DAILY
LAST DAY, SUNDAY, JULY 19
2-3
GOLDEN APRICOT DAILY | LAST DAY | 19 JULY | 2015
вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð àêκ ÌÆð²Ü ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ×/ Moscow Cinema, Blue Hall 11:00
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ×/ Moscow Cinema, Red Hall 13:30
/PrizeWinner film
/Swann in Love /Volker Schlöndorff Fra/Deu, 110’/R
14:00
/Taxi /Jafar Panahi
Lang.: French, Subt.: English and Armenian
Irn, 82’/YP
Lang.: Persian, Subt.: English and Armenian 16:00 /PrizeWinner film
16:00 / Maria’s Lovers /Andrei Konchalovsky
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 2/ Moscow Cinema, Small Hall 2 16:00 /PrizeWinner film 17:00 /PrizeWinner film 19:00 /PrizeWinner film
USA, 109’/R
²ñÙ³Ý ºñÇóÛ³Ý, г۳ëï³Ý/ Üáñí»·Ç³/¶»ñÙ³Ýdz, 2015
Lang.: English, Subt.: Armenian 19:00 /PrizeWinner film 21:00 /PrizeWinner film
18:00
Ð³Û Ñ»éáõëï³¹ÇïáÕÝ»ñÁ ·áõó» ÑÇß»Ý §Â³ùÝí³Í ï³Õ³Ý¹¦ Ñ»éáõëï³ßááõÇ Ñ³Õáñ¹áõÙÝ»ñÇó Ù»ÏÁ, »ñμ ÙÇ å³ñ³ËáõÙμ ¿ñ »ÉáõÛà áõÝ»ÝáõÙ: ²ÛÝ ·ñ»Ã» ³ÙμáÕçáõÃÛ³Ùμ μ³Õϳó³Í ¿ñ 65-Çó μ³ñÓñ ï³ñÇùÇ Ù³ñ¹Ï³ÝóÇó: ¼í³ñ׳ÉÇ ¿ñ ï»ëÝ»É, û ÇÝãå»ë ¿ÇÝ Ýñ³Ýù μ»ÙÇ íñ³ ÃéãÏáïáõÙ ª ÷áñÓ»Éáí å³Ñ»É éÇÃÙÁ, μ³Ûó ²ëïí³Í íϳ` Çñ»Ýó ³ÙμáÕç á·ÇÝ ¿ÇÝ Ý»ñ¹ÝáõÙ ³Û¹ å³ñÇ Ù»ç, ¨ Ñݳñ³íáñ ã¿ñ ¹ñ³Ýáí ãÑdzݳÉ: Ì»ñáõݳ½³ñ¹ å³ñáÕÝ»ñÝ Çñ»Ýó ³Ýí³ÝáõÙ ¿ÇÝ §ÀÝïñÛ³ÉÝ»ñ¦: Ð³Û í³í»ñ³·ñáÕ ²ñÙ³Ý ºñÇóÛ³ÝÝ ³Û¹ï»Õ ¿ñª Ýϳñ³Ñ³ÝáõÙ ¿ñ Ýñ³Ýóª §í³ñ³·áõÛñÇó ³ÛÝ ÏáÕÙ¦... ²ÛÅÙ ³Û¹ ÝÛáõÃÁ ÑÙïáñ»Ý ÙáÝï³Åí»É ¿ §Ø»Ï, »ñÏáõ, »ñ»ù...¦ ýÇÉÙáõÙ: ºñÇóÛ³ÝÁ å³ñ³ËÙμÇ ³Ý¹³ÙÝ»ñÇó Ûáõñ³ù³ÝãÛáõñÇ ³Ýѳï³Ï³Ý ¹ÇÙ³ÝϳñÝ ¿ Ï»ñïáõÙ ¨
/Don’t Tell Me the Boy Was Mad /Robert Guédiguian Fra, 134’/OF
Lang.: French/German/ Armenian, Subt.: English and Armenian 20:30 , /Paris, Texas /Wim Wenders Fra/Deu, 148’/R
Lang.: English, Subt.: Armenian
