Golden Apricot Daily - 2013, Day 5

DAY 5, THURSDAY, JULY 11

For the love of God according to Seidl Æ ë»ñ ²ëïÍ᪠Áëï ¼³Û¹ÉÇ

²ñï³í³½¹ ö»É»ßÛ³Ý. Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝ

§²Û¹ »ë ã»Ù¦, §²ß˳ñÑ, áñ Ù»ñÁ 㿦

гñó³½ñáõÛó. àõÉñÇË ¼³Û¹É

Interview Ulrich Seidl

A World Not Ours

Jos Stelling on The Girl and Death

GOLDEN APRICOT DAILY | DAY 5 | 11 JULY | 2013

2 Íñ³·Çñ/program 11 ÑáõÉÇëÇ/ 11 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 ²Û¹ »ë ã»Ù/I am going to Change My Name سñdz ê³Ñ³ÏÛ³Ý/Maria Sahakyan, Arm/96'/FC-AP-FAB

Lang.: Russian, Subt.: English

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

Lang.: Slovak/Moravian dialect, Subt.: English 12:00, 20:00

12:00 ²ñ¨»É³μ³ÕÓáõÃÛáõÝ/ Eastalgia ¸³ñÛ³ úÝÇßã»ÝÏá/ Daria Onyshchenko, Deu-Ukr-Srb/93', FAB

Lang.: English/Armenian/ Turkish/Kurdish, Subt.: English 15:00 γñ× Ñ³Õáñ¹³·ñáõÃÛáõÝ/ Short Message ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý/Vardan Danielyan, Arm/12'/FAB

No dialogues

êáëÏ ÏÛ³Ýù/A Mere Life ê³ÝÑáõÝ ö³ñÏ/Sanghun Park, Kor/75'/FC

Lang.: Korean, Subt.: English 15:30 ¸ñ³Ëï. ѳí³ï/Paradise: Faith àõÉñÇË ¼³Û¹É/Ulrich Seidl, Aut-Deu-Fra/113'/YP

Lang.: German/Arabic, Subt.: English and Armenian 18:00 Ø»çï»ÕáõÙ ÇÝã-áñ ï»Õ/Araf – Somewhere in Between ºßÇÙ àõëï³ûÕÉáõ/Yeşim Ustaoğlu, Tur-Fra-Deu/124'/FC

Lang.: Turkish, Subt.: English and Armenian 22:00 ²ÛÝï»ÕÇ Ù³ñ¹ÇÏ/People Out There гÛÏ Î³ñ³å»ïÛ³Ý/ Aik Karapetian Lva/90'/AP

Lang.: Russian, Subt.: English

ØáëÏí³ ÏÇÝáóïñáÝ, ²Ù³é³ÛÇÝ ¹³ÑÉÇ×/ Moscow Cinema, Summer Hall 21:00 ¸³ßï³ÛÇÝ Ù³ñÇÝ»ñÇ »ñÏݳÛÇÝ Ï³Ý³Ûù/Celestial Wives of the Meadow Mari ²É»ùë»Û ü»¹áñã»ÝÏá/Aleksey Fedorchenko, Rus/106'/RFD

Lang.: Russian, Subt.: English 23:00 ì»ñçÇÝ ÓÙ»éÁ/The Last Winter ê³É»Ù ê³É³í³ÃÇ/ Salem Salavati, Irn/75'/FAB

ì»ñÙ³ÏÇë ͳÉùÁ/A Fold in My Blanket ¼³½³ èáõë³Ó»/ Zaza Rusadze, Geo/75'/FAB

Lang.: Georgian/Russian, Subt.: English and Armenian 17:00 ²ÕçÇÏÁ ¨ Ù³ÑÁ/The Girl and Death Úáë êï»ÉÇÝ·/Jos Stelling, Ndl-Rus-Deu/124'/YP

Lang.: German/Russian/French, Subt.: English and Armenian 19:30 سñ¹Ï³Ýó »ñÏÇñÁ/World of People ²ñï³í³½¹ ö»É»ßÛ³Ý/Artavazd Peleshyan, Arm/10'/T

No dialogues ´ÝÇÏÝ»ñÁ/Inhabitants ²ñï³í³½¹ ö»É»ßÛ³Ý/ Artavazd Peleshyan, Arm/9'/T

No dialogues î³ñí³ »Õ³Ý³ÏÝ»ñÁ/ Seasons ²ñï³í³½¹ ö»É»ßÛ³Ý/Artavazd Peleshyan, Arm/29'/T

No dialogues ì»ñç/The End ²ñï³í³½¹ ö»É»ßÛ³Ý/Artavazd Peleshyan, Arm/10'/T

No dialogues ÎÛ³Ýù/The Life ²ñï³í³½¹ ö»É»ßÛ³Ý/Artavazd Peleshyan, Arm/7'/T

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 12:00 ²ÝûÕ/Embers ³ٳñ³ êï»÷³ÝÛ³Ý/Tamara Stepanyan, Arm-Lbn-Qat/77'/AP-SF

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

Lang.: Russian, Subt.: English ʳí³ñáõÙ/Eclipse ²ñ³ ºñÝç³ÏÛ³Ý/Ara Yernjakyan, Arm/12'/AP

16:00 гÛÏ³Ï³Ý ³ñÓ³·³ÝùÝ»ñ/ Armenian Echoes Part Three гÏáμ ¶áõ¹ëáõ½ Û³Ý/Hagop Goudsouzian, Can/52'/AP

Lang.: Armenian, Subt.: English ʳí³ñáõÙ/Eclipse ²ñ³ ºñÝç³ÏÛ³Ý/Ara Yernjakyan, Arm/12'/AP

Lang.: Armenian/English, Subt.: English and Armenian 18:00 ä»åÇïïá/Pepitto ¶áõñ·»Ý æ³ÝÇμ»ÏÛ³Ý/Gurgen Janibekyan, Arm/22'/AP ÈÛ³ÉÇÏ/Lyalik ²ñ³ Ö³Õ³ñÛ³Ý/ Ara Tshagharyan, Arm/20'/AP

Lang.: Armenian, Subt.: English 19:30 ƹ³Ý ³Ûëï»Õ ¿/Ida Is Here ¾ÙÇÉ ØÏñïãÛ³Ý/Emil Mkrttchian, Swe/20'/AP

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

20:30 Àݹѳïí³Í Ù³ÝÏáõÃÛáõÝ/ Broken Childhood æÇí³Ý ²í»ïÇëÛ³Ý/Jivan Avetisyan, Arm/46'/AP

Lang.: Armenian, Subt.: English

Lang.: Russian, Subt.: English

General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan Journalists: Berend Jan Bockting, Artur Vardikyan, Anastasia Costishanu, Evrim Kaya, Kristine Kyurklyan

Տպագրված` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

ê¨ å³ïÙáõÃÛáõÝ/Blackstory øñÇëïáý ´ñáõÝ»ñ, Þï»ý³Ý ´ñáõÝ»ñ/Christoph Brunner, Stefan Brunner, Aut/30'/SC

18:00

²ß˳ñÑ, áñ Ù»ñÁ ã¿/A World Not Ours Ø³Ñ¹Ç üÉ»Ûý»É/ Mahdi Fleifel, UK/93'/DC

Lang.: German, Subt.: English ¸í³/Dva ØÇùÇ Ü»¹ÇÙáíÇã/ Mickey Nedimovic, Deu/27'/SC

Lang.: Serbo-Croatian, Subt.: English

12:00, 20:00

²Û¹ »ë ã»Ù/I am going to Change My Name سñdz ê³Ñ³ÏÛ³Ý/Maria Sahakyan, Arm/96'/FC-AP-FAB

Lang.: Arabic/English, Subt.: English 16:00

Lang.: Russian, Subt.: English 20:00 ø³é³ïñá÷ ëɳóáÕ éÝ·»ÕçÛáõñÁ/Rhino Full Throttle ¾ñÇÏ ÞÙÇÃ/Erik Schmitt, Deu/15'/SC

¶³ÛÉÇ μ»ñ³ÝÁ/Wolf’s Mouth äÇ»ïñá سñã»ÉÉá/Petro Marcello, Ita/76'/R

Lang.: German, Subt.: English 12:00, 20:00

¶Ý¹³å»ï 軹É/Colonel Redl Æßïí³Ý ê³μá/István Szabó, Hun/144'/R

Lang.: Italian, Subt.: English and Armenian

Lang.: Hungarian, Subt.: English and Armenian

лÙÇÝ·áõ»Û ÷³µ/ Hemingway Pub

Æñ ëïí»ñÁ Ï»ñ³ÏñáÕ Ù³ñ¹Á/The Man Who Fed His Shadow سñÇá ¶³ñ»ýá/ Mario Garefo, Grc/18'/SC

