Golden Apricot Daily - 2016, Last Day

Page 1

DAILY

SUNDAY JULY 17 2016

LAST

DAY

úð²ÂºðÂ

Ungiven Takes Two гÕÃ³Ï³Ý §µ³ÉÁ¦

гÕÃáÕ ýÇÉÙ»ñ ¿ç 2-3

ö³é³ïáÝÁ` ³å³Ñáí Ó»éù»ñáõÙ

гÕÃáÕÝ»ñ, Ùñó³Ý³ÏÝ»ñ

Winning films

¿ç/p. 4-5

p. 6 -7

Winners and awards

A Safe Pair of Hands

GOLDEN APRICOT DAILY LAST DAY | 17 JULY | 2016

2 вÔÂàÔ üÆÈغð , MOSCOW CINEMA, BLUE HALL 14:00

Prize-Winner film

16:00

Prize-Winner film

18:30

Prize-Winner film

21:00

Prize-Winner film

17.07

вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð` ʲԲðβÚÆÜ. àêκ ÌÆð²Ü

, MOSCOW CINEMA, RED HALL 12:00

14:00

16:30

19:00 21:00

! " # $% / . Honeyless Moon/dir. Dmitri Izmestiev & $% '( % !(&) $ / . Murder on the Orient Express/dir. Sidney Lumet ( , $ * % + / . My Good Hans/dir. Alexander Mindadze Prize-Winner film

Rus, 94’ YP

Lang.: Russian Subt.: English and Armenian

UK, 128’ R

Lang.: English/French/German/ Turkish/Italian/Swedish Subt.: English and Armenian

Rus/Deu/UK, Lang.: German/Russian 124’ Subt.: English and Armenian YP

. % * /( / . ! Day for Night/dir. François Truffaut

Fra/Ita, 115’ R

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

, 5 ; 1 MOSCOW CINEMA, SMALL HALL 1 15:00

Prize-Winner film

17:00

Prize-Winner film

19:00

Prize-Winner film

²Ýݳ ²ñ¨ß³ïÛ³Ý, г۳ëï³Ý, 2016 §´³ñÇ ÉáõÛëݦ ²Ýݳ ²ñ¨ß³ïÛ³ÝÇ ¹»μÛáõï³ÛÇÝ ýÇÉÙÝ ¿: 13-ñ¹ §àëÏ» ÍÇñ³ÝǦ ßñç³Ý³ÏÝ»ñáõÙ ¿É ï»ÕÇ áõÝ»ó³í ýÇÉÙÇ ßÝáñѳݹ»ëÁ. ³ÛÝ Áݹ·ñÏí³Í ¿ §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ ³Ýí³Ý³Ï³ñ·áõÙ: êáóÇ³É³Ï³Ý ¹ñ³Ù³ÛÇ Å³ÝñáõÙ Ýϳñ³Ñ³Ýí³Í ˳ճñϳÛÇÝ ýÇÉÙ»ñÝ ³ñ¹Ç ѳÛÏ³Ï³Ý ÏÇÝá³ñï³¹ñáõÃÛ³Ý Ù»ç Ù³ïÝ»ñÇ íñ³ ϳñ»ÉÇ ¿ ѳßí»É: ²Û¹ûñÇÝ³Ï ýÇÉÙ»ñÁ å³Ñ³Ýç³ñÏ ãáõÝ»Ý: ²Ýݳ ²ñ¨ß³ïÛ³ÝÁ ýÇÉÙÁ ϳéáõó»É ¿ ëáóÇ³É³Ï³Ý ¹ñ³Ù³ÛÇ ¹³ë³Ï³Ý ϳÝáÝÝ»ñáí ¨

·É˳íáñ ¹»ñ³Ï³ï³ñÝ»ñÇ Ñ³Ù³ñ ³Ý·³Ù ÁÝïñ»É áã åñáý»ëÇáÝ³É ¹»ñ³ë³ÝÝ»ñÇ: лñáëÁ Ù»ñ ûñ»ñáõÙ ³åñáÕ Ñ»éáõëï³Éñ³·ñáÕ ²ñß³ÏÝ ¿, áñÁ ½ñÏíáõÙ ¿ ³ß˳ï³ÝùÇó: êáóÇ³É³Ï³Ý ¨ Ï»Ýó³Õ³ÛÇÝ ËݹÇñÝ»ñÁ, ëϽμáõÝù³ÛÝáõÃÛ³Ý å³ï׳éáí ·áñͳ½áõñÏ ¹³éݳÉÁ ¨ »ÉùÁ ÙdzÛÝ Ñ³Ûñ»ÝÇùÁ Éù»Éáõ Ù»ç ï»ëÝ»Éáõ Ñáñ¹áñÝ»ñÁ ÏñÏÇÝ Ñ³Ï³ëáõÙ »Ý ²ñß³ÏÇ ëϽμáõÝùÝ»ñÇÝ ¨ í»ñ³ÍíáõÙ ÷³ÏáõÕáõ: àñáßáõÙÁ ÍÝáÕÝ»ñÇ Ñ»ï ùÝݳñÏ»Éáõ Ýå³ï³Ïáí ²ñß³ÏÇ Ýáñ³ëï»ÕÍ ÁÝï³ÝÇùÇ μéÝ³Í ×³Ý³å³ñÑÁ ýÇÉÙÁ í»ñ³ÍáõÙ ¿ road-movie-Ç, áñáõÙ ³é³çݳÛÇÝÁ ÑÁÝóóë ·áñÍáÕáõÃÛáõÝÝ»ñÁ ã»Ý, ³ÛÉ Ù³ÝÏ³Ï³Ý ÑÇßáÕáõÃÛáõÝÝ»ñÝ áõ ³é»ñ»ëáõÙÝ ³ÝóÛ³ÉÇ Ñ»ï: ðØ

вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð` ʲԲðβÚÆÜ. вîàôÎ ÐÆÞ²î²ÎàôØ

28:94 ï»Õ³Ï³Ý ųٳݳÏáí

ö²è²îàÜÀ` ²ä²Ðàì ÒºèøºðàôØ ²í»ÉÇ ù³Ý Ù»Ï ß³μ³Ã ³ÙμáÕç ºñ¨³ÝÁ ݳÛáõÙ ¿ñ ÙÇ ½áõÛ· Ó»éù»ñÇ. ϳñÙÇñ áõ ¹»ÕÇÝ Ã¨ù»ñÇó å³ñ½í³Íª Ýñ³Ýù óáõÛó »Ý ï³ÉÇë Ù»Ï ¨ »ñ»ù Ãí»ñÁ 13-ñ¹ §àëÏ» ÍÇñ³ÝǦ ³½¹³·ñ»ñÇ íñ³: ºí ³Ûëå»ëª á±í ¿ ³Ûë ѳÝñ³Ñ³Ûï Ó»éù»ñÇ Ñ»ï¨áõ٠óùÝí³Í: ̳Ýáóó»ùª ¶³ñ»·ÇÝ Ø³ñïÇñáë۳ݪ »ñ¨³ÝÛ³Ý The Sign ¹Ç½³ÛÝÇ ëïáõ¹Ç³ÛÇ ëï»Õͳ·áñÍ³Ï³Ý ïÝûñ»ÝÝ áõ Ýñ³ ÷áùñ ÃÇÙÁ §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ ÑÇÝ ÁÝÏ»ñÝ»ñÝ »Ý, áíù»ñ í»ñçÇÝ ï³ëÝ»ñÏáõ ï³ñÇÝ»ñÇÝ Ó¨³íáñ»É »Ý §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ ³½¹³·ñ»ñÁ: Üñ³ ëïáõ¹Ç³ÛÇ Ñ³×³Ëáñ¹Ý»ñÁ ³Ù»Ý³ï³ñμ»ñ áÉáñïÝ»ñÇó »Ýª μ³ÝÏ»ñ, ˳ճïÝ»ñ áõ ·³ñ»çñÇ ·áñͳñ³ÝÝ»ñ, μ³Ûó Ýñ³Ý ѳïϳå»ë ¹áõñ ¿ ·³ÉÇë ³ß˳ï»É ÷³é³ïáÝÇ Ñ³Ù³ñ: §Þ³ï Ñ»ï³ùñùÇñ ³ß˳ï³Ýù ¿, ù³ÝÇ áñ ËáëùÁ ëáíáñ³Ï³Ý ³é¨ïñ³ÛÇÝ Ñ³×³Ëáñ¹Ç Ù³ëÇÝ ã¿: ²ÛÝ ëï»Õͳ·áñÍ³Ï³Ý ÷³é³ïáÝ ¿, ³ÛÝå»ë áñ Ù»Ýù ÷áñÓáõÙ »Ýù ³Ù»Ý ï³ñÇ ï³ñμ»ñíáÕ áõ ÛáõñûñÇÝ³Ï ÙÇ μ³Ý ³Ý»É¦: ²Ûë ï³ñí³ ³½¹³·ñÇ ·³Õ³÷³ñÁ å³ñ½ ¿, μ³Ûó ïå³íáñÇã: §ºñμ ÍÝí»ó ³Ûë Ùï³ÑÕ³óáõÙÁ, Ùá¹»É ¿ñ å»ïù,- μ³ó³ïñáõÙ ¿ ¶³ñ»·ÇÝÁ,- μ³Ûó ³ÛÝå»ë ¿ñ ëï³óí»É, áñ »ë ã¿Ç ϳñáÕ³Ýáõ٠ųٳݳÏÇ Ù»ç ï»Õ³íáñí»É áõ ·ïÝ»É Ó»éù»ñÇ Ùṻɦ: лÝó ¹ñ³ ѳٳñ ¿É ÑÇÙ³ ³ÙμáÕç ºñ¨³ÝÇ ³ãùÇ ³é³ç ¹Ç½³ÛÝ»ñÇ ë»÷³Ï³Ý Ó»éù»ñÝ »Ý:

§´³ñÇ ÉáõÛë¦

гϳé³Ï ³Ûë ³Ýëå³ë»ÉÇ Ñ³Ùμ³íÇݪ ¶³ñ»·ÇÝÁ ß³ï ãÇ Ëáñ³ÝáõÙ ³Ûë ³Ù»ÝÇ Ù»ç. §²é³çÇÝ ³Ý·³ÙÁ ã¿, áñ ÇÙ Ó»éù»ñÝ û·ï³·áñÍáõÙ »Ù ³½¹³·ñÇ Ñ³Ù³ñª ÙÇ ù³ÝÇ ï³ñÇ ³é³ç Ù»Ï ³ÛÉ Ñ³×³Ëáñ¹Ç ѳٳñ ¿É »Ù û·ï³·áñÍ»É: ÆÝÓ Ñ³Ù³ñ ϳñ¨áñÁ Ñ»Ýó ¹Ç½³ÛÝÝ ¿, ¨ áã û ³ÛÝ ÷³ëïÁ, áñ »ë »Ù ³½¹³·ñÇ íñ³¦: о

гïáõÏ ßÝáñѳϳÉáõÃÛáõÝ úý»ÉÛ³ ²Ûí³½ Û³ÝÇÝ §¼³ñ»¦ ýÇÉÙÇ Ù³ëÇÝ ÝÛáõûñ ïñ³Ù³¹ñ»Éáõ ѳٳñ

20 ï³ñí³ ÑëÏ³Û³Ï³Ý ³ß˳ï³ÝùÇó áõ »ñϳñ ëå³ëáõÙÝ»ñÇó Ñ»ïá ÏÇÝáé»ÅÇëáñ ¸³íÇà ê³ý³ñÛ³ÝÁ í»ñç³å»ë ѳݹÇë³ï»ëÇ ¹³ïÇÝ Ñ³ÝÓÝ»ó Çñ §28:94 ï»Õ³Ï³Ý ųٳݳÏáí¦ ýÇÉÙÁ: Êáëïáí³ÝáõÙ ¿, áñ Ïáõ½»ñ ³í»ÉÇ ³ñ³· ³í³ñï»É. ýÇݳÝë³Ï³Ý ËݹÇñÝ»ñÁ ã»Ý ÃáÕ»É: üÇÉÙÝ ³ñ¹»Ý ѳëóñ»É ¿ Ù³ëݳÏó»É ´»éÉÇÝÇ ÷³é³ïáÝÇ ÏÇÝáßáõϳÛÇÝ ¨ ³ñÅ³Ý³Ý³É »íñáå³Ï³Ý ÏÇÝá¹ÇëïñÇμÛáõï»ñÝ»ñÇ áõß³¹ñáõÃÛ³ÝÁ (ÏÇÝáÝϳñÁ ·Ýí»É ¿ ´»É·Ç³ÛáõÙ, Üǹ»ñɳݹݻñáõÙ ¨ ÈÛáõùë»Ùμáõñ·áõÙ ª ÏÇÝáóïñáÝÝ»ñáõÙ ¨ Ñ»éáõëï³ï»ëáõÃÛ³Ùμ óáõó³¹ñÙ³Ý Ñ³Ù³ñ), ³ÛÝ ³ñ¹»Ý Çñ ï»ÕÝ ¿ ·ï»É Üǹ»ñɳݹݻñÇ ÏÇÝáóݷ³ñ³ÝÇ Ñ³í³ù³ÍáõÇ Ù»ç: гÛÏ³Ï³Ý Çñ³Ï³ÝáõÃÛ³Ý Ñ³Ù³ñ ¹³Å³Ý

÷áõÉǪ 1990-³Ï³ÝÝ»ñÇ Ù³ëÇÝ ¿ §28:94¦-Á, ÇëÏ ³Û¹ ųٳݳϳßñç³ÝÇ Ýϳñ³·ñáõÃÛ³Ý ÑÇÙÝ³Ï³Ý ³é³ÝóùÁ ÏÇÝ-ïÕ³Ù³ñ¹ ÷áËѳñ³μ»ñáõÃÛáõÝÝ»ñÝ »Ý: ²ÙáõëÝ³Ï³Ý ½áõÛ·Á ѳÛïÝí»É ¿ ¹Åí³ñÇÝ Ï»Ýó³Õ³ÛÇÝ å³ÛÙ³ÝÝ»ñáõÙ, ËݹÇñÝ»ñÝ áõ μ³ËáõÙÝ»ñÁ ß³ï »Ý, μ³Ûó Ç í»ñçá Ýñ³Ýù ѳÕóѳñáõÙ »Ý ³Ù»Ý ÇÝã: ºñÏáõëÝ ¿É ëï»Õͳ·áñÍáÕÝ»ñ »Ý, Ù»ÏÁ ïÇÏÝÇÏÝ»ñ å³ïñ³ëï»Éáí, ÙÛáõëÁª Éáõë³Ýϳñ»Éáí, ³½³ï³·ñíáõÙ »Ý μ³ó³ë³Ï³Ý ÑáõÛ½»ñÇó: àõ, ó³íáù, ÇÝãù³Ý ¹³Å³Ý »Ý å³ÛÙ³ÝÝ»ñÁ, ³ÛÝù³Ý ѳçáÕ »Ý ëï³óíáõÙ Ýñ³Ýó ³ß˳ï³ÝùÝ»ñÁ: è»ÅÇëáñÁ óáõó³¹ñáõÙ ¿ ݳ¨ ëï»Õͳ·áñÍ»Éáõ ³ÝѳñÙ³ñáõÃÛáõÝÁ 90-³Ï³ÝÝ»ñÇÝ. Ïï³íÁ ãÇ ãáñ³ÝáõÙ ª Ýϳñ»Éáõ ѳٳñ, ¿É»Ïïñ³Ï³ÝáõÃÛáõÝ ãϳª ýáïáïå³·ñáõÃÛ³Ý Ñ³Ù³ñ, ³Ûëûñ-í³ÕÝ ¿É ÏñÏ»ëÁ ϳñáÕ »Ý ÷³Ï»É. Ù³ñ¹Ï³Ýó ½í³ñ׳óÝ»Éáõ ѳٳñ ï»Õ ãÇ Ùݳ: §¶áñͳñ³ÝÝ»ñ »Ý ÷³Ï»É, ÑÇÙݳñÏÝ»ñ, μ³Ûó ÏñÏ»ëÁ ÷³Ï»É ãÇ Ï³ñ»ÉÇ: سñ¹Ý áõñ³Ë³Ý³Éáõ ï»Õ å»ïù ¿ áõݻݳ, »ñ»Ë³Ý áõñ³Ë åÇïÇ Ù»Í³Ý³, û ã¿ Ñ»ïá áñï»ÕÇ±ó ¿ áõÅ ³éÝ»Éáõ¦,³ëáõÙ ¿ ͳÕñ³Íáõ γñáÝ: ²Ð

вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð` βðֲغîð²Ä. àêκ ÌÆð²Ü

вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð` ì²ìºð²¶ð²Î²Ü. àêκ ÌÆð²Ü

§ÀÝÓ³éÛáõÍÇ ÉéáõÃÛáõÝÁ¦

§ø³ñù³ñáï ׳Ù÷³Ý»ñ¦

ìÇ·»Ý ²ñÙ»ÝÛ³Ý, üñ³Ýëdz, 2015

²éÝá ʳ۳ç³ÝÛ³Ý, üñ³Ýëdz, 2015

ÌÝáõݹáí μ»ÛñáõÃóÇ ìÇ·»Ý ²ñÙ»ÝÛ³ÝÁª §ÀÝÓ³éÛáõÍÇ ÉéáõÃÛáõÝÁ¦ ýÇÉÙÇ é»ÅÇëáñÁ, 1989-Çó ³åñáõÙ ¿ ö³ñǽáõÙ: Ü³Ë áõë³Ý»É ¿ Çñ³í³μ³ÝáõÃÛáõÝ ¨ ÷ÇÉÇëá÷³ÛáõÃÛáõÝ, ³å³ ¹³éݳÉáí é»ÅÇëáñÇ ³ëÇëï»Ýïª Ù³ëݳÏó»É ¿ í³í»ñ³·ñ³Ï³Ý ÏÇÝáÝϳñÇ ëï»ÕÍÙ³ÝÁ: 2006-ÇÝ Ýϳñ³Ñ³Ý»É ¿ §ºñç³ÝÇÏ ï»ë³ñ³Ý¦ ÷áñÓ³ñ³ñ³Ï³Ý ýÇÉÙÁ, áñÁ ÈÇμ³Ý³ÝÇ ù³Õ³ù³óÇ³Ï³Ý å³ï»ñ³½ÙÇÝ í»ñ³μ»ñáÕ »Ýó·Çï³Ïó³Ï³Ý Ñáõß»ñ ¿ í»ñѳÝáõÙ: §ÀÝÓ³éÛáõÍÇ ÉéáõÃÛáõÝÁ¦ (2015) ÙÇçÇÝ Ù»ïñ³ÅÇ ýÇÉÙ ¿« áñÇ åñ»ÙÇ»ñ³Ý ϳ۳ó»É ¿ ìÇɳ ¹áõ ÎáݹÇÇ Ï³ñ׳ٻïñ³Å ýÇÉÙ»ñÇ ÷³é³ïáÝáõÙ: ºñ»ÏáõÛÃÇ Ñ³çáñ¹ ûñÁ, áñï»Õ سñÇáÝ, ³ë»ë ïñ³ÝëÇ Ù»ç, å³ñ»É ¿ñ ³ÙμáÕç ·Çß»ñ, ²ÙÇÝÁ ¨ ìÇÏïáñÁ Ýñ³Ý ѳÛïݳμ»ñáõÙ »Ý ³ÝÏáÕÝáõ٠ٳѳó³Í: лé³íáñ ³ÝÏÛáõÝáõÙ Ïáñ³Í ï³ÝÁ, áõñ Ýñ³Ýù ³åñáõÙ »Ý ÁÝÏ»ñÝ»ñáí, ³Ù»Ý ÇÝã ϳñÍ»ë ëÏëáõÙ ¿ ëáõ½í»É ˳í³ñÇ ·ÇñÏÁ, ¨ ß»ÕáõÙÝ»ñÁ ¹³éÝáõÙ »Ý Ñݳñ³íáñ: лÝó ³Û¹ Å³Ù³Ý³Ï ¿É ÑáñǽáÝáõÙ ÝßÙ³ñíáõÙ ¿ Ù³ñ¹-ÁÝÓ³éÛáõÍÁ: ¸Î

²Ûë ï³ñí³ §Ð³ÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ¦ Íñ³·ñáõÙ Áݹ·ñÏí³Í í³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÁ ÷áñÓáõÙ »Ý áõëáõÙݳëÇñ»É ³Ýѳï³Ï³Ý ÑáõßÁ ϳ٠í»ñ³åñáõÙÁ: г۳½·Ç é»ÅÇëáñÝ»ñÝ ëï»ÕÍ»É »Ý Ù³ñ¹Ï³ÛÇÝ ×³Ï³ï³·ñ»ñÇ ß³ñù, áñï»Õ ÑáõßÝ áõ ÑáõÛ½Á »ñμ»ÙÝ ¹³éÝáõÙ »Ý ³Ýï³Ý»ÉÇ μ»é, ÇëÏ »ñμ»ÙÝ ¿Éª ÃáõÛÉ ï³ÉÇë ³Ýѳï³Ï³Ý ³åñáõÙÝ»ñáõÙ ÙÇ ³ÙμáÕç ïÇ»½»ñù ï»ëÝ»É: §ø³ñù³ñáï ׳Ù÷³Ý»ñ¦ ýÇÉÙÇ Ñ»ÕÇÝ³Ï ²éÝá ʳ۳ç³ÝÛ³ÝÁ ׳Ù÷áñ¹áõÙ ¿ ÙÇ ÝϳñÇ å³ïÙáõÃÛ³Ý Ñ»ïù»ñáí ¨ å³ïñ³ëï ¿ Éë»É μáÉáñ Ñݳñ³íáñ áõ »Ýó¹ñÛ³É ³Ï³Ý³ï»ëÝ»ñÇÝ: ØÇ μ³Å³Ï ûÛÇ ßáõñç ³Ýßï³å ½ñáõÛóÝ»ñ »Ý ï»ÕÇ áõÝ»ÝáõÙ, ²Ý³ïáÉdzÛáõÙ ³åñáÕ Ñ³Û»ñÇ Ýáñ å³ïÙáõÃÛáõÝÝ»ñ »Ý μ³ó³Ñ³ÛïíáõÙ (ϳ٠ã»Ý μ³ó³Ñ³ÛïíáõÙ), μ³Ûó ³Û¹ ëå³ëáõÙÇ éÇÃÙÁ ß³ï ɳí ÷á˳ÝóáõÙ ¿ áñáÝÙ³Ý ¿áõÃÛáõÝÁ: Æ í»ñçá, »Ã» ÷ÝïñáõÙ »ë, áõñ»ÙÝ ³ñ¹»Ý ÷áËíáõÙ »ë û° ¹áõ, û° ùá ½ñáõó³ÏÇóÝ»ñÁ: ÜÐ

¸³íÇà ê³ý³ñÛ³Ý, г۳ëï³Ý/ ¶»ñÙ³Ýdz/ Üǹ»ñɳݹݻñ, 2016

GOLDEN APRICOT DAILY ÊÙμ³·ÇñÝ»ñ` Úáëà ´ñá»ñ»Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý

³ñ·Ù³ÝÇãÝ»ñª γñÇÝ» ²ÉáÛ³Ý, ¼³ñáõÑÇ ê³ý³ñÛ³Ý

Editors: Joost Broeren & Artur Vardikyan

Photographer: Inna Mnatsakanyan

²ß˳ï³Ï³½Ù` سñÇÏ» ÜÛáõ¹áñ÷, ÐÛáõ·á ¾Ù»ñ½³»É

Èáõë³ÝϳñÇ㪠ÆÝݳ Øݳó³Ï³ÝÛ³Ý

Staff: Maricke Nieuwdorp, Hugo Emmerzael

Design: Gayane Grigoryan

лÕÇݳÏÝ»ñª ²ñÍíÇ ´³ËãÇÝÛ³Ý, ¸Ç³Ý³ γñ¹áõÙÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ÜáõÝ» гËí»ñ¹Û³Ý, ²ÝÇ Ð³ÏáμÛ³Ý êñμ³·ñÇ㪠سñÇÝ» Ô³ñ³Ë³ÝÛ³Ý

¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý Ð»é³Ï³ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý îå³·ñí³Í ¿ §Üî ÐáɹÇÝ·¦ êäÀ-áõÙ

Contributors: Artsvi Bakhchinyan, Roza Grigoryan, Ani Hakobyan, Nune Hakhverdyan, Diana Kardumyan, Raffi Movsisyan

Backstage General Adviser: Peter van Bueren Printer: "NT Holding" Ltd.

