Golden Apricot Daily - 2011, Day 7

DAY 7 SATURDAY JULY 16

2011

Bela Tarr:

'Your life is going to end'

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øá ÏÛ³ÝùÁ Ïí»ñç³Ý³

гñó³½ñáõÛóÝ»ñ ìÇÙ ì»Ý¹»ñëÇ, ÈÇ ÐáõÝóÇÇ Ñ»ï

Interview Bela Tarr

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Interviews with Wim Wenders, Olivier Coussemacq, Li Hongqi, Park Jungbum

GOLDEN APRICOT DAILY | DAY 7 | 16 JULY | 2011

2 ûñ³·Çñ 16 ÑáõÉÇëÇ/ 16 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 17:00

ѳ۳óù ¹ñëÇó

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Ó³ÏáÕ ÁÝÏ»ñáõÃÛ³Ý Ñ³Ù³·áñͳÏóáõÃÛ³Ý ³ñ·³ëÇùÝ ¿, ¨ áñÇ ÃÕóÏÇóÁ ÂáõñùdzÛáõÙ ì»éÙ»áõÉ»ÝÝ ¿: ²ÛÝ ÷³é³ïáÝáõÙ óáõó³¹ñíáõÙ ¿ áñå»ë Foreign view ³ÛëÇÝùÝ` §Ð³Û³ëï³ÝÝ ûï³ñ»ñÏñ³óÇÝ»ñÇ ³ãù»ñáõÙ¦ Íñ³·ñÇ ÙÇ Ù³ë: ²Û¹ ¹ñí³·áõÙ ì»éÙ»áõÉ»ÝÝ áõÕ¨áñíáõÙ ¿ γñë` ÂáõñùdzÛÇ áõ г۳ëï³ÝÇ ë³ÑÙ³·ÍÇÝ ·ïÝíáÕ ÓÛáõݳ߳ï ÙÇ ù³Õ³ù: ܳ ·ÝáõÙ ¿ ³ÛÝï»Õ` ï»ëÝ»Éáõ سñ¹³ëÇñáõÃÛ³Ý ³ñÓ³ÝÁ, áñÁ ÝíÇñí³Í ¿ ÂáõñùdzÛÇ áõ г۳ëï³ÝÇ ÙÇç¨ µ³ñ»Ï³ÙáõÃÛ³ÝÁ: ºñÏáõ ÅáÕáíáõñ¹Ý»ñÇ Ñ³ßï»óÙ³ÝÝ áõÕÕí³Í ³Ûë ݳ˳ӻéÝáõÃÛáõÝÁ, áñÇ Ñ»ÕÇݳÏÁ Ãáõñù ù³Ý¹³Ï³·áñÍ Ø»Ñٻà ²ùëáÛÝ ¿ñ, ÂáõñùdzÛÇ í³ñã³å»ï ¾ñ¹áÕ³ÝÇ` 2010 Ã. ÑáõÝí³ñÇÝ Î³ñë ϳï³ñ³Í ³ÛóÇ Å³Ù³Ý³Ï ·Ý³Ñ³ïí»ó áñå»ë §ï³ñûñÇݳϦ: ºí ãÝ³Û³Í ¹Å·áÑáõÃÛáõÝÝ»ñÇÝ` µ³ñÓáõÝùÇ íñ³ Ï³Ý·Ý³Í ³ñÓ³ÝÁ, áñÁ ï»ë³Ý»ÉÇ ¿ñ û ÂáõñùdzÛÇÝ, û г۳ëï³ÝÇÝ, ³å³ÙáÝï³Åí»ó 2011 Ã. ³åñÇÉÇ 11-ÇÝ: ºíë Ù»Ï ³å³óáõÛó, áñ »ñÏáõ ѳñ¨³Ý »ñÏñÝ»ñÇ ÙÇç¨ Ñ³ñ³µ»ñáõÃÛáõÝÝ»ñÁ ß³ï ÷ËñáõÝ »Ý: γñëáõÙ ì»éÙ»áõÉ»ÝÁ ÉëáõÙ ¿, áñ гÛáó ó»Õ³ëå³ÝáõÃÛáõÝÁ í»ñ³åñ³Í ÙÇ Ñ³Û ¿ ³åñáõ٠γñëÇ ßñç³Ï³ÛùáõÙ ·ïÝíáÕ µ³ñÓñ É»éÝ»ñáõÙ: ¸ñ³Ý ѳçáñ¹áõÙ ¿ ÃñÇÉ»ñÇ ¨ ׳ݳå³ñѳÛÇÝ ³ñϳÍÝ»ñÇ ï»ë³ß³ñ` Ï·ïÝDZ Éñ³·ñáÕÝ ³Û¹ Í»ñ ѳÛÇÝ: ¸Åí³ñÇÝ ×³Ý³å³ñÑÝ ³ÝóÝáõÙ ¿ ÓÛáõÝáï É»éÝ»ñáí ¨ ÷áùñ ·ÛáõÕ»ñáí: ì»ñç³å»ë í»ñçÇÝ Ñ³ÛÁ ·ïÝí³Í ¿: ²Ñ³ ì»éÙ»áõÉ»ÝÁ Ýñ³ ÷³Ûï» Ëñ×ÇÃáõÙ ¿, Í»ñáõÝÇÝ Éáõé Ýëï³Í ¿ ³ÝÏÛáõÝáõÙ: ܳ áãÇÝã ãÇ å³ïÙáõÙ Çñ ¹³Å³Ý ÷áñÓáõÃÛáõÝÝ»ñÇ Ù³ëÇÝ, ß³ñáõÝ³Ï Éáõé ¿: ²ÛÝ, ÇÝãÇ ³Ï³Ý³ï»ëÝ ¿ ݳ »Õ»É, Ñݳñ³íáñ ã¿ µ³é»ñáí å³ïÙ»É: î»ë³ËóÇÏÁ ѳñ·³ÉÇó ݳѳÝçáõÙ ¿: ²ÛÉ¨ë ³ë»Éáõ áãÇÝã ãϳ: ²ì

