Golden Apricot Daily - 2011, Day 6

DAY 6 FRIDAY JULY 15

2011

àêκ ÌÆð²Ü

Nuri Bilge Ceylan:

'I look into my own soul'

ÜáõñÇ ´ÇÉ·» æ»ÛɳÝ.

ºë ݳÛáõÙ »Ù Ñá·áõë Ù»ç гñ·³ÝùÇ ïáõñù. ¾¹Ùáݹ øÛáë³Û³Ý

Interview Nuri Bilge Ceylan

§ä³ñ·»õÁ¦, §Èáé³Ùñ·áõ ÏÕ½Çݦ, §ÂáõñÇÝÛ³Ý ÓÇݦ

Once Upon a Time in Anatolia, The Prize, Weiser, A Shadow among Pages, El Nino Miguel

гñó³½ñáõÛó. ÜáõñÇ ´ÇÉ·» æ»ÛɳÝ

Master Class Kostomarov, Foreign View

GOLDEN APRICOT DAILY | DAY 6 | 15 JULY | 2011

2 Íñ³·Çñ/programm 15 ÑáõÉÇëÇ/ 15 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00, 21:00

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 سݹáõ/Mandoo ¾µñ³ÑÇÙ ê³ÛǹÇ/Ebrahim Saeedi, Irq, 90', DAB

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall 10:00

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, Ø»Í ¹³ÑÉÇ× Puppet Theatre, Big Hall

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

15:00

10:00

10:00, 18:00 Ðá۳ϳå áãÇÝã/Magnificent Nothing ²ÑÙ³¹ ê»Û»¹ù»ßÙÇñÇ/Ahmad Seyedkeshmiri, Irn, 59', DC

Lang.: Kurdish/Arabic, Subt.: English

ä³ñ·¨Á/The Prize ä³áõɳ سñÏáíÇã/Paula Markovitch, Mex/Fra/Pol/Deu, 115 ', FC

Lang.: Spanish, Subt.: English 12:30 Øáõë³ÝÛ³Ý Ýáûñ/The Journals of Musan âáõÝ-µáõÙ ö³ñÏ/Jungbum Park, Kor, 127’, FC

12:00 ú¹³ÛÇÝ ·ÉáõËÏáÝÍÇÝ»ñ` ³é³Ýó è»ñÇ/Somersaults Without Wings ê³í³ß ´³Ûù³É/Savaş Baykal, Tur, 76', DAB

Lang.: Turkish, Subt.: English 14:00 ì»Ûë»ñ/Weiser ìáÛã»Ë سñã¨ëÏÇ Wojciech Marczewski, Pol/USA/Che/ Deu/Dnk, 95', R

Lang.: Korean, Subt.: English

Lang.: Polish, Subt.: English and Armenian

16:00 ÂáõñÇÝÛ³Ý ÓÇÝ/The Turin Horse ´»É³ î³ñ/Bèla Tarr, Hun/Fra/Che/Deu, 146’, R

16:00 îÕ³Ù³ñ¹ÇÏ/Men ¾¹Ùáݹ øÛáë³Û³Ý/Edmond Keosayan, Arm, 69', T

Lang.: Hungarian, Subt.: English and Armenian 19:00 ò³íÇ ½³í³ÏÁ/Sweet Evil úÉÇíÛ» ÎáõëÙ³Ï/Olivier Coussemacq, Fra, 90’, FC

Lang.: Armenian

Lang.: Farsi, Subt.: English

´»éÝ»Éáí ÏÛ³Ýùë/Loading My Life гñáõà (гÞ) Þ³ïÛ³Ý/ Harut (HasH) Shatyan, Arm, 37', AP

18:00 ì³Ý³ ÍáíáõÝ ³ñß³ÉáõÛëÁ/ Sunrise Over Lake Van ²ñï³Ï Æ·ÇÃ۳ݫ ì³Ñ³Ý êï»÷³ÝÛ³Ý/Artak Igityan, Vahan Stepanyan, Arm, 93', AP/CIS

Lang.: Armenian, Subt.: English 20:00 ¸ñ³ËïÇ ÃéãáõÝÝ»ñ/Birds of Paradise èáÙ³Ý ´³É³Û³Ý/ Roman Balayan, USSR (Ukr), 94', R

Lang.: Russian, Subt.: English

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/ Naregatsi Art Institute 15:00 ºñϳñ ïáõݹ³ñÓ/A Long Way Home ²É»ùë³Ý¹ñ ÎÇë»ÉÛáí/Alexander Kiseliov, Rus, DAB

Lang.: Russian, Subt.: English Ø»é³Í Ñá·ÇÝ»ñ/Dead Souls Øáõñ³Ã ú½ã»ÉÇù/Murat Özçelik, Tur, 90', DAB

Lang.: Turkish/Kurdish, Subt.: English 17:30 443 ¾ñ»½ ØÇÉ»ñ/Erez Miller, Isr, 52', DAB

Lang.: Hebrew, Subt.: English 18:30 ÊÇëï ï³µáõ/Rigid Taboo ÈÇÉÇà ¶³ëå³ñÛ³Ý/Lilit Gasparyan, Tur, 21', DAB

Lang.: Turkish, Subt.: Armenian ú¹³ÛÇÝ ·ÉáõËÏáÝÍÇÝ»ñ` ³é³Ýó è»ñÇ/Somersaults Without Wings ê³í³ß ´³Ûù³É/Savaş Baykal, Tur, 76', DAB

Lang.: Turkish, Subt.: English and Armenian

êå³ëáõÙ/Waiting ò½ááõ â½Ç ì»Û/Jow Zhi Wei, Sgp, 20', SC

Lang.: Thai, Subt.: English

öáùñÇÏÁ/The Baby Øáѳٳ¹é»½³ гçÇ÷áõñ/ Mohammadreza Hajipour, Prt, 12', SC

Lang.: Mandarin, Subt.: English

Lang.: Armenian, Subt.: English îÇ»½»ñ³Ý³íÁ/The Spaceship ¾ÙÇÉ ØÏñïãÛ³Ý/ Emil Mkrttchian, Swe, 25', AP

Lang.: Swedish Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 12:00 ²Ù»ñÇϳ/America ¾É¹³ñ ¶ñÇ·áñÛ³Ý/Eldar Grigorian, Deu, 23', AP

17:00 Æß˳ÝáõÑÇ ¹Á ØáÝå³ÝëÛ»/ The Princess of Montpensier ´»ñïñ³Ý î³í»ñÝÛ»/ Bertrand Tavernier, Fra, 139', R

Lang.: Portuguese, Subt.: English §Þ³Ùµáñ¦ ÑÛáõñ³Ýáó/Hotel Chambord ¸áñáû ´»é/ Dorothée Baert, Bel, 16', SC

Lang.: French, Subt.: English and Armenian

Lang.: French, Subt.: English ²é³íáï, ó»ñ»Ï, »ñ»Ïá... ¨ ³é³íáï/Morning, noon, evening... and morning ¶³Û³Ý» ÄÇÅÇ/ Gayaneh Jiji, Fra/Syr, 19', SC

20:00

Lang.: German/Persian, Subt.: English

Lang.: Arabic, Subt.: English 12:00 Ìáí ó³ÝÏáõÃÛáõÝÝ»ñ/Sea of Desires Þáó Ô³ÙÇëáÝdz/ Shota Gamisonia, Rus, 28', SC

Lang.: French, Subt.: English and Armenian

ØáëÏí³ÛÇ ïáõÝ ºñ¨³ÝáõÙ/ “Dom Moskvy” in Yerevan

гíÇï»ÝáõÃÛáõÝ/Eternity êÇí³ñáç ÎáÝë³ÏáõÉ/Sivaroj Kongsakul, Tha, 105', FC

18:00

Lang.: Russian, Subt.: English

лé³ó³ÍÁ/When We Leave ü»á ²É³¹³Õ/Feo Aladag, Deu, 119', DAB ØÇ ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ/ Once upon a Time in Anatolia ÜáõñÇ ´ÇÉ·» æ»ÛɳÝ/Nuri Bilge Ceylan, Tur/Bih, 157', YP

