that transmedia is not just the creation of a related videogame after the book or the film proved successful. Every medium that’s added to the universe of a particular story should create new possibilities of understanding it and engaging with it, deepening the experience and expanding its interactive dimensions. SP

Meeting at an Exhibition Maybe Another Time Rendez-vous à Kiruna 11 Meetings with my Father n Films for adults

Six Letter Word What the Eye doesn’t See Dangerous Liaisons Oh Lord, give us Freedom Mrs Henderson Presents Dirty Pretty Things Crossing the Line

n Films for

Escaping

n Armenian

Panorama Ararat (2x) Armenia: Invisible Country Armenia, the Magic of Writers Journey to Ararat Armenian Coat A World not Ours Peter