SUNDAY JULY 16, 2017
DAILY
LAST DAY
úð²ÂºðÂ
DURGA IN GOLD ՈՍԿԵ ԴՈՒՐԳԱՆ
вÔÂàÔ üÆÈغð ¿ç 2-3 вÔÂàÔܺð, Øðò²Ü²Îܺð
¿ç 4-5
AWARD WINNERS p. 4-5 WINNING FILMS REVIEWED
p. 6-7
GOLDEN APRICOT DAILY LAST DAY | 16 JULY | 2017
2 вÔÂàÔ üÆÈغð Ìð²¶Æð/ PROGRAM
16.07
, MOSCOW CINEMA, BLUE HALL
, MOSCOW CINEMA, RED HALL
14:00
Prize-Winner film
14:30
16:00
Prize-Winner film
18:30
Prize-Winner film
21:00
16:30 19:00 21:00
Prize-Winner film
Prize-Winner film Prize-Winner film Prize-Winner film ! / . Gimme Danger/dir.Jim Jarmusch USA, 108’ YN, 6+ Lang.: English, Subt.: Armenian
FIPRESCI Øðò²Ü²Î
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GOLDEN APRICOT DAILY ÊÙμ³·ÇñÝ»ñ` Úáëà ´ñá»ñ»Ý-гÛï»Ý˳, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý ²ß˳ï³Ï³½Ù` ê³ß³ ÎáõïëÇñ, ÐÛáõ·á ¾Ù»ñ½³»É, γñ»Ý ²í»ïÇëÛ³Ý Ð»ÕÇݳÏÝ»ñª ²ñÍíÇ ´³ËãÇÝÛ³Ý, ¸Ç³Ý³ سñïÇñáëÛ³Ý Èáõë³ÝϳñÇ㪠سݻ ÐáíѳÝÝÇëÛ³Ý êñμ³·ñÇ㪠γñ»Ý ²ë³ïñÛ³Ý
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Editors: Joost Broeren-Huitenga & Artur Vardikyan Staff: Hugo Emmerzael, Sasja Koetsier, Karen Avetisyan Contributors: Artsvi Bakhchinyan, Diana Martirosyan
Photographer: Mane Hovhannisyan Design: Gayane Grigoryan Backstage General Adviser: Peter van Bueren Printer: "NT Holding" Ltd.
GOLDEN APRICOT DAILY 2017 | 16 JULY | LAST DAY
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ʲԲðβÚÆÜ ØðòàôÚÂ. àêκ ÌÆð²Ü
ʲԲðβÚÆÜ ØðòàôÚÂ. ²ð̲º ÌÆð²Ü
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²Ýï»ë³Ý»ÉÇ μ³ÝíáñÇ ÏÛ³ÝùÁ
§ò³ÝϳÉÇ ¸áõñ·³Ý¦ (ê³Ý³É ÎáõÙ³ñ ê³ëǹѳñ³Ý, Ðݹϳëï³Ý, 2017)
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ʲԲðβÚÆÜ ØðòàôÚÂ. вîàôÎ ÐÆÞ²î²ÎàôØ
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GOLDEN APRICOT DAILY LAST DAY | 16 JULY | 2017
4 вÔÂàÔܺð Feature Competition: Golden Apricot – Sexy Durga, Sanal Kumar Sasidharan
Parajanov Thaler for Joe Berlinger §ö³ñ³ç³ÝáíÛ³Ý Ã³É»ñ¦ª æá ´»éÉÇÝ·»ñÇÝ
ʳճñϳÛÇÝ ÙñóáõÛÃ. àëÏ» ÍÇñ³Ý - §ò³ÝϳÉÇ ¸áõñ·³Ý¦, ê³Ý³É ÎáõÙ³ñ ê³ëǹѳñ³Ý