Lang.: Turkish, Subt.: English and Armenian 21:00 º½»ñù/The Edge ²É»ùë»Û àõãÇï»É/Alexey Uchitel, Rus, 119', CIS

Lang.: Russian, Subt.: English

ºÂÎäÆ/Institute of Theatre and Cinematography 15:00 ä³í»É ä³íÉÇÏáíëÏÇì³ñå»ïáõÃÛ³Ý ¹³ë/Pawel Pawlikowski-Master Class 18:00 ²Ûß³/Aisha úßñÇ Ð³ÛáõÝ, ÐÇɳ øáÑ»Ý/Oshri Hayun, Hila Cohen, Isr, 45', FS

Lang.: Moroccan-Arabic/Hebrew, Subt.: English and Armenian ²íïáÙ³ï³óáõÙ/Automation Ü³Ã³Ý Ø»Çñ/Nati Meir, Isr, 12', FS

Lang.: Hebrew, Subt.: English and Armenian ²ëïÇ׳ÝÝ»ñ/Stairs ¾ÙÇÉÇ ÜáÛ, Æݵ³ñ èáïßï³ÛÝ, Âá٠س¹³ñ/Emily Noy, Inbar Rotshtein, Tom Madar, Isr, 8', FS

Lang.: Hebrew, Subt.: English and Armenian

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet Theatre, Small Hall

Ø»Ýù »Ýù.../We Are... ²ßáï ²¹³ÙÛ³Ý, ¸³íÇà سèáëÛ³Ý/Ashot Adamyan, David Matevosyan, Arm, 70', AP

Lang.: Armenian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 16:00 ØÇᯐ ¶.` ³ß˳ñÑÇ ïÇñ³Ï³ÉÁ/Michel G, King of the World êï»ý³Ý γ½³ÝçÛ³Ý/Stephane Kazandjian, Fra, 87', AP

Lang.: French, Subt.: English and Armenian 18:00 ´»éÝ»Éáí ÏÛ³Ýùë/Loading My Life гñáõà (гÞ) Þ³ïÛ³Ý/ Harut (HasH) Shatyan, Arm, 37', AP

Lang.: Armenian, Subt.: English ø³ñ»ñ/Stones ¾¹áõ³ñ¹ ³¹¨áëÛ³Ý/Eduard Tadevosyan, Rus/Arm, 30', AP

Lang.: Armenian, Subt.: English 19:30 ¸³ßݳÙáõñÁ/The Piano ȨáÝ ØÇݳëÛ³Ý/Levon Minassian, Fra/Arm, 26', AP

Lang.: Armenian, Subt.: English öáñÓ³éáõÃÛáõÝ/Experience ì³ñ³Ý¹ êáõçÛ³Ý/Varante Soudjian, Fra, 19', AP

Üñ³Ý ëå³ë»Éáí/Awaiting Her æ»ÛÙë æáÛÝÃ/James Joint, Hnd, 15', SC Lang.: English

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

ºñ¨³ÝÇ å»ï³Ï³Ý ϻݹ³Ý³µ³Ý³Ï³Ý ³Û·Ç Yerevan Zoo

20:00 ¼·áõÛß« ϻݹ³Ý³Ï³Ý ³ß˳ñÑ ¿/Watch out, an Animal Ü»ñë»ë ÐáíѳÝÝÇëÛ³Ý/Nerses Hovhannisyan, Arm On July 15th the Foundation for the Preservation of Wildlife and Cultural Assets (FPWC) in cooperation with Yerevan Zoo and Golden Apricot International Film Festival invites everybody to a open-air screening in Yerevan Zoo. The film “Watch out, an Animal” is a documentary which was made 1967 by Nerses Hovhannisyan (born 1938 in Yerevan). The film is directly connected to the history of Yerevan Zoo and depicts the arrival of the first Elephant in Yerevan. With the open air screening in Yerevan Zoo FPWC wants to raise attention for the situation of the animals in Yerevan Zoo.

13:00 ²ÝïáõÝÇ/Anduni-Foreign Home ê³ÙÇñ³ è³¹ëÇ/ Samira Radsi Deu/Arm, 89', FV

Lang.: German/Armenian/ Turkish, Subt.: English and Armenian 15:00 êïí»ñáï ¿ç»ñ. Ñݳ·ñ³í³×³é ì³Ñ³ÝÁ/A Shadow Among Pages: The Second-Hand Bookseller Vahan ¾ëñ³ ÚÁɹÁ½/Esra Yıldız, Tur, 110', FV

Lang.: Turkish, Subt.: English and Armenian 17:30 ²Éáݽ³Ýý³Ý/Allonsanfan ä³áÉá î³ídzÝÇ, ìÇïïáñÇá î³ídzÝÇ/Paolo Taviani, Vittorio Taviani, Ita, 115', RG

Lang.: Italian, Subt.: English and Armenian 20:00 Ðñ³ÓÇ·Ý»ñÝ »Ý ·³ÉÇë/Here Come the Sharpshooters ÈáõÇçÇ Ø³ÝÛÇ/Luigi Magni, Ita, 120', RG

Lang.: Italian, Subt.: English and Armenian

Lang.: French, Subt.: English and Armenian

11:30 ¾É ÜÇÝÛá ØÇ·»É/El Niño Miguel ܳãá سñïÇÝ/Nacho Martín, Esp, 26', DC

Lang.: Spanish, Subt.: English Èáé³Ùñ·áõ ÏÕ½ÇÝ/Cranberry Island ºÉ»Ý³ ¸»Ùǹáí³/ Elena Demidova, Rus, 60', DC

Lang.: Russian, Subt.: English 16:00 г۳ëï³Ý. ѳí³ï Ý»ñßÝãáÕ »ñÏÇñ/Hayastan: the Land of Make Believe üñ³ÝÏ Èáñ»Ý/Franck Lorrain, Fra, 52', FV

Lang.: Armenian, Subt.: English ì»ñçÇÝ Ñ³ÛÁ/ÂáõñùdzÛáõÙ/ The Last Armenian/In Turkey êï»ý³ÝÇ ¹Á ´ñ³áõí»ñ/ Stefanie De Brouwer, Nld, 47', FV

Lang.: Turkish, Subt.: English and Armenian 20:00 ¾É ÜÇÝÛá ØÇ·»É/El Niño Miguel ܳãá سñïÇÝ/Nacho Martín, Esp, 26', DC

Lang.: Spanish, Subt.: English and Armenian Èáé³Ùñ·áõ ÏÕ½ÇÝ/Cranberry Island ºÉ»Ý³ ¸»Ùǹáí³/ Elena Demidova, Rus, 60', DC

Lang.: Russian, Subt.: English

ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens 22:00 ²ÝïáõÝÇ/Anduni-Foreign Home ê³ÙÇñ³ è³¹ëÇ/ Samira Radsi Deu/Arm, 89', FV

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

ì. ´ñÛáõëáíÇ ³Ýí³Ý ºñ¨³ÝÇ å»ï³Ï³Ý É»½í³µ³Ý³Ï³Ý ѳٳÉë³ñ³Ý Yerevan State Linguistic University After V. Bryusov 16:00 öá˳ñù³Ý»ñÁ/The Viceres èáµ»ñïá ü³»Ýó³/Roberto Faenza, Ita, 120', RG

Lang.: Italian, Subt.: English

Editor in chief: André Waardenburg

20:30

General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan

20:00 ºñµ Í»ñ³ÝáõÙ »ë/Getting On è»Ý³ï³ ¶³µñÇÛ»Éëϳ/ Renata Gabryjelska, Pol, 30', FS

Lang.: Polish, Subt.: English and Armenian Aria Diva ²·Ý»ßϳ êÙáãÇÝëϳ/Agnieszka Smoczynska, Pol, 30', FS

Lang.: Polish, Subt.: English and Armenian ìÇí³, سñdz/Viva Maria! ²·Ý»ßϳ êÙáãÇÝëϳ/ Agnieszka Smoczynska, Pol, 17’, FS