GOLDEN APRICOT DAILY 2016 | 17 JULY | LAST DAY

ʲԲðβÚÆÜ ØðòàôÚÂ, àêκ ÌÆð²Ü/FIPRESCI Øðò²Ü²Î

вÔÂàÔ üÆÈغð 3 ʲԲðβÚÆÜ ØðòàôÚÂ. ²ð̲º ÌÆð²Ü/ ¾ÎàôغÜÆÎ ÄÚàôðÆÆ Øðò²Ü²Î

Ù³ÑÁ¦ §´³ÉÇ ³ÝáõÝÝ»ñÁ¦ §²Ý ê»Û»¹ г¹Ç ØáѳջÕ, Æñ³Ý, 2015 ´ñ³ÝÏá ÞÙǹï, Êáñí³Ãdz, 2015 Êáñí³Ã ׳ݳãí³Í é»ÅÇëáñ ´ñ³ÝÏá ÞÙǹïÇ í»ñçÇÝ ³ß˳ï³ÝùÁª §´³ÉÇ ³ÝáõÝÝ»ñÁ¦, Ù»ñûñÛ³ ÏÇݻٳïá·ñ³ýÇ Ñ»ñÃ³Ï³Ý ³Ý¹ñ³¹³ñÓÝ ¿ ³ÛÝ μ³ñ¹ ѳñ³μ»ñáõÃÛáõÝÝ»ñÇÝ, áñ ϳñáÕ »Ý ÉÇÝ»É Í»ñ ³ÙáõëÇÝÝ»ñÇ ÙÇ稣 лïå³ï»ñ³½ÙÛ³Ý Êáñí³ÃdzÛáõ٠ͳÝñ Ï»Ýó³Õáí ³åñáÕ ï³ñ»ó μáëÝdzóÇ ³ÙáõëÇÝÝ»ñÁ ï³Ï³íÇÝ Çñ»Ýó ÏÛ³ÝùÇ Ù³Ûñ³ÙáõïÁ μ³ñ»É³í»Éáõ ç³Ýù»ñ »Ý ó÷áõÙ£ Üáñá·»Éáí ·áÙÁ, Ïáí å³Ñ»Éáí ¨ åïÕ³ïáõ ͳé»ñ ïÝÏ»Éáíª ÷áñÓáõÙ »Ý ÇÙ³ëï³íáñ»É Çñ»Ýó Ùé³ÛÉ ·áÛáõÃÛáõÝÁ£ ê³Ï³ÛÝ ï³ñÇùÇ Ñ»ï ëñí³Í Ñ᷻ϳÝ, Ùï³íáñ ¨ ýǽÇÏ³Ï³Ý ËݹÇñÝ»ñÁ Ùßï³å»ë ½·³óÝ»É »Ý ï³ÉÇëª ¿°É ³í»ÉÇ ¹Åí³ñ³óÝ»Éáí Í»ñáõÝÇÝ»ñÇ Ñ³Ù³Ï»óáõÃÛáõÝÁ£ §´³ÉÇ ³ÝáõÝÝ»ñÁ¦ ß³ÑáõÙ ¿ å³ïáõÙÇ áÕç ͳÝñáõÃÛáõÝÝ Çñ»Ýó áõë»ñÇÝ í»ñóñ³Í Æíá ¶ñÇ·áõñ¨ÇãÇ ¨ ܳ¹³ ¸áõñ¨ëϳÛÇ Ùdzݷ³Ù³ÛÝ Ñ³Ùá½Çã ˳ÕÇó£ êϽμݳå»ë ÙÇÙÛ³Ýó ѳݹ»å ³ÝѳݹáõñÅáÕ Ãí³óáÕ Ñ³í»ñÅ ÷ÝÃ÷ÝóóáÕ ³ÙáõëÝáõ ¨ ³ÝѳÕáñ¹ ÏÝáç ѳñ³μ»ñáõÃÛáõÝÝ»ñÁ Ó»éù »Ý μ»ñáõÙ ÝíÇñí³ÍáõÃÛ³Ý ¨ ϳåí³ÍáõÃÛ³Ý ÛáõñûñÇÝ³Ï ¹ñë¨áñáõÙÝ»ñ: Æ ï³ñμ»ñáõÃÛáõÝ Í»ñ ³ÙáõëÇÝÝ»ñÇ ÷áËѳñ³μ»ñáõÃÛáõÝÝ»ñÁ μ³ó³Ñ³ÛïáÕª í»ñçÇÝ ï³ñÇÝ»ñÇÝ ëï»ÕÍí³Í ØÇ˳ÛÇÉ Ð³Ý»ù»Ç §ê»ñ¦ ϳ٠¾Ý¹ñÛáõ лÛÇ §45 ï³ñǦ μ³í³Ï³Ý áõß³·ñ³í ³ß˳ï³ÝùÝ»ñǪ ÞÙǹïÇ ÏÇÝáÝϳñÝ ³í»ÉÇ Ã»Ã¨ ßáõÝã áõÝÇ£ ¸ñ³Ý ѳïϳå»ë Ýå³ëïáõÙ »Ý ³ÙáõëÇÝÝ»ñÇ Ñ³ÏÇñ×, ѳ½í³¹»å »ñÏËáëáõÃÛáõÝÝ»ñÁª »ñμ»ÙÝ ëñ³ÙÇï, »ñμ»Ùݪ áã ³¹»Ïí³ï áõ ³ÝѻûÃáõÃÛ³Ý Ñ³ëÝáÕ£ гë³ñ³Ï³Ï³Ý ÑÝã»ÕáõÃÛáõÝ áõÝ»óáÕ ýÇÉÙ»ñ ëï»ÕÍ³Í ÞÙǹïÁ ÙÇ ³éÇÃáí ³ë»É ¿. §²Ûë å³ïÙáõÃÛáõÝÁ ϳñáÕ ¿ ³ÙμáÕçáíÇÝ ³Ýï»ÕÇ ÉÇÝ»É Ù»ñ ųٳݳÏÇ Ñ³Ù³ñ, ³ÛÝ μáÉáñáíÇÝ ï³ñμ»ñ ¿ Ç٠ݳËáñ¹ »ñÏáõ ýÇÉÙ»ñÇó, áñáÝù Ññ³ï³å ¿ÇÝ Ëáñí³Ã³Ï³Ý ѳÝñáõÃÛ³Ý Ñ³Ù³ñ¦£ ê³Ï³ÛÝ Çñ³Ï³ÝáõÙ Ñá·»μ³Ý³Ï³Ý ¹ñ³Ù³Ý ¿É ÙÝáõÙ ¿ Ùßï³å»ë Ññ³ï³å, ѳïϳå»ë Ù³ñ¹áõÝ ¿°É ³í»ÉÇ Ù»Ïáõë³óÙ³Ý ÙÕáÕ Ù»ñ ųٳݳÏÝ»ñáõÙ£ ²´

Æñ³ÝóÇ é»ÅÇëáñ ê»Û»¹ г¹Ç ØáѳջÕÇ §²ÝÙ³ÑÁ¦ ÏÇÝá¹ñ³Ù³Ý í³í»ñ³·ñ³Ï³Ý ³ÝáÕáùáõÃÛ³Ùμ Ý»ñϳ۳óÝáõÙ ¿ ÏÛ³ÝùÇ ¹³Å³Ý »ñ¨áõÛÃÝ»ñÇó ÑÇí³Ý¹Ç ¨ ËݳÙáÕÇ Ñ³ñ³μ»ñáõÃÛáõÝÝ»ñÁ, ÇÝãå»ë ݳ¨ Ù³ñ¹áõ ÇÝùݳëå³ÝáõÃÛ³Ý ÙÕáõÙÝ»ñÁ£ Æñ ѳñ³½³ïÝ»ñÇ Ù³Ñí³Ý å³ï×³é ¹³ñÓ³Í ²Û³½Ç Ñá·»Ï³Ý áõ ýǽÇÏ³Ï³Ý ïí³Ûï³ÝùÝ»ñÝ ÇÝùݳëå³ÝáõÃÛ³Ùμ í»ñç ï³Éáõ μáÉáñ ÷áñÓ»ñÁ Ó³ËáÕíáõÙ »Ý Ãáé³Ýª ¾μñ³ÑÇÙÇ Å³Ù³Ý³ÏÇÝ Ï³ï³ñíáÕ ÙÇç³ÙïáõÃÛáõÝÝ»ñÇ ßÝáñÑÇí£ ä³Ï³ë ã»Ý ݳ¨ ¹»é³Ñ³ë Ãáé³Ý ï³é³å³ÝùÝ»ñÁ. ݳ ¹ÇÙáõÙ ¿ ³Ù»Ý ½áÑáÕáõÃÛ³Ý, áñå»ë½Ç ãÏáñóÝÇ ¨ë Ù»Ï Ñ³ñ³½³ïÇ, ûÏáõ½¨ í»ñçÇÝë áÕç ¿ ÙdzÛÝ ýǽÇϳå»ë£ ¾μñ³ÑÇÙÝ ³Ý·³Ù å³ïñ³ëï ¿ ³ÙáõëÝ³Ý³É Çñ å»ë ¹»é³Ñ³ë ܳñ·»ëÇ Ñ»ï, ÇÝãÁ, Áëï ·ÛáõÕ³óÇ³Ï³Ý Ñ³í³ï³ÉÇùÇ, ϳñáÕ ¿ ¹ñ³Ï³Ý ï»Õ³ß³ñÅ μ»ñ»É ¹Åμ³Ëï ÁÝï³ÝÇùÇ ÏÛ³ÝùáõÙ® Æñ³Ý³Ï³Ý Ù»Ïáõë³ó³Í ·ÛáõÕÇ Ý³ËݳϳÝ, Ñ»ï³Ùݳó íÇ׳ÏÁ ¨ Ëëï³ßáõÝã μݳå³ïÏ»ñÝ»ñÝ ³ë»ë ѳí»ÉÛ³É Ï»ñåáí Ïáãí³Í »Ý ëñ»Éáõ ÏÇÝáÝϳñÇ ¹ñ³Ù³ïǽÙÁ£ Æñ³Ý³Ï³Ý ÏÇ볳ݳå³ï³ÛÇÝ Çñ³Ï³ÝáõÃÛáõÝÁ, áñÁ Ù³ë³Ùμ ͳ-

Ýáà ¿ñ Ù»½ ²μ³ë ødzéáëóÙÇÇ §´³ÉÇ Ñ³ÙÁ¦ ÏÇÝáÝϳñÇó (áñÁ, Ç ¹»å, ÝáõÛÝå»ë ͳí³ÉíáõÙ ¿ ÇÝùݳëå³ÝáõÃÛ³Ý ÙáïÇíÇ ßáõñçÁ) ѳݹ»ë ¿ ·³ÉÇë áñå»ë ·áñÍáÕ ³ÝÓ£ î³ñμ»ñ ï»ë³ÝÏÛáõÝÝ»ñáí å³ñμ»ñ³μ³ñ ¿Ïñ³ÝÇÝ Ñ³ÛïÝíáÕ ÙdzÛÝ³Ï Í³éÇ å³ïÏ»ñÝ ³ë»ë ѳٳÑáõÝã ¿ ýÇÉÙáõÙ ÇßËáÕ ÙdzÛÝáõÃÛ³Ý, ¹³ï³å³ñïí³ÍáõÃÛ³Ý,