Lang.: Greek, Subt.: English ܳïϳ/Natka ¸ÙÇïñÇ ¶ñÇó»ÝÏá/Dmitry Gritsenko, Rus/27'/SC

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

22:00

12:00

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

²ñ³ñ³ï/Ararat ¾Ý·ÇÝ øáõݹ³Õ/Engin Kundag, Deu-Tur/26'/SC

г۳ëï³Ý. ³Ýï»ë³Ý»ÉÇ »ñÏÇñ/Armenia: Invisible Country سñdz٠úѳÝÛ³Ý/ Mariam Ohanyan, Arm/11'/FV

Lang.: Armenian

¼áÙμÇ/Zombie ¸³íǹ Øáñ»Ýá/David Moreno, Esp/13'/SC

²Ýí»ñç ÷³Ëáõëï, ѳí»ñÅ í»ñ³¹³ñÓ/Endless Escape, Eternal Return гñáõÃÛáõÝ Ê³ã³ïñÛ³Ý/Harutyun Khachatryan, Arm/87'/FV

Lang.: Spanish, Subt.: English

Lang.: Armenian, Subt.: English

Ø»ÍÝ Ðáݽ³Ý/Big Honza سñ»Ï òÇÏÏáïïÇ/Marek Ciccotti, Cze/22'/SC

Lang.: Czech, Subt.: English 16:00

16:00 ²Ýåáã ׷ݳíáñÁ/Tailless Hermit ʳãÇÏ â³ÉÇÏÛ³Ý/ Khachik Chalikyan, Arm/97'/FV

Lang.: Azerbaijani, Subt.: English and Armenian àñï»±Õ ¿ ¹ñ³ËïÁ/Where is the Heaven... ü³Ã»Ù» Ô³¹ÇñÇ Ü»Å³¹Û³Ý/Fatemeh Ghadiri Nezhadian, Irn/13'/SC

Lang.: English/Persian, Subt.: English and Armenian سùëÁ/Max ä»ñ» êáÉ»ë, ¸³íǹ ä»ñ»ë/Pere Solés, David Pérez, Esp/11'/SC

Lang.: English, Subt.: Armenian

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

Lang.: Armenian, Subt.: English 22:00

Photos: Vahan Stepanyan ©PanARMENIAN Photo,

Gevorg Gasparyan Design: Gayane Grigoryan ¸Çï³ßï³ñ³Ï/Watchtower ö»ÉÇÝ ¾ëÙ»ñ/Pelin Esmer, Fra-Deu-Tur/100'/FAB

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

²Ù»Ý ÇÝã ³ÝÑ»ï³óÝáÕ Ù»ù»Ý³Ý/The Machine Which Makes Everything Disappear ÂÇݳÃÇÝ ¶áõñãdzÝÇ/Tinatin Gurchiani, Geo-Deu/97'/DC

Lang.: Georgian, Subt.: English

Lang.: German/Turkish, Subt.: English

Editor in chief: Ronald Rovers

øÛáõñùÉÛ³Ý, îÇ·ñ³Ý سñïÇñáëÛ³Ý, ê»ñ·»Û ÎÇñ³ÏáëÛ³Ý, êÇñ³ÝáõÛß ¶³ÉëïÛ³Ý, ÈÇÉÇà Øݳó³Ï³ÝÛ³Ý, ¾íñÇ٠γ۳, Մարինե Ղարախանյան, Ռիմա Աղեկյան

²ñù³Û³¹ëï»ñ å³ï»ñ³½ÙÁ/ Princess' War ìɳ¹ÇÙÇñ ²É»ÝÇÏáí/Vladimir Alenikov, Rus/90'/FV

15:00 ì³ñå»ïáõÃÛ³Ý ¹³ë ÂÛáõ êÃÇÝ ØÛáõÉÉ»ñÇ Ñ»ï/Master Class with Tue Steen Muller

22:00 ¸³ßï³ÛÇÝ Ù³ñÇÝ»ñÇ »ñÏݳÛÇÝ Ï³Ý³Ûù/Celestial Wives of the Meadow Mari ²É»ùë»Û ü»¹áñã»ÝÏá/Aleksey Fedorchenko, Rus/106'/RFD

Lang.: Kurdish, Subt.: English

ԱշËատակազմ` ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, øñÇëïÇÝ»