Lang.: Polish, Subt.: English and Armenian

¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý γٳíáñÁ/The Volunteer ²Ýݳ ÂáíÙ³ëÛ³Ý/Anna Tovmasyan, Arm, 36', AP

Lang.: Armenian, Subt.: English Æ ßñç³Ýë Ûáõñ/Revival ¶³·ÇÏ êï»÷³ÝÛ³Ý/Gagik Stepanyan, Arm, 37', AP

Lang.: Armenian, Subt.: English

Èñ³·ñáÕÝ»ñ` ²ñÍíÇ ´³ËãÇÝÛ³Ý, سñÇ Ê»ñ³ÝÛ³Ý, ¾íñÇ٠γ۳, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ Þ³åÇÏÇ Éáõë³ÝϳñÁ` ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ ©PanARMENIAN Photo ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ îå³·ñí³Í ¿` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

Journalists: Mariska Graveland, Evrim Kaya, Ronald Rovers, Artur Vardikyan Translations: Zara Safaryan, Murad Muradyan Caricature: Harutyun Chalikyan Cover photo by Vahan Stepanyan/ ©PanARMENIAN Photo Design: Gayane Grigoryan

GOLDEN APRICOT DAILY | DAY 6 | 15 JULY | 2011

ûñ³·Çñ 3

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´ñÇï³Ý³óÇ é»ÅÇëáñ ¨ ˳ճñϳÛÇÝ ýÇÉÙ»ñÇ ÅÛáõñÇÇ ³Ý¹³Ù ä³í»É ä³íÉÇÏáíëÏáõ Ñ»ï ѳ¹ÇåáõÙÁ ï»ÕÇ Ïáõݻݳ ³Ûëûñ` ųÙÁ 15:00-ÇÝ, ºÂÎäÆ-áõÙ: ä³í»É ä³íÉÇÏáíëÏáõ §êÇñá ³Ù³éÁ¦ ýÇÉÙÁ 2005-ÇÝ §È³í³·áõÛÝ ýÇÉÙ¦ ³Ýí³Ý³Ï³ñ·áõÙ µñÇï³Ý³Ï³Ý ÏÇÝá³Ï³¹»ÙdzÛÇ ÏáÕÙÇó ³ñųݳó»É ¿ ²É»ùë³Ý¹ñ Îáñ¹³ÛÇ Ùñó³Ý³ÏÇÝ:

سÙáõÉÇ ³ëáõÉÇë ijÙÁ 12:00-ÇÝ §¶áɹ»Ý ÂáõÉÇ÷ ºñ¨³Ý¦ ÑÛáõñ³ÝáóÇ ÏáÝý»ñ»Ýó ¹³ÑÉÇ×áõÙ ï»ÕÇ ÏáõÝ»Ý³Ý Ù³ÙáõÉÇ ³ëáõÉÇëÝ»ñ` é»ÅÇëáñÝ»ñ ö³ñù âáõÝ-µáõÙÇ (§Øáõë³ÝÛ³Ý Ýáûñ¦) ¨ úÉÇíÛ» ÎáõëÙ³ÏÇ (§ò³íÇ ½³í³ÏÁ¦) Ñ»ï, ÇëÏ Å³ÙÁ 13:00-ÇÝ` ä³áõɳ سñÏáíÇãÇ Ñ»ï (§ä³ñ·¨Á¦):

¾¹Ùáݹ øÛáë³Û³Ý Ð³Û ÏÇÝáé»ÅÇëáñ ¾¹Ùáݹ øÛáë³Û³ÝÇ (1936-1994) ѳñ·³ÝùÇ ïáõñùÁ, áí ³Ûë ï³ñÇ Ï¹³éݳñ 75 ï³ñ»Ï³Ý, ï»ÕÇ Ïáõݻݳ ųÙÁ 16:00-ÇÝ, §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³ñÙÇñ ¹³ÑÉÇ×áõÙ` §îÕ³Ù³ñ¹ÇϦ ýÇÉÙÇ óáõó³¹ñáõÃÛ³Ùµ:

´»É³ î³ñÇ ýÇÉÙ»ñÇ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝ ´»É³ î³ñÇ ýÇÉÙ»ñÇ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝÁ ÏëÏëíÇ Å³ÙÁ 16:00-ÇÝ, §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³åáõÛï ¹³ÑÉÇ×áõÙ` é»ÅÇëáñÇ í»ñçÇÝ` §ÂáõñÇÝÛ³Ý ÓÇݦ ýÇÉÙáí: òáõó³¹ñí»É »Ý ݳ¨ î³ñÇ §Ü½áíù¦ ¨ §ÈáݹáÝóÇ Ù³ñ¹Á¦ ýÇÉÙ»ñÁ: ´»É³ î³ñÝ Çñ ϳñÇ»ñ³Ý ëÏë»É ¿ ëÇñáÕ³Ï³Ý Ù³Ï³ñ¹³ÏÇó` 16 ï³ñ»Ï³ÝáõÙ: ´»É³ î³ñÁ ÏÇÝá³ñí»ëï ¿ Ùï»É 1977 Ãí³Ï³ÝÇÝ` Çñ §ÀÝï³Ý»Ï³Ý µáõÛݦ ýÇÉÙáí:

ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³ ÜáõñÇ ´ÇÉ·» æ»ÛɳÝÇ §ØÇ ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ¦ ýÇÉÙÇ åñ»ÙÇ»ñ³Ý ï»ÕÇ Ïáõݻݳ §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³ñÙÇñ ¹³ÑÉÇ×áõÙ, ųÙÁ 18:00-ÇÝ:

´³óûÃÛ³ óáõó³¹ñáõÃÛáõÝ` ϻݹ³Ý³µ³Ý³Ï³Ý ³Û·áõ٠ijÙÁ 21:00-ÇÝ ºñ¨³ÝÇ Ï»Ý¹³Ý³µ³Ý³Ï³Ý ³Û·áõÙ Ïóáõó³¹ñíÇ Ü»ñë»ë ÐáíѳÝÝÇëÛ³ÝÇ §¼·áõÛß, ϻݹ³Ý³Ï³Ý ³ß˳ñÑ ¿¦ ýÇÉÙÁ: Üå³ï³ÏÁ г۳ëï³Ýáõ٠ϻݹ³ÝÇÝ»ñÇ íÇ׳ÏÇ íñ³ áõß³¹ñáõÃÛáõÝ ë¨»é»ÉÝ ¿: üÇÉÙÇ óáõó³¹ñáõÃÛ³ÝÝ ³ÝÙÇç³å»ë ÏÑ»ï¨Ç ³Û·áõ ïÝûñ»Ý èáõµ»Ý ʳã³ïñÛ³ÝÇ ¿ùëÏáõñëdzÝ: êÏǽµÁ` 20:00-ÇÝ:

λë·Çß»ñÝ ³Ýó ÐÛáõñ»ñÝ áõ ýÇÉÙ»ñÇ µáÉáñ ëÇñ³Ñ³ñÝ»ñÁ, áíù»ñ áõ½áõÙ »Ý áõñ³Ë³Ý³É áÕç ·Çß»ñ, ϳñáÕ »Ý ³Ûó»É»É THE CLUB (ÂáõÙ³ÝÛ³Ý 40) ųÙÁ 24:00-ÇÝ, ÇÝãå»ë ݳ¨ CROSSROAD CLUB-Lounge Bar (î»ñÛ³Ý 3³): ¶³ñ»çñÇ ³é³çÇÝ ·³í³ÃÝ ³Ýí׳ñ ¿:

GOLDEN APRICOT DAILY | DAY 6 | 15 JULY | 2011

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñ

ÙÇç³½·³ÛÇÝ ÙñóáõóÛÇÝ ýÇÉÙ»ñ

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GOLDEN APRICOT DAILY | DAY 6 | 15 JULY | 2011

interview 5

Nuri Bilge Ceylan Âáõñù é»ÅÇëáñ ÜáõñÇ ´ÇÉ·» æ»ÛɳÝÁ г۳ëï³ÝáõÙ ¿ ¨ ÏÝ»ñϳ۳óÝÇ §ØÇ ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ¦ Ñá·»µ³Ý³Ï³Ý ¹»ï»ÏïÇí ýÇÉÙÁ, áñÝ ³Ûë ï³ñÇ ³ñųݳó»É ¿ γÝÝÇ ÏÇÝá÷³é³ïáÝÇ ¶É˳íáñ Ùñó³Ý³ÏÇÝ:

just think about honor killings. This is not to say I believe that the cause of crime is the supposed evil in women.’