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²¹ñÇÝ» ¶ñÇ·áñÛ³Ý, г۳ëï³Ý, 2015 2008-2009 ÃÃ. ²ØÜ üáõÉμñ³ÛÃÇ ¹ñ³Ù³ßÝáñÑáí é»ÅÇëáñ ²¹ñÇÝ» ¶ñÇ·áñÛ³ÝÇ Ñ³Ù³ñ Ñݳñ³íáñ ¹³ñÓ³í Çñ³·áñÍ»É Çñ Ùï³ÑÕ³óáõÙÁ` Ýϳñ³Ñ³Ý»É í³í»ñ³·ñ³Ï³Ý ýÇÉÙ ª ë»éáí å³Ûٳݳíáñí³Í ÑÕÇáõÃÛ³Ý ³ñÑ»ëï³Ï³Ý ÁݹѳïáõÙÝ»ñÇ Ù³ëÇÝ: üÇÉÙÁ ÏáãíáõÙ ¿ñ §´³í³Ï³Ý¦: 2011-ÇÝ ¶ñÇ·áñÛ³ÝÁ, ¨ë Ù»Ï ¹ñ³Ù³ßÝáñÑ ß³Ñ»Éáí §àëÏ» ÍÇñ³ÝǦ г۳ëï³Ý-Âáõñùdz ÏÇÝáåɳïýáñÙáõÙ, ϳñáÕ³ó³í ½³ñ·³óÝ»É Çñ Ýáñ ݳ˳·ÇÍÁ, Ùß³Ï»É ëó»Ý³ñÝ áõ Ç í»ñçá ëï»ÕÍ»É §ì»ñ³¹³ñÓ ¹»åÇ ¶Ûáõñáõݦ ËáñáõÝÏ ÏÇÝáí³í»ñ³·ñáõÃÛáõÝÁ` ųå³í»ÝÇÝ ³Ùñ³·ñ»Éáí ë»÷³Ï³Ý ³ñÙ³ïÝ»ñÇ áõ ³½·³ÛÇÝ ÇÝùÝáõÃÛ³Ý ÷ÝïñïáõùÇ ×³Ý³å³ñÑÁ, áñÇÝ ÙdzÝáõÙ »Ý ݳ¨ ³ÙμáÕç ë»ñáõݹݻñÇ Ã³ËÇÍÝ áõ ϳñáïÁ:
üÇÉÙÁ ù³ÛÉ ³é ù³ÛÉ, ¹³Ý¹³Õ áõ ³Ýßï³å` é»ÅÇëáñ-áõëáõÙݳëÇñáÕÇ, ׳ݳå³ñÑáñ¹Ç áõ ݳ¨ í»ñ³¹³ñÓáÕÇ Ñ³Û³óùáí ¿ μ³ó³Ñ³ÛïáõÙ áõ å³ïÏ»ñáõÙ Ñ»é³íáñ ѳÛÏ³Ï³Ý Ù³ñ½Ç` ¶ÛáõñáõÝÇ Ù»ñûñÛ³ ÏÛ³ÝùÁ` Ï»Ýó³ÕÁ, ³åñ»É³Ï»ñåÁ, ÝÇëïáõϳóÁ: àõ ݳ¨ ùÝÝáõÙ ¿ ï»ÕÇ Ù³ñ¹Ï³Ýó` ³ÝóÛ³ÉÇ ó³íÇ áõ ¹³éÁ ÑÇßáÕáõÃÛáõÝÝ»ñÇ Ñ»ï ѳñ³μ»ñí»Éáõ Ûáõñ³ï»ë³Ï Ó¨Á: سñ¹ÇÏ, áñáÝù ÏñáõÙ »Ý Çñ»Ýó Ý»ñëáõÙ ò»Õ³ëå³ÝáõÃÛ³Ý ¹ñáßÙÁ, ³í»ÉÇÝ` ÷á˳ÝóáõÙ »Ý ³ÛÝ ë»ñݹ»ë»ñáõݹ. ËáõÉ ×Çã, áñÝ ³ÝÁݹѳï Éé»óíáõÙ ¿: ¶ñÇ·áñÛ³ÝÝ áõÕ¨áñáõÃÛáõÝ ¿ ϳï³ñáõÙ ¹»åÇ Ñ³Ûñ»ÝÇùª ³ÛÝ ëáëϳÉÇ ¹»åù»ñÇó ѳñÛáõñ ï³ñÇ Ñ»ïá, »ñμ Çñ»Ýó ÁÝï³ÝÇùÇ ÙÇ³Ï áÕç Ùݳó³Í Ù³ñ¹Á` å³åÇÏÁ, ÉùáõÙ ¿ ï»Õ³ÝùÝ áõ Ñ»é³ÝáõÙ ³Ýí»ñ³¹³ñÓ® è»ÅÇëáñÁ ׳Ù÷áñ¹³Ï³Ý ÝáûñÇ Ó¨áí ùÝÝáõÙ ¿ å³ïÙáõÃÛ³Ý ¹»é¨ë ³ñÛáõݳÑáëáÕ í»ñù»ñÁ, áñáÝù ¹ÇåãáõÙ »Ý ݳ¨ ³Ûëûñí³ Ñ³Û Ù³ñ¹áõÝ, Ù»ñ ųٳݳϳÏóÇÝ áõ ݳ¨ Ñ»Ýó Çñ»Ý` é»ÅÇëáñÇÝ: ºí ÏÇÝáÝϳñÝ ¿É ³ë»ë ¹³éÝáõÙ ¿ ³Ûë ÷³Ï ßñç³ÝÇó ¹áõñë åñÍÝ»Éáõ ¨ »Éù áñáÝ»Éáõ ×Ç·: ØÂ
FIPRESCI ÄÚàôðÆÆ Øðò²Ü²Î
²ñ³Ù Þ³Ñμ³½ Û³Ý, г۳ëï³Ý/ üñ³Ýëdz/èáõë³ëï³Ý, 2014
GOLDEN APRICOT DAILY ÊÙμ³·ÇñÝ»ñ` Úáëà ´ñá»ñ»Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý ²ß˳ï³Ï³½Ù` سñÇëϳ ¶ñ»Ûíɻݹ, سñÇÏ» ÜÛáõ¹áñ÷ лÕÇݳÏÝ»ñª γñ»Ý ²í»ïÇëÛ³Ý, سñdz ÂáùÙ³çÛ³Ý
Editors: Joost Broeren & Artur Vardikyan Staff: Mariska Graveland, Maricke Nieuwdorp
êñμ³·ñÇãÝ»ñª سñÇÝ» Ô³ñ³Ë³ÝÛ³Ý, èÇÙ³ ²Õ»ÏÛ³Ý
Contributors: Karen Avetisyan, Diana Kardumyan, Maria Toqmajyan
³ñ·Ù³ÝÇãÝ»ñª ÈáõëÇÝ» ÐáíѳÝÝÇëÛ³Ý, ¼³ñáõÑÇ ê³ý³ñÛ³Ý
Photographer: Mane Hovhannisyan
¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý
Design: Gayane Grigoryan
Èáõë³ÝϳñÇ㪠سݻ ÐáíѳÝÝÇëÛ³Ý
¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý
General Coaching Adviser: Peter van Bueren
îå³·ñí³Í ¿ §Üî ÐáɹÇÝ·¦ êäÀ-áõÙ
Printer: "NT Holding" Ltd.