10:00, 18:00

Lang.: Russian, Subt.: English

No dialogues

¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

13:00

Lang.: Russian, Subt.: English

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

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

úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý

Lang.: French, Subt.: English

Lang.: Armenian, Subt.: English

Ø»ñ ¹³ñÁ/Our Century ²ñï³í³½¹ ö»É»ßÛ³Ý/ Artavazd Peleshyan, Arm/47'/T

¶É˳íáñ ËÙµ³·Çñ` Ռոնալդ Ռովերս

´Ç½Ý»ë/Business سÝÛáõ ÎáÙ³Ý/Manu Coeman, Bel/14'/SC

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

Lang.: Armenian, Subt.: English

Lang.: German, Subt.: English and Armenian

10:00, 18:00

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ/ Puppet theatre

Lang.: Armenian/Russian, Subt.: English

No dialogues

22:00 ¸ñ³Ëï. ÑáõÛë/Paradise: Hope àõÉñÇË ¼³Û¹É/Ulrich Seidl, Aut-Deu-Fra/100'/YP

ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema

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

гٳ½·³ÛÇÝ Ã»ñÃ

Lang.: Turkish, Subt.: English and Armenian

î»Õ³÷áËÙ³Ý å³ïÙáõÃÛáõÝÝ»ñ/Moving Stories Üáñ³ ²ñÙ³ÝÇ/Nora Armani, USA-Fra/19'/FV

Lang.: English, Subt.: Armenian

ø³Û³Ý/Kayan سñdz٠ܳç³ýÇ/Maryam Najafi, Can-Irn-Lbn/85'/SF

Lang.: Arabic/English/Persian, Subt.: English and Armenian

GOLDEN APRICOT DAILY | DAY 5 | 11 JULY | 2013

ýÇÉÙ»ñ »õ é»ÅÇëáñÝ»ñ 3

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¶á¹ýñÇ è»ççÇáÛÇ ÑÇÝ áõ Ýáñ ³ß˳ñÑÝ»ñÁ Ø»Ýù ã»Ýù ï»ë­ ÝáõÙ ³ÛÝ ³ß­ ˳ñ­ ÑÁ, áñ­ ï»Õ ³å­ñáõÙ »Ýù, ù³­ÝÇ áñ ³ÛÝ Áݭϳ­ÉáõÙ »Ýù É»½­íÇ ÙÇ­çá­óáí: г­Û»­ñ»Ý ¨ Çë­å³­Ý»­ñ»Ý ³ß­Ë³ñÑ­Ý»­ñÁ ÙÇ­³Ý­·³­Ù³ÛÝ ï³ñ­µ»ñ »Ý: §àë­Ï» ÍÇ­ñ³Ý¦ ÏÇ­ Ýá­÷³­é³­ïá­ÝÇ ßñ糭ݳϭݻ­ñáõ٠ϳ­Û³­ó³Í í³ñ­ å»­ïáõ­ÃÛ³Ý ¹³­ëÇÝ é»­ÅÇ­ëáñ ¶á¹ý­ñÇ è»ç­çÇ­ áÝ Ñáñ­¹á­ñáõÙ ¿ñ ѳݭ¹Ç­ë³­ï»­ëÇÝ ãíÇ­ñ³­íáñ­ í»É Çñ Ëáë­ù»­ñÇó` ³ë»­Éáí, û Ýñ³Ýù ã»Ý ï»ë­ ÝáõÙ` ÇÝã ¿ ßáõñ­çÁ ϳ­ï³ñ­íáõÙ: §øë³­Ý»­ñáñ¹ ¹³­ñ³ëϽ­µÇÝ Ï³ñ »ñ»­ëáõÝ Ñ³­½³ñ É»­½áõ, ÇëÏ ÑÇ Ù³` ÙÇ­³ÛÝ ãáñë ѳ­½³ñ: ²ÛÝ ¹»å­ùáõÙ, »ñµ ùë³­ Ý»­ñáñ¹ ¹³­ñ³ëϽ­µÇÝ »ñÏ­ñ³·Ý­¹Ç íñ³ ³å­ñáõÙ ¿ñ 1,7 ÙÇ­ÉÇ­³ñ¹ Ù³ñ¹, ÑÇ­Ù³` 7 ÙÇ­ÉÇ­³ñ¹: ºÃ» ÇÙ ³ë³­ÍÁ ×Çßï ¿, ³å³ ³Ù»­Ý³­Ï³­ñ¨­áñ µ³­ÝÁ, áñ å»ïù ¿ ³Ý»Ýù, Ù»ñ É»­½áõÝ Ýá­ñÇó µ³­ó³­Ñ³Û­ï»ÉÝ ¿: ØÇ­³ÛÝ ³Ûë ׳­Ý³­å³ñ­Ñáí Ïï»ë­Ý»Ýù ³ß­Ë³ñ­ ÑÁ Ù»ñ ßáõñ­çÁ¦: ܳ Ýϳ­ñ³·­ñ»ó ³ÛÝ ³ß­Ë³ñ­ÑÁ, áñ ϳñ, ¨ ³Û­ëûñ­í³` ·Éá­µ³­ÉÇ­½³­óÇ­³­ÛÇ ³ß­Ë³ñ­ÑÁ. ÑÇÝ ³ß­Ë³ñ­ÑÁ ßÝãáõÙ ¿ñ, ÝáñÝ ³Ý­ßáõÝã ¿: ÐÇ­ÝÁ Ñá­ ñÇ­½áÝ áõ­Ý»ñ, Ýá­ñÁª áã: ÐÇÝÝ Çñ³­Ï³Ý ¿ñ, Ýá­ ñÁª »ñ¨­³­Ï³­Û³­Ï³Ý, ÑÇ­ÝÁ Ëá­ëáõÙ ¿ñ µ³­é»­ñÇ ÙÇ­çá­óáí, Ýá­ñÁª Ãí»­ñÇ: ÐÇÝ ³ß­Ë³ñ­ÑáõÙ ³Ù»Ý ÇÝã ÙÇ­ ³Ý­ ·³­ ÙÛ³ ¿ñ, Ýá­ ñáõÙ ª áã: ÐÇÝÝ áõ­ Ý»ñ ³ñ¨, Ù»Ýù áõ­Ý»Ýù ¿Ý»ñ­·»­ïÇÏ ÁÝ­Ï»­ñáõ­ÃÛáõÝ­Ý»ñ: ܳ ó³­íáí Ýß»ó, áñ ºñ¨­³­ÝáõÙ »Õ»É ¿ 6 ï³­ ñÇ ³é³ç, ¨ ÑÇ­Ù³ ù³­Õ³­ùÁ ß³ï ¿ ÷áË­í»É: ²ÛÝ ¹³ñ­Ó»É ¿ ³ß­Ë³ñ­ÑÇ Ùݳ­ó³Í µá­Éáñ ù³­Õ³ù­Ý»­ñÇ ÝÙ³Ý, Ïáñó­ñ»É ¿ ¹Ç­Ù³­·Ç­ÍÁ: §ÜáõÛÝ ù³­Õ³ù­Ý»­ ñÁ, ÝáõÛÝ Ýá­ñ³­Ó¨­áõ­ÃÛáõ­ÝÁ, ³Ù»Ý ÇÝã ÝٳݭíáõÙ ¿, Ûáõ­ñ³­Ñ³ï­Ïáõ­ÃÛáõÝÝ ¿ Ïá­ñãáõÙ: ÆÝã­å»ë ÐÇ­ ëáõëÝ ¿ ³ë»É ß³ï í³­Õáõó` Ù»Ýù ϳ­ñáÕ »Ýù ÉÇ­ Ý»É ³Ûë ³ß­Ë³ñ­ÑÇ Ù»ç, µ³Ûó áã ¹ñ³­ÝÇó ¹áõñë: àñ­å»ë ÏÇ­Ýá­µ»­Ù³¹­ñÇã »Ù ³ëáõÙ` ³é³Ýó Ý»­ ·³­ïÇ­íÇ å᭽ǭïÇí ã»ë ëﳭݳ: Ø»Ýù å»ïù ¿ í»ñ Ï»­Ý³Ýù áõ ï»ë­Ý»Ýù ³ÛÝ ³ß­Ë³ñ­ÑÁ, áñ­ï»Õ ³å­ñáõÙ »Ýù: ²éû­ñÛ³Ý Ýϳ­ï»ÉÝ ³Ù»­Ý³¹Å­ í³ñÝ ¿¦: è»­ÅÇ­ëá­ñÁ ѳݭ¹Ç­ë³­ï»­ëÇÝ Ý»ñ­Ï³­Û³ó­ñ»ó ѳï­í³Í Çñ í»ñ­çÇÝ ýÇÉ­ÙÇó, áñÇ ßÝáñ­Ñ³Ý­¹»­ëÁ å»ïù ¿ ï»­ÕÇ áõ­Ý»­Ý³ îá­ñáÝ­ïá­ÛÇ ÏÇ­Ýá­÷³­é³­ ïá­ÝáõÙ. §²ÛÝ Å³­Ù³­Ý³Ï, »ñµ åá­»­½Ç­³Ý ³Ù»­Ý³­ ùÇãÝ ¿ ³½­¹áõÙ Ó»ñ ˻ɭùÇ íñ³, ³ÛÝ ³½­¹áõÙ ¿ Ó»ñ ËÕ×Ç áõ Ñá­·áõ íñ³: ê³ ýÇÉÙ ¿ áã û Ó»ñ ·Ç­ï³Ï­ óáõ­ÃÛ³Ý, ³ÛÉ ½·³ó­ÙáõÝù­Ý»­ñÇ Ñ³­Ù³ñ¦: è»ç­çÇ­áÝ Çñ ýÇÉ­ÙÁ ѳ­Ù»­Ù³­ï»ó Ù³Û­ñ³­Ùáõ­ïÇ Ñ»ï. ¹ñ³­Ýáí ÑÇ­³­Ý³­ÉÇë ÇÙ³ëï ã»ë ÷ÝïñáõÙ: ²ÛÝ å³ñ­½³­å»ë ·»­Õ»­óÇÏ ¿: ²Û¹­åÇ­ëÇÝ ¿ñ ݳ¨ ¶á¹ý­ñÇ è»ç­çÇ­á­ÛÇ ýÇÉ­ÙÁ` ·»­Õ»­óÇÏ, ³å­ß»­óáõ­óÇã, Ïɳ­ÝáÕ Ï³¹­ñ»ñ áõ ѽáñ, ѳ­Ù³­ÑáõÝã, ýÇÉ­ÙÇ Ñ»ï ûñ­·³­Ý³­Ï³Ý ÙÇ­³ë­Ýáõ­ ÃÛ³Ý Ù»ç ·ïÝíáÕ »ñ³Åß­ïáõ­ÃÛáõÝ: øø Հուլիսի 11-ին, ժ³­ÙÁ 18:00-ÇÝ ÂàôØà ëï»Õͳñ³ñ ï»ËÝáÉá·Ç³Ý»ñÇ Ï»ÝïñáÝáõÙ ¹³ë³ËáëáõÃÛáõÝ Ïϳñ¹³ ¶á¹ýñÇ è»ççÇáÝ

GOLDEN APRICOT DAILY | DAY 5 | 11 JULY | 2013

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ

س­½á­ËÇë­ïÇ Ñ³­×áõÛù­Ý»­ñÁ

²Ûë ³ß˳ñÑÁ Ù»ñÁ ã¿

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§²ß­Ë³ñÑ, áñ Ù»­ñÁ 㿦, é»Å.` Ø³Ñ¹Ç üÉ»Ûý»É, Ø»Í ´ñÇï³Ýdz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ), îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, 11.07 (12:00)

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Hi-Artonline óáõ­ó³­Ñ³Ý­¹»ë Ðáõ­ÉÇ­ëÇ 11-ÇÝ` ų­ÙÁ 14:00-ÇÝ, §àë­Ï» ÍÇ­ ñ³Ý¦ ÙÇ­ç³½­·³­ÛÇÝ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ ÑÛáõ­ñ»­ ñÇÝ Ññ³­íÇ­ñáõÙ »Ýù ij­Ù³­Ý³­Ï³­ÏÇó ³ñ­í»ë­ ïÇ Ã³Ý­·³­ñ³Ý` Hi-Artonline óáõ­ó³­Ñ³Ý­¹»­ ëÇÝ:

ì³ñ­å»­ïáõ­ÃÛ³Ý ¹³ë ÆëÏ Å³­ÙÁ 15:00-ÇÝ §Ü³­Ç­ñǦ ÏÇ­Ýá­Ã³ï­ ñá­ÝáõÙ Çñ í³ñ­å»­ïáõ­ÃÛ³Ý ¹³­ëÁ ϳÝó­Ï³ó­ ÝÇ í³­í»­ñ³·­ñ³­Ï³Ý ÏÇ­Ýá­ÛÇ ¹³­ÝÇ­³­óÇ ÷áñ­ Ó³­·»ï Âá­õ» êÃ»Ý ØÛáõ­É»­ñÁ:

ºñ¨­³­ÝÛ³Ý åñ»­ÙÇ­»­ñ³ ij­ ÙÁ 17:00-ÇÝ Ññ³­ íÇ­ ñáõÙ »Ýù §ØáëÏ­ ­í³¦ ÏÇ­Ýá­Ã³ï­ñá­ÝÇ Î³ñ­ÙÇñ ¹³Ñ­ÉÇ×` ¹Ç­­ ï»Éáõ Úáë êï»­ÉÇÝ­·Ç §²Õ­çÇ­ÏÁ ¨ Ù³­ÑÁ¦ ýÇÉ­ÙÁ (ÜÇ­¹ »ñ­É³Ý¹­Ý»ñ/èáõ­ë³ë­ï ³Ý/¶»ñ­ Ù³­Ýdz): üÇÉ­ÙÁ å³ï­ÙáõÙ ¿ éáõë »ñÇ­ï³­ë³ñ¹ ÜÇ­ Ïá­É³­ÛÇ ¨ Ïáõñ­ïÇ­½³­Ýáõ­ÑÇ ¾ÉÇ­½Ç áÕ­µ»ñ­·³­ Ï³Ý ëÇ­ñá Ù³­ëÇÝ:

л­ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝ Ä³­ÙÁ 19:30-ÇÝ §ØáëÏ­í³¦ ÏÇ­Ýá­Ã³ï­ ñá­ÝÇ Î³ñ­ÙÇñ ¹³Ñ­ÉÇ­×áõÙ ï»­ÕÇ Ïáõ­Ý»­Ý³ ²ñ­ï³­í³½¹ ö»­É»­ßÛ³­ÝÇ ýÇÉ­Ù»­ñÇ §Ð»­ï³­ ѳ­Û³ó óáõ­ó³¹­ñáõ­ÃÛáõݦ Íñ³·­ñÇ µ³­óáõ­ ÙÁ` §Ø³ñ¹­Ï³Ýó »ñ­ÏÇ­ñÁ¦, §´ÝÇÏ­Ý»­ñÁ¦, §î³ñ­í³ »Õ³­Ý³Ï­Ý»­ñÁ¦, §ì»ñç¦, §ÎÛ³Ýù¦, §Ø»ñ ¹³­ñÁ¦ ýÇÉ­Ù»­ñáí:

GOLDEN APRICOT DAILY | DAY 5 | 11 JULY | 2013

interview 5

Ulrich Seidl §¸ñ³Ëï¦ »é³­å³­ïáõÙÝ ³í³ñï­í³Í ¿, àõÉñÇË ¼³Û¹­ÉÁ ϳ­ñáÕ ¿ ѳݷë­ï³­Ý³É:

“Both actors know the purpose of the scene, but they never know exactly what the other will do. This creates room for improvisation. Then I’ll direct them with small steps — this works, that doesn’t — towards the best possible scene.

Ò»ñ §¸ñ³Ëï¦ »é³­å³­ïáõÙÝ ³é³­çÇÝ ³Ý­ ·³Ù óáõ­ ó³¹ñ­í»É ¿ áñ­å»ë »ñ»ù ³é³Ý­ ÓÇÝ ýÇÉ­Ù»ñ` »ñ»ù ï³ñ­µ»ñ ÷³­é³­ïáÝ­Ý»­ñáõÙ: ÆëÏ ³Ûë­ï»Õª §àë­Ï» ÍÇ­ñ³Ý¦ ÷³­é³­ïá­ÝáõÙ ³Ù­µáÕç »é³­å³­ïáõÙÝ ¿ óáõ­ó³¹ñ­íáõÙ: Ò»ñ ëϽµÝ³­Ï³Ý Ùï³Ñ­Õ³­óáõ­ÙÁ Ñ»Ýó ¹³± ¿ñ: êϽµáõÙ »ë Ùï³­¹Çñ ¿Ç Ýϳ­ñ³­Ñ³­Ý»É Ù»Ï ýÇÉÙ` »ñ»ù ï³ñ­µ»ñ ϳ­Ý³Ýó ó³Ý­Ïáõ­ÃÛáõÝ­Ý»­ñÇ Ù³­ëÇÝ ÙÇ ³Ù­é³Ý Áݭóó­ùáõÙ ¨ óáõ­ó³¹­ñ»É ¹ñ³Ýù ½áõ­·³­Ñ»é å³ï­Ùáõ­ÃÛáõÝ­Ý»­ñáí: ´³Ûó »ñµ Ýϳ­ñ³­Ñ³­ÝáõÙ­Ý»ñÝ ³í³ñï­í»­óÇÝ ª »ë ѳÛï­Ý³­µ»­ñ»­óÇ, áñ ÇÝÓ Ùáï ÇÝ­ ëáõÝ Å³Ù ï¨­á­Õáõ­ÃÛ³Ùµ ÏÇ­Ýá­ÝÛáõà ¿ Ïáõ­ï³Ï­í»É: ºÃ» áñá­ß»Ç ë³Ñ­Ù³­Ý³­÷³Ï­í»É Ù»Ï ýÇÉ­Ùáíª ÇÝÓ ÃíáõÙ ¿, ¹³ Ϲ³é­Ý³ñ í»ó ų٠鶴á­Õáõ­ÃÛ³Ùµ ýÇÉÙ: ´³Ûó ³Ù»­Ý³­Ù»Í ËݹǭñÁ ÝáõÛ­ÝÇëÏ ¹³ ã¿ñ ª í»ó ų٠鶴á­Õáõ­ÃÛ³Ùµ ýÇÉÙ ¿É ¿ Ñݳ­ñ³­íáñ Ýϳ­ñ³­Ñ³­Ý»É: ä³ñ­½³­å»ë ù³­ÝÇ áñ ³Û¹ »ñ»ù å³ï­Ùáõ­ÃÛáõÝ­Ý»ñÝ ¿É ³é³Ý­ÓÇÝ-³é³Ý­ÓÇÝ ß³ï ѽáñ ¿ÇÝ, Ùï³­Í»­óÇ, áñ ³Ù»­Ý³­×Çßï áñá­ßáõ­ÙÁ »ñ»ù ýÇÉÙ Ýϳ­ñ³­Ñ³­Ý»ÉÝ ¿:

You ask a lot from your actors — you direct a lot of attention towards their bodies. Was it hard to cast them?

“Definitely. While casting the Teresa-part — the sugar mama in Liebe — I knew I wanted a professional actress. She had to be overweight and able to improvise in front of the camera. Finding an actress who’s able to improvise is difficult enough: you’re stuck with only twenty percent of the German-speaking actresses who can do that. Moreover she needed to perform in intimate scenes, exposing her body. Realising this actress has children, a husband, family; it was difficult to find the right one. After the casting I travelled with three actresses to Kenia to discover how they would respond to the shooting location. Only then could I know how they would feel wearing a bikini in the heat and how they would interact with the beach boys.”