‘If you are telling a story about the world of men, part of it is inevitably about their fears. All my films are more or less stories from the world of men, and this film in particular... It is because I am a man and I look into my own soul. I validate the story comparing it to my own soul and I am more curious about the world of men. But I cannot say that I am alien to women. I was brought up in a family where women were very dominant. In general men are less courageous, they tend to run away easily. Sisters and cousins I had were rule-setters, powerful women. So I don’t actually fear women and the image of women in my films does not really reflect how I see them, but how my characters do.’

²ëáõÙ »Ý, áñ Ó»ñ §ºñ»ù ϳåÇϦ ýÇÉÙÇó Ñ»ïá, áñáõÙ ¹áõù ³Ý¹ñ³¹³éÝáõÙ ¿Çù ó³Íñ ˳í»ñÇ Ù³ñ¹Ï³Ýó ÏÛ³ÝùÇÝ, ßñç³¹³ñÓ ¿ ëÏëí»É: »å»ï ÝϳïíáõÙ ¿ ݳ¨ Ó»ñ ÁÝïñ³Í ûٳݻñÇ ß³ñáõݳϳϳÝáõÃÛáõÝ` ûñÇÝ³Ï Ù»ÕùÇ áõ ѳÝó³·áñÍáõÃÛ³Ý Ã»Ù³Ý: ÆÝÓ Ñ³Ù³ñ ¹Åí³ñ ¿ ÇÙ ýÇÉÙ»ñÇÝ ·Ý³Ñ³ï³Ï³Ý ï³ÉÁ: ºë ³í»ÉÇ ß³ï ÇÙ Ý»ñùÇÝ Ó³ÛÝáí »Ù ³é³çÝáñ¹íáõÙ: ´³Ûó ã»Ù ϳñÍáõÙ, áñ »ñµ¨¿ ÇÝÓ ÏѳçáÕíÇ ³é³çÇÝ` §Ø³ÛÇëÛ³Ý ³Ùå»ñ¦ (1999) ýÇÉÙÇ ÝÙ³Ý »ñÏñáñ¹Á Ýϳñ³Ñ³Ý»É: 18 ï³ñ»Ï³ÝÇó »Õ»É »Ù ¸áëïá¨ëÏáõ µ³ñ¹ ³ß˳ñѳ۳óùÇ ³½¹»óáõÃÛ³Ý ï³Ï: ´³Ûó ³Û¹ ûٳݻñÇÝ ³Ý¹ñ³¹³éݳÉáõ ѳٳñ ÇÝÓ ³í»ÉÇ ß³ï ï»ËÝÇÏ³Ï³Ý ÷áñÓ ¿ñ å»ïù: ÜÙ³Ý Ã»Ù³Ý»ñ ßáß³÷»Éáõ ѳٳñ ÇÝÓ å»ïù ¿ñ ³í»ÉÇ ß³ï Ù³ëݳ·Çï³Ý³É ï»ËÝÇϳå»ë: Æ í»ñçá ÏÇÝáÝ áõÝÇ Ý³¨ ï»ËÝÇÏ³Ï³Ý µ³Õ³¹ñÇã, áñÇ Ï³ñ¨áñáõÃÛáõÝÝ ³ÝÑ»ñù»ÉÇ ¿: ²Ûë ßñç³¹³ñÓÁ Ù»Ï ³ÛÉ ÏáÕÙ ¿É áõÝÇ: Ò»ñ ï»ë³Ï»ïÝ»ñÁ ϳݳÝó ѳݹ»å ÷áËíá±õÙ »Ý: §Ø»Ï ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ¦ ýÇÉÙáõ٠ϳݳóÇ ÏáßÇÏÁ ϳñÍ»ë û ¹Åµ³ËïáõÃÛáõÝ ¿ ËáñÑñ¹³ÝßáõÙ: Æñ³Ï³ÝáõÙ ¹Åµ³ËïáõÃÛ³Ý ËáñÑñ¹³ÝÇßÁ áã û ÏáßÇÏÝ ¿, ³ÛÉ ³ÛÝ, û ÇÝãå»ë »Ý »ñÏáõ ϳݳÛù áïù»ñÁ ×á×áõÙ: лñáëÝ»ñÇó Ù»ÏÝ Çñ Í»ñ ջϳí³ñÇÝ ³ëáõÙ ¿` µáÉáñ ¹Åµ³ËïáõÃÛáõÝÝ»ñÇ ¹ñ¹³å³ï׳éÁ ϳݳÛù »Ý: ´³Ûó ϳñ¨áñ ¿ñ, áñ áã û »ë, ³ÛÉ Ù»Ï áõñÇßÝ ³ë»ñ ³Û¹ ÙÇïùÁ: ºí ³ÝÙÇç³å»ë í³ñáñ¹Ý ³ëáõÙ ¿, áñ ½áÑí³Í ïÕ³Ù³ñ¹Á ÝáõÛÝå»ë ³ÝÙ»Õ ã¿ñ: ²ÛÝå»ë áñ »ë ³ÙµáÕç Ù»ÕùÁ ÙdzÛÝ Ï³Ý³Ýó íñ³ µ³ñ¹»Éáõ Ùï³¹ñáõÃÛáõÝ ã»Ù áõÝ»ó»É: ´³Ûó ã»Ýù ϳñáÕ ÅËï»É, áñ ѳïϳå»ë ²Ý³ïáÉdzÛáõ٠ϳݳÛù Ñ³×³Ë »Ý ѳÝó³·áñÍáõÃÛáõÝÝ»ñÇ ¨ ëå³ÝáõÃÛáõÝÝ»ñÇ ¹ñ¹³å³ï×³é ¹³éÝáõÙ, Ñ»Ýó ûÏáõ½ ÑÇß»Ýù ëå³ÝáõÃÛáõÝ å³ïíÇ Ñ³Ù³ñ »ñ¨áõÛÃÁ: ºë ã»Ù ³ëáõÙ, áñ ѳÝó³·áñÍáõÃÛáõÝÝ»ñÇ å³ï׳éÁ ÏÝáç Ù»ç óùÝí³Í ã³ñÇùÝ ¿, ¹ñ³Ýù Ùdzݷ³Ù³ÛÝ ï³ñµ»ñ µ³Ý»ñ »Ý: îÕ³Ù³ñ¹Ï³Ýó ³ß˳ñÑáõÙ å³ñï³¹Çñ Ï³Ý ½³Ý³½³Ý í³Ë»ñ: ÆÙ µáÉáñ ýÇÉÙ»ñÁ ùÇã û ß³ï ïÕ³Ù³ñ¹Ï³Ýó ³ß˳ñÑÇ Ù³ëÇÝ »Ý, ÇëÏ ³Ûë ýÇÉÙÝ ³é³ÝÓݳå»ë... ºí ù³ÝÇ áñ ÇÝùë ïÕ³Ù³ñ¹ »Ù` »ë å»ïù ¿ ѳ۳óùë áõÕÕ»Ù ¹»åÇ Ý»ñ³ß˳ñÑë: ºë í³í»ñ³óÝáõÙ »Ù ³Ûë å³ïÙáõÃÛáõÝÁ` ÇÙ ë»÷³Ï³Ý ½·³óÙáõÝùÝ»ñÇ Ñ»ï ѳٻٳï»Éáí, ù³ÝÇ áñ ïÕ³Ù³ñ¹Ï³Ýó ³ß˳ñÑÝ ÇÝÓ ³í»ÉÇ Ñ»ï³ùñùÇñ ¿, ³í»ÉÇ Ñ᷻ѳñ³½³ï: ´³Ûó »ë ã»Ù ϳñáÕ ³ë»É, û ϳݳÛù ÇÝÓ Ëáñà »Ý: ºë ٻͳó»É »Ù ÙÇ ÁÝï³ÝÇùáõÙ, áñáõÙ ·»ñ³ÏßéáÕÁ ϳݳÛù »Ý: ÀݹѳÝáõñ ³éٳٵ ïÕ³Ù³ñ¹ÇÏ í³ËÏáï »Ý, Ýñ³Ýù ݳËÁÝïñáõÙ »Ý ÷³Ëã»É, Ëáõë³÷»É ¹Åí³ñáõÃÛáõÝÝ»ñÇó: øáõÛñ»ñë áõ ½³ñÙáõÑÇÝ»ñë áõÅ»Õ, ÇßËáÕ Ï³Ý³Ûù ¿ÇÝ: î³ñÇÝ»ñÇ ÁÝóóùáõÙ ÇÝãå»±ë ¿ ÷áËí»É ÷áùñ ù³Õ³ùÝ»ñÇ Ù³ëÇÝ Ó»ñ ï»ë³Ï»ïÁ: ÆÙ ³Ûë ýÇÉÙáõÙ ÷áùñ ù³Õ³ùÝ»ñÇ Ã»Ù³ÛÇÝ ³Ý¹ñ³¹³éݳÉáõ Ùï³ÑÕ³óáõÙÁ ٻͳٳë³Ùµ ÇÙ ·áñÍÁÝÏ»ñ ëó»Ý³ñÇëïÝ»ñÇÝÝ ¿, áíù»ñ ÙÇ Å³Ù³Ý³Ï ÷áùñ ù³Õ³ùÝ»ñáõÙ ¿ÇÝ ³åñáõÙ: ´³Ûó ³ñ¨ÙïÛ³Ý Ñ³ïí³ÍáõÙ (áñï»Õ »ë »Ù ٻͳó»É) ϳ٠²Ý³ïáÉdzÛÇ Ï»ÝïñáÝáõÙ, áñï»Õ ϳï³ñíáõÙ »Ý ýÇÉÙÇ ·áñÍáÕáõÃÛáõÝÝ»ñÁ, µ³ñáÛ³Ï³Ý ³ñÅ»ùÝ»ñÝ ³Û¹ù³Ý ¿É ß³ï ã»Ý ï³ñµ»ñíáõÙ ÷áùñ ù³Õ³ùÝ»ñáõÙ ïÇñáÕ ³ñÅ»ùÝ»ñÇó: öáùñ ù³Õ³ùÇ ÏÛ³ÝùÁ ß³ï ãÇ ï³ñµ»ñíáõÙ Ù»Í ù³Õ³ùÇ ÏÛ³ÝùÇó: ¶ÛáõÕ»ñáõÙ ³Û¹ ï³ñµ»ñáõÃÛáõÝÝ ³í»ÉÇ Áݹ·Íí³Í ¿: ¶ÛáõÕ»ñáõÙ Ù³ñ¹ÇÏ ³í»ÉÇ Ùï»ñÇÙ »Ý ¨ áã ³Û¹ù³Ý ¹³Å³Ý: ²ÛÝåÇëÇ ïå³íáñáõÃÛáõÝ ¿, áñ ¹áõù ëÏëáõÙ »ù Ó»ñ Ýϳñ³Ñ³ÝáõÙÝ»ñÁ ëÛáõÅ»Ç ³ÛÝ Ï»ïÇó, áñï»Õ ëáíáñ³µ³ñ ÙÛáõë é»ÅÇëáñÝ»ñÁ ϳÝç³ï»ÇÝ Çñ»Ýó ï»ë³ËóÇÏÁ: êÛáõÅ»Ý Ó»½ ³í»ÉÇ ùDZ㠿 Ùï³Ñá·áõÙ: ²Ûá, »ë Çëϳå»ë áõ½áõÙ ¿Ç Ñá·Ý»óÝ»É Ñ³Ý-