SANAL KUMAR SASIDHARAN, director of Sexy Durga "I'm speechless, this is a great honor. But the real award was being at the festival. We enjoyed great, weird food, good films and the nightlife. Freedom at night. In India, you have to go home after dark, that's an official rule." ê²Ü²È Îàôزð ê²êƸвð²Ü, é»ÅÇëáñª §ò³ÝϳÉÇ ¸áõñ·³Ý¦ §Êáëù»ñ ãáõÝ»Ù: ê³ Ù»Í å³ïÇí ¿: ´³Ûó ³Ù»Ý³Ù»Í å³ñ·¨Á ÷³é³ïáÝÇÝ Ý»ñϳ ÉÇÝ»ÉÝ ¿ñ: Ðñ³ß³ÉÇ áõ ï³ñûñÇÝ³Ï ëÝáõݹ ѳÙï»ë»óÇÝù, ɳí ýÇÉÙ»ñ ¨ ·Çß»ñ³ÛÇÝ ÏÛ³Ýù ï»ë³Ýù: ¶Çß»ñ³ÛÇÝ ³½³ïáõÃÛáõÝ... Ðݹϳëï³ÝáõÙ ÙáõÃÝ ÁÝÏÝ»ÉáõÝ å»ë åÇïÇ ïáõÝ ·Ý³ë: ¸³ ûñ»Ýù ¿¦:
Feature Competition: Special Mention Western, Valeska Grisebach ʳճñϳÛÇÝ ÙñóáõÛÃ. гïáõÏ ÑÇß³ï³ÏáõÙ §ì»ëûñݦ, ì³É»ëϳ ¶ñǽ»μ³Ë
Feature Competition: Silver Apricot – Arábia, Affonso Uchôa & João Dumans ʳճñϳÛÇÝ ÙñóáõÛÃ. ²ñͳû ÍÇñ³Ý - §²ñ³μdz¦, ²ýáÝëáõ àõßá³ ¨ Äáõ³Ý ¸áõÙ³Ýë
Documentary Competition: Silver Apricot Mother Derdo and the Walnut Tree, Serdar Önal ì³í»ñ³·ñ³Ï³Ý ÙñóáõÛÃ. ²ñͳû ÍÇñ³Ý §¸»ñ¹á Ù³ÛñÇÏÁ ¨ ÁÝÏáõ½»ÝÇݦ, ê»ñ¹³ñ úݳÉ
MARYAM D'ABO Armenian Panorama juror "This is a directors' festival, but feature films cannot be made without actors, and it was wonderful to discover the Armenian actors." زðÆ²Ø ¸°²´à гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñÇ ÅÛáõñÇ §ê³ é»ÅÇëáñ³Ï³Ý ÷³é³ïáÝ ¿, ë³Ï³ÛÝ ³ÝÑݳñÇÝ ¿ ˳ճñϳÛÇÝ ýÇÉÙ»ñ ëï»Õͻɪ ³é³Ýó ¹»ñ³ë³ÝÝ»ñÇ: Ð³Û ¹»ñ³ë³ÝÝ»ñÝ ÇÝÓ Ñ³Ù³ñ μ³ó³Ñ³ÛïáõÃÛáõÝ ¿Çݦ:
Documentary Competition: Golden Apricot – Ghost Hunting, Raed Andoni ì³í»ñ³·ñ³Ï³Ý ÙñóáõÛÃ. àëÏ» ÍÇñ³Ý - §àõñí³Ï³ÝÝ»ñÇ áñë¦, è³»¹ ²Ý¹áÝÇ
CIRO GUERRA, Feature Competition juror
Documentary Competition: Special Mention Village People, Tztevan Dragnev
"We celebrate films that are made with great freedom. This freedom should not be threatened so we invite you to help fight censorship of any kind."
ì³í»ñ³·ñ³Ï³Ý ÙñóáõÛÃ. гïáõÏ ÑÇß³ï³ÏáõÙ §¶ÛáõÕ³óÇÝ»ñ¦, òí»ï³Ý ¸ñ³·Ý¨
êÆèà ¶ºè²ª ʳճñϳÛÇÝ ÙñóáõÛÃÇ ÅÛáõñÇ §Ø»Ýù ÷³é³μ³ÝáõÙ »Ýù Ù»Í ³½³ïáõÃÛ³Ý Ù»ç ³ñí³Í ýÇÉÙ»ñÁ: àã áù ãåÇïÇ μéݳݳ ³Û¹ ³½³ïáõÃÛ³ÝÁ, ¨ Ù»Ýù ËݹñáõÙ »Ýù Ó»½ û·Ý»É Ù»½ å³Ûù³ñ»É ó³Ýϳó³Í ï»ë³ÏÇ ·ñ³ùÝÝáõÃÛ³Ý ¹»Ù¦:
GOLDEN APRICOT DAILY 2017 | 16 JULY | LAST DAY
WINNERS 5
ROGER KOZA FIPRESCI juror "At some festivals film critics are marginalized, but here we all feel like citizens of cinema."