ÆëÏ ³Û¹­ù³Ý Ù»Í ù³­Ý³­Ïáõ­ÃÛ³Ý ÏÇ­Ýá­ÝÛáõ­ ÃÇó Ëáõ­×³­åÇ ãÙ³ïÝ­í»­óDZù: àã: ²ß­Ë³­ï³Ý­ùÇ Ýϳï­Ù³Ùµ »ë ÇÙ Ùá­ï»­ óáõÙÝ áõ­Ý»Ù. ÙÇßï ÁÝï­ñáõ­ÃÛ³Ý Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ »Ù ÃáÕ­ÝáõÙ ÇÝÓ, áñ­å»ë­½Ç Ç í»ñ­çá áõ­½³Íë ýÇÉÙÝ ëï³ó­íÇ: ºë å³ï­Ùáõ­ÃÛáõ­ÝÁ Ý»ñ­Ï³­Û³ó­ÝáõÙ »Ù ų­Ù³­Ý³­Ï³·­ñ³­Ï³Ý ϳñ­·áíª ³é³Ýó ëó»­Ý³­ñÇ, ³ÛÝ­å»ë áñ ³ÝÑ­ñ³­Å»ß­ïáõ­ÃÛ³Ý ¹»å­ùáõÙ ÙÇßï ¿É Ñݳ­ñ³­íáñ ¿ í»­ñ³­¹³­ë³­íá­ñ»É ³ÛÝ: §ê»ñ¦ ýÇÉ­ÙÇ Ýϳ­ñ³­Ñ³­ÝáõÙ­Ý»­ñÁ ø»­ÝÇ­ ³­ÛáõÙ ³í»­ÉDZ ¹Åí³ñ ¿ÇÝ, ù³Ý ²íëï­ñÇ­³­ÛáõÙ §ÐáõÛë¦ ¨ §Ð³­í³ï¦ ýÇÉ­Ù»­ñÇ­ÝÁ: ²Ù»Ý ýÇÉÙ Çñ ¹Åí³­ñáõ­ÃÛáõÝ­Ý»ñÝ áõ­ÝÇ: سݭ ñ³Ïñ­ÏÇï áõ­ëáõ٭ݳ­ëÇ­ñáõ­ÃÛáõÝ áõ ݳ­Ë³­å³ï­ ñ³ë­ïáõ­ÃÛáõÝ »Ý å»ïù: àñ­å»ë é»­ÅÇ­ëáñ »ë å³ñ­ ï³­íáñ »Ù Ñݳ­ñ³­íá­ñÇÝ ã³÷ ß³ï ѳ­Õáñ­¹³Ïó­ í»É ³ÛÉ Ùß³­ÏáõÛíݻ­ñÇ Ñ»ï: úñǭݳϪ §Ü»ñ­Ùáõ­ÍáõÙ /³ñ­ï³­Ñ³­ÝáõÙ¦ ýÇÉ­ÙÁ Ýϳ­ñ³­Ñ³­Ý»­ÉÇë »ë ³éÝã­ í»­óÇ àõÏ­ñ³­Ç­Ý³­ÛáõÙ Ù³ñ¹­Ï³Ýó Ãñ³­ýÇ­ÏÇÝ­·Ç »ñ¨­áõÛ­ÃÇ Ñ»ï, áñÇ Ù³­ëÇÝ ÙÇÝã ³Û¹ áãÇÝã ã·Ç­ï»Ç: ÆÙ µá­Éáñ ýÇÉ­Ù»­ñÁ Çñ³­Ï³Ý ÑÇÙ­ù»ñ áõ­Ý»Ý. ³Ñ³ ¨ë Ù»Ï å³ï­×³é, û ÇÝ­ãáõ »ë ϳ­ñáÕ »Ù ÷á­Ë»É ëó»­ Ý³­ñÁ Ýϳ­ñ³­Ñ³­ÝáõÙ­Ý»­ñÇ Áݭóó­ùáõÙ: ¸áõù ¹»é í³­í»­ñ³·­ñ³­Ï³Ý ýÇÉ­Ù»­ñÇ é»­ÅÇ­ ëá­ñÇ å»±ë »ù Ùï³­ÍáõÙ: ²Û¹­ù³Ý ¿É ³Û¹­å»ë ã¿: ÆÙ ýÇÉ­Ù»ñÝ Çñ»Ýó á×áí ¨ ÙÃÝá­Éáñ­ïáí, ¹»­ñ³­ë³Ý­Ý»­ñáí ÝÙ³Ý »Ý í³­í»­ñ³·­ ñáõ­ÃÛ³Ý, áí­ù»ñ Ñݳ­ñ³­íá­ñÇÝë µÝ³­Ï³Ý »Ý ˳­ ÕáõÙ: ²Û­¹áõ­Ñ³Ý­¹»ñÓª ÇÙ ýÇÉ­ÙÇ å³ï­Ï»ñ­Ý»­ñÁ ϳ­ ñáÕ »Ý ݳ¨ ß³ï ³ñ­Ñ»ë­ï³­Ï³Ý ÉÇ­Ý»É: úñÇ­Ý³Ï §ê»ñ¦ ýÇÉ­ÙÇ ï»­ë³­ñ³­ÝÁ, áñ­ï»Õ ѳ­ñáõëï sugar mama-Ý»­ñÁ Ýëï³Í »Ý Éá­Õ³­÷áõÙ ¨ ÁÝ­¹³­Ù»­ÝÁ ÙÇ å³­ñ³Ý ¿ Ýñ³Ýó µ³­Å³­ÝáõÙ ø»­ÝÇ­³­ÛÇ Éá­Õ³÷­ÝÛ³ 먭³­Ùáñà ïÕ³­Ý»­ñÇó: ²Û¹ ï»­ë³­ñ³­ÝÇ Ùï³Ñ­Õ³­ óáõÙÝ ³Ù­µáÕ­çá­íÇÝ ÇÙÝ ¿: ØÛáõë­Ý»ñÝ ³í»­ÉÇ ß³ï í³­í»­ñ³·­ñ³­Ï³Ý ï»­ë³­ñ³Ý­Ý»­ñÇ »Ý ÝÙ³Ý, ÇÝã­ å»ë ûñÇ­Ý³Ï ³ÛÝ å³­ÑÁ, »ñµ »­ñ»­½³Ý 먭³­Ùáñà ÅÇ­·á­Éá­ÛÇ Ñ»ï ÝáõÛÝ ë»­ÝÛ³­ÏáõÙ ¿ ³å­ñáõÙ: ¸áõù Ó»ñ ¹»­ñ³­ë³Ý­Ý»­ñÇó ß³ï µ³Ý »ù å³­ ѳݭçáõÙ. Ù»Í áõ­ß³¹­ñáõ­ÃÛáõÝ »ù ¹³ñÓ­ÝáõÙ Ýñ³Ýó Ù³ñÙ­ÝÇÝ, ϳ½Ù­í³Í­ ùÇÝ: ¸Åí³ñ 㿱ñ ÁÝï­ñáõ­ÃÛáõÝ Ï³­ï³­ñ»­ÉÁ: гë­ï³ï: ºñµ §ê»­ñÁ¦ ýÇÉ­ÙÇ Â»­ñ»­½³­ÛÇ ¹»­ñ³­Ï³­ï³­ñáõ­ÑáõÝ ¿Ç ÷ÝïñáõÙ, ·Ç­ï»Ç, áñ åñá­ý»­ ëÇ­á­Ý³É ¹»­ñ³­ë³­Ýáõ­ÑÇ »Ù áõ­½áõÙ: ܳ å»ïù ¿ ÉÇ­Ý»ñ ÙÇ ùÇã ·»ñ ¨ å»ïù ¿ ϳ­ñá­Õ³­Ý³ñ ÇÙå­ñá­íÇ­½³­óÇ­ ³­Ý»ñ ³Ý»É ËóÇ­ÏÇ ³é­ç¨: ÆÙå­ñá­íǽ­Ý»ñ ³Ý»­Éáõ áõ­ Ý³Ï ¹»­ñ³­ë³­Ýáõ­ÑÇ ·ïÝ»ÉÝ ³ñ­¹»Ý ÇëÏ µ³ñ¹ ËݹÇñ ¿. ·»ñ­Ù³­Ý³­Ëáë ¹»­ñ³­ë³­Ýáõ­ÑÇ­Ý»­ñÇ ÙÇ­³ÛÝ 20 ïá­ ÏáëÝ ¿ áõ­Ý³Ï ¹ñ³Ý, µ³­óÇ ¹ñ³­ÝÇó ݳ å»ïù ¿ ݳ¨ ÇÝ­ïÇÙ ï»­ë³­ñ³Ý­Ý»­ñáõÙ Ýϳ­ñ³­Ñ³Ý­í»ñª Ù»ñ­Ï³­Ý³­ Éáí: г߭íÇ ³é­Ý»­Éáí, áñ ¹»­ñ³­ë³­Ýáõ­ÑÇ­Ý»­ñÁ »ñ»­Ë³­ Ý»ñ, ³Ùáõ­ëÇÝ, ÁÝ­ï³­ÝÇù áõ­Ý»Ýª ß³ï ¹Åí³ñ ¿ ·ïÝ»É Ñ³­Ù³­å³­ï³ë­Ë³Ý Ù»­ÏÇÝ: ø³ë­ïÇÝ­·Çó Ñ»­ïá »ñ»ù ¹»­ñ³­ë³­Ýáõ­ÑÇ­Ý»­ñÇ Ñ»ï »ë áõ­Õ¨­áñ­í»­óÇ ø»­Ýdzª ѳë­Ï³­Ý³­Éáõ, û ÇÝã­å»ë Ýñ³Ýù Çñ»Ýó Ϲñ먭á­ñ»Ý Ýϳ­ñ³­Ñ³Ý­Ù³Ý Ññ³­å³­ñ³­ÏáõÙ: ØÇ­³ÛÝ ³Û¹ Çñ³­ íǭ׳­ÏáõÙ »ë ϳ­ñáÕ ¿Ç å³ñ­½»É, û ÇÝã­å»ë Ýñ³Ýù Çñ»Ýó Ͻ·³Ý ³Û¹ ßá­·ÇÝ, µÇ­ÏÇ­ÝÇ Ñ³­·³Í ¨ ÇÝã­å»ë Ïß÷í»Ý Éá­Õ³÷­ÝÛ³ 먭³­Ùáñà ïÕ³­Ý»­ñÇ Ñ»ï:

Is your casting always so intense?