¹ÇٳϳÛáõÃÛ³Ý Ã»Ù³Ý»ñÇÝ£ ²éѳë³ñ³Ï, ýÇÉÙáõÙ »ñ¨³óáÕ áñáß ³é³ñϳݻñ ¨ »ñ¨áõÛÃÝ»ñ ÝáõÛÝå»ë é»ÅÇëáñÇ ÏáÕÙÇó û·ï³·áñÍí»É »Ý áñå»ë ¹ñ³Ù³ÛÇ ï»ëáճϳÝ, §³ÏïÇí¦ ·áñÍáÝÝ»ñ (ѳݷáõóÛ³É ÏÝáçª Ù³·ÝÇïáýáÝÇó ÑÝãáÕ Ó³ÛÝÁ, μ³ñÓÇ Ù»ç å³Ñí³Í Ýñ³ ÑÛáõëùÁ, ܳñ·»ëÇ ³ë»Õݳ·áñÍ ÏïáñÁ ¨ ³ÛÉÝ)£ ²´

ʲԲðβÚÆÜ ØðòàôÚÂ. вîàôÎ ÐÆÞ²î²ÎàôØ

§¸³ï³Ë³½Á, ¹³ï³å³ßïå³ÝÁ, ѳÛñÁ ¨ áñ¹Çݦ Æ·ÉÇϳ îñÇýáÝáí³, ´áõÉÕ³ñdz/Þí»¹Ç³/ Üǹ»éɳݹݻñ, 2015, ´áõÉÕ³ñ³óÇ é»ÅÇëáñ ¨ ëó»Ý³ñÇëï Æ·ÉÇϳ îñÇýáÝáí³ÛÇ §¸³ï³Ë³½Á, ¹³ï³å³ßïå³ÝÁ, ѳÛñÁ ¨ áñ¹Çݦ ýÇÉÙáõÙ Ý»ñϳ۳óí³Í Ù³ñ¹Ï³ÛÇÝ Ñ³ñ³μ»ñáõÃÛáõÝÝ»ñÝ áõ μ³ñÓñ³ó-

ì²ìºð²¶ð²Î²Ü ØðòàôÚÂ. àêκ ÌÆð²Ü

í³Í ËݹÇñÝ»ñÁ ÝáõÛÝù³Ý μ³ñ¹ »Ý, áñù³Ý ýÇÉÙÇ í»ñݳ·ÇñÁ: ê³ ³ÝÏ»ÕÍ ¨ ëñï³ó³í ¹ñ³Ù³ ¿ ³ÛÝ Ù³ëÇÝ, û ÇÝãå»ë ¿ ³ñ¹³ñ³¹³ïáõÃÛáõÝÁ ¹³éÝáõÙ ÇÝùݳÝå³ï³Ï: г³·³ÛÇ ïñÇμáõݳÉáõÙ ÉëíáõÙ ¿ ë»ñμ ÎñëïÇãÇ ·áñÍÁ, áí Ù»Õ³¹ñíáõÙ ¿ ³ÝÙ»Õ μáëÝdzóÇÝ»ñÇ Ïáïáñ³ÍÇ Ù»ç: ¸³ï³Ë³½Á ýñ³ÝëáõÑÇ Î³ï»ñÇÝ È³·ñ³ÝÅÝ ¿ (èáÙ³Ý ´áñ»ÝÅ»), ÇëÏ Ñ³Ï³é³Ï ÏáÕÙáõÙ Ýëï³Í ¿ Ñáɳݹ³óÇ ØÇ˳ÛÇÉ üÇÝÝÁª ¹³ï³å³ßïå³ÝÁ (ê³Ùáõ»É üñÛáÉ»ñ): ì»ñç³å»ë Ù»Õ³¹ñ³Ï³Ý ÏáÕÙÁ ¹³ï³ñ³Ý ¿ μ»ñáõÙ ÙÇ »ñÇï³ë³ñ¹Ç (Çñ åݹٳÙμª áñμ), áí ѳÛï³ñ³ñáõÙ ¿, û ÎñëïÇãÝ ³ÛÝ Ù³ñ¹Ý ¿, áí Ññ³Ù³-

Û»É ¿ñ Çñ»Ý ¨ Çñ ½áñ³ÏÇóÝ»ñÇÝ ÑáÕÇÝ Ñ³í³ë³ñ»óÝ»É ·ÛáõÕ³Ï³Ý ¹åñáóÁ: ÎñëïÇãÁ »ñ¹íáõÙ ¿, áñ ãÇ ×³Ý³ãáõÙ ³Ûë ïÕ³ÛÇÝ: üÇÝÝÁ ѳÙá½í³Í ¿, áñ ïÕ³Ý Ë³μáõÙ ¿ ¨ ³ÝÓ³Ùμ áõÕ¨áñíáõÙ ¿ ´áëÝdz: ¶ïÝ»Éáí ïÕ³ÛÇ ÍÝáÕÝ»ñÇݪ ݳ Ïï³å³ÉÇ È³·ñ³ÝÅÇÝ: úå»ñ³ïáñ è³ÉÇ è³Éã¨Ý ³ÛÝå»ë ¿ Éáõë³íáñáõÙ ¹³ï³ë»ÝÛ³ÏÁ, ³ë»ë ë³ »Ï»Õ»óÇ ¿, áñï»Õ ׳ïñ³Ï »Ý ˳Õáõ٠ѳϳ¹Çñ áõÕÕáõÃÛáõÝÝ»ñÇ »ñÏáõ ù³Ñ³Ý³: ÆëÏ ï³Ëï³ÏÇ ½ÇÝíáñÝ»ñÁ, ÇѳñÏ», ëáíáñ³Ï³Ý Ù³ñ¹ÇÏ »Ýª áíù»ñ áõÕÕ³ÏÇ ÙÇçáó »Ýª Ýå³ï³ÏÇÝ Ñ³ëÝ»Éáõ: ºí ³Û¹ Ýå³ï³ÏÁ ³ñ¹³ñ³¹³ïáõÃÛáõÝÝ ¿: ²ì

ì²ìºð²¶ð²Î²Ü ØðòàôÚÂ. ²ð̲º ÌÆð²Ü

§¸áÝÅáõ³ÝÁ¦ ºÅÇ êɳ¹ÏáíëÏÇ, Þí»¹Ç³/üÇÝɳݹdz, 2015 22-³ÙÛ³ úÉ»·Á ß³ï ɳí ѳëϳÝáõÙ ¿, áñ ³ñ¹»Ý ѳëáõÝ ïÕ³Ù³ñ¹ ¿ ¨ åÇïÇ Çñ»Ý ϳñ·ÇÝ ïÕ³ÛÇ å»ë å³ÑǪ ·ñ³íÇ Ï³Ý³Ýó, ÇÝëïÇïáõï ·Ý³, ßñç³å³ï ëï»ÕÍÇ ¨ ÙáñÁ Ñå³ñï³óÝÇ: ò³íáù, ݳ ³Û¹åÇëÇÝ ã¿: Øáñ ϳñÍÇùáí úÉ»·Á ÙdzÛݳÏ, ÍáõÛÉ, ûï³ñí³Í Ï»ñå³ñ ¿, áñ ÙÇÝ㨠ÏÛ³ÝùÇ í»ñç Çñ ËݳÙùÇ Ï³ñÇùÝ ¿ áõݻݳÉáõ: ²ÝÃÇí³Ýѳٳñ Ñá·»μáõÛÅÝ»ñÝ ³Ù»Ý¨ÇÝ É³í ã»Ý ³½¹áõÙ úÉ»·Ç ³Ù³ãÏáïáõÃÛ³Ý íñ³: Üñ³Ýó ѳϳë³Ï³Ý ËáñÑáõñ¹Ý»ñÁ ѳϳé³Ï ë»éÇ í»ñ³μ»ñÛ³É ÙÇßï ã¿, áñ û·ï³Ï³ñ »Ý. áÙ³Ýù ³ëáõÙ »Ýª ÑdzݳÉÇ ÙÇïù ¿ ѳݹÇåÙ³Ý Å³Ù³Ý³Ï ÏÝáç ÏáõñÍùÁ ë»ÕÙ»ÉÁ, ÙÛáõëÝ»ñÁ ûª Ûáõñ³ù³ÝãÛáõñ ÏÇÝ ó³ÝϳÝáõÙ ¿ å³ñ½³å»ë å³ßïå³Ýí³Í ÉÇÝ»É ¨ μ³í³Ï³Ý ·áõÙ³ñ áõÝ»Ý³É ßå³ñÇ Ñ³Ù³ñ: ²Ù»Ý³½³ñÑáõñ»ÉÇÝ ³ÛÝ μÕ³-