è»ÅÇëáñ ²ñ³Ù Þ³Ñμ³½Û³ÝÇ Ù»ç ¹»é¨ë 2012 Ã. ·³Õ³÷³ñ ͳ·»óª ýÇÉÙ Ýϳñ³Ñ³Ý»É ÷áùñ Ù³ñ¹áõ Ù»Í áÕμ»ñ·áõÃÛ³Ý Ù³ëÇÝ: ÆëÏ ÙÇÝã ³Û¹` 2006-ÇÝ, »ñμ ÷áñÓÝ³Ï³Ý Ýϳñ³Ñ³ÝáõÙÝ»ñÇ ³éÇÃáí ²ñó³ËáõÙ ¿ñ, å³ï³Ñ³Ï³Ýáñ»Ý ѳݹÇåáõÙ ¿ Çñ Ñ»ñáëÇ Ý³Ë³ïÇåÇÝ, áí ³ÝÏ»ÕͳÝáõÙ ¿, áñ ûñ³·Çñ ¿ å³Ñ»É, áñï»Õ ·ñ³Ýó»É ¿ ³ÛÝ ³ÙμáÕç §·áÕ·áóÛǦ å³ïÙáõÃÛáõÝÁ, áñáí ëïÇåí³Í ¿ »Õ»É ³ÝóÝ»É` Çñ μÛáõñ»ÕÛ³ »ñ³½³ÝùÁ ï³ÝáÕ ×³Ý³å³ñÑÇÝ: êϽμáõÙ Þ³Ñμ³½Û³ÝÁ ó³ÝϳÝáõÙ ¿ñ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ Ýϳñ³Ñ³Ý»É ÙÇ Ù³ñ¹áõ Ù³ëÇÝ, áí ųٳݳÏÇݪ ËáñÑñ¹³ÛÇÝ Ï³ñ·»ñÇ ûñáù, ãÇ Ï³ñáÕ³ó»É ëï³Ý³É Çñ §μ³ÅÇݦ Ù»ù»Ý³Ý` §ØáëÏíÇãÁ¦ ¨ ³ñ¹»Ý Ýáñ ѳë³ñ³Ï³ñ·Ç å³ÛÙ³ÝÝ»ñáõÙ ¿ ó³ÝϳÝáõÙ Çñ³Ï³Ý³óÝ»É Çñ ÇÕÓÁ: ´³Ûó Ç í»ñç᪠޳Ñμ³½Û³ÝÁ ˳ճñϳÛÇÝ ýÇÉÙ ëï»ÕÍ»ó: §ØáëÏíÇã¦, ÇÙ ë»ñ¦-Á ïñ³·ÇÏáÙ»¹Ç³ ¿ ÙÇ ³ÙμáÕç ÏáñáõëÛ³É ë»ñÝ¹Ç áÕμ»ñ·³Ï³Ý ¹ñ³Ù³ÛÇ
Ù³ëÇÝ, áñÁ Ù³ëݳíáñ»óí³Í ¿ ¨ Ý»ñϳ۳óíáõÙ ¿ ÉáÏ Ù»Ï Ñ»ñáëÇ, Ýñ³ ÁÝï³ÝÇùÇ, Ýñ³ ·ÛáõÕÇ ûñÇݳÏáí: ºí §ØáëÏíÇ㦠ٻù»Ý³ÛÇ ¹ÇåáõÏ Ù»ï³ýáñÇ ßÝáñÑÇí é»ÅÇëáñÁ ϳñáÕ³ÝáõÙ ¿ ɳÛÝ ÁݹѳÝñ³óáõÙÝ»ñÇ Ñ³ëÝ»É: лñáëÝ»ñ, áíù»ñ ³Ï³Ý³ï»ëÝ áõ Ù³ëݳÏÇóÝ »Ý Ù»ñ ѳë³ñ³Ï³Ï³Ý ÏÛ³ÝùÇ í»ñçÇÝ ï³ñÇÝ»ñÇ í»ñ»ÉùÝ»ñÇÝ áõ ³ÝÏáõÙÝ»ñÇÝ: ºí ³Û¹ù³Ý ó³ÝϳÉÇ Ù»ù»Ý³Ý ¿É ³Ûëï»Õ ѳݹ»ë ¿ ·³ÉÇë áñå»ë ³Ýѳë³Ý»ÉÇ »ñ³½³ÝùÇ áõ ÏÛ³ÝùÇ ËáñÑñ¹³ÝÇß: ÆëÏ ÙïáñáõÙÝ»ñÁ ¹ñ³ ßáõñç ѳ·»ÝáõÙ »Ý ï»Õ-ï»Õ ÑáõÙáñ³ÛÇÝ, ï»Õ-ï»Õ ¹ñ³Ù³ïÇÏ »ñ³Ý·Ý»ñáí: üÇÉÙÁ, Áëï ¿áõÃÛ³Ý, å³ïáõÙ ¿ §³ß˳ñÑÇ óñïǦ ¨ §ï³ù¦ Ù³ñ¹áõ ѳí»ñÅ³Ï³Ý ÙdzÛÝáõÃÛ³Ý Ù³ëÇÝ: ØÂ
GOLDEN APRICOT DAILY | LAST DAY | 19 JULY | 2015
ʲԲðβÚÆÜ ØðòàôÚ гïáõÏ ÑÇß³ï³ÏáõÙ
ʲԲðβÚÆÜ ØðòàôÚ àêκ ÌÆð²Ü
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ʲԲðβÚÆÜ ØðòàôÚ ²ð̲º ÌÆð²Ü
ʳÛñá ´áõëï³Ù³Ýï», ¶í³ï»Ù³É³/ üñ³Ýëdz, 2015
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GOLDEN APRICOT DAILY | LAST DAY | 19 JULY | 2015
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êÇéá ¶»é³ / Ciro Guerra
ʲԲðβÚÆÜ ØðòàôÚ àëÏ» ÍÇñ³Ý §úÓÇ ·ñÏáõÙ¦ (êÇéá ¶»é³, ÎáÉáõÙμdz, 2015) ²ñͳû ÍÇñ³Ý §ÒÙé³Ý í»ñçÁ¦ (ÎÇÙ ¸»-Ñáõ³Ý, Îáñ»³, 2014) гïáõÏ ÑÇß³ï³ÏáõÙ §ÆßϳÝáõɦ (ʳÛñá ´áõëï³Ù³Ýï», ¶í³ï»Ù³É³/ü³Ýëdz, 2015)
ì²ìºð²¶ð²Î²Ü ØðòàôÚ àëÏ» ÍÇñ³Ý §ÆÙ³ëïÇ ëï»ÕÍáõÙÁ¦ (êÇÙáÝ» è³åǽ³ñ¹³ γ½³Ýáí³, γݳ¹³/ Æï³Édz, 2015) ²ñͳû ÍÇñ³Ý §¶»ñÙ³Ý³Ï³Ý »ñÇï³ë³ñ¹áõÃÛáõݦ (üñ³Ýëdz/¶»ñÙ³Ýdz/Þí»Ûó³ñdz, 2015)
βðֲغîð²Ä üÆÈغðÆ §ÎàðƼ¦ ØðòàôÚ àëÏ» ÍÇñ³Ý §²Ù»Ý ÇÝã ɳí ÏÉÇÝǦ (ä³ïñÇÏ üáÉé³Ã, ¶»ñÙ³Ýdz/²íëïñdz, 2015) ²ñͳû ÍÇñ³Ý §â»ÉÉ»¦ (¸³íáõ¹ ʳ۳Ù, Æñ³Ý, 2014) гïáõÏ ÑÇß³ï³ÏáõÙ §Ì³Ëáõ ÁÝï³ÝÇù¦ (ê»μ³ëïÇ³Ý ä»ïñ»ïïÇ, ´»É·Ç³, 2014)
вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð àëÏ» ÍÇñ³Ý §Ø»Ï, »ñÏáõ, »ñ»ù...¦ (²ñÙ³Ý ºñÇóÛ³Ý, г۳ëï³Ý/Üáñí»·Ç³/¶»ñÙ³Ýdz, 2015) ²ñͳû ÍÇñ³Ý §´ÅÇßÏÁ¦ (²Ýݳ ¶áñáÛ³Ý, èáõë³ëï³Ý, 2014) гïáõÏ ÑÇß³ï³ÏáõÙ §ì»ñ³¹³ñÓ ¹»åÇ ¶Ûáõñáõݦ (²¹ñÇÝ» ¶ñÇ·áñÛ³Ý, г۳ëï³Ý, 2015) ¶³·ÇÏ Ø³¹áÛ³Ý / Gagik Madoyan
²ñ³Ù Þ³Ñμ³½Û³Ý / Aram Shahbazyan
FIPRESCI ÄÚàôðÆÆ Øðò²Ü²Î §ØáëÏíÇã¦, ÇÙ ë»ñ¦ (²ñ³Ù Þ³Ñμ³½Û³Ý, г۳ëï³Ý/üñ³Ýëdz/ èáõë³ëï³Ý, 2014)
¾ÎàôغÜÆÎ ÄÚàôðÆÆ Øðò²Ü²Î §ØáëÏíÇã¦, ÇÙ ë»ñ¦ (²ñ³Ù Þ³Ñμ³½Û³Ý, г۳ëï³Ý/üñ³Ýëdz/ èáõë³ëï³Ý, 2014) ¶áí³ë³Ý³·Çñ §êÇí³ë¦ (ø³³Ý ØÛáõŹ»çÇ, Âáõñùdz/¶»ñÙ³Ýdz, 2014)
§Ðð²Üî زºìàêڲܦ ÐÆØܲ¸ð²ØÆ Øðò²Ü²Î È³í³·áõÛÝ ëó»Ý³ñ §Ö³Ý³å³ñѦ (¶³·ÇÏ Ø³¹áÛ³Ý, г۳ëï³Ý, 2014)
