Golden Apricot Daily - 2013, Day 4

DAY 4, WEDNESDAY, JULY 10

Rumblings in Slovakia's dark underbelly سñ¹³ëå³ÝÇ »ñ³ËáõÙ

Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý. ѳñ·³ÝùÇ ïáõñù

§Ò³ÛÝ ÉéáõÃ۳ݦ

гñó³½ñáõÛó. ¶á¹ýñÇ è»ççÇá

Interview Godfrey Reggio

Parviz: daddy issues

A one man cinemateque

GOLDEN APRICOT DAILY | DAY 4 | 10 JULY | 2013

2 Íñ³·Çñ/program 10 ÑáõÉÇëÇ/ 10 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00, 20:30

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 ²ÛÝï»ÕÇ Ù³ñ¹ÇÏ/People Out There гÛÏ Î³ñ³å»ïÛ³Ý/ Aik Karapetian, Lva/90'/AP

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 12:00

10:00, 18:00 лùdzÃ/Fairy Tale ²Ý¹ñ³ÝÇÏ Ð³ñáõÃÛáõÝÛ³Ý/ Andranik Harutyunyan, Arm/14'/SC

Lang.: Russian, Subt.: English

ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema

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

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ/ Puppet theatre

13:00

10:00, 18:00

Lang.: Armenian Subt.: English

ö³ñíǽ/Parviz سçǹ ´³ñ½»·³ñ/Majid Barzegar, Irn/107'/FC

Lang.: Persian, Subt.: English 12:00, 18:00

15:00 òÙ³Ñ/Lifelong ²ëÉÇ ú½·»/Aslı Özge, Tur/102'/FAB

Lang.: Turkish, Subt.: English and Armenian

سñ³ÃáÝ/Marathon гñáõà ޳ïÛ³Ý/Harut Shatyan Arm/18'/AP

17:00 ÆÙ Ù³ñ¹³ëå³Ý ßáõÝÁ/My Dog Killer ØÇñ³ üáñݳÛ/Mira Fornay, Svk-Cze/90'/FC

Lang.: Armenian, Subt.: English

Lang.: Slovak/Moravian dialect, Subt.: English and Armenian ÄÛáõñÇ/Jury ¸áÝ-Ñá ÎÇÙ/ Dong-ho Kim, Kor/24'/SF Ò³ÛÝ ÉéáõÃÛ³Ý/The Voice of Silence ìÇ·»Ý â³É¹ñ³ÝÛ³Ý/ Vigen Chaldranian, Arm/119'/FC-AP-FAB

Lang.: Armenian, Subt.: English 16:00 11 ѳݹÇåáõÙ Ñáñë Ñ»ï/ 11 Meetings with My Father ÜÇÏáë ÎáñÝÇÉÇáë/Nikos Kornilios, Grc/92'/FC

Lang.: Greek/Swedish, Subt.: English and Armenian 22:00

Lang.: Korean/English/Japanese, Subt.: English and Armenian 19:30 ¸ñ³Ëï. ë»ñ/Paradise: Love àõÉñÇË ¼³Û¹É/Ulrich Seidl, Aut-Deu-Fra/120'/YP

Lang.: German/English/Swahili, Subt.: English and Armenian

Ð. سÉÛ³ÝÇ ³Ýí³Ý ÏÇÝá¹»ñ³ë³ÝÇ Ã³ïñáÝ Theater-Studio of Cinema Artists After H. Malyand 12:00 ºÕÇóÇ ÉáõÛë/Let There be Light üñÇïÛáý Ðáõ»É/Frithjof Hoel, Nor/10'/FV

Lang.: English سÝÏ³Ý íÇ׳Ï/Child's Pose ÎÁÉÇÝ ä»ï»ñ Ü»ó»ñ/Calin Peter Netzer, Rom/112'/YP

Lang.: Romanian, Subt.: English and Armenian

ØáëÏí³ ÏÇÝáóïñáÝ, ²Ù³é³ÛÇÝ ¹³ÑÉÇ×/ Moscow Cinema, Summer Hall 21:00 ²ñ¨»É³μ³ÕÓáõÃÛáõÝ/ Eastalgia ¸³ñÛ³ úÝÇßã»ÝÏá/ Daria Onyshchenko, Deu-Ukr-Srb/93', FAB

Lang.: English/Armenian/ Turkish/Kurdish, Subt.: English and Armenian 23:00 سÛáñÁ/The Major ÚáõñÇ ´ÇÏáí/Yuri Bykov, Rus/99'/RFD

Lang.: Russian, Subt.: English

²ÝáõÝë ìÇáɳ ¿/My Name is Viola èáõμ»Ý øáã³ñ/Ruben Kochar, USA-Arm/106'/FV

Lang.: Armenian, Subt.: English 16:00 ºí ³Û¹ ûñÁ »Ï»É ¿/And That Day Has Come ÜÇÏáÉ³Û ¸³íÃÛ³Ý/Nikolay Davtyan, Arm/23'/FV

Lang.: Armenian Subt.: English ¸»Å³íÛáõ/Deja-vu гÏáμ Ø»ÉùáÝÛ³Ý/Hakob Melkonyan, Fra/26'/FV

Lang.: French, Subt.: English ػͳñ»Ýó/Metzarents гÛÏ Ð³Ùμ³ñÓáõÙ/Hayk Hambartsum, USA/33'/FV

Lang.: Armenian/English, Subt.: English êå³ëáõÙ/Expectation ì³Ñ³Ý Æß˳ÝÛ³Ý, 껹³ ¶ñÇ·áñÛ³Ý/Vahan Ishkhanyan, Seda Grigoryan, Arm/40'/FV

Lang.: Armenian, Subt.: English

²ÉË³ë ¨ æáõÉÇ»ï/Alhas and Juliet ²ßáï ø»ßÇßÛ³Ý/Ashot Keschyan, Rus/27'/AP

سÛñÁ/The Mother ÈáõÏ³ß úëï³ÉëÏÇ/Łukasz Ostalski, Pol/30'/SC

Lang.: Polish, Subt.: English ÐÛáõëÇë³÷³ÛÉ/Northern Lights λñ»Ý ´»Ý è³ý³Û»É/ Keren Ben Rafael, Fra/13'/SC

Lang.: French, Subt.: English

Lang.: Abkhazian, Subt.: English and Armenian Àݹѳïí³Í Ù³ÝÏáõÃÛáõÝ/ Broken Childhood æÇí³Ý ²í»ïÇëÛ³Ý/Jivan Avetisyan, Arm/46'/AP

²Ýåáã ׷ݳíáñÁ/Tailless Hermit ʳãÇÏ â³ÉÇÏÛ³Ý/ Khachik Chalikyan, Arm/97'/FV

â³ñ... ³Ýï»ñáõÝã ÏÕ½ÇÝ/ Char — The No-Man's Island êáõñ³í ê³ñ³Ý·Ç/Sourav Sarangi, Ind/87'/DC

Lang.: Armenian, Subt.: English

Lang.: Bengali, Subt.: English

15:00 ì³ñå»ïáõÃÛ³Ý ¹³ë ¶á¹ýñÇ è»ççÇáÛÇ Ñ»ï/ Master Class with Godfrey Reggio

12:00, 20:00

Lang.: Armenian, Subt.: English 14:00 سÛáñÁ/The Major ÚáõñÇ ´ÇÏáí/Yuri Bykov, Rus/99'/RFD