˳·Í»ñÝ Çñ³Ï³Ý³óÝ»ÉÇë ѳݹ»ë ¿ ·³ÉÇë áñå»ë ѳٳåñá¹Ûáõë»ñ: 10-ñ¹ ï³ñ»¹³ñÓÇ Ï³å³ÏóáõÃÛ³Ùµ Ýñ³Ýù í»ñç»ñë ëï»ÕÍ»É »Ý ݳ¨ ³ÝÏ³Ë ÏÇÝáëïáõ¹Ç³, áñÁ ѳٳ·áñͳÏó»Éáõ ¿ ÏÇÝá¹åñáóÇ Ñ»ï ¨ ÑÇÙݳϳÝáõÙ ½µ³Õí»Éáõ ¿ ýÇÉÙ³ñï³¹ñáõÃÛ³Ùµ: Ð³Û Ñ³Ý¹Çë³ï»ëÁ »½³ÏÇ Ñݳñ³íáñáõÃÛáõÝ áõÝ»ñ ¹Çï»Éáõ í³í»ñ³·ñ³Ï³Ý É³í³·áõÛÝ ýÇÉÙ»ñÇ ÙÇ ÁÝïñ³ÝÇ ³Ûë ï³ñí³ §àëÏ» ÍÇñ³ÝǦ ßñç³Ý³ÏÝ»ñáõÙ, áñáÝù ¹åñáóÇ í»ñçÇÝ ï³ñÇÝ»ñÇ áõë³ÝáÕÝ»ñÇ ³ß˳ï³ÝùÝ»ñÝ »Ý: Ìñ³·ñáõÙ ï»Õ ¿ÇÝ ·ï»É û í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ` سñÏÇÝ ê³áõûñÇ ÝÙ³Ý Ñ³Ýñ³Ñ³Ûï` û »ñÇï³ë³ñ¹ é»ÅÇëáñÝ»ñÇ ³ß˳ï³ÝùÝ»ñÁ, áíù»ñ Çñ»Ýó ³é³çÇÝ, µ³Ûó íëï³Ñ ù³ÛÉ»ñÝ »Ý ³ÝáõÙ ³Ûë µÝ³·³í³éáõÙ:

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 16:00

سݹáõ/Mandoo ¾µñ³ÑÇÙ ê³ÛǹÇ/Ebrahim Saeedi, Irq, 90', DAB

Lang.: German, Subt.: English and Armenian Ðñ³íÇñ³ïáÙë»ñáí/Invitations only

Lang.: Kurdish/Arabic, Subt.: English and Armenian 18:00 ºñÏÛáõÕÝ»ñ/Shivers ìáÛã»Ë سñã¨ëÏÇ/Wojciech Marczewski, Pol, 102', R

Lang.: Polish, Subt.: English and Armenian 20:00 гñëÁ/The Daughter-in-Law ºñÙ»Ï ÂáõñëáõÝáí/Yermek Tursunov, Kaz, 80', CIS

гñë³ÝÇù ´»ë³ñ³µÇ³ÛáõÙ/ Wedding in Bessarabia ܳåáÉ»áÝ Ð»ÉÙÇë//Napoleon Helmis, Mda, 92', CIS

Lang.: Moldavian, Subt.: English and Armenian 20:00 ØÇ ·Çß»ñ ö³ñ³ç³ÝáíÇ Ã³Ý·³ñ³ÝáõÙ/ A night at Paradganov’s Museum èáÙ³Ý ´³É³Û³Ý/Roman Balayan, Ukr, 23', R

No dialogues 20:00 γÝË³Ï³É ÉÇÝ»Ýù Ù»ñ ÁÝÏ»ñÝ»ñÇ Ñ³Ý¹»å/ Let Us Be Partial toward Our Friends ØÇ˳ÛÇÉ ²·ñ³ÝáíÇã/ Mikhail Agranovich, Rus, 52', R

Lang.: Russian, Subt.: English and Armenian

§ÎáñǽǦ ³é³çÇÝ Ñ³çáÕáõÃÛáõÝÝ»ñÁ ºñ»Ï ³í³ñïí»ó §Îáñǽ¦ ϳñ׳ٻïñ³Å ýÇÉÙ»ñÇ ÙñóáõÛÃÁ: ²ÛëåÇëáí §ÎáñǽÁ¦ ïí»ó Çñ ³é³çÇÝ åïáõÕÝ»ñÁ: ÀݹѳÝáõñ ³éٳٵ ÙñóáõÛÃÇÝ Ù³ëݳÏóáõÙ ¿ñ 23 ýÇÉÙ` ï³ñµ»ñ »ñÏñÝ»ñÇó, ³Û¹ Ãíáõ٠ݳ¨ »ñ»ù ýÇÉ٠г۳ëï³ÝÇó: гïϳÝß³Ï³Ý ¿, áñ »ñ»ù ýÇÉÙ»ñÇ é»ÅÇëáñÝ»ñÝ ¿É ÏÇÝ »Ý: ØñóáõÛÃÇ ÅáõñÇÝ ÙÇç³½·³ÛÇÝ ¿, áñÁ ݳ˳·³ÑáõÙ ¿ ÂÇ»ñÇ ÈÁÝáõí»ÉÁ: üÇÉÙ»ñÁ ï³ñµ»ñ ųÝñÇ »Ý` Ï³Ý Ã» ¹³ë³Ï³Ý, û ¿ùëå»ñÇÙ»Ýï³É ýÇÉÙ»ñ: ÆëÏ ÙñóáõÛÃÇ ³ñ¹ÛáõÝùÝ»ñÁ ѳÛïÝÇ Ï¹³éÝ³Ý í³ÕÁ` ÷³ÏÙ³Ý ³ñ³ñáÕáõÃÛ³Ý Å³Ù³Ý³Ï: ÄÛáõñÇÇ Ï³½ÙáõÙ ¿ ݳ¨ ϳݳ¹³Ñ³Û é»ÅÇëáñ γñÇÝ» ÂáñáëÛ³ÝÁ, áñÁ Ýß»ó, áñ µáÉáñ ýÇÉÙ»ñÝ ¿É ß³ï Ñ»ï³ùñùÇñ ¿ÇÝ ¨ Ñ³Û é»ÅÇëáñÝ»ñÁ µáÉáñáíÇÝ ã¿ÇÝ ½ÇçáõÙ ÙÛáõëÝ»ñÇÝ: ºí ë³ ÑdzݳÉÇ ËÃ³Ý ¿ ëÏëÝ³Ï é»ÅÇëáñÝ»ñÇ Ñ³Ù³ñ: سëݳÏÇóÝ»ñÇÝ Ùñó³Ý³Ï ¿ ѳÝÓÝ»Éáõ ݳ¨ Cinemag ³Ùë³·ÇñÁ:

ê³åÇñ ùáÉ»çÇ ³Ù»Ý³áõß³·ñ³í µ³ÅÇÝÝ»ñÇó Ù»ÏÁ ÏÇÝáÛÇ áõ Ñ»éáõëï³ï»ëáõÃÛ³Ý ¹åñáóÝ ¿, áñÁ ջϳí³ñáõÙ ¿ ²íÝ»ñ ü³ÛÝ·áõÉ»ñ»ÝïÁ: ²ñ¨ÙïÛ³Ý Ü»·¨Ý ³Ýѳٳå³ï³ëË³Ý í³Ûñ ¿ ÃíáõÙ ÏÇÝá³ëå³ñ»½Ç ³Ï³¹»ÙÇ³Ï³Ý ÇÝëïÇïáõïÇ Ñ³Ù³ñ: ²ÛÝ Ñ»éáõ ¿ Ùß³ÏáõóÛÇÝ Å³Ù³Ý³Ï³ÏÇó Ï»ÝïñáÝ Â»É ²íÇíÇó ¨ å³ïÙ³Ï³Ý ºñáõë³Õ»ÙÇó: ²Û¹áõѳݹ»ñÓ í»ñçÇÝ ÙÇ ù³ÝÇ ï³ñÇÝ»ñÇÝ ÏÇÝáÛÇ áõ Ñ»éáõëï³ï»ëáõÃÛ³Ý ¹åñáóÁ Ó»éù ¿ µ»ñ»É Æëñ³Û»ÉÇ ³Ù»Ý³³é³ç³ï³ñ ÏÇÝá¹åñáóÝ»ñÇó Ù»ÏÇ Ñ³Ùµ³íÁ: Þ³ï»ñÇ ·Ý³Ñ³ï³Ï³Ýáí ³ÛÝ »ñÏñÇ É³í³·áõÛÝ ÏÇÝá¹åñáóÝ ¿, áñÇ ßñç³Ý³í³ñïÝ»ñÁ å³ñµ»ñ³µ³ñ ³Ù»Ý³å³ïí³íáñ Ùñó³Ý³ÏÝ»ñÇÝ »Ý ³ñųݳÝáõÙ Æëñ³Û»ÉÇ ÏÇÝá÷³é³ïáÝ»ñáõÙ: âÝ³Û³Í åñáý»ëÇáÝ³É Ñ³çáÕáõÃÛ³ÝÝ áõ ׳ݳãÙ³ÝÁ` ¹åñáóÝ Çñ ٻͳ·áõÛÝ Ýí³×áõÙÁ

ÎÇÝáÛÇ »õ Ñ»éáõë³ï»ëáõÃÛ³Ý ê³åÇñ ùáÉ»ç. ß³ï Ù³ñ¹³ëÇñ³Ï³Ý ÏÇÝá` ß³ï ëáõÕ µÛáõç»áí ê³åÇñ ùáÉ»çÁ ·áí³½¹³ÛÇÝ ·ñùáõÛÏáõÙ Çñ»Ý §Ü»·¨Ç ÷³ñáë¦ ¿ ÏáãáõÙ: âÝ³Û³Í ùáÉ»çÁ ·áñÍáõÙ ¿ гٳë ø³ë³ÙÇ éÙµ³ÏáÍáõÃÛáõÝÝ»ñÇ ï³Ï` ä³Õ»ëïÇÝÇ ¶³½³ ï³ñ³ÍùáõÙ, 2002 Ã. ëÏë³Í` ³ÛÝ ³Ù»Ý ï³ñÇ §ÎÇÝáÛÇ Ñ³ñ³í³ÛÇÝ ýÇÉÙ»ñÇ ÷³é³ïáݦ ¿ ϳ½Ù³Ï»ñåáõÙ` ³é³ÝÓݳѳïáõÏ áõß³¹ñáõÃÛáõÝ ¹³ñÓÝ»Éáí Çñ ßñç³Ý³í³ñïÝ»ñÇ ýÇÉÙ»ñÇÝ ¨ ÑÛáõñ»ñ Ññ³íÇñ»Éáí ³ÙµáÕç ³ß˳ñÑÇó: ö³é³ïáÝÇ ÑÇÙÝ³Ï³Ý Ýå³ï³ÏÁ É³í³·áõÛÝë ³ñï³Ñ³Ûïí³Í ¿ ²íÝ»ñ ü»ÛÝ·áõÉ»ñ»ÝïÇ` ÷³é³ïáÝÇ ·áñͳ¹Çñ ïÝûñ»ÝÇ áõ ÑÇÙݳ¹ñÇ Ëáëù»ñáõÙ, áí ³ëáõÙ ¿, áñ §ÎÇÝáÛÇ Ñ³ñ³í³ÛÇÝ ÷³é³ïáÝÁ ÏÇݻٳïá·ñ³ýÇ³Ï³Ý ·³Õ³÷³ñ³ËáëáõÃÛáõÝ ¿, áñÁ ëáíáñ»óÝáõÙ ¿, û ÇÝãå»ë ϳñ»ÉÇ ¿ Ýϳñ³Ñ³Ý»É ß³ï Ù³ñ¹³ëÇñ³Ï³Ý ÏÇÝá` ß³ï ëáõÕ µÛáõç»áí¦:

18:00

äÇݳ/Pina ìÇÙ ì»Ý¹»ñë/ Wim Wenders, Deu/Fra, 106', CF

No dialogues

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

áõë³ÝáÕÝ»ñÇ áñ³ÏÁ ¨ ѳñ³í³ÛÇÝ »ñÏñÝ»ñáõÙ Ýñ³Ýó ѳçáÕáõÃÛáõÝÝ»ñÝ ¿ ѳٳñáõÙ: àõë³ÝáÕÝ»ñÁ ѳñ¨³Ý »ñÏñÝ»ñÇó »Ï³Í ϳݳÛù áõ ïÕ³Ù³ñ¹ÇÏ »Ý, Ýáñ ·³ÕóϳÝÝ»ñ` ݳËÏÇÝ ÊáñÑñ¹³ÛÇÝ ØÇáõÃÛáõÝÇó, ºÃáíådzÛÇó ¨ ÐÛáõëÇë³ÛÇÝ ²Ù»ñÇϳÛÇó, ÇÝãå»ë ݳ¨ Æëñ³Û»ÉÇ ï³ñµ»ñ µÝ³Ï³í³Ûñ»ñÇó »Ï³Í å³ï³ÝÇÝ»ñ: Úáõñ³ù³ÝãÛáõñ áõë³ÝáÕ µ»ñáõÙ ¿ Çñ áõñáõÛÝ ÷áñÓÁ, å³ß³ñÁ ¨ ³ë»ÉÇùÁ: äñáý»ëÇáÝ³É ¹³ëÁÝóóÝ»ñÇ ßÝáñÑÇí ëï³Ý³Éáí áõëáõóÇãÝ»ñÇ áõ åñáý»ëáñÝ»ñÇ ÷áñÓÁ` ³Ûë áõë³ÝáÕÝ»ñÁ ß³ñáõݳÏáõÙ »Ý Çñ»Ýó Ù³ëݳ·Çï³Ï³Ý áõÕÇÝ` ï³ñµ»ñ ÏáÕÙ»ñÇó áõ ï»ë³ÝÏÛáõÝÝ»ñÇó Ý»ñϳ۳óÝ»Éáí Æëñ³Û»ÉÇ å³ïÙáõÃÛáõÝÁ: Üñ³Ýó Ýϳñ³Ñ³Ý³Í í³í»ñ³·ñ³Ï³Ý ¨ ·»Õ³ñí»ëï³Ï³Ý ýÇÉÙ»ñÁ ߳ѳí»ïáñ»Ý ï³ñµ»ñíáõÙ »Ý Çëñ³Û»É³Ï³Ý ýÇÉÙ»ñÇ Ù»Í Ù³ëÇó: ²ì/¶´