íáÕ Ã»ñ³å¨ïÝ ¿, áí Ñ»ÍÝáõÙ ¿ úÉ»·ÇÝ ÓÇáõ ÝÙ³Ý: ÆÝãå»±ë ϳñáÕ ¿ñ ݳ ³Ûë ³Ù»ÝÇó Ñ»ïá ³ëáóÇ³É ãÉÇÝ»É: Ê»Õ× úÉ»·Á Ñ»ï½Ñ»ï» ³í»ÉÇ ¿ ×ÝßíáõÙ ³Ûë ³ÙμáÕç áõß³¹ñáõÃÛáõÝÇó: ´³Ûó ѳÝϳñÍ »ñÏÇÝùÁ μ³óíáõÙ ¿: úÉ»·Á ÙdzÝáõÙ ¿ »ñÇï³ë³ñ¹ ϳݳÝóáí ÉÇ ÙÇ ÷áùñÇÏ, áõñ³Ë óï»ñ³ËÙμÇ, áíù»ñ Ýñ³Ý Çñ»Ýó Ã¨Ç ï³Ï »Ý ³éÝáõÙ: γٳó-ϳٳó úÉ»·Á ¹³éÝáõÙ ¿ ³í»ÉÇ Ù³ñ¹³Ùáï: »ñ¨ë ßÝáñÑÇí Ýñ³, áñ í»ï»ñ³Ý é»ÅÇëáñ ºÅÇ êɳ¹ÏáíëÏÇÝ (1945, Ȼѳëï³Ý) Çñ ϳñÇ»ñ³ÛÇ ÁÝóóùáõÙ Ýϳñ»É ¨ ³ñï³¹ñ»É ¿ ßáõñç ÑÇëáõÝ ýÇÉÙ (Ù»Í Ù³ëÁª ëáóÇ³É³Ï³Ý ËݹÇñÝ»ñÇ Ù³ëÇÝ)ª ݳ ϳñáÕ³ó»É ¿ ³ÛÝå»ë ³Ý»É, áñ Ñ»ñáëÝ»ñÁ ãϳßϳݹí»Ý Çñ Ý»ñϳÛáõÃÛáõÝÇó: úÉ»·Ç Ù³ÛñÝ áõ ï³ïÁ Ñ»Ýó Ýñ³ ³é³ç ³½³ï ùÝݳñÏáõÙ »Ý íÇ׳ÏÇ ÉñçáõÃÛáõÝÁ: î³ñûñÇÝ³Ï ¿, μ³Ûó ³Ûë ËáѳÝáó³ÛÇÝ Ï³Ý³óÇ í»×áõÙ ÙÇ³Ï Ë»É³ÙÇïÝ úÉ»·Ý ¿: ²Ûë éáõë ïÕ³Ý ß³ï ³í»ÉÇ Ñ³ëáõÝ ¨ »é³Ý¹áõÝ ¿, ù³Ý ϳñáÕ ¿ Ãí³É: ²ëïí³°Í Ýñ³ Ñ»ï: ØÜ

ì²ìºð²¶ð²Î²Ü ØðòàôÚÂ. вîàôÎ ÐÆÞ²î²ÎàôØ

§Ø³ÝáõÏÁ¦ سñÏáõë äñ³¹áõ, ´ñ³½ÇÉdz, 2016

§Ò³Ë ³÷Ç Ñ³Ý¹Çٳݦ ºí·»ÝÇ ¶ñÇ·áñ¨, èáõë³ëï³Ý, 2016 úÉ·³Ý Ñ»ñáë ¿ ÷ÝïñáõÙ ÙÇ í³í»ñ³·ñ³Ï³Ý ýÇÉÙÇ Ñ³Ù³ñ, áñÁ Ýϳñ³Ñ³ÝáõÙ ¿ Çñ ѳÛñ»ÝÇ ù³Õ³ùáõÙª ¸áÝÇ èáëïáíáõÙ£ ò³íáù, Ù³ñ¹Ï³Ýó Ù»Í Ù³ëÁ μ³í³Ï³Ý³ã³÷ ù³çáõÃÛáõÝ ãáõÝÇ Ñ³Ù³Ó³ÛÝ»Éáõ ѳٳñ. áÙ³Ýù ³ëáõÙ »Ýª ã³÷Çó Í»ñ »Ý ϳ٠ã³÷Çó »ñÇï³ë³ñ¹, ϳ٠¿É ÏݳËÁÝïñ»ÇÝ Ñ³Ï³Ñ»ñáëÁ ÉÇݻɣ ØÇÝã úÉ·³Ý ³å³ñ¹ÛáõÝ Ñ»ñáë ¿ ÷ÝïñáõÙ, óáõÛó ¿ ï³ÉÇë èáõë³ëï³ÝÇ μ³½Ù³ÃÇí ù³Õ³ù³óÇÝ»ñÇ, áñáÝù áõÕÕ³ÏÇ Ï³Ù ³ÝáõÕÕ³ÏÇ å³ïÙáõÙ »Ý Ù»½ Çñ»Ýó ÏÛ³ÝùÇ áõ ù³Õ³ùÇ Ù³ëÇÝ£ úÉ·³ÛÇ Ñ³ñóáõÙÝ»ñÝ ³ÛÝ áõà ϳñ׳ٻïñ³Å ÏÇÝáݳ˳·Í»ñÇó ¿, áñáÝù μáÉáñÁ ÙdzëÇÝ Ó¨³íáñáõÙ »Ý éáõë³Ï³Ý ù³Õ³ùÝ»ñÇ áõ ¹ñ³Ýó μݳ-

ÏÇãÝ»ñÇ Ë׳ÝϳñÁ §Ò³Ë ³÷Ç Ñ³Ý¹Çٳݦ ýÇÉÙáõÙ£ ²Ñ³ ÙÇ Ùë³í³×³éª »ñ³Åßï³Ï³Ý áõݳÏáõÃÛáõÝÝ»ñáí ûÅïí³Í ÙÇ Ù³ñ¹£ ²Ñ³ »ñÇï³ë³ñ¹ ³ÕçÇÏÝ áõݨáñ ïÕ³Ù³ñ¹áõ ¿ ÷ÝïñáõÙ, áí Çñ ÏÛ³ÝùÁ ÝáõÛÝù³Ý ϳï³ñÛ³É Ï¹³ñÓÝÇ, áñù³Ý ÇÝùÝ Çñ ï»ëùÝ ¿ ¹³ñÓñ»Éª Ù³ñ½³ëñ³ÑÇ, ëáÉÛ³ñÇÇ áõ μÅÇßÏÝ»ñÇ û·ÝáõÃÛ³Ùμ... ºñÇï³ë³ñ¹ é»ÅÇëáñÝ»ñÝ ¿É Çñ»Ýó Ñ»ñÃÇÝ óáõÛó »Ý ï³ÉÇë, û ÇÝãå»ë »Ý ÁÝϳÉáõÙ ÏÛ³ÝùÝ ³Ûë ù³Õ³ùáõÙ ª û° Çñ»Ýó ï»ë³ËóÇÏÝ»ñáí, û° é»ÅÇëáñ ºí·»ÝÇ ¶ñÇ·áñ¨Ç í³ñ³Í ѳñó³½ñáõÛóÝ»ñÇ ÙÇçáóáí£ §Ò³Ë ³÷Ç Ñ³Ý¹Çٳݦ ýÇÉÙÁ Ù»¹Ç³ ݳ˳·ÍÇ ÙÇ Ù³ëÝ ¿, áñï»Õ ù³Õ³ù³óÇÝ»ñÝ áõëáõÙݳëÇñáõÙ »Ý Çñ»Ýó ѳÛñ»ÝÇ ù³Õ³ùÝ»ñÁª ÏÇÝá³ñí»ëïÇ ·Çï³ÏÝ»ñÇ Õ»Ï³í³ñáõÃÛ³Ùμ£ ²ñ¹ÛáõÝùÁ ù³Õ³ùÇ Ñ³í³ù³Ï³Ý, ·áõÝ»Õ ¹ÇÙ³ÝϳñÝ ¿: àõ ݳ¨ ï»ëÝáõÙ »Ýù, û ÇÝãå»ë »Ý ³Ûë »ñÇï³ë³ñ¹Ý»ñÁ μ³ó³Ñ³ÛïáõÙ Çñ»Ýó ³ß˳ñÑÝ ûμÛ»ÏïÇíÇ ÙÇçáóáí£ ØÜ