Lang.: Russian, Subt.: English 16:00 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 18:00 êåÇï³Ï ·³é³Ý »ñ³½Á/ White Lamb's Dream Ðñ³Ýï ì³ñ¹³ÝÛ³Ý/Hrant Vardanyan, Arm/14'/AP

ÌÝݹáó/Genesis ¸áݳï»Éɳ ²ÉïÇ»ñÇ/Donatella Altieri, Ita/18'/SC

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

Lang.: Spanish, Subt.: English 12:00, 20:00 öáùñÇÏë/My Baby Èáõǽ³ ä³ñíáõ/Luiza Pârvu, Rom/19'/SC

Lang.: Romanian/English, Subt.: English ö»ïáõñÇ ùñáÝÇϳÝ/ Chronicle of a Feather ²ùë»É ȳïïáõ³¹³/Axel Lattuada, Fra/13'/DC

Lang.: French, Subt.: English ²Û¹ ³Ù»ÝÁ/All of That ´ñ³ÝÇëɳí ØÇɳïáíÇã/

Lang.: Armenian Subt.: English

Branislav Milatović,

´³í³Ï³Ý/Enough ²¹ñÇÝ» ¶ñÇ·áñÛ³Ý/Adrineh Gregorian, Arm/17'/AP

Mne/27'/SC

Lang.: Armenian, Subt.: English

ºë ã¿Ç/That Wasn't Me ¾ëï»μ³Ý Îñ»ëåá/Esteban Crespo, Esp/24'/SC

19:30 гÛñÁ/Father سñ³ï ê³ñ·ëÛ³Ý/Marat Sargsyan, Ltu/60'/AP

Lang.: Lithuanian, Subt.: English and Armenian êï»Õͳ·áñÍ»Éáõ μ³Ý³Ó¨/ Create a Formula ÜÇÏáÉ³Û ¸³íÃÛ³Ý/Nikolay Davtyan, Arm/22'/AP

Lang.: Armenian, Subt.: English 21:00 ²ÝûÕ/Embers ³ٳñ³ êï»÷³ÝÛ³Ý/Tamara Stepanyan, Arm-Lbn-Qat/77'/AP-SF

ȨdzóÝ/Leviathan ì»ñ»Ý³ ä³ñ³í»É, ÈÛáõëÇ»Ý Î³ëï»Ý»ÛÉáñ/Verena Paravel, Lucien Castaing-Taylor, UK-Fra-USA/87'/DC 18:00 Ò³Ëáñ¹ ö³ÝáëÁ/Panos, the Clumsy Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý/Nerses Hovhannisyan, Arm/28'/T

No Dialogues 16 :00

Lang.: Armenian, Subt.: English ¼·áõÛß, ϻݹ³ÝÇ ¿/Watch Out, Animals! Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý/Nerses Hovhannisyan, Arm/10'/T

No Dialogues

²ÝóÝ»Éáí ë³Ñٳݳ·ÇÍÁ/ Crossing the Line äÇ»ïñá سñã»ÉÉá/Pietro Marcello, Ita/60'/R

гݹÇåáõÙ óáõó³Ñ³Ý¹»ëáõÙ/Meeting at the Exhibition Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý/Nerses Hovhannisyan, Arm/22'/T

Lang.: Italian, Subt.: English and Armenian

Lang.: Armenian, Subt.: English

Lang.: Montenegrin, Subt.: English

Lang.: Montenegrin, Subt.: English ÎïáñÝ»ñ/Pieces Îë³ëÇá ´³ÝÛá/Xacio Baño, Esp/7'/SC

Lang.: English/Spanish, Subt.: English 16:00 ì»ñçÇÝ ÓÙ»éÁ/The Last Winter ê³É»Ù ê³É³í³ÃÇ/ Salem Salavati, Irn/75'/FAB

Lang.: Kurdish, Subt.: English and Armenian

лÙÇÝ·áõ»Û ÷³µ/ Hemingway Pub

22:00

20:00 ìëï³ÑáõÃÛáõÝ/Confidence Æßïí³Ý ê³μá/István Szabó, Hun/101'/R

Lang.: Hungarian, Subt.: English and Armenian 22:00 îÝÏÇÝ»ñ/The Saplings 軽á âË»ÇÓ»/Rezo Chkheidze, Geo/90'/R

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

Lang.: Russian, Subt.: English

Lang.: Russian/Hebrew, Subt.: English and Armenian ´³ñÇ ·³Éáõëï, Û³ÝÏÇ/ Welcome Yankee ´»Ýáõ³ ¸»Å³ñ¹»Ý/Benoit Desjardins, Can/30'/SC

Lang.: Armenian/Russian, Subt.: English

SUBMIT YOUR DOCUMENTARY FILM TO CAUCADOC ONLINE CATALOGUE

Lang.: French/Chechen, Subt.: English and Armenian

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, îÇ·ñ³Ý سñïÇñáëÛ³Ý, Նանե Սահակյան, Մարինե Ղարախանյան, Ռիմա Աղեկյան

Coordinator Daily: Genofia Martirosyan Journalists: Berend Jan Bockting, Artur Vardikyan, Anastasia Costishanu, Evrim Kaya, Kristine Kyurklyan, Tigran Martirosyan Photos: Vahan Stepanyan ©PanARMENIAN Photo

Տպագրված` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

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

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

last 5 years in the South Caucasus.

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

22:00 For additional information please contact: Georgia : Anna Dziapshipa anna@sakdoc.ge Armenia: Karine Aroyan k.aroyan@internews.am Azerbaijan: Alina Abdullaeva motorproduction@gmail.com

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.

CAUCADOC is a project run by Czech NGO People in Need, Sakdoc Film and Internews Armenia. It aims гٳ½·³ÛÇÝ Ã»ñÃ

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

-

êÇñá Çñ³íáõÝù/The Right to Love öáÉ øáõñÃÇ/Paul Kurti, USA-Rus/92'/YP

Lang.: English/Albanian, Subt.: English and Armenian

GOLDEN APRICOT DAILY | DAY 4 | 10 JULY | 2013

ýÇÉÙ»ñ »õ é»ÅÇëáñÝ»ñ 3

ÎÇÝáÛáí Ë»Ýóó³ÍÁ

MASTER CLASS

سñ­·³­ñ»­Ã» ýáÝ Âñá­Ã³.