вܸÆê²îºêÆ Ð²Ø²Îð²Üø §êñμ³ñ³Ý¦ (سñÏ ´ñáõÙáõݹ, ¶»ñÙ³Ýdz, 2015) ²¹ñÇÝ» ¶ñÇ·áñÛ³Ý / Adrineh Grigoryan
سñÏ ´ñáõÙáõݹ / Marc Brummund
GOLDEN APRICOT DAILY | LAST DAY | 19 JULY | 2015
interview 5
êÇÙáÝ» è³åǽ³ñ¹³ γ½³Ýáí³ / Simone Rapisarda Casanova
FEATURE COMPETITION Golden Apricot Embrace of the Serpent (Ciro Guerra, Colombia, 2015) Silver Apricot End of Winter (Kim Dae-hwan, South Korea, 2014) Special Mention Ixcanul (Jayro Bustamante, Guatemala/France, 2015)
DOCUMENTARY COMPETITION Golden Apricot The Creation of Meaning (Simone Rapisarda Casanova, Canada/Italy, 2015) Silver Apricot A German Youth (Jean-Gabriel Périot, France/Germany/Switserland, 2015)
My grandmother and mother have often asked me how I can bear watching violence and suffering in film. Even as a professional film critic, fully aware of the illusion of cinema, I honestly cannot bear it. I am devastated every time I watch a film like The Missing Picture by Rithy Panh or The Look of Silence by Joshua Oppenheimer. This year, the festival showed the audience and the international community different aspects and dimensions of the Armenian Genocide. At the opening ceremony, the remaining scenes of Ravished Armenia, the first film ever made about the events of 1915, underlined the importance of cinema as a medium which keeps and reflects our memories. Sixteen-year-old genocide survivor Aurora Mardiganian’s testimony was adapted into a Hollywood film in 1919, in which the horrible images of the Armenians forced into exile were openly realized. In today’s world, such a loyal adaptation would probably be considered immoral, if not unethical. Fortunately, a new film has now been added into film history which deeply influenced our collective memory without using any violence. The festival’s opening film Don’t Tell Me The Boy Was Mad by esteemed French-Armenian director Robert Guédiguian is an effective and informative film about the Armenian grievance and vindictive mentality in the aftermath of 1915. Guéduigian, well known for his social-humanist approach, courageously confronts the terrorist attacks the Armenian ASALA committed in the 70’s and 80’s against Turkish authorities in order to force them to recognize the genocide. Atom Egoyan also carefully distances himself from the mainstream narrative tradition, choosing instead to use a film within a film in Ararat. In the words of NYU scholar Ayda Erbal, Egoyan shows us that “a fiction film can never offer us the true reality”. The true reality of the Holocaust, for instance, can only be found in archives. The U.S. troops liberating the concentration camps filmed all the horror, terror, pain and shame. These disturbing images have terrified and haunted us, even if they are only a mild selection of the shocking naked truth. This is why filmmakers continue to fictionalize terrible historical events: so that they won’t be repeated. As new tragedies are added to the darkest pages of history, new films are made to create awareness of the atrocities