How did your look at small-towns evolve over the years?

‘What contributed to the changing image of the small-town in this film was brought in by my coscriptwriters, who have lived in small-towns for some time. But the values of the small-town don’t differ a lot when you come from the western parts (where I grew up) or the middle of Anatolia, the background of this film. Life in a small-town does differ a lot from life in the city. For instance, the stress in villages is less severe. In a village people are closer to each other and less cruel.’

¹Çë³ï»ëÇÝ ¨ ëïÇå»É, áñ ݳ Ó³ÝÓñ³Ý³: ¸»ï»ÏïÇí ëÛáõÅ»áõÙ Ó·Ó·í³ÍáõÃÛáõÝÝ ³ÝËáõë³÷»ÉÇ ¿: γ áñáß³ÏÇ »ÝóϳéáõÛó, áñÁ ÉÇ ¿ µ³Ý³ÉÇÝ»ñáí: гϳé³Ï ¹»åùáõ٠ѳݹÇë³ï»ëÁ ³ÝÑ»ï¨áճϳÝáõÃÛáõÝ ÏÝϳïÇ: àÙ³Ýù ³ëáõÙ »Ý, áñ ÇÙ ýÇÉÙáõ٠ϳñ¨áñ Çñ³¹³ñÓáõÃÛáõÝÝ»ñ ã»Ý ϳï³ñíáõÙ: ´³Ûó ϳñÍáõÙ »Ù` Ù³Ýñ³Ù³ëÝ»ñÝ ³í»ÉÇ Ï³ñ¨áñ »Ý, ù³Ý µáõÝ Çñ³¹³ñÓáõÃÛáõÝÝ»ñÁ: ÎÛ³Ýùáõ٠ѳٻݳÛݹ»åë ÙÇßï ³Û¹å»ë ¿: ºñµ ÇÝã-áñ Ù»ÏÇ Ù³Ñí³Ý µáÃÝ »ë ÉëáõÙ, Ùdzݷ³ÙÇó ã»ë ½·áõÙ ÏáñáõëïÇ ó³íÁ: лïá ÙÇ ûñ ³ÃáéÇÝ ï»ëÝáõÙ »ë ѳñ³½³ïǹ µ³×ÏáÝÁ, ¨ ³ÛÝ ùá Ù»ç ³ñÃݳóÝáõÙ ¿ ÏáñëïÇ ³ÙµáÕç ½·³óáÕáõÃÛáõÝÁ: ²Ûë ýÇÉÙáõÙ »ë Ñݳñ³íáñáõÃÛáõÝ áõÝ»ó³ Ù³Ýñ³Ù³ëÝ»ñÇÝ ³í»ÉÇ ß³ï ï»Õ ѳïϳóÝ»É, ù³Ý ëáíáñ³µ³ñ: öáñÓ»óÇ µáÉáñ Ù³Ýñ³Ù³ëÝ»ñÁ ëó»Ý³ñáõ٠ݳ˳ï»ë»É: ²é³ç Ýϳñ³Ñ³ÝáõÙÝ»ñÇ ÁÝóóùáõÙ ÇÙåñáíǽݻñ ¿Ç ³ÝáõÙ: ÆëÏ ³Ûë ³Ý·³Ù ³í»ÉÇ É³í ¿Ç Ý³Ë³å³ïñ³ëïí»É: §ØÇ ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ¦ ýÇÉÙÇ ÑÇÙÝ³Ï³Ý Ã»Ù³Ý Ù³ÑÝ ¿: ºí áã ÙdzÛÝ ³ÛÝ å³ï׳éáí, áñ ýÇÉÙÇ ëÛáõÅ»Ý ³ÝÁݹѳï åïïíáõÙ ¿ ¹Ç³ÏÇ ßáõñç: àñáß ï»ë³ñ³ÝÝ»ñáõÙ Ù»Ýù ݳ¨ ³Ï³Ý³ï»ë »Ýù ÉÇÝáõÙ Ù³Ñí³Ý ѳݹ»å Ù³ñ¹Ï³Ýó Ñ»ï³ùñùÇñ í»ñ³µ»ñÙáõÝùÇÝ: öáùñ ù³Õ³ùÝ»ñáõÙ Ù³ñ¹Ï³Ýó í»ñ³µ»ñÙáõÝùÁ Ù³Ñí³Ý ѳݹ»å ï³ñµ»ñíáõÙ ¿: Æ ï³ñµ»ñáõÃÛáõÝ Ù»Í ù³Õ³ùÝ»ñÇ` Ù³ÑÝ ³ÛÝï»Õ ÏÛ³ÝùÇ ÙÇ Ù³ëÝ ¿: úñÇÝ³Ï ÷áùñ ù³Õ³ùÝ»ñÇ µÝ³ÏÇãÝ»ñÁ ÝϳïáõÙ »Ý ÷áÕáóáõÙ ÁÝÏ³Í ë³ïÏ³Í Ï»Ý¹³ÝáõÝ: Üñ³Ýù ³í»ÉÇ ë»ñï »Ý ß÷íáõÙ Ù³Ñí³Ý Ñ»ï: ²Ûë ýÇÉÙáõÙ »ë ÷áñÓáõÙ »Ù ß»ßï»É ÏÛ³ÝùÇ áõ Ù³Ñí³Ý ³Ýù³Ïï»ÉÇ Ï³åÁ: ¸áõù ³é³çÇÝ ³Ý·³±Ù »ù ýÇÉÙ Ý»ñϳ۳óÝáõ٠г۳ëï³ÝáõÙ: ²Ûá, ¨ Ñ»ï³ùñùÇñ ¿, û ÇÝãå»ë ϳÝóÝÇ ³Ù»Ý ÇÝã: ¾Î