ºë ݳËÁÝïñáõÙ »Ù ݳËáñ¹ ë»ñÝ¹Ç ³ß˳ï³á×Á

Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý-75 гïí³ÍÝ»ñ ·ñáÕ, ÏÇÝá·»ï ê»ñ·»Û ¶³ÉëïÛ³ÝÇ §Î³ï³Ï»ñ·áõÃÛáõÝ` Áëï Ü»ñë»ë ÐáíѳÝÝÇëÛ³ÝǦ Ýáñ ·ñùÇó՝ ÝíÇñí³Í ³Ýí³ÝÇ é»ÅÇëáñÇ ÍÝÝ¹Û³Ý 75-³ÙÛ³ÏÇÝ: ...ØÇÝ­ 㨠ûñë ¿É ß³­ ï»­ ñÁ ѳ­ Ù³­ ñáõÙ »Ý, áñ ²×»­ÙÛ³­ÝÇ é»­ÅÇ­ëáõ­ñ³­ÛÇ ï³­ñ»ñ­ùÁ ϳ­ï³­Ï»ñ­·áõ­ ÃÛáõÝÝ ¿ »Õ»É, áñ ³Û¹ ųݭñÇ Ýñ³ µá­Éáñ Ý»ñ­Ï³­ Û³­óáõÙ­Ý»­ñÁ »Õ»É »Ý Ëݹáõ­ÃÛ³Ý, áõ­ñ³­Ëáõ­ÃÛ³Ý Å³­Ù»ñ, áñ ѳݭ¹Ç­ë³­ï»ëÝ ³Û¹ ½·³­óá­Õáõ­ÃÛáõ­ÝÁ ï³­Ý»­Éáí Çñ Ñ»ï, »ñ­Ï³ñ ûñ»ñ Ùݳ­ó»É ¿ ³Û¹ ï᭠ݳ­Ï³Ý ïñ³­Ù³¹­ñáõ­ÃÛ³Ý Ù»ç: ²Û­ëûñ ß³­ï»­ñÁ Ü»ñ­ë»ë Ðáí­Ñ³Ý­ÝÇ­ëÛ³­ÝÇÝ (ÇëÏ Ý³ ²×»­ÙÛ³­ÝÇ Çë­ Ï³­Ï³Ý ë³ÝÝ ¿) ѳ­Ù³­ñáõÙ »Ý ²×»­ÙÛ³­ÝÇ §³ñ¨­³­ ÛÇݦ é»­ÅÇ­ëáõ­ñ³­ÛÇ Å³­é³Ý­·áñ­¹Á ÏÇ­Ýá­ÛÇ µÝ³­·³­ í³­éáõÙ: ºÃ» µ»­ÙÁ ì³ñ­¹³Ý ²×»­ÙÛ³­ÝÇ ï³­ñ»ñùÝ ¿ñ, ³å³ ¿Ï­ñ³ÝÝ ¿É` Ü»ñ­ë»ë Ðáí­Ñ³Ý­ÝÇ­ëÛ³­ÝÇ ï³­ñ»ñùÝ ¿: ܳ ¿É §Ë»Ý­Ã³­ó³Í¦ ¿ ÏÇ­Ýá­Ûáí... ÊáñÑñ­¹³­ÛÇÝ ÏÇ­Ýá­é»­ÅÇ­ëáõ­ñ³­ÛÇ ÑÇ٭ݳ­¹Çñ ê»ñ­·»Û ¾Û­½»Ýß­ï»Û­ÝÁ ÙÇ ³éÇ­Ãáí ³ë»É ¿, áñ é»­ÅÇ­ ëáõ­ñ³ ëá­íá­ñ»­óն»ÉÝ ³Ýѭݳñ ¿, µ³Ûó ëá­íá­ñ»É ³ÛÝ Ï³­ñ»­ÉÇ ¿: Îñó­Ï³Ý ѳ­Ù³­Ï³ñ­·áõÙ é»­ÅÇ­ëáõ­ñ³Ý µ³ñ¹ ³é³ñ­Ï³ ¿, ¨ ÙÇݭ㨠³Û­ëûñ ¿É áã Ù»­½³­ÝáõÙ, áã ¿É ³ß­Ë³ñ­ÑÇ ß³ï »ñÏñ­Ý»­ñáõÙ ãÇ ëï»ÕÍ­í»É ÏÇ­ Ýá­é»­ÅÇ­ëáõ­ñ³­ÛÇ ¹³­ë³­·Çñù: ²Ù»­Ý¨­ÇÝ ¿É å³­ï³­

ѳ­Ï³Ý ã¿, áñ Ù»­Í³­ÝáõÝ é»­ÅÇ­ëáñ, ٳݭϳ­í³ñÅ Øǭ˳­ÛÇÉ èáÙ­ÙÁ Ýᯐ ¿. §è»­ÅÇ­ëáõ­ñ³Ý Ù³ë­Ý³­·Ç­ ïáõ­ÃÛáõÝ ã¿, ³ÛÉ` ³å­ñ»­É³­Ï»ñå¦: ´Ýáõ­ÃÛ³Ý Ù»­Í³­·áõÛÝ Ññ³­ß³­ÉÇ­ùÁ, ·»­ñ³­·áõÛÝ ³ñ³­ñ³­ÍÁ Ù³ñ¹Ý ¿. Ù³ñ­¹Á ݳ¨ ³ñ­í»ë­ïÇ Ññ³­ ß³­ÉÇù ¿: ºí Ü»ñ­ë»ë Ðáí­Ñ³Ý­ÝÇ­ëÛ³­ÝÇ ýÇÉ­Ù»­ ñáõÙ Ù³ñ­¹Á, Ýñ³ Ñ»­ñáë­Ý»­ñÁ` Çñ»Ýó Ý»­ñ³ß­Ë³ñ­ Ñáí µ³­ó³­Ñ³Ûï­íáõÙ »Ý Ëá­ñáõ­ÃÛ³Ùµ, Ù³ñ¹­Ï³­ÛÇÝ ÙïùÇ Ëáñ­ù»­ñáõÙ` Ýñ³Ýó ·³­Õ³­÷³ñ­Ý»ñÝ áõ ³Ù»­ ݳݭíÇ­ñ³­Ï³Ý ³å­ñáõÙ­Ý»­ñÁ: Ü»ñ­ë»ë Ðáí­Ñ³Ý­ÝÇ­ëÛ³­ÝÁ Çñ é»­ÅÇ­ëáõ­ñ³­Ûáí áã ÙÇ­³ÛÝ Ïá­Ùǭϳ­Ï³Ý Çñ³­íǭ׳ϭݻ­ñÇ, ³Û­É¨ Ù³ñ¹­ ϳ­ ÛÇÝ Ñá­ ·áõ ßÇ­ ݳ­ ñ³ñ ¿ (Ñ»Ýó ë³ ¿É ³å­ ñ»­ Éáõ Ï»ñå ¿), ݳ Çñ ýÇÉ­ÙáõÙ áñá­Ý»É ¿ å³ñ½ ×ßÙ³ñ­ ïáõ­ÃÛáõÝ` ³å­ñ»­Éáõ ¨ ³ñ³­ñ»­Éáõ ×ßÙ³ñ­ïáõ­ÃÛáõ­ÝÁ: ܳ áñá­ Ý»É ¨ ѳÛï­ Ý³­ µ»­ ñ»É ¿ Ïáñë­ í³Í ×ßÙ³ñ­ ïáõ­ÃÛáõÝ­Ý»ñ® ܳ ïÇ­ñ³­å»­ïáõÙ ¿ ¿Ï­ñ³­Ý³­ÛÇÝ ³ñ­í»ë­ïÇ áõ­ñáõÛÝ É»½­íÇ, áñÁ Ó¨­³­ã³÷­íáõÙ ¿ Ï۳ݭ ùÇ Ëáñ ÇÙ³­óáõ­ÃÛ³Ùµ, ׳­Ý³­ãá­Õáõ­ÃÛ³Ùµ® àñ­ù³Ý ËáñÝ ¿ Ï۳ݭùÇ ×³­Ý³­ãá­Õáõ­ÃÛáõ­ÝÁ, áñ­ ù³Ý ³ñ­Å³­Ý³­Ñ³­í³ï »Ý ·áñ­ÍáÕ Ï»ñ­å³ñ­Ý»­ñÁ, ³ÛÝ­ù³Ý ѳ­ñ³­ï¨ ¿ Ýñ³Ýó Ï۳ݭùÁ: ²Ñ³ Ðáí­Ñ³Ý­ ÝÇ­ëÛ³­ÝÇ ¹³­í³­Ý³Ý­ùÁ, Ýñ³ ýÇÉ­Ù»­ñÇ »ñ­Ï³­ñ³­Ï»­ óáõ­ÃÛ³Ý ·³Õï­ÝÇ­ùÁ: Üñ³ áõ­ëáõ­óÇã­Ý»ñ` Ù»ÍÝ ²×»­ÙÛ³­ÝÁ ¨ ³Ï³­Ý³­ íáñ ÏÇ­Ýá­é»­ÅÇ­ëáñ Úáõ­ÉÇ è³Û½­Ù³­ÝÁ Ýñ³Ý É³í ¿ÇÝ