Armenian Panorama, Feature: Golden Apricot – Donald Cried, Kris Avedisian гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñª ʳճñϳÛÇÝ. àëÏ» ÍÇñ³Ý §¸áݳɹÁ ɳó »Õ³í¦, øñÇë ²í»ïÇëÛ³Ý
Armenian Panorama, Documentary: Golden Apricot Those from the Shore, Tamara Stepanyan
èàæºð Îàê² FIPRESCI ÅÛáõñÇ §Î³Ý ÷³é³ïáÝ»ñ, áñï»Õ ÏÇÝáùÝݳ¹³ïÝ»ñÝ ³Ýï»ëíáõÙ »Ý, μ³Ûó ³Ûëï»Õ Ù»Ýù μáÉáñë Ù»½ ÏÇÝáÛÇ ù³Õ³ù³óÇ ¿ÇÝù ½·áõÙ¦:
гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñª ì³í»ñ³·ñ³Ï³Ý. àëÏ» ÍÇñ³Ý §ÒÛáõÝ Ï³ñ¦, ³ٳñ³ êï»÷³ÝÛ³Ý
Armenian Panorama, Feature: Special Mention for Actor in a Leading Role Samvel Tadevossian in The Line гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñª ʳճñϳÛÇÝ. гïáõÏ ÑÇß³ï³ÏáõÙ É³í³·áõÛÝ ¹»ñ³ë³ÝÇ Ñ³Ù³ñ ê³Ùí»É ³¹¨áëÛ³Ý, §ÎÛ³Ýù áõ ÏéÇí¦ Armenian Panorama, Short: Golden Apricot Head Above Water, Eric Shahinian гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñª γñ׳ٻïñ³Å ˳ճñϳÛÇÝ. àëÏ» ÍÇñ³Ý §æñÇ »ñ»ëÇÝ Ùݳɦ, ¾ñÇÏ Þ³ÑÇÝÛ³Ý
FIPRESCI Prize A Man of Integrity, Mohammad Rasoulof FIPRESCI-Ç Ùñó³Ý³Ï §²Ýϳ߳éÁ¦, Øáѳٳ¹ è³ëáõÉáý
Hrant Matevossian Award for Best Script Donald Cried, Kris Avedisian §Ðñ³Ýï سèáë۳ݦ Ùñó³Ý³Ï É³í³·áõÛÝ ëó»Ý³ñÇ Ñ³Ù³ñ §¸áݳɹÁ ɳó »Õ³í¦, øñÇë ²í»ïÇëÛ³Ý
Armenian Panorama, Documentary: Special Mention – Origines, Ashot Mkrtchyan гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñª ì³í»ñ³·ñ³Ï³Ý. гïáõÏ ÑÇß³ï³ÏáõÙ §úñÇÅÇݦ, ²ßáï ØÏñïãÛ³Ý
GOLDEN APRICOT DAILY LAST DAY | 16 JULY | 2017
6 WINNING FILMS REVIEWED FEATURE COMPETITION GOLDEN APRICOT, FIPRESCI JURY PRIZE
DOCUMENTARY COMPETITION GOLDEN APRICOT
Prison of the Mind Ghost Hunting (Raed Andoni, France/Palestine/Switzerland/Qatar, 2017). How do you preserve your sanity when you live in an insane part of the world? This is one of the questions underpinning the films of Palestinian filmmaker Raed Andoni. In his debut film Fix ME (2009), Andoni discovers that his own psychosomatic issues are inevitably connected to Palestinians’ collective experiences with occupation and oppression. His new film Ghost Hunting offers a captivating follow-up to this exploration of collective trauma. With his own memories of the infamous Moscobiya prison in mind, Andoni places a casting call through which he gathers a group of men who become his cast as well as his crew. Drawing from their recollections, they build
Of Goddesses and Women Sexy Durga (Sanal Kumar Sasidharan, India, 2017). A religious festival in the South-Indian province of Kerala and a harrowing journey through the night form the interweaving parts of the daring Sexy Durga, winner of the Tiger Award at the International Film Festival Rotterdam. Durga is the Hindu warrior goddess, worshipped by young men who demonstrate their veneration by walking on embers and piercing their skin with metal pins and hooks. The pains to which they submit themselves attest to machismo and masochism in equal parts: the latter may well be explained by looking at Durga’s image, with several pairs of arms carrying a range of weapons, and sometimes holding a severed head in one of her many hands. Who’d want to mess with her? In the mortal world, a young woman named Durga
tries to elope at night with her boyfriend Kabeer. Hitching a ride to the nearest train station poses a challenge however. Women are not supposed to roam the streets at night, a limitation from which their alleged helpers appear to derive a sense of power. Adding to the couple’s unease is a fact they desperately try not to draw attention to: Kabeer is a Muslim. The largely improvised story has the lovers encounter a cross-section of Indian society: young and old, poor and wealthy, civilians and state servants. Filming at night emphasises the precariousness of the situation the lovers find themselves in, and offers the perfect backdrop for a dark investigation into the state of morale in present-day India. A loose set of ideas and motives was all that director Sanal Kumar Sasidharan started filming with; he likes working without a screenplay and this time (Sexy Durga is his second feature) he even abstained from determining a storyline beforehand. That adlib nature gives the film an unpredictable quality and yields a sense of disquiet that is hard to beat. SK