Editor in chief: André Waardenburg General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

Journalists: Kees Driessen, Mariska Graveland, Evrim Kaya, Ronald Rovers Translations: Zara Safaryan, Murad Muradyan

Èñ³·ñáÕÝ»ñ` ²ñÍíÇ ´³ËãÇÝÛ³Ý, سñÇ Ê»ñ³ÝÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý, ²ñÙ»Ý Þ³ËÏÛ³Ý

Caricature: Harutyun Chalikyan

Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ

Design: Gayane Grigoryan

Þ³åÇÏÇ Éáõë³ÝϳñÁ` ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ ©PanARMENIAN Photo ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ îå³·ñí³Í ¿` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

Cover photo by Vahan Stepanyan/ ©PanARMENIAN Photo

GOLDEN APRICOT DAILY | DAY 7 | 16 JULY | 2011

Ëáßáñ åÉ³Ý 3

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GOLDEN APRICOT DAILY | DAY 7 | 16 JULY | 2011

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GOLDEN APRICOT DAILY | DAY 7 | 16 JULY | 2011

interview 5

Bela Tarr ö³é³ïáÝÇ å³ïí³íáñ ÑÛáõñ»ñÇó ¿ ´»É³ î³ñÁ, áñÁ í»ñç»ñë ѳÛï³ñ³ñ»É ¿, áñ ÉùáõÙ ¿ ÏÇÝá³ñí»ëïÁ: гñó³½ñáõÛóáõ٠ݳ ËáñÑáõÙ ¿ Çñ ³Ýó³Í ׳ݳå³ñÑÇ, §ÂáõñÇÝÛ³Ý ÓÇáõ¦ ¨ ÁݹѳÝñ³å»ë ÏÇÝáÛÇ Ù³ëÇÝ:

fact is the fact: your life is going to end. We have to speak about this, we have to face it.

‘But The Turin Horse is no apocalyptical film, because the apocalypse always looks like a big TV show, like a big event where a lot of things happen.

We just wanted to shoot the daily routine.’

Lonely tree

ºÃ» »ë ÙÇ µ³Ý ³ÝáõÙ »Ù, ³å³ ¹³ ÇÙÝ ¿: ºë ï»ëÝáõÙ »Ù ýÇÉÙÝ ³ÙµáÕçáõÃÛ³Ùµ` ³é³çÇÝ Ï³¹ñÇó ÙÇÝ㨠í»ñçÇÝÁ: ÎÇÝá ÝϳñáõÙ »Ù 1977-Çó, ³ÛëÇÝùÝ` ³ñ¹»Ý 34 ï³ñÇ: Úáõñ³ù³ÝãÛáõñ ýÇÉÙ Ýϳñ»ÉÇë »ë ÷ÝïñáõÙ »Ù ÇÙ ³ß˳ñÑÁÝϳÉáõÙÁ Ý»ñϳ۳óÝáÕ Ýáñ á×: ØÇ ýÇÉÙÇó ³Ï³Ù³ µËáõÙ ¿ ÙÛáõëÁ: ´³Ûó å»ïù ¿ ÝϳïÇ áõݻݳÉ, áñ ýÇÉÙÁ ÙdzÛÝ é»ÅÇëáñÇÝÁ ã¿. í»ñçÇÝ ï³ëݳÙÛ³ÏÝ»ñáõÙ ÇÝÓ Ñ»ï ³ß˳ïáõÙ »Ý ÝáõÛÝ ëó»Ý³ñÇëïÝ áõ ÏáÙåá½ÇïáñÁ: Ø»ñ ï»ë³Ï»ïÝ»ñÁ å»ïù ¿ ѳÙÁÝÏÝ»Ý: Ø»Ýù »ñµ»ù ã»Ýù ½ñáõóáõÙ ³ñí»ëïÇ Ù³ëÇÝ: àõÕÕ³ÏÇ Ñ»ï¨áõÙ »Ýù ÏÛ³ÝùÇÝ, Ñ»ï¨áõÙ »Ýù Ù³ñ¹Ï³Ýó, Çñ³íÇ׳ÏÝ»ñÇÝ: ºí ÷áñÓáõÙ »Ù ÏÇÝáËóÇÏáí Ñݳñ³íáñÇÝë Ùáï»Ý³É ³Û¹ ÏÛ³ÝùÇÝ: §ÂáõñÇÝÛ³Ý ÓÇݦ ÇÙ í»ñçÇÝ ýÇÉÙÝ ¿: ºñϳñ ׳Ù÷³ »Ù ³Ýó»É, µ³Ûó ÑÇÙ³ å»ïù ¿ ³Ù÷á÷»Ù: ²Û¹ áñáßáõÙÝ ÁݹáõÝ»É ¿Ç ¹»é¨ë 2008 Ã.: ºë ·Çï»Ç, áñ ³Ûë ýÇÉÙÝ ÇÙ å³ñï³Ï³ÝáõÃÛáõÝÝ ¿, áñÁ å»ïù ¿ ϳï³ñ»Ù: ²ÛÝáõÑ»ï¨` í»ñç: ÎñÏÝí»Éáõ ÇÙ³ëï ãϳ:

‘Since I started to think about The Turin Horse, I knew I really needed a picture where he and she were sitting in front of the window looking at this lonely tree. When I was looking for a location we didn’t find such a house on a suitable location, so then I began hunting for the right landscape. When we found this lonely tree, we decided to rebuild the house with real stones and walls. So my whole film is a creation, besides the horse shit, the water in the well, and the steamy hot potatoes; they’re all real.’

Future of cinema ‘Diversity is the future of cinema. I always think of film not as show business, but as the seventh art.

When I was doing this job as a filmmaker, I was never interested in stories, because the story is always the same. If you read the Old Testament it’s all there, we have no new stories to tell, we’re always experiencing the same old story.