áõ­ëáõ­ó³­Ý»É êï³­ÝÇë­É³íë­Ïáõ å³ï­·³­ÙÁ. §ºë Ó·ïáõÙ ¿Ç ÉÇ­Ý»É ³Ý­Ï»ÕÍ ¨ áñá­ÝáõÙ ¿Ç ×ßÙ³ñ­ïáõ­ ÃÛáõ­ÝÁ, ÇëÏ Ï»Õ­ÍÇ­ùÁ, ³ñ­Ñ»ë­ï³­íá­ñ³­Ï³Ý ϻխÍÇ­ ùÁ íï³­ñáõÙ ¿Ç¦: ºí Çë­Ï³­å»ë` ϻխÍÇ­ùÁ, ËñÃÇÝ á׳­Ó¨­»­ñÁ Ü»ñ­ë»ë Ðáí­Ñ³Ý­ÝÇ­ëÛ³­ÝÇ ³ñ­í»ë­ïáõÙ íï³ñ­í³Í »Ý »Õ»É ¿Ý ·ÉËÇó: Üñ³ ýÇÉ­Ù»­ñáõÙ ÏÇ­ Ýá ã»Ý ˳­ÕáõÙ. ëï»Õ­ÍáõÙ »Ý ³å­ñ³Í ¨ í»­ñ³å­ ñ³Í ÏÛ³Ýù: Üñ³ ÏÇ­ÝáÝ Ï۳ݭùÇ í»­ñ³­Ýá­ñá­·ÇãÝ ¿: Üñ³ ÏÇ­ÝáÝ Ñ³Ý­¹Ç­ë³­ï»­ëÇÝ ï³­ÝáõÙ ¿ ¹»­åÇ ³½ ÝÇí ¨ áõ­ë³­Ý»­ÉÇ ÏÛ³Ýù® §Ò³Ëáñ¹ ö³ÝáëÁ¦, §¼·áõÛß, ϻݹ³ÝÇ ¿¦, §Ð³Ý¹ÇåáõÙ óáõó³Ñ³Ý¹»ëáõÙ¦, ܳÇñÇ Ï/Ã, 10.07 (18:00)

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GOLDEN APRICOT DAILY | DAY 4 | 10 JULY | 2013

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ

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ÎáÝÛ³ÏÇ Ñ³Ùï»ëáõÙ Ðáõ­ÉÇ­ëÇ 9-ÇÝ` ų­ÙÁ 15:00-ÇÝ, §àë­Ï» ÍÇ­ ñ³Ý¦ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ ÑÛáõ­ñ»­ñÁ Ñݳ­ñ³­íá­ ñáõ­ÃÛáõÝ Ïáõ­Ý»­Ý³Ý ³Û­ó»­É»É ºñ¨­³­ÝÇ Ïá­ÝÛ³­ÏÇ ·áñ­Í³­ñ³Ý ¨ ѳۭϳ­Ï³Ý Ïá­ÝÛ³Ï Ñ³Ù­ï»­ë»É:

îáÉ­Ù³­ÛÇ ÷³­é³­ïáÝ îáÉ­Ù³­ÛÇ µá­Éáñ ëÇ­ñ³­Ñ³ñ­Ý»­ñÁ 17:30 §¶áÉ­¹»Ý Âáõ­ÉÇ÷ ºñ¨­³Ý¦ ÑÛáõ­ñ³­Ýá­óÇ Ùá­ïÇó ³í­ïá­ µáõë­Ý»­ñáí ϳ­ñáÕ »Ý áõ­Õ¨­áñ­í»É ê³ñ­¹³­ñ³­ å³ï` Ù³ë­Ý³Ï­ó»­Éáõ §Ð³Û Ëá­Ñ³­ñ³­ñ³­Ï³Ý ³í³Ý­¹áõÛíݻ­ñÇ ½³ñ­·³ó­Ù³Ý ¨ å³Ñ­å³Ý­ ٳݦ ÐÎ-Ç ¨ §àë­Ï» ÍÇ­ñ³Ý¦ ÙÇ­ç³½­·³­ÛÇÝ ÏÇ­ Ýá­÷³­é³­ïá­ÝÇ ßñ糭ݳϭݻ­ñáõ٠ϳ½­Ù³­Ï»ñå­ íáÕ ïáÉ­Ù³­ÛÇ ³Ù»­Ý³­ÙÛ³ ÷³­é³­ïá­ÝÇÝ:

GOLDEN APRICOT DAILY | DAY 4 | 10 JULY | 2013

interview 5

Godfrey Reggio ¶á¹ý­ñÇ è»ççÇáÝ Ñ»ÕÇÝ³Ï»É ¿ ³ÛÝåÇëÇ ýÇÉÙ»ñ, áñáÝù ÝÙ³Ý ã»Ý ³ÛÝ ³Ù»ÝÇÝ, ÇÝã ¹áõù »ñµ¨¿ ï»ë»É »ù: §ÎáÛ³ÝÇëϳóǦ, §äáí³ÏϳóǦ ¨ §Ü³ÏáÛϳóǦª å³ïÏ»ñÝ»ñÇ ÙÇ Ñáëù, áñÝ ³ß˳ñÑÁ Ý»ñϳ۳óÝáõÙ ¿ µ³ó³éÇÏ, ÙÇ Ýáñ ÉáõÛëÇ Ý»ñùá: ì»ñç»ñë ݳ ³í³ñï»É ¿ Çñ ãáññáñ¹ Édzٻïñ³Å ýÇÉÙÁª §²Ûó»­Éáõ­Ý»­ñÁ¦:

My point of view is that not only the blind cannot see and not only the deaf cannot hear. All of us are blind to that which is most familiar. We miss the forest for the tree. My films are about perception and seeing the ordinary in an extraordinary way. For instance, we see traffic every day. But when you do it in pixilation or time lapse you see it in a whole different perception.

If I turn around fifteen times I’ll get dizzy. The whole world is dizzy from progress and development, from all those things that we desire. To me this is a great tragedy.