Prize winning Turkish director Nuri Bilge Ceylan is in Armenian to presents his latest film Once Upon a Time in Anatolia, his morality detective tale that won him the Grand Prix in Cannes this year.

When it comes to your oeuvre, one usually speaks of a break starting with Three Monkeys, the film in which you directed your attention toward the lower classes. But no doubt there is much continuity in the themes you are dealing with too: for example the motive of guilt and crime.

‘It is difficult for me to evaluate my films.

I rely on my intuitions and in a way I am drifting to somewhere. But I don’t think that I would make a film like my debut Clouds of May (1999) again. I had similar emotions back then. Since I was 18 I have been influenced by the complex view Dostoyevsky has on human beings. But to be able to deal with those issues in film, I needed more technical experience. I needed to be more competent in technical terms in order to deal with such subjects.

Ultimately, cinema has an undeniable technical element to it.’

This break or continuity question has another side to it. Your view on women seem to be changing. In Once Upon a Time in Anatolia, a woman’s shoe seems to be symbolizing trouble.

‘It is not really the shoe but the way the two women swing their legs. One of the characters indeed quotes an old boss: whenever there is trouble, look for a woman behind it. But it is important that it is someone else saying that, not me. And immediately the driver makes a remark that the male victim wasn’t really innocent either. So I didn’t intend to attribute the guilt only to the woman. But we cannot deny that especially in Anatolia issues revolving around women are a motive for crime and murder,

There is the feeling that you start filming at a certain point in the story where other directors would turn off the camera because it is too dull.

Do you care less about the story then before?

‘Yes, I wanted to tire the audience and make them experience the boredom. But although I don’t want to give anything away, you cannot escape building a detective story that actually works. There is an infrastructure filled with clues. Otherwise the audience will notice inconsistencies. But I leave a lot of room for people to come up with their own answers.

Sure, there is more than one answer; the viewer is free to choose. There are many dimensions to stories, and we can know only a couple.’

‘Some people say that I don’t have big events in my films. But for me, details are bigger than events themselves. In life, this is how we really are. You hear somebody is dead, but the pain is not there yet.

Then some day, all of sudden you see a jacket on a chair, and the jacket invokes the loss.’

‘This was the film in which I had the chance to develop details more than usual. I tried to finish pretty much everything at the stage of scriptwriting.

Previously, I also improvised while shooting. Now we did more research; we consulted prosecutors and judges about the judicial facts in the story. The inspiration was an event Ercan Kesal, one of the scriptwriters, experienced as a doctor in a small town. But firstly, we didn’t know much about the real story in detail. It was just a bunch of men looking for a dead body.’

The main theme of Once Upon in Anatolia is death itself. Not only because it revolves around a dead body. In some scenes we also witness the twisted relation people have with death. It is cruel and funny at the same time.

‘Unlike the city, people in small-towns have a different relation with death. Unlike the city, there it is part of life. For example they notice it when a dead animal is left behind somewhere. Their relation with death is more direct. Death should be part of life; in the film I try to emphasize the togetherness of life and death.’

It is the second time you use a cell-phone melody as a joke. What is the source of your fascination?

It is a funny thing that I experience a lot in Turkey, also during shootings! People have the strangest melodies. There was this guy with the sound of breaking glass, every time I heard it, it scared me.

Are you in Armenia for the first time with a film?

I am really curious, we will see! EK

GOLDEN APRICOT DAILY | DAY 6 | 15 JULY | 2011

6 reviews The Sound of Silence The Prize ( Paula Markovitch, Mexico/ France/Poland/Germany, 2011) 10:00 and 21:00 Moscow Cinema, Blue Hall.

Not many children in film history display the expressive power and self-confidence, as the wonderful Paula Galinelli Hertzog does in The Prize. She plays seven year-old Cecilia Edelstein who lives with her mother in a beach hut on the outskirts of a remote Argentinean village. There’s a specific reason for their reclusive behaviour but it won’t be revealed until much later in the film. We sense, though, that something is wrong.

Director Paula Markovitch based parts of the script on her own childhood memories, while using the actual location of San Clemente de Tuyu where she lived for a number of years. The film’s opening shot shows a truly moving scene in which Cecilia walks with roller-skates on the beach, a shot that symbolically states she doesn’t have the freedom of movement a child should have. Then follows a close-up that immediately tells us the girl is looking for something. Markovitch only needs half a minute to reveal us the essential longing at the heart of her film. Another crucial thing about the film shows itself in this scene too: Markovitch’ film may be about politics, as it will turn out to be, but first and foremost The Prize is about childhood.

Cecilia goes to school and becomes friends with Silvia, but comes into trouble after helping a boy with his exam test. Until the culprit reveals him- or herself the entire class is forced to stand in the rain outside. Silvia then says Cecilia did it and the teacher applauds her frankness. We should always tell on someone, the teacher explains, because next time they won’t make the same mistake again. Apart from the parallel with the atmosphere of treason that paralysed Argentina during the military dictatorship, the backdrop of the story, it also reflects a more subtle point. Children do not realise the consequences of their actions as adults do.

This is again made clear when Cecilia criticizes the army in an essay that’s supposed to celebrate the military junta.

The film’s backstory is revealed very slowly.

Markovitch first takes us through the daily motions of a mother and child that arouse no particular suspicion, even though we feel a certain tension in their situation. But gradually a hidden reality opens up.

The Prize then shows us a little girl that carries a dangerous secret. But children don’t fully realize the horrors of a dictatorship. How can they? The brutal contrast between Cecilia’s innocence and the destructive and deadly forces with which adults shape their world deliver a sharp warning for all to hear.

RR

Twisted Anatolian fairy tale Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011, Turkey, Bosnia and Herzegovina), 15-7, 18:00, Moscow Cinema, Red Hall; 17-6, 21:00, Moscow Cinema, Red Hall.

Do children have to suffer for the sins of their parents, is one of the many intriguingly implicit questions Once Upon a Time in Anatolia raises. This morality detective tale centers on a couple of ambiguous characters. This Cannes Grand Prix winner from Turkish director Nuri Bilge Ceylan (Distant, Climates) gains strength while slowly unfolding the consequences of a murder, in a subtle parallel story about a murderer who buried his victim, and a prosecutor who is equally puzzled by a story that hap-

Lost childhood

Polish the past

(Nacho Martin, Spain, 2010).

15-7, 11:30 and 20:00, Puppet Theatre, Small Hall.

Weiser (Wojciech Marczewski, 2001, Poland), 15-7, 14.00, Moscow Cinema Red Hall.