“Very often I work like this. If you cast the wrong actors, the film will fail. While making Import/ Export I shot all the scenes during the first day, with two different actresses playing the same part. After that day I chose with who I would make the film.”

It must be a major disappointment for the actresses who end up having no part at all.

“It’s never that bad. The casting is a process. It’s about gaining trust, growing closer towards each other. I don’t know how other directors handle this, but when it comes to my movies, that’s part of the game.”

Ò»ñ ù³ë­ïÇÝ·­Ý»­ñÁ ÙDZßï »Ý ³Û¹­ù³Ý ³ß­Ë³­ ï³­ï³ñ: ÐÇ٭ݳ­Ï³­ÝáõÙ »ë ³Ûë­å»ë »Ù ³ß­Ë³­ïáõÙ: ºÃ» ëË³É ¹»­ñ³­ë³Ý­Ý»ñ ÁÝï­ñ»ëª ýÇÉÙ¹ ÏÓ³­ËáÕ­íÇ: §Ü»ñ­Ùáõ­ÍáõÙ/³ñ­ï³­Ñ³­ÝáõÙ¦ ýÇÉ­ÙÁ Ýϳ­ñ³­Ñ³­Ý»­ ÉÇë »ë µá­Éáñ ï»­ë³­ñ³Ý­Ý»­ñÁ Ýϳ­ñ»­óÇ ³é³­çÇÝ ûñÁª ÝáõÛÝ ¹»­ñÁ ϳ­ï³­ñáÕ »ñ­Ïáõ ¹»­ñ³­ë³­Ýáõ­ÑÇ­Ý»­ñÇ Ù³ë­Ý³Ï­óáõ­ÃÛ³Ùµ: ØÇ­³ÛÝ ¹ñ³­ÝÇó Ñ»­ïá áñá­ß»­óÇ, û áõÙ Ñ»ï Ïß³­ñáõ­Ý³­Ï»Ù ³ß­Ë³­ï»É: î³­ñÇ­ùÇ Ñ»ï ¹áõù ³í»­ÉÇ Ù»±ÕÙ »ù ¹³é­ÝáõÙ: §ÐáõÛ­ëÁ¦ª í»ñ­çÇÝ ýÇÉ­ÙÁ, ³í»­ÉÇ Ñ³Ý­·Çëï ¿ñ, ù³Ý ݳ­Ëáñ¹ »ñ­Ïáõ­ëÁ, ³ÛÝ­ï»Õ ûñÇ­Ý³Ï µéÝáõ­ ÃÛ³Ý áõ­ÕÇÕ ï»­ë³­ñ³Ý­Ý»ñ ãϳ­ÛÇÝ: §ÐáõÛë¦ ýÇÉ­ÙáõÙ Ñ»ßï ¿ñ å³ï­Ù»É ÙÇ å³ï­Ùáõ­ ÃÛáõÝ, áñÁ Ï»½­ñ³­÷³Ï­í»ñ ³Õç­Ï³ ѳݭ¹»å µÅßÏÇ µéÝáõ­ÃÛ³Ùµ: г­í³­Ý³­µ³ñ Ù³ñ­¹ÇÏ Ñ»Ýó ¹³ ¿ÇÝ ³Ïݭϳ­ÉáõÙ ÇÝÓ­ÝÇó: àÙ³Ýù ¿É ѳë­ï³ï ³ë³Í ÏÉÇ­ Ý»Ý` §í»ñ­ç³­å»ë àõÉ­ñÇË ¼³Û¹ÉÝ ³í»­ÉÇ µ³­ñ»­ëÇñï ¿ ¹³ñ­Ó»É¦: ´³Ûó ×ßÙ³ñ­ïáõ­ÃÛáõ­ÝÁ µá­Éá­ñá­íÇÝ ³ÛÉ ¿: ºñµ ³ß­Ë³­ïáõÙ »ë »ñ»­Ë³­Ý»­ñÇ Ñ»ï (Ø»­É³­ÝÇݪ ³ÛÝ ³Õ­çÇ­ÏÁ, áí ˳­ÕáõÙ ¿ ýÇÉ­ÙÇ ÑÇ٭ݳ­Ï³Ý Ù³­ ëáõÙ, Ýϳ­ñ³­Ñ³­ÝáõÙ­Ý»­ñÇ Å³­Ù³­Ý³Ï ï³ë­Ý»­ñ»ù ï³­ñ»­Ï³Ý ¿ñ), ³í»­ÉÇ ½·áõ­ß³­íáñ »ë ¹³é­ÝáõÙ, ù³­ ÝÇ áñ áñá­ß³­ÏÇ å³­ï³ë­Ë³­Ý³ï­íáõ­ÃÛáõÝ »ë ½·áõÙ: ¸áõù ³ë³­ óÇù, áñ Ù³ñ­¹ÇÏ áñá­ ß³­ ÏÇ á×Ç ýÇÉ­Ù»ñ »Ý ³Ïݭϳ­ÉáõÙ àõÉ­ñÇË ¼³Û¹­ÉÇó: ¶Ç­ï³Ï­ó³­µ³±ñ »ù §Ë³­ÕáõÙ¦ ³Û¹ ³Ïݭϳ­ÉÇù­ Ý»­ñÇ íñ³: ¶»­Õ³ñ­í»ë­ï³­Ï³Ý ýÇÉ­Ù»ñ Ýϳ­ñ³­Ñ³­Ý»ÉÝ ³ë»ë ѳ­çáñ­¹³­Ï³Ý ׳٭÷áñ­¹áõ­ÃÛáõÝ ÉÇ­ÝÇ ÙÇ ýÇÉ­ÙÇó ÙÛáõ­ ëÁ: øÝݳ­¹³ï­Ý»­ñÇ Ï³Ù Ñ³Ý­¹Ç­ë³­Ï³­ÝÇ ³ë³Í­Ý»­ ñÁ ã»Ý ³½­¹áõÙ ÇÝÓ íñ³: ºë ÇÝÓ å³ñ­ï³­íáñ­í³Í ã»Ù ½·áõÙ Ç٠ѳ­çáñ¹ ýÇÉ­ÙáõÙ ¿°É ³í»­ÉÇ ß³ï ï³­µáõ­Ý»ñ Ïáï­ñ»­Éáõ ϳ٠¿É ѳ­Ï³­é³ÏÝ ³Ý»­Éáõª ³Û¹ ÝáõÛÝ å³ï­ ׳­éáí: êË³É ÏÉÇ­Ý»ñ, »Ã» »ë ÝÙ³Ý µ³Ý ³Ý»Ç: ´æ´ §¸ñ³Ëï: гí³ï ¦ (àõÉñÇË ¼³Û¹É, ²íëïñdz, 2012Ã. ) 11-7, 15:30 ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× §¸ñ³Ëï: ÐáõÛë¦ (àõÉñÇË ¼³Û¹É, ²íëïñdz, 2013 Ã. ) 11-7, 22:00, ØáëÏ­í³ ÏÇ­Ýá­Ã³ï­ñáÝ, γñ­ÙÇñ ¹³Ñ­ÉÇ× (§¸ñ³Ëï. ê»ñ¦ª óáõ­ó³¹ñ­í»É ¿ »ñ»Ï)

The Paradise trilogy is finished, Ulrich Seidl can go on holiday.