Ò»ñ ýÇÉ­Ù»­ñÁ áã ÙÇ­³ÛÝ å³­ÑÇ ³½­¹»­óáõ­ÃÛáõÝ »Ý ÃáÕ­ÝáõÙ, ³Û­É¨ Ñ»­ï¨­áõÙ »Ý ѳݭ¹Ç­ë³­ï»­ ëÇÝ: ÆÝã­å»±ë »ù ëñ³Ý ѳë­ÝáõÙ: ²ë»Ýùª 10 Ù³ñ¹ ¹Ç­ïáõÙ ¿ ÇÙ ýÇÉ­ÙÁ ÏÇ­Ýá­Ã³ï­ ñá­ÝáõÙ: Æ í»ñ­çá ÉÇ­Ý»­Éáõ »Ý 10 ï³ñ­µ»ñ ï»­ë³­Ï»­ï­ Ý»ñ, áñáí­Ñ»­ï¨ ýÇÉ­Ù»­ñÁ áñáß ÇÙ³ë­ïáí û­ñ³­Ï³­ ï³ñ »Ý: гݭ¹Ç­ë³­ï»ëÝ ¿ ¹ñ³Ýù Éñ³ó­ÝáõÙ: àÙ³Ýù »ñ­µ»ù §ã»Ý ÙïÝǦ ýÇÉ­ÙÇ Ù»ç: àõ­ñÇß­Ý»­ñÇÝ ³ÛÝ Ëá­ ñ³­å»ë ÏÑáõ­½Ç, ÇëÏ å³ï­Ùáõ­ÃÛáõ­ÝÝ ³ÛÉ ÏÉÇ­ÝÇ: àñáí­ Ñ»­ï¨ ë³ áã û å³ï­Ù»­Éáõ, ³ÛÉ ï»ë­Ý»­Éáõ å³ï­Ùáõ­ ÃÛáõÝ ¿: ºí ·»­Õ»ó­Ïáõ­ÃÛáõ­ÝÁ ï»ë­Ýá­ÕÇ ³ã­ù»­ñáõÙ ¿: §¶»­Õ»ó­Ïáõ­ÃÛáõݦ µ³­éÁ ·³­ÉÇë ¿ Ñáõ­Ý³­ñ»Ý §Ï³É­ Éáë¦-Çó, µ³Ûó Ýñ³ ³ñ­ Ù³­ ïÁ §Ï³É­ ÉÇá¦-Ý ¿, áñÁ Ýß³­Ý³­ÏáõÙ ¿ §á·¨­áñ­ »É¦: üÇÉ­Ù»ñë ³ÝáõÙ »Ù Ñݳ­ ñ³­íá­ñÇÝë ·»­Õ»­óÇÏ` áã û Ù³ñ¹­Ï³Ýó áõ­ñ³­Ë³ó­Ý»­ Éáõ, ³ÛÉ á·¨­á­ñ»­Éáõ ÙÇ­ïáõ­Ùáí: üÇÉ­ÙÁ Ëá­ñ³­Ã³­÷³Ýó ¿ ÉÇ­ÝáõÙ, »ñµ ³Ýó­ÝáõÙ ¿ Ù³­Ï»­ñ»­ëÇó ³ÛÝ ÏáÕÙ: س­ Ï»­ñ»­ëÁ Ñ»Ýó ÏÇ­ÝáÝ ¿ª ³Û¹ »ñÏ­ã³÷ ÙÇ­ç³­í³Û­ñÁ: ´³Ûó ÏÇ­ÝáÝ Ï³­ñáÕ ¿ Ëáñ ÉÇ­Ý»É, »Ã» ѳݭ¹Ç­ë³­ï»­ëÁ ï»ë­ÝÇ ³Û¹ Ëá­ñáõ­ÃÛáõ­ÝÁ: ´á­Éá­ñÇ Ñ³­Ù³ñ ³å­ñáõÙ­ Ý»­ñÁ ï³ñ­µ»ñ ÏÉÇ­Ý»Ý: ÆÙ ýÇÉ­Ù»­ñÁ ãáõ­Ý»Ý ÏáÝÏ­ñ»ï ÇÙ³ëï: ºÃ» ¹áõù ·Ý³ù ë³­ñ»ñ ¨ ï»ëÝ»ù ÙÇ ãݳ߭ ˳ñ­ÑÇÏ Ù³Û­ñ³­Ùáõ­ï, ѳë­ï³ï ã»ù ѳñó­ÝÇ. §Æ±Ýã ¿ñ Ýß³­Ý³­ÏáõÙ ³Ûë Ù³Û­ñ³­Ùáõ­ïÁ¦: îËÙ³ñ ѳñó ÏÉÇ­ÝÇ: 곭ϳÛÝ Ù³Û­ñ³­Ùáõ­ïÁ ϳ­ñáÕ ¿ ÇÙ³ë­ï³­ÉÇó ³å­ñáõÙ ÉÇ­Ý»É: лÝó ¹³ ¿ ³ñ­í»ë­ïÁ: ºÃ» Ù³ñ­¹ÇÏ ï»ë­Ý»Ý ÙÇ Ýϳñ ¨ µá­Éá­ñÇ Ù»ç Ó¨­³­íáñ­íÇ ÙÇ­¨­ÝáõÛÝ Ï³ñ­ÍÇ­ùÁ Ýñ³ Ù³­ëÇÝ, ³å³ ³ÛÝ áõÕ­Õ³­ÏÇ ·á­í³½¹ ¿: ÆÙ ýÇÉ­Ù»ñÝ ³ñ­í³Í »Ý ³½³ï, áñ­å»ë­½Ç ¹Ç­ïáÕÝ ÇÝ­ùÁ ϳ­ñá­Õ³­Ý³ áñá­ß»É: ºí ù³­ÝÇ áñ ¹ñ³Ýù ³ÛÝ­ ù³Ý ¿É ѳë­Ï³­Ý³­ÉÇ ã»Ý, ϳ­ñáÕ »Ý ų­Ù³­Ý³Ï ³é ų­Ù³­Ý³Ï Ù³ñ­¹áõ ÙÇïù í»­ñ³­¹³é­Ý³É: ºí ³Û¹ ³éáõ­Ùáí Ó»ñ ýÇÉ­Ù»­ñÁ µ³­í³­Ï³­ÝÇÝ Ûáõ­ñû­ñÇÝ­³Ï »Ýª Çñ»Ýó éÇíÙǪ Ïá­¹Ç ßÝáñ­ÑÇí: ÞÝã³Ï­ïáõñ, ³ñ³­·Áݭóó ÙÇ ï»­ë³­ñ³­ÝÇó Ñ»­ ïá ¹áõù ѳ­×³Ë ³Ýó­ÝáõÙ »ù ¹³Ý­¹³Õ ¨ ѳݭ ·Çëï ϳ¹­ñ»­ñÇ® Æ٠ѳ­Ùá½­ÙáõÝùÝ ¿, áñ ÙÇ­³ÛÝ ÏáõÛ­ñ»­ñÁ ã»Ý ãï»ë­ ÝáÕ, ¨ ÙÇ­ ³ÛÝ Ëáõ­ É»­ ñÁ ã»Ý ãÉëáÕ: ´á­ Éáñë ¿É ÇÝã-áñ ÇÙ³ë­ ïáí ÏáõÛñ »Ýù Ù»½ ͳ­ Ýáà µ³­ Ý»­ ñÇ ÝÏ³ï­ Ù³Ùµ: Ø»Ýù ã»Ýù ï»ë­ÝáõÙ ³Ý­ï³­éÁ ͳ­éÇ Ñ»­ï¨­ áõÙ: ÆÙ ýÇÉ­Ù»­ñÁ ½·³­Û³­Ï³Ý ÁÝ­Ï³É­Ù³Ý áõ ëá­íá­ñ³­ ϳÝÝ ³Ý­ëá­íáñ »Õ³­Ý³­Ïáí ï»ë­Ý»­Éáõ Ù³­ëÇÝ »Ý: úñÇ­ ݳϪ ³Ù»Ý ûñ ï»ë­ÝáõÙ »Ýù »ñ­Ã¨­»­Ïáõ­ÃÛáõ­ÝÁ: ´³Ûó »Ã» ³ÛÝ ÷Çù­ë»­É³ó­Ý»ù ϳ٠óÛÙ-ɳ÷­ëáí ݳ­Û»ù, Áݭϳ­Éáõ­ÙÁ µá­Éá­ñá­íÇÝ áõ­ñÇß ÏÉÇ­ÝÇ: ºÃ» »ë áõ­½»­Ý³­ ÛÇ óáõÛó ï³É »ñ­Ã¨­»­Ïáõ­ÃÛáõ­ÝÁ »ñ­Ã¨­»­Ïáõ­ÃÛ³Ý ÝÙ³Ý, ³å³ ³ÛÝ »ñ­Ã¨­»­Ïáõ­ÃÛ³Ý ï»ëù Ïáõ­Ý»­Ý³ñ: ´³Ûó »Ã» å³ï­Ï»ñÝ ³ñ³­·³ó­Ý»Ù, ïå³­íá­ñáõ­ÃÛáõÝ Ïëï»ÕÍ­ íÇ, û »ñ­Ã¨­»­Ïáõ­ÃÛáõÝÝ Çñ ë»­÷³­Ï³Ý ÏÛ³ÝùÝ áõ­ÝÇ: Àݹ­Ñ³Ý­ñ³­å»ë µá­Éáñë ¿É Ï³ñ­Í»ë ß³ñÅ­íáõÙ »Ýù Ù»Í ³ñ³­·áõ­ÃÛ³Ùµ, ³ÛÝ ¿Éª åÇÏ-ų­ÙÇÝ: ÜÙ³Ý ³ñ³­·áõ­ ÃÛ³Ý ï³Ï ¹Åí³ñ ¿ áñ¨¿ µ³Ý ï»ë­Ý»É: ºÃ» »ë 15 ³Ý­·³Ù åïïí»Ù, ·É˳å­ïáõÛï Ïáõ­Ý»­Ý³Ù: ²ÙµáÕç ³ß­Ë³ñ­ÑÁ ÑÇ­Ù³ ·É˳å­ïáõÛ­ïÇ Ù»ç ¿ ³é³­çÁݭó­ óÇó ¨ ½³ñ­·³­óáõ­ÙÇó áõ ³ÛÝ µá­Éáñ Çñ»­ñÇó, áñ ï»ÝãáõÙ »Ýù: ÆÝÓ Ñ³­Ù³ñ ë³ Ù»Í áÕ­µ»ñ­·áõ­ÃÛáõÝ ¿: §Î³­óǦ »é»ñ­·áõ­ÃÛáõ­ÝáõÙ ¹áõù Ý»ñ­Ï³­Û³ó­ ñÇù ³Û¹ áÕ­µ»ñ­·áõ­ÃÛ³Ý ÙÇ Áݭϳ­Éáõ­ÙÁ: ê³­ ϳÛÝ ¹áõù 20 ï³­ñÇ ß³­ñáõ­Ý³Ï ³ß­Ë³­ïáõÙ ¿Çù ³Ûë ýÇÉ­Ù»­ñÇ íñ³: ²Û¹ Áݭóó­ùáõÙ Ó»ñ Áݭϳ­ Éáõ­ÙÁ ÙÝá±õÙ ¿ñ ÝáõÛ­ÝÁ: ÐÇ٭ݳ­Ï³­ÝáõÙª ³Ûá°: ´³Ûó ë³ Ï³ñ­Í»ë ϳ­ñ³· ÉÇ­ ÝǪ å»ïù ¿ ß³­ñáõ­Ý³Ï ˳é­Ý»ëª ÙÇݭ㨠Ө ëﳭݳ: ºë ¿É ¿Ç ˳é­ÝáõÙ, áñ­å»ë­½Ç Ó¨Ý ÇÝÓ Ñ³­Ù³ñ ³í»­ÉÇ å³ñ½ ¹³é­Ý³: â»Ù áõ­½áõÙ Ë»­É³é ÑÝãÇ, µ³Ûó »ë ÇÝÓ Ù»­¹Ç­áõÙ »Ù ½·áõÙ: ¼·áõÙ »Ù, áñ ÙÇ­çáíë µ³­Ý»ñ »Ý ³Ýó­ÝáõÙª ϳ٭ùÇóë ³Ý­Ï³Ë: ºë å»ïù ¿ µ³ó Éǭݻ٠Ýñ³ ѳݭ¹»å, ÇÝãÝ ÇÝÓ Ñ»ï Ëá­ëáõÙ ¿: ÆÝã­å»ë ¨ Ù»­ ½³­ÝÇó ß³­ï»­ñÁª »ë áõ­Ý»Ù Ý»ñ­ùÇÝ Ó³ÛÝ: ò³­íáù, Ù»Ýù ã»Ýù ÉëáõÙ ³Û¹ Ó³Û­ÝÁ ßñ糭ϳ ³Õ­Ùáõ­ÏÇ å³ï­×³­éáí: ºë ëá­íá­ñ»É »Ù ÉÇ­Ý»É Éáõé ¨ ³Ý­Ó³ÛÝ: àñ­ù³Ý Ù³ñ¹ Éáõé ¿, ³ÛÝ­ù³Ý ³í»­ÉÇ ½·³­ÛáõÝ »Ý Ýñ³ ½·³­Û³­ñ³Ý­Ý»­ñÁ: ºë ë³ ëá­íá­ñ»É »Ù, »ñµ í³­Ý³­Ï³Ý ¿Ç: ì³Ýù Ùï³ áñ­å»ë å³­ï³­ÝÇ ¨ Ùݳ­óÇ ³ÛÝ­ï»Õ ÙÇݭ㨠·ñ»­Ã» 30