Æñ³Ï³ÝáõÙ §ÂáõñÇÝÛ³Ý ÓÇáõ¦ Ýϳñ³Ñ³ÝáõÙÝ»ñÝ ³Û¹ù³Ý ¿É ¹Åí³ñ ã¿ÇÝ: ºë áõÕÕ³ÏÇ ÙÇ ¹»ñ³ë³ÝÇÝ ³ëáõÙ ¿Ç` ³Ûëï»Õ ϳݷÝÇ, ÙÛáõëÇÝ` ³ÛÝï»Õ, ûå»ñ³ïáñÇÝ óáõÛó ¿Ç ï³ÉÇë, »ñµ ÙáïÇϳݳ, »ñµ Ñ»é³Ý³ ¨ ³ÛÉÝ... ºñϳñ Å³Ù³Ý³Ï Ýϳñ³Ñ³ÝáõÙÝ»ñÇ Ñ³Ù³ñ ÷ÝïñáõÙ ¿ÇÝù ï»Õ³Ýù: Æ í»ñçá áñáß»óÇÝù ÇÝùÝ»ñë ϳéáõó»É ·É˳íáñ Ñ»ñáëÝ»ñÇ ïáõÝÁ: ¶ï³Ýù ÙÇ ¹³ßï³í³Ûñ, áñï»Õ Ï³Ý·Ý³Í ¿ñ ٻݳíáñ ͳé: Ø»½ å»ïù ¿ñ ï»ë³ñ³Ý, áñï»Õ Ñ»ñáëÝ»ñÁ Ýëï³Í ÏÉÇÝ»Ý å³ïáõѳÝÇ ³éç¨, ÇëÏ å³ïáõѳÝÇó ³ÛÝ ÏáÕÙ` ³Û¹ ͳéÁ ÉÇÝÇ: Àëï ¹ñ³ ¿É áñáß»óÇÝù, û áñï»Õ å»ïù ¿ ϳݷÝÇ Ñ»ñáëÝ»ñÇ ¹ÕÛ³ÏÁ: Ø»ñ ýÇÉÙáõÙ Ùݳó³Í ³Ù»Ý ÇÝãÝ Çñ³Ï³Ý ¿` ÓÇáõ ÃñÇùÁ, çñÑáñÁ, ï³ù ϳñïáýÇÉÁ: §ÂáõñÇÝÛ³Ý ÓÇáõ¦ Ñ»ñáëÝ»ñÁ å³Ûù³ñáõÙ »Ý ¨ ³ß˳ïáõÙ, ÷áñÓáõÙ »Ý ·á۳層É: üÇÉÙÁ Ï»óáõÃÛ³Ý Í³ÝñáõÃÛ³Ý Ù³ëÇÝ ¿: ØÛáõë ÏáÕÙÇó` Ù»Ýù áõ½áõÙ ¿ÇÝù óáõÛó ï³É, û ÇÝãå»ë ÏÛ³ÝùÝ ûñ»óûñ ³í»ÉÇ áõ ³í»ÉÇ ³Ý½áñ ¿ ¹³éÝáõÙ: ØÇßï ¿É ³Û¹å»ë ¿ »Õ»É: ÆѳñÏ», ÉÇÝáõÙ »Ý Éáõë³íáñ ûñ»ñ, »ñç³ÝÇÏ, ë÷á÷Çã å³Ñ»ñ, µ³Ûó ÷³ëïÁ ÙÝáõÙ ¿ ÷³ëï` ÏÛ³ÝùÁ ϳñ× ¿: ºí Ù»Ýù å»ïù ¿ ÁݹáõÝ»Ýù ¹³... ÜÇóß»Ý Çñ³í³óÇ ¿, »ñµ ³ëáõÙ ¿, áñ §²ëïí³Í ٳѳó»É ¿¦: ´³Ûó »ë ѳٳӳÛÝ ã»Ù Ýñ³` §·»ñÙ³ñ¹áõ¦ ·³Õ³÷³ñÇ Ñ»ï: ÎÛ³ÝùÇ í»ñçáõÙ ÇÝùÝ ¿É ¿ñ ѳëϳó»É, áñ ë˳ÉíáõÙ ¿ñ: ØÇ ³Ý·³Ù ݳ ù³ÛÉáõÙ ¿ñ ÃáõñÇÝÛ³Ý ÷áÕáóÝ»ñáí áõ ï»ë³í ³Û¹ Ùïñ³ÏíáÕ ÓÇáõÝ: ºí ³Û¹ å³ÑÇÝ Ý³ ѳëϳó³í, áñ û¨ ·»ñÙ³ñ¹áõ Ó»éù»ñáõ٠ϳ ³Ñé»ÉÇ áõÅ, µ³Ûó, ûñÇݳÏ, ϻݹ³ÝÇÝ»ñÁ, ÓÇ»ñÝ ³Ýû·Ý³Ï³Ý »Ý: ²Ù»Ý ÇÝã í»ñç³ó³í: ÜÇóᯀ í»ñçÇÝ Ëáëù»ñÁ ÝáõÛÝå»ë å³ï³Ñ³Ï³Ý ã¿ÇÝ.

Mutter, ich bin dumm (§Ø³ÛñÇÏ, »ë ³ÝË»Éù »Ù¦): ÆÝã-áñ Ù»ÏÝ ÇÝÓ ³ë³ó, áñ ÇÙ ýÇÉÙÁ ϳñÍ»ë ²åáϳÉÇåëÇëÁ ÉÇÝÇ: âѳٳӳÛÝ»óÇ, áñáíÑ»ï¨ ²åáϳÉÇåëÇëÝ áõݻݳÉáõ ¿ Ëáßáñ Ñ»éáõëï³ï»ë³ÛÇÝ Íñ³·ñÇ ï»ëù, ¹³ ß³ï Ù»Í Çñ³¹³ñÓáõÃÛáõÝ ¿ ÉÇÝ»Éáõ: ÆëÏ »ë áõ½áõÙ ¿Ç Ù³ÝñáõùÝ»ñÁ óáõÛó ï³É ѳݹÇë³ï»ëÇÝ, ³ÛÝ, ÇÝãÁ ÉÇÝáõÙ ¿ µáÉáñÇ Ñ»ï: سñ¹Á å»ïù ¿ ½³ñÃÝÇ, ѳ·ÝíÇ, Éí³óíÇ, ·Ý³ ³ß˳ï³ÝùÇ: ´³Ûó ÇÝã ÏÉÇÝÇ, »Ã» ¹áõ ãϳñáÕ³Ý³ë ·Ý³É ³ß˳ï³ÝùÇ, »Ã» ùá ÓÇÝ Ññ³Å³ñíáõÙ ¿ ï»ÕÇó ß³ñÅí»É: ÆëÏ ¹áõ ϳé³å³Ý »ë, ù»½ áõÕÕ³ÏÇ ³ÝÑñ³Å»ßï ¿ ³Û¹ ÓÇÝ: ÎÛ³ÝùÁ ùÇãùÇã Ïí»ñç³Ý³, ÏÙ³ñÇ: ²ëïí³Í ³ñ³ñ»É ¿ ³ß˳ñÑÁ í»ó ûñí³ ÁÝóóùáõÙ: ²é³çÇÝ ûñí³ ÁÝóóùáõ٠ݳ µ³Å³Ý»ó Çñ³ñÇó ˳í³ñÝ áõ ÉáõÛëÁ: Ø»ñ ýÇÉÙáõÙ Ù»Ýù áõÕÕ³ÏÇ Ñ³Ý»É »Ýù ÉáõÛëÁ: ö³ëïáñ»Ý, ϳñ»ÉÇ ¿ ³ë»É, áñ §ÂáõñÇÝÛ³Ý ÓÇݦ §Ñ³Ï³³ñ³ñÙ³Ý í»ó ûñí³¦ Ù³ëÇÝ ¿: ÆÝÓ Ñ³Ù³ñ ³é³çݳÛÇÝÁ Ù³ñ¹ÇÏ »Ý áõ å³ïÏ»ñÁ, »ë »ñµ»ù ã»Ù Ùï³Íáõ٠ûٳÛÇ Ù³ëÇÝ, áñáíÑ»ï¨ ³ÛÝ ÙÇßï ÏñÏÝíáõÙ ¿: Üáñ å³ïÙáõÃÛáõÝÝ»ñ ·áÛáõÃÛáõÝ ãáõÝ»Ý: ²Û¹ å³ï׳éáí ¿É Ù»½ ³í»ÉÇ ß³ï Ñ»ï³ùñùñáõÙ »Ý áã û å³ïÙáõÃÛáõÝÝ»ñÁ, ³ÛÉ ³ÛÝ, û ÇÝãå»ë »Ý Ù³ñ¹ÇÏ Çñ»Ýó ¹ñë¨áñáõÙ ³Û¹ ÝáõÛÝ å³ïÙáõÃÛáõÝáõÙ:

Fortunately, every filmmaker is different, everybody has a different cultural background and works under different conditions. So when they are doing something they have to do it from their point of view.

You know what I like? If I take a frame of a film that I have never seen before and I can say immediately: hey, it’s a film from Eisenstein, and then I know that the director has a very strong vision of the world.

As long as you can recognize someone’s signature I think cinema has a future. What I like in films are the differences. In Hungary nowadays, we’re losing that pluralism because the government installed a one man company that is responsible for all film funding, and this company has to make profit. I and other filmmakers wrote an open letter but that didn’t help.

Now they will fund mainly commercial films. But it is variety that is the future of the cinema.’

Last film ´³ñ»µ³Ëï³µ³ñ, µáÉáñ ýÇÉÙ³ñï³¹ñáÕÝ»ñÁ ï³ñµ»ñ »Ý, ù³ÝÇ áñ µáÉáñÝ áõÝ»Ý Çñ»Ýó å³ïÙáõÃÛáõÝÁ, Çñ»Ýó å³ÛÙ³ÝÝ»ñÁ, Çñ»Ýó Ùß³ÏáõÛÃÁ, ¨, ÇѳñÏ», Çñ»Ýó µÛáõç»Ý: ºñµ ÙÇ µ³Ý ³ÝáõÙ »ë, å»ïù ¿ ³ÛÝå»ë ³Ý»ë, ÇÝãå»ë ÙdzÛÝ ¹áõ »ë ï»ëÝáõÙ, ÙdzÛÝ ¹áõ »ë ½·áõÙ: úñÇÝ³Ï »Ã» úÓáõÇ Ï³Ù ¾Û½»Ýßï»ÛÝÇ ýÇÉÙ»ñÇó ÙÇ Ï³¹ñ í»ñóÝ»ë, ³Û¹ é»ÅÇëáñÝ»ñÇ É»½áõÝ ÇÙ³óáÕ Ù³ñ¹ÇÏ Ùdzݷ³ÙÇó Ï׳ݳã»Ý Ýñ³Ýó, ÝáõÛÝÇëÏ »Ã» ïíÛ³É ýÇÉÙÁ ã»Ý ¹Çï»É: àõ »ñµ »ë ï»ëÝáõÙ »Ù, áñ ³Ûëûñ ÝáõÛÝå»ë Ï³Ý ï³ñµ»ñíáÕ é»ÅÇëáñÝ»ñ, ѳëϳÝáõÙ »Ù, áñ ÏÇÝáÝ ³å³·³ áõÝÇ: ´³Ûó ³ë»Ýù »Ã» »ë í»ñóݻ٠ÙÇ ù³ÝÇ ÑáÉÇíáõ¹Û³Ý ýÇÉÙ»ñÇ Å³å³í»ÝÝ»ñÝ áõ ˳éݻ٠Çñ³ñ, ³å³ ѳÙá½í³Í »Ù, áñ ѳݹÇë³ï»ëÁ ¹³ ÝáõÛÝÇëÏ ãÇ ¿É ÝϳïÇ, ù³ÝÇ áñ ³Û¹ï»Õ µáÉáñÝ û·ï³·áñÍáõÙ »Ý ÝáõÛÝ ³ñï³Ñ³Ûïã³ÙÇçáóÝ»ñÁ, ÝáõÛÝ ¹ñ³Ù³ïáõñ·Ç³Ý: ÎÇÝáÝ »ñµ»ù ãå»ïù ¿ ÉÇÝÇ ßááõ µÇ½Ý»ëÇ ÙÇ Ù³ë: â»Ù áõ½áõÙ ùÝݳñÏ»É, û ÇÝãáí »Ù ½µ³Õí»Éáõ, µ³Ûó ³Ýå³ÛÙ³Ý ÙÇ µ³Ý ϳݻÙ: ºë ¹»é ϻݹ³ÝÇ »Ù áõ µ³í³Ï³ÝÇÝ áõÅ»Õ: Ø»ÏÝ ÇÝÓ Ñ³ñóñ»ó. §ºÃ» ÑÇÙ³ ÏÇÝáé»ÅÇëáñ ã»ù, ³å³ DZÝã »ù¦: ºë å³ï³ë˳ݻóÇ, áñ »ë §ÏÇÝáÏéíáÕ¦ »Ù: ⿱ áñ »ë ëÇñáõÙ »Ù ÏÇÝá³ñí»ëïÁ, ¹³ ÇÙ ÏÛ³ÝùÝ ¿ñ áõ... ÑÇÙ³ ¿É ¿ ÇÙ ÏÛ³ÝùÁ: ¶Çï»±ù, ÏÇÝáÝ Ï³ñÍ»ë ÃÙñ³ÝÛáõà ÉÇÝÇ, ³Û¹ù³Ý ¿É Ñ»ßï ã¿ ÃáÕÝ»ÉÁ: Ä³Ù³Ý³Ï ¿ å»ïù: ²ì  ÀÝï³Ý»Ï³Ý µáõÛÝ (1977)  Èáõë³ÝóùáõÙ Ùݳó³ÍÁ (1981)  гí³ùáíÇ Ù³ñ¹ÇÏ (1982)  ²ßÝ³Ý ³ÉÙ³Ý³Ë (1984)  ܽáíù (1988)  ¸Çí³ÛÇÝ ï³Ý·á (1994)  ì»ñùÙ³ÛëûñÇ Ñ³ñÙáÝdzݻñÁ (2000)  ÈáݹáÝóÇ Ù³ñ¹Á (2007)  ÂáõñÇÝÛ³Ý ÓÇÝ (2011)

With The Turin Horse, Béla Tarr is ending his film career. Grand and down to earth at the same time, The Turin Horse tracks the life of the horse that apparently drove Nietzsche into madness after he saw it been beaten at a Turin square. Tarr follows the daily life of its owners, working, eating steamy potatoes, sitting in front of the window, while the everlasting storm blows around a Beckett-like tree. Beyond that lies the inevitable ruin.