El Niño Miguel is a modest film providing a glimpse to the life of one of the greatest flamenco guitarists of all times. Miguel Vega de la Cruz had a colourful life, filled with hardship and poverty until he was discovered. A talented autodidact musician, accompanying legends like Paco de Lucia, he made two classical albums in 1975 and 1976 that are both considered masterpieces. Yet at a certain point he was tested with addictions, including heroin, and now he looks older than his mother who considers him ‘the bad one’ among two children god blessed her with. Nacho Martin follows the old man in his misery and his attempts to come back to life through the only thing that he was good in life: guitar. But even the guitar was not something that he wanted with passion; little by little we realize that this man is still a child.

Maybe this is the reason why he is living in the past: not because he misses success and glory but because he wants to be close to the compassion of childhood, which looks to be gone forever. And when he is back on stage, again a little unwillingly, we observe the healing power of music and the essence of genius that has strange ways in choosing people. Nacho Martin’s second documentary treats the poor little genius with the compassion that he is so longing for. EK

In the slightly melancholic Polish drama Weiser, Pawel is still haunted by the disappearance of a childhood friend 30 years ago. One day this Dawid went into a tunnel without leaving a trace. Told in flashbacks, the Golden Bear nominated Weiser (2001) explores Pawel’s feelings of guilt and remorse that will determine the rest of his life. One day, when he bumps into one of his old school friends who has gone mad, a whole chain of reactions gets started.

Pawel’s remembrance of the idyllic days at the river side with his 13 year old friend, a mysterious explosion, playing doctor and nurses, the risky railway running: they’re still in his head. The fear Pawel and his girlfriend felt while lying on the ground where a small aircraft is landing, still gives him nightmares.

As a child, they certainly ignored some of the lessons they are taught by the local priest. Betrayal is a deadly sin, they learn, ‘think of that your whole life, or at least on vacation.’ They must be hoping that their sins are being washed away somehow.

Significantly, years later in his daily work, Pawel is digitally remastering old tapes and recording, while also in his own life he’s trying to polish the past.

Polish director Wojciech Marczewski (1944), whose work is screened in a retrospective at this festival, directed 12 films between 1968 and 2001. His 1981 film Shivers, about a boy who is sent to a sum-

pened long ago, about a deceased woman who predicted her own death. This analytical teaser doesn’t give away its secrets too easily. Ceylan’s sixth film opens in the countryside, with a stretched late-night hunt for a dead body. A prosecutor, a commissar, and a doctor don’t have a clue where to look for the missing body, because the two suspects don’t remember where they buried the man. Ceylan seems to be more interested in their exhaustive obsession with finding the body than in solving the crime.

In Ceylan’s characteristic observational long takes, the interior dynamics of the men are more important than the actual facts. This slow, twisted ‘fairy tale’ has a lot of indirect information to decode. These men appear to be unmoved and only show their surface, but at the end of the film, the viewer really had a close look at their inner life. Patiently, Ceylan shows us their passing glances rather than their acts.

Unspoken thoughts are suggested only by looking at

their faces that are getting more and more scratched by the end of the film, representing their mental state.

Everybody gets stained at the end, nobody can escape the consequences of one’s act, even when you’re hiding or ignoring the facts. In only a few intense closeups, Ceylan knows how to enter the minds of these men, who have to make a diagnosis of the outside world in cold, technical terms, written down by a typist, but hardly don’t know how to express themselves in other terms.

Ceylan uses a three-part structure: after dwelling the disorientating hills of Anatolia, framed in stunning widescreen images, the police take a break at the home of a local farmer, where they have a conversation with the mayor about the shortage of a morgue in the rural village. The final part takes place back in town, where a chilling autopsy not only forms the climax of their findings, but also dissects their own hard choices in life. MG

mer training school, won the Silver Bear Special Jury Prize and the FIPRESCI Prize at the Berlin Film Festival. His comedy Escape from ‘Liberty’ Cinema references Woody Allen's Purple Rose of Cairo, by following a Communist-censor who is the victim of anarchistic movie characters who speak to him from the silver screen. Weiser is Marczewski’s last film to date. Without giving answers, this book adaptation makes clear that although we all suffer from gaps of memory, the aftermath never ends. MG

among Pages: The Second-Hand Bookseller Vahan tells his story, opening the way for many other stories concerning the history of the city. In her debut documentary, Esra Yildiz meets Vahan in various historical places of Istanbul in addition to his house, which is a bizarre, unearthly place. Like in a strange personal museum, there he keeps things that are going to be erased from the face of the city soon: peculiar objects representing the spirit of old times. According to Enis Batur, one of the writers interviewed for the film, it is the objects that open up horizons for imagination. Vahan tells the story of a city where everything changes: old film theaters were demolished or turned into ugly shops. He resists with pictures and books, while listening to old tangos that are ‘something special’. For him the world of books is the key to infinity. One can reach infinity only with curiosity and curious ones read. Vahan was not only a reader but he became a part of Turkish literature himself, inspiring writers who were his customers. Through a poem he inspired, he was translated into twelve languages. His being driven away after forty years is a loss for the cultural heritage of the city. Irony is that where they wouldn’t leave him work, they honored him with an exhibition and a panel.

This very traditional but personal film consists of interviews with Vahan himself, but also the intelligentsia, acquaintances, publishers, and family of Vahan. It not only documents the history of an old Armenian bookseller in Istanbul, but it sheds light on the history of Istanbul throughout the last century. EK

The key to infinity A Shadow among Pages: The SecondHand Bookseller Vahan (Esra Yildiz, Turkey, 2010). 15-7, 15:00, Puppet Theater, Big Hall.

2005 was the year when the oldest second-hand bookseller of Istanbul, Vahan Kocaoglu was ordered away from his regular place in the busiest and oldest shopping street of Istanbul. A Shadow

GOLDEN APRICOT DAILY | DAY 6 | 15 JULY | 2011

films and makers 7

'Nobody cares about each other' Master Class Pavel Kostomarov

Edmond Keosayan 75

A crowded Master Class by Russian director Pavel Kostomarov was held on Thursday in the Yerevan State Institute of Theatre and Cinematography. Kostomarov (1975, Moscow) visits the Golden Apricot IFF to present his new radical film experiment I Love You. Pavel Kostomarov made a brave experiment with his latest lm . He handed over his so-beloved camera to a couple of youngster in Rostov-on-Don, giving them the instruction to record their own daily life without skipping the bad parts, and then Kostomarov withdrew to see what came out of it.

‘Me and my friend Aleksander Rastorguev wanted to make a lm that had to be different from all other lms. We didn’t want to make a classic lm on the set. On the casting day 1700 people showed up, all of them non-professionals.

I chose the 50 people who really opened up. We gave them the cameras and they went shooting the movie. Afterwards they brought us the material and we watched it. So rst they shot it, and then we came up with the screenplay. This project lasted for two years. The whole lm was shot by them, we were never ‘on the set’.

Kostomarov pushed this idea to the limit. is a confronting experience. The group of friends drink vodka and wine every evening, with nothing else to do than calling each other names. As one of the girls says: ‘For once I would like to get out of town and forget this crisis.’ But they just stay in their depressive state, one moment shouting to each other, or chasing skirts, and the next moment searching the pockets of an unknown man who crashed

unconscious on the ground. There’s no real future for them, it seems: it’s either joining the army or taking a job at McDonald’s. The girls have to live with the idea that according to the guys it’s: ‘Today I love you, tomorrow go fuck yourself,’ like one of the girls grumbles.

Kostomarov: ‘The protagonists are just a product of their time, a time where nobody cares about each other. They’re not bad people. If I didn’t know them I didn’t want to meet them in the middle of the night, but since I know who they are, I can tell you they’re not bastards. Now they live in Moscow and just want to work make some money like everyone else. And what if they were bastards: lms don’t have to show only the pretty things.’

‘I only choose the directors I really like, who have something to say, or who are smarter than me. One of the old Soviet directors said: The cameraman is the bride, the director is the groom. When you feel that he needs you and I need him, then we agree to make a lm.’