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Godfrey Reggio is the director of films that are unlike anything you’ve ever seen: Koyaanisqatsi, Powaqqatsi and Naqoyqatsi, streams of images that showed the world in an exceptional, new light. He just finished his fourth feature, Visitors.

Your films never have a momentary effect.

They’re haunting to say the least. How do you create such an effect?

Well, let’s say there are ten people that see my film in the cinema. There are going to be ten different points of view. Opinions will differ because the films are made to be incomplete. It’s the audience who completes them.

Some will never get into the film. Others will be deeply moved and the story they see will be different.

Because it’s not a story to be told; it’s a story to behold. And beauty is in the eye of the beholder.

“Beauty” comes from the Greek word ‘kallos’, but its origin is ‘kallio’ which means “to provoke”. So I try to make my films as beautiful as possible. Not to make people happy, but to provoke them. A film is deep when it goes beyond the surface. And cinema is the surface – it’s a two-dimensional medium. But there is great depth in it too.

My films don’t have any specific meaning. If you went out to the mountains and saw a beautiful sunset you wouldn’t ask what that sunset meant. That would be a stupid question. However seeing the sunset can be a meaningful experience. So if you give up specific meaning, you’re going to have a meaningful experience. That’s what art does. If people see a painting and they all get the same point of view than it’s like an advertisement. And precisely because my films are not so clear they can keep recurring in the mind.

Your films seem to have a unique rhythm.

From a breathtakingly dynamic scene you often transition to a long and calm shot...

In the Qatsi trilogy you gave a perception of that tragedy. But it took you more than 20 years to make those films. Did your views change over that period?

Generally yes. But it’s like clay: you have to keep turning until it gets a form. I don’t want to sound crazy, but I feel like a medium. I feel like things come through me beyond myself. I have to be open to that which is speaking to me. Like most of us I have an inside voice. Yet we can’t hear that voice because of all the noise around us. I’ve learned to be quiet and still. The stiller you are the more heightened the senses become.

I practiced that when I was a monk. I went in as a young boy and stayed till I was almost thirty. So it had a big effect on my life.

What I saw then is what I see now. Yet, what I saw then was present but not as visible as it is now. If you look you’ll see. But most of us don’t take the time to look. I used to work with some kids from China, who would come to America for the first time. It was unbelievable for them – like another planet. Looking at the world, I feel like those kids.