SANAL KUMAR SASIDHARAN “A few years back, a young woman was gang-raped and brutally murdered in Delhi. It’s happening all the time and people have become kind of used to it. In our culture, we sacrifice a lot in the name of spirituality. Penetrating your body with hooks, like in the processions you see in the film, is violence you inflict upon yourself. If you can do that, it’s very easy to inflict violence upon others too. This is what happens with violence: we just learn to coexist with it.”
FEATURE COMPETITION SILVER APRICOT
Life of an Invisible Worker Arábia (Affonso Uchoa and João Dumans, Brazil, 2017). Arábia’s protagonist Cristiano is one of the foot soldiers of the Brazilian economy, an army of uneducated labourers going from one temporary job to the next, often working with no formal contract, let alone any workers’ rights. Cristiano’s story is told in the diary that he kept before he was killed in an accident in the aluminium factory where he worked – at the beginning of the film, a teenage boy growing up in the area around this factory discovers Cristiano’s notebooks. In a style that subverts the maxim “show, don’t tell”, Arábia is a remarkably lethargic film about working class life. Instead of seeing important events in Cristiano’s life play out on screen, we mostly hear about them, either through the voice-over narrating his diary or from his former colleagues, who
recount the incidents during a lunchtime break or a dead moment at work. In these scenes, the characters remain almost as static as the camera. Now that realism has established an aesthetic of its own that has become the style of choice for this kind of subject matter, it’s refreshing to see directors Affonso Uchoa and João Dumans boldly abandon this convention, even if that decision risks losing the audience’s interest at times. Their film not only removes every inkling of blue-collar romanticism that we might harbour, but its indirect narration also reminds us of the invisibility of these lives. Cristiano’s story is the account of a life getting stuck before it even really got started. Still in his early thirties, hard manual labour has already made him old, tired and worn-out. Though he encounters fellow labourers at all of the places he works, he seems unable to build real friendships, let alone a romantic relationship. Even though the workplace conditions are screaming out for solidarity and organised action, Arábia shows us the isolation and apathy that actually engulfs the workers’ existence. SK
a prison set in which they re-enact the most vivid memories of their incarceration. The moments they recall are often violent, sometimes redemptive. One former prisoner explains how he would frequently dissolve into fits of laughter in his cell; humour would circulate among the prisoners almost as a last resort, an instinctive reflex to stay human. The film focuses on isolated experiences instead of delving into the personal histories of the former detainees. Rightly so – their back stories might have only deflected attention from the politics of humiliation that underlie the detention of such large numbers of citizens. While the participants relive their experiences, the fictionalization of their past frequently betrays how very present their wounds remain. Even apart from the clearly therapeutic effect it has on the participants, this makes for fascinating viewing. SK
DOCUMENTARY COMPETITION SILVER APRICOT
Defeat the Devil with Kindness Mother Derdo and the Walnut Tree (Serdar Önal, Turkey, 2017). Mother Derdo is a 70-year-old Armenian woman who lives in Istanbul and Bitlis with her children and grandchildren. Throughout its history Bitlis has been a place of conflict. Thousands of Armenians were murdered and driven away from their land during the genocide. Derdo has experienced the harrowing aftershock of this horrific moment in history. Her husband was murdered while she was working in the field; her Bitlis land has been taken away from her. Despite these tragic events Derdo’s story is one of perseverance and tenacity. While her whole family felt pressured to become Muslims, she remained faithful to her own Christian beliefs. Driven to poverty with her children in Istanbul, she maintained