‘The people in The Turin Horse are fighting and working, just in order to survive. When you’re on the edge and in a harsh situation like they are, you have no words left, you have nothing, and you just do what you have to do. We just wanted to film the little things that everybody’s doing: you have to dress up, you have to wash your face, and you have to work. I wanted to show what happens when you get out of work because your horse doesn’t want to walk and you really need your horse to work. When their water well dries up they have to move, but when you’re on the top of the hill and look around for another place to stay, you’ll understand there’s no reason to go anywhere. That’s why the gypsies in the film are returning to the hill, they know they can’t escape from the place. You don’t know what’s out there, and it really doesn’t matter.

‘I wanted to make a film about the heaviness of being, instead of Kundera’s ‘lightness of being’.

Because that heaviness of being is what I see around me. Life is getting harder day by day. We only have one life, and our life is short. We all finally disappear in a quiet way. Of course we all have sunny days, some nice moments, and some joy, but the

‘The Turin Horse is my closing piece. Back in 2008, I decided this to be my last film, and announced it at a press conference in Paris. At that time I knew this film is going to be a condensed film. Now it’s done, there’s no reason to repeat yourself. There’s even no reason to be a film director at all, it’s a nice bourgeois job but I never wanted to do it. I was always just chasing something until if I had the feeling that I caught it.

‘I have been doing films for 34 years now, I did it step by step, I was looking for a style and wanted to show the world how I see it. When I’m next to the camera, it’s just like cooking: you have plenty of ingredients and you put everything in it your own way. When we’re making a film it’s not only the director who’s making it of course, and for 28 years I’ve worked with the same writer and composer. Our point of view has to be the same but we never talk about art, we’re just talking about life, watching people and how they react, what they are doing in certain situations. I only try to find a way to come closer to life with this stupid big camera, that’s all.

‘After this, I will do something surely, don’t worry, I’m still alive. I’m still a film fighter, because I like film, that was my life and is still my life.

Filmmaking is like a drug, it’s not easy to stop, and it surely takes time. It was a long trip and now I have to close it. I cannot say more.’ MG  Family Nest (1977)  The Outsider (1981)  The Prefab People (1982)  Autumn Almanac (1984)  Damnation (1988)  Satan's Tango (1994)  Werckmeister Harmonies (2000)  The Man from London (2007)  The Turin Horse (2011)

GOLDEN APRICOT DAILY | DAY 7 | 16 JULY | 2011

6 films and makers

'Dance and 3D are made for each other' Wim Wenders on Pina Pina, Wim Wenders’ 3D film about German choreographer Pina Bausch, is Golden Apricots Film Festival’s closing film. Bausch herself wasn’t able to see the final cut of Wenders’ film. She died suddenly and unexpectedly in 2009 at the age of 68. Wenders was shocked and opted to cancel the project but the company’s ballet dancers convinced the director to continue. And so Wenders did continue with Pina, even though the whole concept had to be reshuffled. In the end version Bausch only appears through archival images. As a two-dimensional ghost in a 3D world she literally escaped to another dimension.

The deep attraction between the two artists dates back to 1985, when Wenders saw one of Bausch’ performances, Café Müller. ‘I was so aroused, that I just kept on talking to Pina. We had to make a film together. She just smiled and lit another cigarette. Whenever we came across each other after that, she would always ask me: when are you going to start with your film, Wim? My response was always the same: I would begin the next day if I just knew how.’

Wenders looked at every documentary ever made about Bausch and studies countless films on dancing. His conclusion was always the same: ‘Despite all my talents I would not be able to add anything new to what was already been done. Whereas in order to capture the indescribable feeling her performances gave me, we emphatically had to come up

with something completely different. All recordings of her performances compared to her live shows had this wall in them: a wall that couldn’t be penetrated by the camera. I needed something to tear down that wall, but I didn’t know how.’

Until the 2007 Cannes film festival when Wenders found the solution. ‘It was a concert film, U2 3D. The first live-action 3D film shown in Cannes. I put on my 3D goggles and I knew from the very first image. For sure, it was still rudimentary, shaky and full of mistakes but before my eyes I saw the doors opening to my film with Pina.’

'My film is about a desire that is too strong to resist'

Olivier Coussemacq on Sweet Evil Sweet Evil is the debut film of French director Olivier Coussemacq, who also wrote the script. In his film a fifteen year old girl is ‘adopted’ by the prosperous Van Eyck’s. She seduces the judge and charms his wife. But does she have a hidden agenda?

You have worked for a long time as a director, but this is your first feature film. What took you so long?

It is destiny I guess. From the age of 19 I had an interest in making films. I went to Paris and attended film school, which I left very soon. But my interest to become a director continued. I was engaged as a second assistant, and then as first assistant. After that, I started directing for television but was also writing film scripts. I wanted to switch to cinema, but realized that my work for television didn’t interest the decision-makers who hand-out film subsidies. So I started making short films and one documentary. Only then I was able to make my first feature film.

Given that you have a past in the French province, can we say your experiences were one of the sources for the story of Sweet Evil?

I understand why you think that, but Sweet Evil was already the twelfth script I wrote and by then I already abandoned the idea of making an autobiographical debut.

The province was what the story called for. This kind of trap a young girl could bring an old couple into could only work in the province. It wouldn’t be realistic if I would situate it in Paris, where first of all the couple wouldn’t have the luxury of a big house. They wouldn’t be so privileged in the big city, and the setting would have been an apartment.

I wanted to treat the house as another character. And

I also think a judge from Paris would not be so naïve as my main character.

When the judge has a sexual relation with a fifteen-year-old girl, it doesn’t look like child abuse. The judge really seems to be naïve, and in a sense is the true victim of the affair.

To claim that anybody is a victim, it would mean to be engaging with a moral judgement. I tried to avoid that in this story. I didn’t want to make moral claims about the judge, who is part of a completely inhuman system, and neither about the young girl who seduced him. Naturally, a judge is someone who knows those limits, who tells all the other people not to cross it and makes them pay for it when they do.

Sweet Evil is about a desire that is too strong to resist, a very common story. Also today, people get tempted by desire. But in this case I don’t think that this was an erotic temptation. It was real love what seduced him. She brought life to a household where everything was pretty much stifled and the couple had drifted apart.

How important was the class difference between the couple and the girl?

One can say justice is always controlled by the rich and powerful. But although this is a primary issue, it was secondary to my story. I wasn’t really imitating Claude Chabrol, in the sense that I was trying to denounce the bourgeoisie of the province.