And it’s beyond the battlefield, it’s beyond war. The war that I’m looking at is the sanctioned aggression against the force of life, that credo of progress and development that we don’t question. We’ve become prisoners. In the beginning of the 20th century there were about 30.000 languages and principal dialects on the planet. Today we’re approaching 4.000 languages and dialects. We’re losing our language to an emarginated world: one world, one way, one idea, consumption...

I try to make films that present another point of view, so that people can feel it rather than know it. I mean, there’s enough written about it. Unless someone feels something they don’t have the authorization to speak about it. For me films are about sculpturing an emotion that people can feel. I use music because I think our languages no longer describe the world we live in. Music doesn’t have metaphor. It goes directly to the soul of the listener.

That’s why religions and governments fear music: they can’t control what people feel. But they use it to control emotion: marching songs etc. I use the music of a composer I love – Phillip Glass: free music and not music to oppress. His music doesn’t illustrate the image, it’s on another track. It becomes a narrative.

Is your new film Visitors a continuation of the Qatsi trilogy?

Well, it is in terms of its genre and the use of image and music. But that’s where the similarity ends. Koyaanisqatsi has 384 images in it. Powaqqatsi has 484 images. Naqoyqatsi has 586. Visitors is 87 minutes with 74 images. So it’s going to be like trying to stop smoking cigarettes, it’s going to be like a deep programming experience. It’s all in black and white. It examines three characters: a gorilla, humans and cyborgs. And the cyborgs are you and me. We’ve become dual. We’ve become not cyborgs of science fiction but cyborgs of the fiction of science.

It’ll all be very visible in the film, beyond what I can explain in words. It’s slow and demanding, all with an original composition by Phillip Glass. I’m very pleased with it. It took me ten years to make it: seven years of scripting and finding the money and then three years of active production. I worked with a fantastic crew where everyone was 30 or under.

I was like Moses. I can’t show the whole thing, but I’ll show a little bit of it in the master class on Wednesday. AV

GOLDEN APRICOT DAILY | DAY 4 | 10 JULY | 2013

6 reviews

Slovakia's secret hell My Dog Killer (Mira Fornay, Slovakia, 2013).

10-7, 17:00, Moscow Cinema, Red Hall. 11-7, 10:00, Moscow Cinema, Blue Hall My Dog Killer proves that intolerance and shame bread violence. They kill. Not just socially but physically as well. Mira Fornay’s second feature develops over the course of a day and shows eigh­ teen-year-old Marek, a skinhead mocked by other skinheads, which causes him to take extreme and deadly action.

Relocated to the grey reality of anonymous suburbs somewhere near the Slovakian border, the mise-en-scene becomes the place of violent racism, where every inhabitant has its own dispute with life, exhibiting a numbness and a lack of empathy. Being part of a broken family, having a divorced mother who gave birth to a Roma child, while “No Romas allowed” posters can be read all over the small village, financial difficulties force Marek to confront his estranged mother and deal with his gypsy step brother. Apathetic and alienated, drowned most of the time in his own silence, with dark circles around his empty eyes, Marek tries to fit in with a group of local neo-Nazi’s but because of his gypsy family he’s seen as a traitor. The closest friend he has is his pit-bull Killer, which he trains viciously to attack his enemies, which brings to mind Samuel Fuller’s famous White Dog. “Hold on! Rip! Let go!” are the repetitive lines that turn into the film's leitmotiv.

Killer becomes Marek's accomplice in committing a devastating act of violence. However much Marek hoped for change, it turns out the grim reality of his existence remains.

Through its particular style My Dog Killer asks for involvement. The offscreen violence, the distance at which the camera often positions itself, and most of all, the blankness on Marek’s face, portray a society that denies its fears and its unrest, suggesting there’s little to worry about. This observational approach, mixed with the hand-held camera, brings the film

closer to a documentary way of depicting life, emphasizing the somber substance of a self-destructive world. The story approaches reality even more, given that the director uses real-life Neo-Nazies as actors, presenting on the screen their hate and repugnance.

My Dog Killer is the portait of a society in which belonging means being reluctant to certain categories of people, rejecting them through terrible acts of violence. Humans need to fit in and Marek does anything to achieve that.

Ending with the same haunting image as seen in the opening scenes, with the trained dog ripping his toy, it becomes painfully clear that Slovakia has enormous social and psychological problems and that these need to be solved to avoid disaster. AC

Smuggling hope Char... The No-Man’s Island (Sourav Sarangi, India, 2012). 10-7, 10:00,18:00, Puppet Theatre

A national nervous breakdown Parviz (Majid Barzegar, Iran, 2012). 10-7, 10:00 and 20:30, Moscow Cinema, Blue Hall When XXL-sized 50-something Parviz wanders through the apartment block where he’s lived for more than 30 years, still under the same roof as his skinny father, he makes a slow-pitched puffing sound. When he’s climbing the stairs, it turns into grasping for breath. In this strong and subtle Iranian drama, his weak physical condition seems only the beginning of a massive mental, social and even a national breakdown.

On one level Parviz, played by the wonderful Armenian-born theatre director, producer, critic and actor Levon Haftvan (who also stars in Fat Shaker, this year’s comparable cinematic attack on contem-

porary Iranian society), is a man who sees everything (house, car, friends, family) slowly slipping away and takes drastic measures to regain control.

On a second, more obscured level this Parviz could be a metaphor for Iran, creating distrust, anger and aggression around him as a result of his morally questionable behavior.

With this second layer director Majid Barzegar is not just making a brave and bold statement towards contemporary national politics – he’s also showing it in a visually convincing and inescapable way, knowing his message will be stronger and smarter when it’s hidden. Doing that Mr. Barzegar adds himself to a growing list of filmmakers who find subtle but unmistakable ways of protest to express their dissatisfaction about Iranian society. BJB

“Smuggling is not sinful when you have a family to feed”, says fourteen year old Rubel, carrying a sac on his head. Every day he carries 25 kilos of rice from India to Bangladesh to sell since he, like the other settlers of Char Island, have no other way to survive. Ten years ago, the building of the Farakka Dam caused the changing course of the river Ganga, swallowing the homes of more than ten thousand people in India. Today, the 150 square kilometers fragile island Char, formed inside river Ganga and patrolled by the border police, is their home.

Sourav Sarangi’s documentary follows, through several years, the destiny of teenagers Rubel and Sofi, caught in a net of natural disasters.

Earthquakes, floods and erosion and a law that doesn’t compensate the victims made them and their families refugees in their own land. A land where nothing is sure except the border, where school seems a waste of time, where one has to import everything and only a shaman offers possible remedies for disease, since the hospital is located across the river. Rubel, still in his teens, forced to quit school and having to care for a sick father, already bears the burden of the householder and, premature but inevitable, the wisdom that comes with it. In his struggle for survival, he becomes the bad guy, the smuggler.

In the uncertain reality of Char Island, where the narrow earth tempers the water’s hunger with every wave that hits its shore, the day mode camera captures the misery and the wilderness, while the night mode observes the villager’s smuggling and the silent darkness in which the straw houses stand. AC

Pearl in a bin The Voice of Silence (Vigen Chaldranian, Armenia, 2013). 10-7, 12:00, 18:00 Moscow Cinema, Blue Hall In the late 80s an Armenian filmmaker from the West (played by director Vigen Chaldranyan, who based the script supposedly on true events) comes to his homeland to shoot a movie after he achieved some success in Hollywood. Instead of a set he finds a sand-pit dump, some stray dogs and homeless mistress Juliet who “prompts” the director the plot of his future film. Half-witted Juliet, who lives in a car, casts a spell on the director with her silent voice and extravagant frankness.