‘I hope something comes out of my visit here. I always have my Handycam with me, and I shot very interesting material here in Yerevan, so maybe I can make a 10 minute lm out of it.’ MG

Six glances from the outside In connection with the 20th anniversary of Armenia’s independence, marked this year, the 8th Golden Apricot International Film Festival has initiated a new section called Foreign View that includes both feature and documentaries about Armenia and Armenians shot by foreign directors.

Six lms, all made in 2010, have been selected for screening in Armenia for the rst time.

Jose Carrasco’s (Armenia/ Spain, 2010) is about the Spain-based but Armenian born violinist Ara Malikian, who is a beneciary of the non-governmental organization Action against Famine. He travels to Armenia to take aid to poor families. Malikian has never been to the country of his ancestors and believes it is his moral duty to bring assistance to this country’s people in need. This lm highlights such issues as social polarization that has become a huge problem in present-day Armenia, social responsibility towards one’s native country and the role of musicians as mouthpiece of good will.

The theme of Diaspora and Armenians’ responsibility towards Armenia is expressed in an unusual way in Franck Lorrain’s documentary (France, 2010). In April 2010 the Armenian national rugby team, which is for 90 per cent composed of players from the Armenian diaspora in France, was in Yerevan. The Armenian Rugby Federation needs to nd native Armenian players to have a chance to develop the game of rugby in Armenia, a huge challenge. Lorrain shows how these young French Armenians, who do not speak Armenian and are often born to mixed families, rally on the land of their ancestors to loudly reect their national identity.

Samimitra Dasi’s (India , 2010) is a conventional but interesting documentary. The director does not concentrate on the rich past of the Armenian community of India, showing instead what has remained of the once vast community in Calcutta. Indian Armenians, including popular singer Shane David Hayrapet who marries his Indian wife in an Armenian church, talk about their experiences.

Esra Yildiz’s

The colour of Armenians

(Turkey, 2010) is about the rich and sometimes difcult life of an old Armenian bookseller who lived his whole life in Istanbul, Turkey. In 2005, he was driven from his open air bookshop on Kartal Sokak in Galatasaray.

Stefanie de Brouwer’s seven part TV series is also about the shifts that have taken place in Turkish society over the last years.

It shows Dutch journalist Bram Vermeulen traveling through Turkey, from Istanbul to Van, from the Golden Horn to Iran, discovering a country very much in transition. In the episode Vermeulen travels along Turkey’s closed borders with Armenia, where he listens to local people’s opinions, which mostly differ substantially from the ofcial Turkish position regarding the Armenian issue.

The only feature lm in the Foreign View section is Samira Radsi’s (Germany, 2010). Cinematographically speaking it has nothing special, it’s a professionally made, unpretentious story about Germanbased Turkish Armenians. The director does not care much about describing Armenians’ national identity, his characters could just as well be representatives of any other national minority group. In a slow and calm way the lm tells about cultural clashes between recent migrants and those who were born in the West. The ending may seem somewhat articial and sentimental when its characters visit Armenia and the female character encounters her German lover against the background of Mount Ararat. AB

Edmond Keosayan (1936-1994) was the bravest and wittiest Armenian lm director. He managed not only to surmount numerous barriers to have his lms screened, but wrote also his name in capital letters in the history of Soviet cinema. He lived only 57 years, but his contribution to Armenian and especially Soviet cinema was huge. He is better known as director and co-scriptwriter of a famous trilogy: , and (1966-71) which became the rst Soviet adventure lms – a sort of Soviet response to American westerns and they also prepared the ground for emergence for other Soviet actions lms, like Vladimir Motyl’s famous , shot in 1970.

Keosayan’s language was in tune with the lm language of the 1960s. Many common lines between his trilogy and, for example, Sergio Leone’s well-known Dollars trilogy (1964-1966) are evident. Many scenes in were directly inspired by Leone’s Spaghetti Westerns, as Italian-made westerns were called in the USA. In fact, Keosayan created a new genre that was dubbed a little later as Easterns.

(1972), starring Mher Mkrtchyan, Azat Sherents, Avetik Gevorgyan, Armen Ayvazian and Armen Jigarkhanian, is a comedy, but one that may also trigger a tear. The lm is about four friends of whom one falls in love with a local beauty. The three other friends, all taxi drivers, use all possible and impossible ways to make their shy friend’s acquaintance with the girl he likes possible. In this simple story the director shows the national colour of Armenians – their humour, their sense of honour and most importantly their devotion. This lm may serve as a good guideline for foreigners who would like to learn about Armenians’ nature. It is also about Edmond Keosayan’s nature. Each of the main characters represents one of his personal traits.

Keosayan was also gifted with a unique naughtiness and persistence. He never obeyed the censors’ orders and always tried to circumvent them as much as was possible. Sometime he succeeded, sometimes he did not. In he succeeded. It was this stubbornness that yielded ,a beautiful, sincere and witty lm about Armenians.

In a tribute to Keosayan, who would have celebrated his 75th birthday this year, the lm will be shown today at the Moscow Cinema. AV

British director and feature film jury-member Pawel Pawlikowski will meet up and talk with the audience at 15:00 at the Yerevan Institute of Theatre and Cinematography. Pawlikowski in 2005 received the Alexander Korda Award for Best British Film at the BAFTA Awards in London for his My Summer of Love (see picture).

Press Conferences At 12:00 directors Jungbum Park (The Journals of Musan) and Olivier Coussemacq (Sweet Evil) will be present at the press conference in Golden Tulip Yerevan Hotel Conference Hall.

At 13:00 director Paula Markovitch (The Prize) will be present at the press conference in Golden Tulip Yerevan Hotel Conference Hall.

Edmond Keosayan A tribute to the Armenian born director Edmond Keosayan (1936-1994), who would have celebrated his 75th birthday this year, at 16:00 at Moscow Cinema, Red Hall with the screening of Men.

Bela Tarr Retrospective The Bela Tarr Retrospective will open at 16:00 in the Blue Hall of Moscow Cinema with the screening of the director’s latest film The Turin Horse (see picture). Other titles screened at the Golden Apricot Film Festival are Tarr’s Damnation and The Man from London. Tarr began his career as an amateur filmmaker at the age of 16. In 1977, Bela Tarr debuted with his feature film Family Nest. He is an associate professor at the Deutsche Film- und Fernsehakademie in Berlin.

Men (Edmond Keosayan, 1972, Armenia).

15-7, 16:00, Moscow Cinema, Red Hall.

Yerevan Premiere Nuri Bilge Ceylan’s Once Upon a Time in Anatolia has its premiere at Moscow Cinema, Red Hall at 18:00.

Open-air screening at zoo Open-air screening of Nerses Hovhannisyan’s historical documentary Watch Out an Animal! in Yerevan Zoo at 21:00. The event is dedicated to animal welfare in Armenia. A presentation and guided tour by zoo director Ruben Kachatryan will precede the screening. It starts at 20:00.

 Anduni – Foreign Home (Samira Radsi, Germany/Armenia,, 2010). 15-7, 13:00, Puppet Theater, Big Hall; 22:00, Yerevan Nights at Poghosyan Gardens.  A Shadow among Pages: The SecondHand Bookseller Vahan (Esra Yildiz, Turkey, 2010). 15-7, 15:00, Puppet Theater, Big Hall.  Hayastan: The Land of Make Believe (Franck Lorrain, France 2010). 15-7, 16:00, Puppet Theater, Small Hall.  The Last Armenian/In Turkey (Stefanie de Brouwer, The Netherlands, 2011). 15-7, 16:00, Puppet Theater, Small Hall.

Master Class

Midnight Wrap-up

The four friends from Keosayan's film Men are immortalised by this statue on Saryan's Square

Guests and film lovers wanting to party all through the night, the Midnight Wrap-up at THE CLUB (Akumb), 40, Toumanyan Street is the place to be at 24:00. More late night drinks at the CROSSROADS CLUB – Lounge Bar (Teryan Street 3a). The first beer is free.

GOLDEN APRICOT DAILY | DAY 6 | 15 JULY | 2011

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