and even managed to regain some of her land. Now every two months she comes back to Bitlis to pick the walnuts from the only tree growing on her property. It’s a fitting metaphor for Derdo’s own growth under hardship. Her visits to Bitlis are Derdo’s solemn moments of remembrance as she’s reliving her traumatic past. The village is established through shots of a graveyard, showing that death has played its part in Bitlis’s history. Still, Mother Derdo and the Walnut Tree is not a melancholy documentary. Önal captures moments of joy and togetherness in the Derdo family rather than those of sadness and isolation. His protagonist is also too much of a believer to wallow in the past for long. Maybe she’s influenced by the calendar on her wall, which states: “Defeat the devil with kindness”. This even-natured documentary delivers a striking blow to that devil through its kindness, as Turkish director Serdar Önal makes a compelling case for acceptance, forgiveness and oneness. HE
DOCUMENTARY COMPETITION SPECIAL MENTION
Prisoners of Time Village People (Tzvetan Dragnev, Bulgaria, 2016). The life of the heroes of Tzvetan Dragnev’s unflinching Village People will never change, because nobody visits their God-forsaken corner of the world. Their region in the north-west of Bulgaria is considered one of the poorest in the whole E.U. and these people have nowhere else to go. Surviving on a miserly pension, they inhabit a village where time seems to have stopped – Lenin’s portrait is still hanging on the wall of the local train station. Villagers get water from the well, they go work on the fields and go fishing. The village poet is also the undertaker, and he’s concerned how he will make a living if people stop dying. The local cinema’s projectionist joyfully thinks back on crowded screenings of Indian films. The shepherd dreams of tasting ice cream, while the village philosopher espouses his views on existentialism and Jean-Paul Sartre. Everyone here is old, except the mentally handicap youngster who dreams of having a beautiful girlfriend. Dragnev doesn’t explain why this village, that once had a population of about 2,000 people,
was abandoned over the years. But it’s obvious from the villagers’ conversations that these permanent prisoners of time and place are the victims of social shocks and a cruel system that punishes the misdemeanors of the poor while turning a blind eye to corruption on a higher level. But Village People is not a journalistic investigation, and Dragnev tries to convey these people’s state of mind as artistically and poetically as possible. Scenes of them talking intertwine with images of nature and slow-motion shots of the town. The striking camerawork slightly softens the harsh edges of this sad reality, where Dragnev strives to find some beauty. AB
GOLDEN APRICOT DAILY 2017 | 16 JULY | LAST DAY
WINNING FILMS REVIEWED 7
ARMENIAN PANORAMA: FEATURE GOLDEN APRICOT | HRANT MATEVOSSIAN SCRIPT AWARD
Frozen in Ice Donald Cried (Kris Avedisian, USA, 2016). In Kris Avedisian’s American indie Donald Cried, based on his own 2012 short of the same name, Peter (Jesse Wakeman) returns for a day to his bleak, snow-covered native town of Warwick, Rhode Island. He left there twenty years ago, right after graduating high school. Only some minor flashes of bright colors suggest that once there were some crazy teenage feelings here, now frozen under a thick layer of blue ice. Just like everybody around him, Peter is dressed in muted colors, matching the dullness of the surroundings. The only one who has retained some of that teenage vitality is Donald (played by Avedisian himself), Peter’s best friend back in their
Under the Radar
high school days, who is still smoking pot, hanging pictures of pornstars' private parts in his room (which is basically his parents’ attic) and wearing a bright checkered jacket as his garment of choice. But through all that, his desperate ear-to-ear smile indicates an inner struggle of identity which could be lost by any wrong move. While Donald is grasping the past to never let it go, Peter wants to get as far away from it as possible. With this hand-held and it seems mostly improvised film, co-written by Avedisian's film school friend and co-star Wakeman as well as Kyle Espeleta, he creates a subtle drama with comedic elements. There’s a feeling of sincerity and authenticity in this depiction of two people who each in their own way have become foreigners in their home town. Perhaps that has something to do with the fact that Avedisian himself is from Rhode Island. AV
A Man of Integrity (Mohammad Rasoulof, Iran, 2017).