in South America, Cambodia, Indonesia, Rwanda, Bosnia, Iraq, Sudan, Syria... The festival’s noncompetitive program Never Again showed many such films about different genocides throughout history, from Alain Resnais’s Night and Fog (1955) to Patricio Guzman’s The Pearl Button (2015). Each of these films helps us to understand and reconcile a different aspect. Despite their lyrical quality, the films probably petrified some of the spectators. Myself included: I close my eyes at certain scenes, I bite my fingernails, I even plug my ears. I’ve always been skeptical of the mission and motivation of a filmmaker realizing a project on genocide, ethnic cleansing, massacre, rape, or torture. This esthetics of violence will remain very problematic for me, and I’m never sure how a film critic should review a film on such a subject. Can a noble cause justify a film’s weaknesses? Can artistic ineptitude be overlooked for the sake of content? The answers differ from film to film. Facing this problem, I refer to Susan Sontag, who examined the work and function of war photographers in her book Regarding the Pain of Others. She says: “Let the atrocious images haunt us. Even if they are only tokens, and cannot possibly encompass most of the reality to which they refer, they still perform a vital function. These images say: This is what human beings are capable of doing - may volunteer to do, enthusiastically, self-righteously. Don’t forget.”
Alin Tasciyan
President of the international federation of film critics FIPRESCI, jury member of the Feature Competition
APRICOT STONE COMPETITION Golden Apricot Everything Will Be Okay (Patrick Vollrath, Germany/Austria, 2015) Silver Apricot Chelleh (Davood Khayyam, Iran, 2015) Special Mention Family for Sale (Sébastien Petretti, Belgium, 2014)
ARMENIAN PANORAMA Golden Apricot One, Two, Three (Arman Yeritsyan, Armenia, 2015) Silver Apricot The Doctor (Anna Goroyan, Russia, 2014) Special Mention Back to Gürün (Adrineh Gregorian, Armenia, 2015)
²ñÙ³Ý ºñÇóÛ³Ý / Arman Yeritsyan
FIPRESCI JURY PRIZE Moskvich, My Love (Aram Shahbazyan, Armenia/France/Russia, 2014)
ECUMENICAL JURY PRIZE Moskvich, My Love (Aram Shahbazyan, Armenia/France/Russia, 2014) Commendation Sivas (Kaan Müjdeci, Turkey/Germany, 2014)
HRANT MATEVOSYAN FOUNDATION AWARD Best Script The Road (Gagik Madoyan, Armenia, 2014)
AUDIENCE AWARD Sanctuary (Marc Brummund, Germany, 2015) ²Ýݳ ¶áñáÛ³Ý / Anna Goroyan
GOLDEN APRICOT DAILY | LAST DAY | 19 JULY | 2015
FEATURE COMPETITION SILVER APRICOT
FEATURE COMPETITION GOLDEN APRICOT, FIPRESCI JURY PRIZE
Kim Dae-hwan, South Korea, 2014
Ciro Guerra, Colombia, 2015 This black-and-white Colombian drama is a powerful tribute to the ancient Amazon cultures. The arrival of imperialistic western men brought an end to the locals’ natural, spiritual way of life. But this historical and adventurous tale offers more than a simple lament: it also deals with exploring one another’s culture and gaining friends for life.