She’s a pearl in a bin. The director is determined to find out the dark backstory of his leading lady.

Chaldranyan gives one of his most convincing performances as an actor. To some extent this is a result of his witty writing. The choice of color is also very inventive. Both funny and heartbreakingly sorrowful, the film features some striking imagery creating a peculiar atmosphere. Gari Kyosayan’s lamentable soundtrack completes the distinctive originality of the atmosphere of The Voice of Silence. TM

GOLDEN APRICOT DAILY | DAY 4 | 10 JULY | 2013

news 7

Meliq Karapetyan lives and breathes cinema

Masterclass At 15:00 Nairi Cinema will see the masterclass by Godfrey Reggio, the American director of legendary documentaries including the Qatsi trilogy will show some scenes of his new film Visitors, among others.

Midnight wrap-ups at The Club are a nice topping after a day full of excitement and an important part of the festival for four years now.

Behind this great idea to meet over a glass of wine or two, there is a man that every film lover in Yerevan should know.

Meliq Karapetyan helped build the festival from the very beginning. Four years ago he had the idea to organize a daily midnight meeting where people can share experiences in a relaxed atmosphere.

Directors are invited too, so there is a unique opportunity to discuss their work with the audience.

But Karapetyan’s contribution to the Armenian film scene is much bigger than that. When the festival is finished, The Club presents weekly screenings from Karapetyan’s enormous personal collection of art-house dvd’s.

“It started in 2002 when I returned from the US where I collected around 900 dvd’s”, he says.

"Although educated in computer programming I had always felt a love for art-house cinema. When the low quality and dubbed VHS tapes were gradually replaced by the high quality dvd’s with subtitles, I started to collect films. And I wanted to share them. But the problem was the same as always: there were no venues. So I started organizing screenings in my own apartment, making monthly screening schedules and e-mailing them to friends, then to a growing list of subscribers.”

The first program was about Marlene Dietrich, then came Orson Welles and after that many others. “For more than a year I had 15-20 people every Monday, Wednesday and Friday sitting in front of my TV. After a while it became difficult to have such a crowd at home all the time so I asked to the national gallery to have screenings there. From 2004 until the administration closed the program in 2010 I organized comprehensive retrospectives

Brandy factory visit The traditional visit to the Brandy Factory will be at 15:00. Guests will have the chance to witness the production of the world-famous Armenian brandy with their own eyes. Busses will bring guests from their hotel to the factory and back, which creates great opportunities for extreme brandy tasting for everybody except the bus driver.

Sister festivals

Meliq Karapetyan talking during one of the midnights Wrap-Ups

on film history’s essential directors, among which Bergman, Fassbinder, Kurosawa and Pasolini.

Without any financial support from the gallery.

Maybe this is why they made the decision to close it so easily. After that, I started the weekly screenings at The Club."

By now he has more than 2000 films, increasingly in blue-ray and more than a thousand people are subscribed to the monthly program via social media.

“The audience is mixed. Both young and old people visit and they’re interested in every type of noncommercial cinema. There are no Armenian subtitles, so there is some limitation in terms of who can come to the screenings.”

"I never uses copies; I don't make copies, not even for myself and I never download anything.

I think it's important that you invest in films, and

support filmmakers through buying their work." He says that many people got angry when he didn't give out copies. For Karapetyan, the main idea is to create a kind of visual library. Many film school students use his archive too. In a city with one single cinema venue, for many years he created an oasis in the desert. “Nowadays, through internet, young people have more access to art-house films”, he says.

And he's happy about it.

Besides The Club, Karapetyan began to run a film program for children at the newly opened Tumo Center, consisting of ten films selected with a certain particular perspective in mind, that goes back to the beginnings of cinema. These children, whom he introduces to Méliès and his contemporaries, are very lucky to have this one-man cinémathèque in town. EV

Tamara Stepanyan

At 17:00 the opening of the special film program “Sister Festivals” will be held in Moscow Cinema, Red Hall. Seven films selected from sister festivals Rotterdam and Busan will be shown during this years’ GAIFF. The opening will be with Mira Forney’s My Dog Killer and Kim Dong-ho’s Jury. Other films that will be shown are Embers by Tamara Stepanyan, Fatshaker by Mohammed Shirvani, Jiseul

by O Muel, Kayan by Maryam Najafi and Watchtower by Pelin Esmer.

Dolma festival For those interested in the delicacies of traditional Armenian cuisine, there will be a Dolma festival at Sardarapat, 50 kilometres west of Yerevan. The name Dolma comes from the Turkish verb dolmak, which means ‘to be filled’. Prepared with a minced meat and rice filling rolled in vine leaves, Dolma is a popular dish from the region.

Paradies trilogy

Master class Margarethe von Trotta

A Woman°s Path in Cinema A woman’s path in the world of cinema is not easy. German director and honorary guest of this year’s festival Margarethe von Trotta knows this from personal experience.

During her master class yesterday she said: “When I entered cinema I couldn’t even think of becoming a director: they would have considered me insane. So first I tried acting. This gave me a lot of experience. By being on the set and asking directors and cinematographers millions of question I learned to make movies myself.”

She also noted that her acting experience helped her later on when working with her own actors: “I always say to my students that before becoming a director it wouldn’t hurt if they practice acting as well.

That way it’s easier to understand what it means to be in front of the camera rather than behind it and experience how delicate that situation can be.”

Von Trotta not only directs, but also writes her own screenplays. During the writing process she already sees the future film: “Modern technologies and digital cameras allow some directors to shoot many scenes and only then to think of the way of joining them in the editing. I continue to shoot the classical way. I was making a movie about the Berlin wall. I needed some footage of when it was being built and when it was being torn down. First I watched the footage of the wall being built. It was filmed on a 16 mm film and had depth in it. Then I watched footage from 1989. This was shot with a video cam-

era and had no depth at all. Everything was so superficial. I prefer the old generation’s way of working when everyone knew where to stand, the angle of the camera, what kind of light to use etc.”

Von Trotta also warned women who want to start making cinema to be ready for some serious criticism: “I’ve faced a lot of it. The aggression wasn’t physical but bearing psychological oppression is difficult as well. Critics would write that I get financing for my movies only because I’m a woman.

They would make vulgar insinuations sometimes.”

In the end Von Trotta suggested to watch as many films as possible and to seek out what interests you the most without waiting for someone else to show you the way. KK

The first film of Ulrich Seidl’s Paradies trilogy, Love will be screened at 19:30 at Moscow Cinema, Red Hall. The other two films completing the trilogy, Faith and Hope, will be screened tomorrow. Don’t miss tomorrows daily for an interview with the Austrian director.

Midnight wrap-up The Midnight Wrap-up is at THE CLUB. For more information, check out the article on Meliq Karapetyan, the man behind the concept.

SPECIAL GUESTS THIS YEAR Parviz The queen Mephisto The Baumanns Hannah Ahrendt Alhasa and Juliet Nereysha Lualik Colonel Redl Othello Pepo Max

Bryusov Isafahan’s son Maroosya Kayan Panihida Paradjanov Panos, the clumsy The girl from Godi Mrs Henderson Ida Peter

GOLDEN APRICOT DAILY | DAY 4 | 10 JULY | 2013

0029, Republic of Armenia, Yerevan, Silikyan District, 5th St., 58 ՀՀ, Երևան, Սիլիկյան թաղ., 5րդ փող., տուն 58