FEATURE COMPETITION SPECIAL MENTION
The West Goes East Western (Valeska Grisebach, Germany/Bulgaria/Austria, 2017). While many are troubled by the growing number of immigrants flooding into Europe and the cultural dissonance this brings, director Valeska Grisebach explores the problem from the opposite point of view. In her third feature Western, her first film in over ten years, a hired group of German (one might say Arian) construction workers come to a small Bulgarian village on the border with Greece to build a hydroelectric power plant. Co-produced by Maren Ade, the director of last
year’s festival hit Toni Erdmann and like Grisebach a filmmaker counted among the loosely affiliated directors of the Berlin School, Western is an understated exploration of cultural differences and behavioral patterns. Shooting with non-professional actors and a non-traditional script, the director spends a great deal
of time just diving into the everyday interactions of the German crew. One can see every twitch of their grimy bodies as they work, talk and fool around under the baking sun. It’s as if the film is observing them like an entomologist studies insects through a magnifying glass, recording their behavior. Their demeanor exerts an animalistic urge to show superiority, which the locals do not appreciate. However, a worker named Meinhard with a supremely Germanic appearance befriends the villagers. He becomes fascinated by their white stallion, riding it like Siegfried rode his Grani. In an unexpected turn of events, Meinhard and a German colleague start a furious competition for the affections of the Bulgarians. AV
ARMENIAN PANORAMA: DOC GOLDEN APRICOT
Interior and Exterior
se people, who have to learn a new language to have any chance in this new country. One of the asylum seekers aptly describes this state of being: “It’s an inflated balloon, and we’re swimming inside it. We don’t know what’s going on outside.” For a decade now, millions of Armenians ha-
ARMENIAN PANORAMA: SPECIAL MENTION FOR ACTOR IN A LEADING ROLE
ve struggled to find a new place in the world. Stepanyan manages to draw the bigger picture of the lives of these people, showing that for decades refugees have been washed ashore and caught in a bubble of bureaucracy, unable to see what’s going on outside. HE
ARMENIAN PANORAMA: SHORT GOLDEN APRICOT
Minor Troubles
ARMENIAN PANORAMA: DOC SPECIAL MENTION
Proving His Courage
Artisanal Armenian
The Line (Mher Mkrtchyan, Armenia, 2016).