Your Paradise-trilogy premiered as separate films at three different festivals. Was that your original idea?

“The first idea was to make one film about the desires of three different women, and show them in parallel stories during the same summer. After shooting the film I had ninety hours of material. If I still wanted to make one film, I realised it should have to be six hours long. That wasn’t the biggest problem — it’s possible to make a six-hour-long film. But because the three stories felt so intense, I thought making three films was the only right solution.”

No sudden panic with that much material?

“No. My work-approach consists of leaving many options open, giving myself a lot of possibilities to make the film I want to make. I shoot the story in chronological order without the use of a script, so it’s possible to rewrite on the spot.”

Was shooting in Kenya for Love more difficult than shooting in Austria for Faith and Hope?

“Every film had its difficulties. It’s all about research and preparation; it’s my job as a director to engage with other cultures as much as possible.

For example, while making Import/Export I got involved in the human trafficking world I didn’t know before in Ukraine. All my films have their roots in reality — that’s another reason why I like to be able to change the script while shooting.”

Still thinking like a documentary maker?

“That’s not totally true. My films are documentarylike in style and atmosphere, with actors performing as authentic as possible. Yet, my images can be very artificial. Think about the scene in Love where the rich sugar mama’s are in their beach chairs, while a rope separates them from the Kenyan beach boys at the other side. The idea of that image was totally mine.”

How do you direct a documentary-style scene like that?

During screenings some spectators have the tendency to laugh when there is, for instance, a fat lady in a bikini on screen.

“Every spectator sees a different film. It happens that people laugh about my movies, while others don’t laugh at all, while again others might be annoyed by the people who laugh. Mostly it comes down to embarrassment; when you discover your own feelings of shame, laughing can be a liberating thing. And people who just laugh because they think a fat person is funny, are judging by their own standards or prejudices. My films never judge. I consider them to be a mirror — everything you see is directly returned at you.”

Are you becoming softer with age? Hope is milder than the previous two, showing no direct abuse, for instance.

“With Hope, it was too easy to tell a story that would end with the doctor abusing the girl. That’s what people probably expected from me. Some already said: ‘at last Ulrich Seidl has become more heartily!’ The truth is different. When you’re a director working with children — Melanie, in Hope was thirteen-years old — you’re more careful because it comes with a certain responsibility.”

Has there ever been a moment when you weren’t careful enough?

“No. Because of the way I do research, there are many moments to make decisions. Many moments where I can ask myself whether a certain image might be or feel wrong.”

You said people might expect a certain type of film from Ulrich Seidl. Are you consciously playing with those expectations?

“When you’re making art films, it’s very much a consistent journey from one film to the next. Things critics or spectators say do not influence me. I don’t feel any pressure to break even more taboos with my next film, or do the opposite for that matter. It would be very wrong if I did.” BJB Paradise: Faith (Ulrich Seidl, Austria, 2012), 11-7, 15:30, Moscow Cinema, Blue Hall Paradise: Hope (Ulrich Seidl, Austria, 2013), 11-7, 22:00, Moscow Cinema, Red Hall (Paradise: Love was screened yesterday)

GOLDEN APRICOT DAILY | DAY 5 | 11 JULY | 2013

6 reviews

The pleasures of masochism Paradise: Faith (Ulrich Seidl, Austria, 2013).11-7, 15:30, Moscow Cinema, Blue Hall Ulrich Seidl’s Paradies trilogy was planned as one film with three parallel stories. Only during post-production did he decide to tell the story in three different parts. The decision has already proven right. The first part, Love competed in Cannes, a few months later Faith returned from Venice with a Special Prize and the trilogy’s final part Hope had its premier during the Berlinale — three films selected for three A-level festivals.

The three parallel stories are linked through their protagonists. There are two middle-aged sisters and one of them has a teenage daughter. The three women shortly appear together in Love and then part for the summer holidays: One of them goes to Kenya as a sex tourist, the daughter goes to a diet-camp to loose some weight and the sister stays behind in Vienna to spent the holidays going door to door spreading the word of God. Ulrich Seidl’s women are looking for their own private paradise that is supposed to come in the form of love, faith and hope. Spoiler alert: There is no such thing as paradise.

The triptych’s middle part Faith follows the puritan catholic Anna Maria in her attempts to save the world from evil, but her focus is also on sex and those who are enslaved by it. Ringing the bells of strangers, all of whom are miserable, she invites herself to their home and tells them what they should and should not do. That means praying pater noster whenever possible and resist temptation whether in form of adultery, alcohol or television.

While she works with a small fundamentalist group to bring Catholicism back to Austria, her cross-furnished house gets occupied by an unwanted guest from the past. Her crippled Muslim husband returns from Egypt. He is religious in his own way but opposes Anna Maria’s extreme devotion and through his worldliness one could think that Seidl is almost taking sides.

Two ultraconservative catholic groups 'No 194' and 'Militia Christi' protested the film during its

Venice premier claiming it was blasphemous.

Seidl’s depiction of the masochistic nature of asceticism is indeed provocative. Anna Maria is seen whipping herself, repeating in many ways the pain Jesus suffered two thousand years ago and although she sees sex as the evil of evils, her love for

Jesus turns more and more sexual. But the sadomasochist nature of her relation to Jesus goes beyond the provocation of explicitly sexual scenes.

Very slowly Seidl reveals that the pain of the world is greater than any physical pain and if one tries to accept it as coming from god, it is inevita-

ble that one becomes a little masochistic. Or, well, one might end up with a whip in the hand, directed to Jesus, asking simply “why?” What is more masochistic than thanking god for everything, even for the accident that crippled your husband and why has he forsaken her indeed? EK

A Yerevan that once was Embers (Tamara Stepanyan, Lebanon, Qatar, Armenia, 2013) 11-7, 12:00, Moscow Cinema, Small Hall 1

The train that never comes A World Not Ours (Mahdi Fleifel, UK, Lebanon, Denmark, 2012). 11-7, 12:00, 20:00, Puppet Theatre Personal recordings, material from the family archive and historical footage are the spicy ingredients of Mahdi Fleifel’s A World Not Ours. The video diary attempts to rebuild a Palestinian history with over sixty years of fighting and resistance without any sense of belonging.

One square kilometer of land, ironically called “The beautiful well”, has been the home of seventy thousand Palestinian refugees for nearly sixty years now, during which not much has changed. In this claustrophobic trap, lost in time and space, reigns the chaos of a waiting platform where the passen-

gers wait forever on their way to a destination beyond the horizon.

Deprived of fundamental human rights refugees can go nowhere and pass the time with endless waiting. When asked what they’re going to do today, the answer is ‘nothing’. Mahdi Fleifel’s still hopeful grandfather greets people all day long in front of his door. His uncle, the village idiot, shows his affection for his birds, since he can’t afford having a family, while Abu Eyad, a disillusioned friend, spends his day at the market, dreaming of an escape.

But contrary to what you might expect, A World Not Ours retains playful tone. With a few notes of blues and jazz, together with a refined sense of humor, it shows a day in the life of Palestinian refugees. The same day they lived yesterday. AC

Tamara Stepanyan says that her initial intention was to simply make a film about her grandmother, with whom she was very close, especially as a child. The elder Tamara was a veteran of World War II, a caring woman and an enchantress, at least that’s how young Tamara saw her.

After her grandmother’s death in 2008 she felt the need to somehow honor her memory and being a filmmaker she decided cinema was the way to do this. But as soon as she began filming conversations “the film took on another meaning and chose another direction.” The results is Embers, an award winning documentary in which the director interviews Tamara’s old friends in their homes, where they speak openly about a version of Yerevan and a friendship that inevitably came to pass, though it’s obvious thinking back for some of them is painful.

Conversations about Tamara accumulate with details of the era she lived in (mainly the second half of the 1940’s) and the mental processes she and her co-students were going through.

Some of them fought the Great War; they were the Victory’s generation. A generation with ideals and one that never doubted a better future.

Maybe because they were young. Maybe because the USSR gave them no reason to doubt.

Either way, Embers has no political ambition. The director simply tries to show a soft-spoken nostalgia, infuse the memory of her grandmother with a bit of life through the memories of Tamara’s old friends. AV

This Russian soul The Girl and Death (Jos Stelling, Netherlands, Russia, Germany, 2012) 11-7, 17:00, Moscow Cinema, Red Hall After 50 years of denial Nicolai returns to Tannenfeld near Leipzig where long ago he met his one true love Elise. Back then she was the mistress of the Count, a cruel man by all means. Young and naïve, Nicolai struggled to set Elise free, however his youthful ardor and his romanticized mind failed him. He was disappointed. But now he’s back. His return is not only physical but spiritual as well: as he walks through the corridors of the now abandoned hotel, once filled with life and love, heartache and lust, Nicolai cannot help but suffer through his love story once more in his mind.