Colombian filmmaker Ciro Guerra was inspired by the journals of two explorers: German ethnologist Theodor Koch-Grunberg (1872-1924) and American biologist Richard Evans Schultes (19152001). His synthesis of these stories is an impressive exploration of imperialism, wanderlust, symbolism and folklore. Even in black and white, the lushness of the jungle comes across intensely, helped greatly by the forceful sound design intensifying the voice of nature, layered sparingly with atmospheric indigenous music. Around the year 1900, the young Amazonian shaman Karamakate encounters a white man. This German scientist is very ill and in need of a special
FEATURE COMPETITION JURY DIPLOMA
Jayro Bustamante, Guatemala/France, 2015 Jayro Bustamante’s marvelous debut is drawn from his own experiences growing up in the region surrounding the Kaqchikel Maya in Guatemala. Ixcanul was developed from within this indigenous culture, as a collaborative process through workshops with locals. And it shows. The affecting tale begins and ends with the striking face of 17-year-old Maria, who works at the coffee plantation her parents manage, picking coffee beans and helping out her mother. The volcano Ixcanul looms ominously in the background. In this ash grey environment, sulfur vapors mix with coffee flavour. Both the beauty and terror of the majestic, grumbling volcano are always present. The volcano is not the only thing that is smoldering though: Maria has fallen in love with one of the boozing plantation workers and unintentionally gets pregnant. Ixcanul was selected for the main competition of the Berlin film festival, where it won the Alfred Bauer Prize for "opening new perspectives on cinematic art". The deep-focus, colour-saturated compositions shift from static tableaux to a kind of dynamic cinéma vérité, when we leave the quiet village and head for the big city. This contrast underlines the
out-of-this-worldly state of the village, which doesn’t have electricity or running water. Maria’s mother is illiterate and speaks no Spanish, only the Mayan language Kaqchikel. By foregrounding these elements, Bustamante shows the underlying causes of the exploitation of the indigenous people in Guatemala, which suffers from an alarming rate of baby sellers, a painful topic the film also explores. Women are supposed to keep a low profile, so Maria’s pregnancy is a disgrace. “You didn’t watch her, you see, women should stay at home”, a woodcutter tells Maria's parents. Superstition prevails when snakes terrorize the coffee plantation and pregnant Maria is believed to be the only person that can scare them away. In one of the film’s most poignant scenes, she puts her life at risk stepping into the field and getting bitten by a snake. The Guatemalan film industry is very modest, with only about two hundred feature film productions in total. With his debut Bustamante succeeds to lift it up to international stature. Luis Armando Arteaga's cinematography is outstanding, refusing to exoticize the protagonists, and Bustamante was wise to hire experienced French sound designer Julien Cloquet, whose credits stretch back beyond Betty Blue (1986). It all adds up to a sensory, well-observed drama with a magic-realist touch, diving deeply into an isolated world that’s on the brink of extinction. MG
plant with healing powers. Should Karamakate help this foreigner, whose people enslaved Amazonians on their rubber plantations, imposed their Christian religion on the locals and disrespected their rituals and ecological surroundings? In the end, Karamakate decides to help him find this plant, rowing him up the river and engaging in several adventures suiting the Amazonian spirit. Decades later, another white man comes to find Karamakate, in search of his ancestral knowledge and the very same plant. They follow the same trail together, but encounter a changed world, in which western influences have all but erased the intuitive, native Amazonian way of life. MN
In this absorbing account of a family meltdown, a retired teacher sits at the diner table on a day of celebration, when he suddenly informs his family that he is going to divorce his domineering wife. That’s all he has to say, no explanation provided. The already uncomfortable situation becomes even more tense when it turns out that, because of heavy snowfall, nobody can leave the house in the South-Korean countryside. The nervous family members cautiously circle around each other as they’re forced to spend two nights together. The father has become a closed shell, dragging his family into a communication vacuum. Speculations about a mistress are neither confirmed nor denied. He only gives evasive answers, making off-topic comments about the roof needing repairs. It’s the family's mutual relationships that really need a handyman, though. Young director Kim Dae-hwan shows the unsaid in a brave, minimalistic style, using a suffocating steel-grey palette. His subtle debut feature won the New Currents Award at the Busan International Film Festival. As he shows, living near an enigma can be maddening – someone so close can still be so inscrutable. The father starts smoking again like a young rebel, sticking to his decision to be single again. But he has no idea what to do with his newfound freedom. Tension rises during the awkward meals they share, fueling the resentment, embarrassment and repressed rage which are all too familiar for so many families. The snowy Cheorwon background and an almost complete lack of music and melodrama are a perfect match for this keenly observed portrait of chilled relations, in which emotions are put aside in order to endure. MG