I especially bring him up, because people compared my film to Chabrol, but for me the unique human side of the story was important. I was after the hypocrisy of the judge who feels that he is part of the good side of society, whereas the criminal mother and the young girl are part of the bad side. I tried to undermine this opposition of black and white, good and bad. This was the essential core of the story. EK

Wenders wanted a film where the 3D effect was completely serviceable to the dance. ‘I think dance and 3D are made for each other, because space is essential for dance and 3D. That’s why our 3D had to be as natural as possible. We want the viewer to forget the presence of the 3D effect as quickly as possible. We were looking for an elegant sense of space that wouldn’t draw attention to itself but would direct the attention to Pina’s work.’

Pina convincingly shows the added beauty of a dancer revolving around his axis in 3D. Also the spaces where Wenders lets his dancers perform, spaces that

gradually become more open — from inside the theatre to outside, on the street, in a swimming pool, at an abandoned factory and eventually at a hillside outside Wuppertal with an open view to the horizon – constitute an impressive and well-substantiated use of 3D. For Wenders the end result inspires him to continue working with 3D. ‘I’m addicted to 3D. I can’t think of any reason why I would stop working with it.’ KD Pina (Wim Wenders, 2011, Germany/ France). 16-7, 17:00, Moscow Cinema, Blue Hall.

GOLDEN APRICOT DAILY | DAY 7 | 16 JULY | 2011

films and makers 7

'I wanted to know his pain' Park Jungbum on The Journals of Musan In his debut The Journals of Musan, young Korean director Park Jungbum plays the role of his North-Korean friend Jeon SeungChul who fled to South-Korea, only to be treated very badly. Park filmed his memoirs.

the courage so I filmed his back, with a certain distance.

Seung-Chul had high hopes for a life in South Korea, but got disappointed. ‘North Koreans don’t know our competitive capitalist society. 20 to 30 North Koreans a year escape to South Korea. When they arrive here, they don’t understand us. The ‘defectors’ first end up in Hanawan, a very basic educational school, so when they come out they’re not prepared for society. They are condemned to do hard or illegal labour. Some of them end up in a gang.

They don’t have friends or family, or live a normal life. Because they don’t have any connection, they’re very lonely. After two or three unhappy years, some of them decide to go back to North Korea, and when they arrive there they go to jail.’

‘Everything in the film generally happened for real in the life of my friend Jeon Seung-Chul,’ says Park Jungbum. ‘Only one story I borrowed from another man: the church scene where he makes a confession about killing a man in North Korea for a handful of corn; I heard that from somebody else.’

South Koreans don’t know much about the life of North Koreans, Park says. ‘South Koreans don’t know the truth. They read it in the newspaper, but they don’t talk about these social issues.’ In one of the first scenes a man tells Seung-Chul ‘don’t you ever tell them you’re from North Korea.’ Park explains: ‘South Korean people are not communicative. We only think of North Koreans as communists, and think in terms of war.’

Park was one of the few people who wanted to communicate with a North Korean. ‘Seung-Chul lived in an apartment very far away, so he stayed with me every day. I saw his real life; he didn’t have any friends or money. He was always full of energy, a bright man, but he failed in work and love. He died in 2008. During my job as first assistant director on the set of Lee Chang-dongs Poetry, Seung-Chuls memoirs

were found, and this diary was sent to me. Lee Changdong encouraged me to make a film out of it.’

After the premiere he got the strangest reactions.

‘My friends asked me, why did you talk to this guy?

It’s my friend, I told him, and I think his story is not different than ours. But my friends didn’t like it.’

It was very difficult to play the role of his deceased friend, Park says. ‘It was very emotional. There’s one action scene where I get a real beating – I wanted to know his pain.’ Park is always filming Seung-Chul’s character with his head hanging low, a lot of time shot from the back. ‘I cannot look at his face. I didn’t have

Park’s next film will also be an emotional one.

‘This winter I’ll be shooting Alive, a story about an elder brother who is suicidal and a younger brother who is trying to stop him. The suicide rate in South Korea is the highest in the world. Again it’s about the death of a friend, one that killed himself. He, SeungChul and I lived together. In The Journals of Musan he played a small part, and during the shooting I got a call that he killed himself. Again I myself will play a part, the one of the younger brother. From the three of us I’m the only one left and the only thing I can do is to make a film about it.’ MG

'Through the darkness we can get to the light' Li Hongqi on Winter Vacation Li Hongqi’s Winter Vacation presents the viewer with beautiful shots of utter misery and impassive youth in a town in northern China. Nevertheless, it will get a smile on your face.

Last year, the 35 year old Chinese writer, poet and filmmaker Li Hongqi won Locarno’s Golden Leopard for his dry witted and precisely composed Winter Vacation. In his film life seems to have come to a grinding halt in a town in northern China, where the pace is so slow one might think Li is playing with the very idea of film as a moving image.

Winter Vacation was preceded by Routine Holiday (2008), a film that depicted a group of pas-

sers-by in the house of a common friend that hopelessly try to share their thoughts and feelings but fail miserably. The film’s main characters are a father and his impassive son, the impassivity of youth being a recurring theme in Li’s films and writing. He also explored the theme in 2004 in his novel Smells Like Teen Spirit.

Why this slight obsession with vacations and holidays? Li explains that he wants to catch people off guard. ‘During work people are always focused and follow strict patterns. But during holidays, when they’re not working, they have the freedom to choose. There you can observe them in more natural surroundings.’ The point being, he says, that the contrast between freedom of choice and the in-

ertia that people actually display shows their misery much clearer.

A frequent misunderstanding about Winter Vacation is that it’s about China, Li says. ‘I purposefully chose a nondescript town in Inner Mongolia to get rid of China, I mean visually. It had to be an average place that can stand-in for all the towns of the world.’ So Li’s film, as several commentators apparently mistakenly have pointed out, is not a critique on post-Olympic Chinese society and its sanctified

economic success. It’s about the human condition. A grave condition, according to the filmmaker.

Even though Winter Vacation is hilariously bleak and sober, with deadpan faces and slapstick absurdity, we’re not lost for all eternity, Li explains. ‘But to get to the end of the tunnel, we’ll first have to go through that tunnel. Through the darkness we can get to the light.’ Even the filmmaker is not really sure what that light should actually be, but Li says societies should be focused much more on making people happy.

Apart from the tone, the other astonishing element in Winter Vacation are the visuals and the way the landscape, the surroundings are crucial elements of the composition of each shot, which is not surprising as the director was trained as a painter. ‘The value of colours and composition is really something I took with me from studying painting. I even think this precise way of looking at the world steers my imagination. So yes, the landscapes are very important to me. It took me a lot of time to find this town.’

Does the director himself see the film as comedy? Carefully answering, as he does with each question, he explains that it’s a bleak comedy. It’s not a laugh out loud comedy, but one where the bitterness and desperation and failure to communicate are so intense that it becomes funny. Tragically funny, he says, and he hopes audiences will see the humour. RR

GOLDEN APRICOT DAILY | DAY 7 | 16 JULY | 2011

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