Jos Stelling’s The Girl and Death is a film about passion lost between hatred and love. While paying an unofficial homage to Alexandre Dumas’ novella The Lady of the Camellias, The Girl and Death is as visually affectionate and spellbindingly simple as one might expect from a Stelling film. Delicate in details and comical in generalizations it continues the director’s peculiar exploration of the mysterious Russian soul, a subject he touched in his previous film Dushka. Like Duska, The Girl and Death also features a minor clash of civilizations: Russia and Europe — their inclination towards each other and their antagonism. AV

GOLDEN APRICOT DAILY | DAY 5 | 11 JULY | 2013

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‘I like working with archetypes’

Master class with Tue Steen Muller

The Girl and Death could’ve been also named Girl, Boy, Love, Man, Woman, Revenge and Death. With his tenth film, Dutch director Jos Stelling doesn’t shy away from big themes — he incorporates them in his signature style of storytelling.

This latest work by Stelling, who made The Pointsman (1986), The Flying Dutchman (1995) and Duska (2007), is about a young Russian doctor who travels from Moscow to Paris, and along the way in a German hotel falls in love with the beautiful Elise. Unfortunately, the place is ruled by a jea­ lous and dominant Count which makes it impossible for them to actually fall in each other’s arms.

Does Stelling see prizewinning The Girl and Death still as a Dutch film, considering it was shot in Germany and the characters predominantly speak in German and Russian? “The crew was almost entirely Dutch”, says Stelling. “And I don’t believe a Dutch film necessarily needs to be about a Dutch subject. Apart from that, this story is very organic.

The Russians went to Paris at that time, so they had to pass through Germany.”

A conversation with Stelling sometimes feels like being part of a lesson in film studies. In his vision of cinema it’s all about life and death, about “tension between men and women” and “identification with situations”.

Stelling: “That’s why I like working with these archetypes. Characters above all must be simple and clear. Hitchcock once said: If a woman enters a room, I instantly know everything about her. I look at her hair, her dress, the way they sits, the way she crosses her legs. Like Hitchcock, I like the idea of the character as an icon. I want to know who she is immediately, otherwise the movie can’t start.”

Stellings style is far-removed from predominant filmmaking style in The Netherlands. “In Dutch ci­

15:00 at Nairi Cinema. Danish Tue Steen Müller, veteran documentary consultant and former director of European Documentary Network, has been involved in documentary filmmaking for almost forty years. Since 2006 he works as a freelance consultant and teacher in documentary matters all over the world and received the Roos Award for his contribution to Danish and European documentary in 2005. He will talk and show clips from new, innovative documentaries, which can be personal and use new narrative storytelling tools far away from the neutral observational, classic documentary.

Lecture by Godfrey Reggio

Jos Stelling (left) on the set of The Girl and Death. Right actor Dieter Hallervorden

nema the stories revolve too much about flat cha­ racters. There’s this flatter-than-flat entertainment, there’s the personal level — all those people who talk about each other, and there’s the transpersonal level, which transcends the individual. You and me for i­nstance, we are two specific individuals, but if I say: I’m a filmmaker and you’re a journalist, this story about us becomes much more interesting.”

Will the use of such major themes never become pompous? “While watching a good film you should not think at all”, Stelling responds.

“You just sit back and look at the screen, as you do when you're listening to music. Just let your brain catch the alpha wave and enter a state in which you're looking but you forget that you’re looking.” BJB

Casting for life The Machine Which Makes Everything Disappear (Tatiana Gurchiani, Georgia, 2012) 11-7 10:00, 18:00 Puppet Theatre

Godfrey Reggio master class

‘The breath and the breathless’ Godfrey Reggio presented the audience of his master class with scenes from his new film Visitors and pleaded for a rediscovery of our language.

We can’t see the world we live in because we know it through languages. That’s why Armenians and Spanish-speaking audiences experience the world in a completely different way. In his master class on Wednesday, Qatsi trilogy director Godfrey Reggio asked the audience not to get offended when he said that they don’t see what’s happening around them.

“In the beginning of the 20th century there were thirty thousand languages on the planet, now there are only four thousand. And this is despite the fact that there were only 1,7 billion people on the planet in the early 1900’s in contrast to todays seven billion. If what I’m saying is true than the most important thing we can do right now is to rediscover our language. This is the only way we will see the world that surrounds us.”

He described the world that we once had and the globalized world of today. The old world had breath, the new world is breathless, said Reggio.

The old had a horizon, the new one does not. The old world had items of one-time use. The old world had a sun, while the new one has energy companies.

Six years ago Reggio was also in Yerevan and now he noted with regret that even the city has changed.

It has become like all the other cities in the world, it has lost its outlines: “Similar cities built in a similar fashion. Everything’s becoming alike, originality is vanishing. As Jesus once said: “We can be inside of this world, yet never outside it.” As a filmmaker I’m assuring you that without the negative you can’t get the positive. We must stand up and see the world we live in. The hardest thing to do is to notice the present”.

Reggio also presented a sequence from his new film Visitors which will premier at the Toronto International Film Festival. “At times when poetry affects your minds the least, it affects your conscience and soul. This film is not for your mind, but for your emotions”. He compared his film to the sunset. One doesn’t seek specific meaning in it. It’s just beautiful. So was Reggio’s film: beautiful and striking images organically accompanied by spectacular music. KK

What started as a casting call for making a film ended up becoming the actual subject of Tatiana Gurchiani’s The Machine Which Makes Everything Disappear, in which a young generation of Georgians shares their stories in front of a ca­ mera. The raw material of these interviews, together with footage from their daily life, reflect the image of a dull, languid post-Soviet Georgia.

Having behind them a wall on which the Soviet paint comes off, surrounded by the numb emptiness of the room, those who responded the call for casting share with the interviewer their dreams and hopes, their mistakes and disappointments. Thirteen year old Ramin gathers corn after classes but wants to act in a movie. Shukia wants to become a scientist and to discover something new. Zaza needs a wife, but first he needs to stay sober.

Next to these characters are those who don’t have a name. One wants to go to Hollywood and play in action movies like Van Damme, another went through pain and suffering, a third wants to give up gambling.

The names don’t really matter. But their stories do, because these are the anonymous stories of a vast majority living their daily life experiencing anxieties and fears. In the houses of a provincial, agricultural, mountainous Georgia, these youngsters seem stuck in their muddled existence, with heavy clouds hanging over their heads. They are the dreamers who — in the years after the collapse of the USSR — saw their world fall apart and with a new found boundless freedom created an inexistent, imaginary world, which contrasts heavily with the ordinary reality of today. But there are some who woke up. “If I had a machine that makes everything disappear, I would disappear myself”, says another anonymous teenage girl, “tired of tiredness”, with a body-language betraying her anxieties.

A steady camera records a steady, misty, gloomy reality, stuck somewhere in the past, in which deluding oneself is best option one has. AC

18:00 at Tumo Center for Creative Technologies. It will feature a one-hour presentation by Mr. Reggio, followed by a Q&A, special screening and reception. Innovative documentary filmmaker Reggio is most well-known for his QATSI trilogy, which includes the films Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi.

These three films have been widely celebra­ ted for both their pioneering cinematic style and provocative social content. Reggio recently completed his latest film, Visitors, which explores the negative impacts of consumerism and fundamentalism. Reggio is a frequent lecturer on philosophy, technology and film.

Artavazd Peleshyan Retrospective

At 19:30 in Moscow Cinema, Red Hall.

“Renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, he has always made extensive use of archive footage, mixed in with his own shots, with fast inter-cutting between the two.

Telephoto lenses are often used to get ‘candid camera’ shots of people engaging in mundane tasks’, reads Wikipedia. In the words of Sergei Parajanov, Peleshyan is ‘one of the few authentic geniuses in the world of cinema”.

24:00 Midnight Wrap-up at The Club End the day with talks and drinks at The Club, 40 Tumanyan.

EVENT During a chess match with Levon Aronian They played music of Aram Khachaturian Composed for a film by Artavazd Peleshyan Shown in the festival of Harutyun Khachatryan Peter