ECUMENICAL JURY COMMENDATION
Kaan Müjdeci, Turkey/Germany, 2014 Movies about dogs often tend to be cutesy, praising the loyalty and intelligence of man’s best friend. But Kaan Müjdeci’s debut feature Sivas depicts the animal side of both canines and their owners. The film is set in rural Turkey, where 11-yearold Aslan struggles to impress his crush Ayse by getting the role of the prince in a school production of Snow White. The part goes to the mayor’s son instead, while Aslan is forced to play a dwarf. Thus angered, it turns out he can be as beastly as his name suggests – “aslan” means “lion” in Turkish. The first half of the film is an almost ethnographic depiction of this village boy’s everyday life. The hand-held camera follows him around the vast Anatolian landscapes in long, uncut shots as he goes to school, bullies some kids or gets bullied himself, and goes back home to his parents and older brother. This is all presented in a very realistic manner – it’s not often that one hears so much swearing from a child. The same can be said about the dog fights that are featured, which are shocking, gruesome and
bloody. Aslan looks on as Sivas, an Anatolian sheep dog, loses his fight. As the audience leaves, assuming Sivas is dead, Aslan stays behind and sees the wounded and blood-drenched dog opens its eyes. Aslan takes him home and nurtures him back to health. At first the boy is just happy to have a huge, cool dog, and he tries to use him as another way of impressing Ayse. But the girl basically mocks him for not making Sivas fight, so that’s exactly what Aslan does. And as the bets get higher and the fights get bloodier, Aslan comes to know his dark side. At last year’s Venice film festival, where Sivas won the Special Jury Prize, young actor Dogan Izci received a Best Actor award for his portrayal of Aslan. Indeed, the boy carries Sivas on his shoulders, aided by Müjdeci’s precise and confident direction. At any given moment Izci’s eyes convey many different emotions, as if a battle is going on inside his soul. Sivas’s weary gaze suggests that maybe he, too, doesn’t quite comprehend why he’s sinking his teeth into another dog’s neck. Or maybe he’s just an animal. In any case, the film suggests that vanity and evil sit inside us all – even the littlest ones – and it takes a good chunk of willpower to oppose them. AV
GOLDEN APRICOT DAILY | LAST DAY | 19 JULY | 2015
DOCUMENTARY COMPETITION GOLDEN APRICOT
Jean-Gabriel Périot, France/Germany/ Switzerland, 2015
Simone Rapisarda Casanova, Canada/Italy, 2015 In the picturesque Tuscan Alps, many stories are floating around, like the thick clouds that surround the mountains. Especially stories about the events locals went through during the German occupation in WWII. But this pleasantly slow-paced documentary also tells the story of an elderly farmer, showing how his lifestyle differs from that of most modern Italians. Pacifico lives his life day by day. He works hard and takes what nature is willing to give him. He lives alone, with just a few animals to keep him company, but he is far from lonely. Visitors regularly drop by his little house. Some come from afar, others seem to be neighbourhood friends. Their conversations are filmed in long, calm scenes that bring perspective to Pacifico’s situation. But it also gives glimpses on how Italians are handling political and economical cri-
ARMENIAN PANORAMA: SHORT GOLDEN APRICOT
DOCUMENTARY COMPETITION SILVER APRICOT
ses nowadays. And how they dealt with them in the past. A lot remains open for interpretation in director Simone Rapisarda Casanova’s observational filming style. He alternates almost meditative sequences of local nature with several stories, as a way to show the poetical elements of life in relation to humanity’s daily struggles. Some stories that are told by Pacifico or other people return in fictional segments, playfully woven through the documentary, as though they are echoes of other stories. MN
ARMENIAN PANORAMA SPECIAL MENTION
In 2010 German director Andres Veiel had the idea to make a documentary about the Red Army Faction (RAF), the radical leftist terrorist group that was active in Germany at the end of the 60’s. But during preproduction the filmmaker stumbled on an irresolvable issue: the people he would have wanted to interview were long dead, and their relatives and friends refused to talk to him. In the end the director made a fiction film about the subject: If Not Us, Then Who?. Five years later documentary director Jean-Gabriel Périot has managed to find a solution to Veiel’s problem in making his first film A German Youth: he did away with interviews altogether, and instead relies on archival footage. Considering the fact that RAF leaders have left countless reels of film behind, all Périot had to do was find an intelligent and effective use for them. His main tool therefore is editing, which is done so masterfully that except for a few
APRICOT STONE SPECIAL MENTION
scenes there is no need for narration. One can almost see Godard peeking around the corners of this documentary collage, and feel the spirit of Michelangelo Antonioni’s Zabriski Point – not surprising considering the period the film is depicting. A German Youth shows how the eternal struggle between sons and fathers once again caused a social and political outburst in the 60’s, and a new rebellion was born. The “fathers” in this case are the people in power, covered in the gloomy shadows of the Nazi past. The “sons”, on the other hand, are a stratum of people who despise the ruling anticommunist, bourgeois system so much that they just have to rebel. KA
FIPRESCI JURY PRIZE ECUMENICAL JURY PRIZE
.. ..