Armenian painter Marine Petrosyan is invited to join other artists from all over the world in France for a small festival devoted to the Armenian experience. She had always envisioned France as the country of the Eiffel tower, with the bustling streets of Paris as its local milieu. But in the rural surroundings of Le Troillet she experiences another kind of France: green pastures filled with animals, surrounded by the Alps and inhabited by kind-natured farmers. Thanks to the warm welcome extended by a local farmer and art appreciator, the Italian-born Roberta, Marine and her fellow artists get to experience the artisanal life. They work on the land, make cheese, share experiences over dinner and bond through art. Barriers of language are overcome by their shared creativity. With Origines director Ashot Mkrtchyan shows how sharing these kinds of spaces can allow intimate and deep human relationships to grow. His film is a loving ode to the artisanal life and the people that make that life possible for others. HE
Set during the Nagorno-Karabach War, The Line follows the exploits of Tigran (Samvel Tadevosian), a young schoolteacher who’s madly in love with his best friend’s sister, but can’t bring himself to confess his feelings to her. This is partly out of loyalty to another friend who hopes to win her heart; but in the eyes of his grandfather, he simply doesn’t have the guts. To prove the old man wrong, Tigran decides to head to the war front, after his best friend has already signed up for his own reasons. Loyalty, love and loss propel the drama forward, both at the front line and back home. Gradually adapting to warfare, Tigran gets to prove his courage when an enemy militia resorts to hostage taking. At the home front however he finds that his boldness has come too late. The Line offers a goodlooking and compelling drama, which perhaps could have done with a less excessive score. The
What is the cost of integrity? The sixth feature film by Iranian director Mohammad Rasoulof goes a long way towards saying it’s priceless. A Man of Integrity puts family man Reza (played with exceptional rage by Reza Akhlaghirad) through trials akin to those of the Biblical Job. He loses his money, his car and his source of income. The only thing he has left is his integrity, but even this moral high ground is put to the test when all the fabrics of society around Reza are trying to pull him down. “In this country you’re either the oppressed or the oppressor”, a man lectures Reza, who tried to escape this dynamic by moving to a small village in the north to establish a goldfish farm. But it seems Iran’s systematic corruption reaches every part of the country. A powerful company apparently owns Reza’s village. Now it’s trying to reclaim its land. The deliverer of corporate malice is Abbas, a local enforcer who goes to great lengths to drive Reza out. Soon enough Reza finds himself in judicial offices, company lobbies and even prisons as he attempts to fight his way through this oppression. It’s precisely Reza’s honesty and hunger for justice which make him such a vulnerable opponent: he actually has something to lose. This is where Rasoulof’s own biography seems to seep into the film. He is no stranger to the Iranian judicial system, as he’s still facing a not-yet-executed prison sentence because of his previous films. Just like Reza, Rasoulof went north to make A Man of Integrity under the radar of officials. In doing so he created an unflinching and harrowing portrait of corruption and oppression that won the Un Certain Regard Award at the film festival of Cannes, but won’t be shown in Iran itself. HE MOHAMMAD RASOULOF “Even if you don’t want to, the corruption in Iranian society will engross and overwhelm you. Personally, I don’t like lying, but I also have to present fake screenplays to get approved so I can film my actual, illegal screenplays. Censorship is part of the system itself and it makes you take those steps. If you want to withstand this form of corruption you have to pay, not only in cash but also in terms of your dignity and identity.”
Those from the Shore (Tamara Stepanyan, France, 2016). At times Those from the Shore, Tamara Stepanyan’s second feature-length documentary, feels like the landscape symphony films of the days of early cinema. Her camera takes a train ride through desolate landscapes; wide shots show mountains, deserts and some solitary trees sticking out of the isolated environment. But Stepanyan hasn’t made a nature documentary. The empty landscapes are a way of showing the interior and exterior of Armenia and the many people that have left to seek asylum elsewhere. Stepanyan (born in Armenia but now living in France) interviews Armenian asylum seekers in Marseilles who struggle to get through France's bureaucracy. They try to establish a new kind of future in France, but are stuck at a border with only their past as baggage. It’s an uncertain place for the-
FIPRESCI JURY PRIZE
Origines (Ashot Mkrtchyan, Armenia, 2017).
jury’s acknowledgment of Tadevosian’s charismatic performance is entirely fair praise, as his arrival on the film scene holds a promise for the future of Armenian fiction. SK
Head Above Water (Eric Shahinian, USA, 2016). Erik Shahinian’s Head Above Water features the drama of an elderly couple. When the husband slips and falls in the bathroom, his wafe, who suffers from Alzheimer’s disease, is unable to help him. This tragic comedy revolves around that feeling of helplessness, and shows that sometimes, help can come from very unexpected places. Shahinian’s artistic decisions, the film’s intimate setup and the fact that there’s only one speaking character make it seem like Head Above Water was in some ways was inspired by the silent films of a century ago. Just like in many of those films, the protagonist’s troubles are seemingly minor and funny, yet they’re life-threatening and extremely moving at the same time. DM