Patrick Vollrath, Germany/Austria, 2015
Adrine Grigoryan, Armenia, 2015
Sébastien Petretti, Belgium, 2014
Aram Shahbazian, Armenia, 2014
Initially everything seems to be okay, just like the title Everything Will Be Okay suggests, but Patrick Vollrath's short film quickly builds up an almost unbearable tension. Divorced father Michael picks up his eight-year-old daughter Lea at her mother’s house for a day out. Although the parents never look each other in the eyes, it almost seems like a cheerful scene, and Lea is very happy to see her dad. They make some photos in a booth and go to the fair. So far so good. But then Lea discovers that her mobile phone is gone and her father’s mood has changed. The film, which screened at the Semaine de la Critique in Cannes, is the 7th short by German director Patrick Vollrath (1985). He attended classes by Michael Haneke at the Film Academy Vienna and was a participant in both the Cannes Young Lions Competition and the Berlinale Talent Campus. With Everything Will Be Okay he proves his talent once and for all. The restless camera records the tiniest of gestures, like her father buttoning Lea’s vest, giving the film a remarkable nervous energy and explosive intensity. The delicate issue of ex-partners fighting over custody is handled with care and empathy, seen from all three perspectives. MG
In the thoughtful documentary Back to Gürün, Armenian director Adrine Grigoryan displayes her own search for national identity, dealing with grief and nostalgia. The film was completed thanks to a grant Grigoryan won in 2011 at the GAIFF’s Armania-Turkey Cinema Platform. She won the grant on the strenghts of her proposal, as well as the promise shown in her previous film Enough, made after the director won a Fullbright Scholarship. Step by step, Back to Gürün depicts modern life in a faraway Armenian settlement in Turkey called Gürün, as seen through the eyes of the director. Grigoryan also explores the way in which the villagers deal with the traumatic memories of the past. These are people that have the Armenian Genocide imprinted within them, passing it on from generation to generation; a dull feeling that always gets silenced. Grigoryan visits her family’s old home a hundred years after the tragedy, when her last remaining relative, an old man by now, is leaving the village once and for all. The director explores the open wounds of history, relating them directly to modern Armenia, her contemporaries and the herself. It’s as if the film becomes an attempt to escape this enchanted circle. MT
Eleven-year-old Xav is precocious and utterly cynical. And why shouldn’t he be? His father only cares about his stupid sex shop and his mother literally walks into a wall every time her husband looks at his new mistress. In Belgian director Sébastien Petretti’s comical short story Family for Sale, Xav is miserable. He’s not allowed to watch Transformers because he’s too young, but he knows the Kama Sutra by heart. Lending a hand usually means labelling sex toys or selling special pleasuring balls to elderly ladies, which doesn’t surprise or excite the boy at all. And on top of it all, his birthday present is a pink flying dildo. Come on! No wonder he decides to end this family thing altogether when he’s eighteen. Family for Sale hits exactly the right tone of voice: simultaneously funny and agreeably quirky. Belgian director Sébastien Petretti uses short, colourful scenes to tell Xav’s story, with visual jokes around every corner. The strikingly pretty and original production design seems as thought-out as those of Wes Anderon’s movies, from the corny interior of the family sex shop to the clothes all of the characters wear. If you had to wear such a nerdy pair of glasses from the ugly 80’s you would give up too, right? MN
In 2012 director Aram Shahbazian got the idea to make a film about the big tragedy of a “little man”. In 2006, while filming in Artsakh (Nagorno Karabagh), he already had a chance encounter with the film’s protagonist, who opened up about the diary he keeps and with all the details of the “Golgotha” he went through on the way to his dream: a Moskvich car. While he was entitled to it in Soviet times, he never got one. When his country stepped into the new political system, the man decided to fulfill his dream. Shahbazian started out to make a documentary, but ended up making a feature film instead. Moskvich, My Love is a dramedy about the lost generation of people who couldn’t get used to the new realities after the collapse of the Soviet Union in the 90’s. The car is just the starting point for the story, and gradually becomes a metaphor for much broader social changes. The heroes are witnesses to and participants in all the social ups and downs of the past few decades in Armenia. The beloved Moskvich becomes the symbol of perished lives and broken dreams. Sometimes with jokes, sometimes with drama, the film reflects the story of a lonely man, trying to keep a warm heart in a cold world. A man who is still keeping his hope, faith and love for life. MT
ARMENIAN PANORAMA GOLDEN APRICOT
ARMENIAN PANORAMA SILVER APRICOT
Arman Yeritsyan, Armenia, 2015
Anna Goroyan, Russia, 2014
Armenian TV viewers might remember watching Hidden Talent. One episode featured a performance by a dance troupe called "The Chosen Ones", consisting almost entirely of people over 65. Some of them looked kind of goofy jumping around, trying to keep up with the rhythm. But by God, they were giving it their all, and it was hard not to admire that. Still, they lost the competition and left the stage heartbroken. Armenian documentary filmmaker Arman Yeritsyan was behind the scenes at that show, as he had been filming the troupe for quite some time. Now he has skillfully assembled that material in the documentary One, Two, Three.... Yeritsyan carves out an individual portrait of every member as well as showing their interaction with one another. They’re an endearlingly offbeat and kooky bunch, but also a bit miserable; not a minute goes by without them reflecting on traumatic experiences or their younger days. The crew become part of the action too, with the cameraman’s hand at one point entering in frame to
Anna Goroyan earned graduate degrees in the fields of physics-mathematics and linguistics before studying at the Gerasimov Institute of Cinematography in Moscow, which has the distinction of probably being the oldest film school in the world. The headmaster there always persuades the students to dig deep into their own biographies and hold one of the dancers’ flower as he climbs a fence. At times it feels like they’re showing off for the filmmakers, a source of much of the film’s subtle comedy. On the other hand, there are moments of riveting insight. A weary man with saggy eyes is asked if he has any complaints and answers “No”, in an otherwise silent shot that feels like it goes on forever. He awkwardly waits for the director to end the interview, gets up and walks away. He’s probably going to dance some more, since that’s the one thing that gives him joy. As Pina Bausch used to say: “Dance, dance, or we’re all goners.” AV
write scripts only about the things they really know and truly are familiar with This is exactly what Goroyan did for her gadutaion film The Doctor. The main character encapsulates many things that Anna saw in her own father and relatives. The film takes place during the first Chechen war. While civilians flee the city, a Russian doctor has to stay behind to carry out his professional duties. Although it takes place in Chechnya, The Doctor was shot in Armenia, which makes it all the more fitting to see it win a prize here upon its return. DK
GOLDEN APRICOT DAILY | LAST DAY | 19 JULY | 2015