§´³Ýï³Ëóáõ٠ͳÕÏáõÙ ¿ íëï³ÑáõÃÛáõÝÁ¦. §Ø³ÝáõÏÁ¦ ýÇÉÙÝ ëÏëíáõÙ ¿ μñ³½ÇɳóÇ Ñ³ÛïÝÇ ³ëïí³Í³μ³Ý èáõμ»Ù ²Éí»ëÇ Ù»çμ»ñáõÙáí: ºí سñÏáõë äñ³¹áõÇ ³Ûë í³í»ñ³·ñáõÃÛ³Ý Ù»ç ÙÇ μ³Ýáõ٠ϳñáÕ »Ýù íëï³Ñ ÉÇÝ»É. ýÇÉÙÇ ·É˳íáñ Ñ»ñáëÁª سÝáõÏ Ù³Ï³ÝáõÝáí سñÏáõ ²ñã»ñÁ, Ç í»ñçá ٳѳå³ïÅÇ Ï»ÝóñÏíÇ ÇݹáÝ»½³Ï³Ý Ëëï³·áõÛÝ é»ÅÇÙÇ μ³ÝïáõÙ: ÆÝãå»±ë ¿ å³ñ³åɳݳÛÇÝ ëåáñïáí ½μ³ÕíáÕ μñ³½ÇɳóÇ Ø³ÝáõÏÁ ·Éáñí»É ³Ûë ³Ý¹áõݹÁ, ¨ ÇÝãå»±ë ¿ ¹³ ³Ý¹ñ³¹³ñÓ»É Ýñ³ ³ß˳ñÑÁÝϳÉÙ³Ý íñ³. Ñ»Ýó ë³ ¿ ³Ûë ëñï³μáõË í³í»ñ³·ñ³Ï³Ý ýÇÉÙÇ ³é³Ýóù³ÛÇÝ Ã»Ù³Ýª ³½ÝÇí Ù³ñ¹áõ ¹ÇÙ³ÝϳñÁ, áí í׳ñáõÙ ¿ ³Ý³½ÝÇí ³ñ³ñùÝ»ñÇ Ñ³Ù³ñ: ÆÝùÁª سÝáõÏÝ ¿ ·ï»É äñ³¹áõÇÝ ¨ ³é³ç³ñÏ»É Ýϳñ³Ñ³Ý»É Çñ Ù³ëÇÝ ³Ûë í³í»ñ³·ñáõÃÛáõÝÁ: ܳ ã¿ñ áõ½áõÙ, áñ Çñ»Ý ÑÇß»Ý áñå»ë ÙÇ ïËáõñ íÇ׳ϳ·ñ³Ï³Ý ÷³ëï ϳ٠á×ÇñÇ áõ å³ïÅÇ Ùé³ÛÉ ûñÇݳÏ: öá˳ñ»ÝÝ áõ½áõÙ ¿ñ å³ïÙ»É Çñ ÏÛ³Ý-

ùÇ å³ïÙáõÃÛáõÝÁª ³ÛÝå»ë, ÇÝãå»ë ÇÝùÝ ¿ñ ³ÛÝ í»ñ³åñ»É, å³ïÙ»É μ³ÝïáõÙ Çñ ³éûñÛ³ÛÇ Ù³ëÇÝ ¨ ËóÇÏÇ ³é³ç Ñݳñ³íáñÇÝë Ëáëïáí³Ý»É Çñ Ù»Õù»ñÁ: γñáÕ ¿ Ãí³É, û ÙÇ ùÇã »ë³Ï»ÝïñáÝ, μ³Ûó ³ÝÏ»ÕÍ Ø³ÝáõÏÇ Ñ³Ù³ñ äñ³¹áõÝ Áݹ³Ù»ÝÁ í³ñÓáõ é»ÅÇëáñ ¿, ë³Ï³ÛÝ Ýñ³Ýó ѳñ³μ»ñáõÃÛáõÝÝ»ñÝ ³í»ÉÇ Ëáñ »Ý: Üñ³Ýù ½ñáõó»É »Ý ³í»ÉÇ ù³Ý 70 ųÙ, μ³½Ù³ÃÇí ݳٳÏÝ»ñ ·ñ»É, ¨ سÝáõÏÝ ³ÝѳßÇí ï»ë³·ñáõÃÛáõÝÝ»ñ ¿ ³ñ»É Çñ ÏÛ³ÝùÇ Ù³ëÇÝ ³ÛÝ μ³ÝïáõÙ, áñï»Õ Ýñ³ Ëó³ÏÇóÝ»ñÁ Ù³ñ¹³ëå³ÝÝ»ñ »Ýª ³Û¹ ÃíáõÙ §²É ø³Ç¹³ÛǦ ³Ñ³μ»ÏÇãÝ»ñ: Êó³ÏÇóÝ»ñÇ Ñ³Ù»Ù³ïª Ø³ÝáõÏÇ Ñ³Ýó³·áñÍáõÃÛáõÝÁ (1 4 Ï· ÏáϳÇÝ ¿ Ý»ñÏñ»É ²ëdz) μ³í³Ï³ÝÇÝ ³ÝÙ»Õ ¿ ÃíáõÙ, μ³Ûó Çñ³Ï³ÝáõÙ ³Ûë ËáñÇÙ³ëï í³í»ñ³·ñáõÃÛáõÝÝ ³ñ¹³ñáõÃÛ³Ý Ù³ëÇÝ ã¿: ²ÛÝ ÁݹáõÝ»Éáõ áõ ³å³ß˳ñ»Éáõ, ÏÛ³ÝùÇ ÷³ëï»ñÇÝ ³é»ñ»ëí»Éáõ áõ ¹ñ³ÝóÇó ³é³í»É³·áõÛÝë ¹³ë»ñ ù³Õ»Éáõ Ù³ëÇÝ ¿: üÇÉÙÁ ·ñ³íÇã ¿ ¹³éÝáõ٠سÝáõÏÇ å³ÛÍ³é ¿Ý»ñ·Ç³ÛÇ ßÝáñÑÇí. ³ÝáõÕÕ»ÉÇ Ñ³Ýó³·áñÍÝ»ñÇ Ñ»ï Ýñ³ ϳï³ÏÝ»ñÁ ýÇÉÙÇÝ áñáß³ÏÇ ¹ñ³Ï³Ý ÉÇóù»ñ »Ý ѳÕáñ¹áõÙ, Ñ»ïá ÇѳñÏ», ³Ý¹³éݳÉÇáñ»Ý ëï³ÝáõÙ ¿ óËÍáï »ñ³Ý·: о

GOLDEN APRICOT DAILY LAST DAY | 17 JULY | 2016

4 Ă?²Ă”Ă‚Ă Ă”Ăœºð

EVGENY GRIGORIEV Director, Across the Don

Feature Competition: Golden Apricot Ungiven (Branko Schmidt) = > % %$. ( @ ÂŤ# $Âť (# % & )

“It was a pity that we didn’t see a lot of locals visiting the films. Where are you? We need you! But we loved the atmosphere of the festival overall and the organizers absolutely do everything to make this experience special. For instance visiting the winery last night, there was a lot of room for informal communication between filmmakers and I think that’s very important for the film industry.â€? ºÏœºĂœĂ† œðÆœà ðºÏ èĂ…ÇÍåù, §Ă’³Ë ³áÇ Ă‘ÂłĂ?šĂ‡Ă™ÂłĂ?ÂŚ §Ăž³ï ³áÍåÍ, ĂĄĂą ٝĂ?Ăš Ă&#x;³ï ïÕ³óÇĂ?ùÇ ãïÍ³Ă?Ăš Ă?ÇĂ?åšĂ‡ĂŻĂĄĂľĂ™Ă?ùÇĂ?: à ¹þù Ú: Ă˜ÂťĂ?Ăš Ă“ù Ă?³ùÇÚĂ? ĂĄĂľĂ?°Ă?Ăš: ´³Ă›Ăł á³Ê³ïåĂ?Ç Ă Ă?šĂ‘ÂłĂ?åþù Ă™ĂƒĂ?åÉåùïà Ă™½ šåþù ÂťĂ?³í ĂĄĂľ Ă?³½Ă™ÂłĂ?ùüÇãĂ?ùĂ? ¿É ÂłĂ?åþÙ ÂťĂ? Ă‘Ă?³ù³íåù ³ÙĂ? ÇĂ?ĂŁÂŞ ³ÛÍ ÝùùĂ? ³Ê³Ă?Ă“Ă?³Ñ³ïåþĂ? š³ùĂ“Ă?Éåþ ѳÙ³ù: úùÇĂ?ÂłĂ? ÂłĂ?ó³Ă? ¡Ă‡Ă&#x;ù ¡Ă‡Ă?¡åùĂ?³ù³Ă? ¿ÇĂ?Ăš ¡Ă?³óĂ‰, åùïĂ• Ă?ÇĂ?å¡åùĂ?ÇãĂ?ùà åã ýåùÙ³É Ă&#x;áÙ³Ă? Ă‘ù³Ă&#x;³ÉÇ Ă‘Ă?³ù³íåùåþĂƒĂ›ĂĄĂľĂ? ĂĄĂľĂ?ó³Ă?, ÇĂ?ĂŁĂ? ÇÙ Ă?³ùĂ?ÇÚåí Ă&#x;³ï Ă?³ù¨åù Âż Ă?ÇĂ?å³ùšĂ›ĂĄĂľĂ?³ΟùåþĂƒĂ›ÂłĂ? ѳÙ³ùŒ:

SEYED HADI MOHAGHEGH Director, Immortal “This festival has a unique character, one can feel the efforts of all who work on it to reach their ideals. It would be great if this could become a kind of national passion, with everyone working together. Then, it could really be one of the best festivals in the world. You should always take things seriously, otherwise you won’t get anywhere.�

Feature Competition: Silver Apricot Immortal (Seyed Hadi Mohaghegh) = > % %$. ÂŤ ' *$Âť ( + * - -)

êºÚº¸ Ă?²¸Ă† Ă˜Ă Ă?²Ă”ºÔ èĂ…ÇÍåù, §²Ă?Ù³Ñà Œ §²Ă›ĂŤ á³Ê³ïåĂ?Ă Ă›åþù³Ă‘³ïåþĂ? Âż, Ă?³ùĂ‰Ă‡ Âż ½¡³Ă‰ ΟåÉåù Ă?ù³Ă?Ăł ç³Ă?ڝùà , åíڝù áåùÓåþÙ ÂťĂ? ³ÛĂ? Ă?³ï³ùĂ‰ĂĄĂľĂƒĂ›ÂłĂ? Ă‘³ÍóĂ?É: Ă?ù³Ă&#x;³ÉÇ Ă?ÉÇĂ?ù, ÂťĂƒÂť ³ÛÍ Ă?ÇùÚĂ? ³ÙΟåĂ•ç Ă…ĂĄĂ•åíùšĂ‡Ă? ѳٳĂ?ù ĂĄĂľ ΟåÉåùĂ? ÇùĂ?Ăł ³í³Ă?šĂ? ĂĄĂľĂ?ÂťĂ?³ÛÇĂ? á³Ê³ïåĂ?Ç Ă‘³çåĂ•ĂĄĂľĂƒĂ›ÂłĂ? ¡åùĂ?åþÙ: ²Ă›š šüÚåþĂ™ §à ÍĂ?Âť Ă?Çù³Ă?Ă?ÂŚ ÇùåÚ Ă?š³ÊĂ?³ù ÂłĂ&#x;Ă‹³ùÑÇ É³í³¡åþĂ›Ă? Ă?ÇĂ?åá³Ê³ïåĂ?ùÇó ٝĂ?Ă : äïÚ Âż ÙÇĂ&#x;ĂŻ Éåþùç íù³ΟùíÍ ³ÙĂ? ÇĂ?ãÇĂ?ÂŞ Ă‘ÂłĂ?³Ê³Ă? šüÚåþĂ™ ĂĄĂŁĂ?ãÇ ãÍ Ă‘³ÍĂ?nj:

ÂŤ / %$ &(+Âť C N < ;

Feature Competition: Special Mention The Prosecutor, the Defender, the Father and His Son (Iglika Trionova)

Documentay Competition: Golden Apricot Across the Don (Evgeny Grigoriev) K( * %$. ( @ 0 3 6 * ' Âť (7;< = < )

Documentay Competition: Silver Apricot Don Juan (Jerzy Sladkowski) K( * %$. @ $( @ ÂŤ $Âť (7 % ; % )

"Knight of Culture" Award Kiril Razlogov

= > % %$. + Q / + ÂŤ 3 $, > ? > $, * $ Âť ( < % ! ; )

Documentay Competition: Special Mention Curumim (Marcos Prado) K( * %$. + Q / + ÂŤ %$Âť ( % @ )

GOLDEN APRICOT DAILY 2016 | 17 JULY | LAST DAY

WINNERS 5 BENJAMIN HUGUET Director, The Archipelago

Armenian Panorama, Feature: Golden Apricot Good Morning (Anna Arevshatyan)

“I went to The Club for the Midnight Wrap-Up, and I was so exited; it was kind of a secret society of documentary filmmakers in this smoky atmosphere. I’ve never seen a festival where filmmakers gather at night, really talking about film. I felt like a member of a special brotherhood there.�

% Q % & + ( ` \ > % . ( @ ÂŤ# Âť ( ? )

´ºĂœĂ„²Ă˜ÂşĂœ Ăšà ôœº èĂ…ÇÍåù, §²ùĂ&#x;ÇüÉ³¡Œ

Armenian Panorama, Documentary: Golden Apricot Stony Paths (Arnaud Khayadjanian) % Q % & + ( . ( @ ` K( * ÂŤO Q '6 Âť ( V W )

§ºÍ ¡Ă?³óĂ‰ ¿Ç The ClubÂŞ Ă?Í¡Ă‡Ă&#x;ù³Ă›Ă‡Ă? ĂšĂ?Ă?³ùĂ?Ù³Ă?Ă? ĂĄĂľ Ă&#x;³ï ïü³íåùí³Ă? ¿Ç: ²ÍÍ í³íù³¡ù³Ă?ÂłĂ? Ă?ÇĂ?å¡åùĂ?ÇãĂ?ùÇ ¡³Ă•ĂŻĂ?Ç Ă™Ă‡ĂĄĂľĂƒĂ›ĂĄĂľĂ? ÉÇĂ?ùª ³Ûš Ă?Ă‹ĂĄĂ­ ÉÇ ÙÇç³í³Ă›ùåþĂ™: ºÍ ùϝÚ ĂŁÂťĂ™ ïÍĂ‰ ÙÇ á³Ê³ïåĂ?, åùïĂ• Ă?ÇĂ?å¡åùĂ?ÇãĂ?ùà Ă‘ÂłĂ?šĂ‡ĂĽÂťĂ? ¡Ă‡Ă&#x;ùĂ? ĂĄĂľ ÇÍĂ?³üÍ Ă?ÇĂ?åÛÇ Ă™³ÍÇĂ? Ă‹ĂĄĂŤÂťĂ?: ²Ă›Ă?ïÕ Í ÇĂ?Ă“ ÇĂ?ĂŁ-ĂĄĂą ¡³Ă•ĂŻĂ?Ç ÙÇ³Ο³Ă?ĂĄĂľĂƒĂ›ÂłĂ? ÂłĂ?š³Ă™ ¿Ç ½¡åþٌ:

Festival President's Prize About Love (Anna Melikyan) 5 ^ + \ * Q ÂŤ ' Âť ( )

Armenian Panorama, Feature: Special Mention 28:94 Local Time (David Safarian) % Q % & + ( ` \ > % . + Q / + ÂŤ28:94 - % ' % ;Âť ( ; ! )

FIPRESCI Award Ungiven (Branko Schmidt) FIPRESCI [% ÂŤ# $Âť (# % & ) Ecumenical Prize Immortal by Seyed Hadi Mohaghegh Z . [% ÂŤ ' *$Âť ( +

* - -) Hrant Matevossian Award 28:94 Local Time (David Safarian) ÂŤ + $' % Âť ÂŤ28:94 - % ' % ;Âť ( ; ! )

EMILIANO DANTE Director, Habitat – Personal Notes “I was totally surprised to see how big this festival actually is, and loved meeting other guest with a bottle of vodka until sunrise. Visiting this festival gave me the opportunity to see films I wouldn’t be able to see at home. Vitaly Mansky’s documentary Under the Sun about North Korea blew me away; it’s such an intelligent, one-of-a-kind film!â€? žĂ˜Ă†ĂˆĂ†²Ăœà ¸²ĂœĂŽÂş èĂ…ÇÍåù, §´Ă?ÂłĂ?³í³Ă›Ăą. ÂłĂ?Ă“Ă?ÂłĂ?ÂłĂ? ¡ù³ÊåþĂ™Ă?ùŒ §ºÍ ³üĂ&#x;óǪ ïÍĂ?Éåí, ĂƒÂť Çù³Ă?ÂłĂ?åþÙ ÇĂ?ĂŁ ٝĂ?ÂłĂ?³í³Ă‰ Âż á³Ê³ïåĂ?Ă , ĂĄĂľ ÇĂ?Ă“ šåþù ÂťĂ?³í ÙÛåþÍ Ă‘Ă›åþùùÇ Ă‘ï ÙÇ Ă&#x;ÇĂ&#x; ÝÕÇåí Ă?ÂłĂ?ĂĄĂƒÂłĂ?³Éà ª ÙÇĂ?㨠³ù¨³Ă?³¡: ܳʳïåĂ?ÇĂ? ÇÙ Ă™³ÍĂ?ÂłĂ?óåþĂƒĂ›ĂĄĂľĂ?Ă? ÇĂ?Ă“ Ă‘Ă?³ù³íåùåþĂƒĂ›ĂĄĂľĂ? ïíó šĂ‡ĂŻÂťĂ‰ĂĄĂľ ýÇÉٝù, åùåĂ?Ăš Í ã¿Ç ïÍĂ?Ç ÇÙ ѳÛùĂ?ÇÚåþĂ™: ÏÇï³ÉÇ Ă˜ÂłĂ?ĂŤĂ?ĂĄĂľ §²ù¨Ă‡ Ă&#x;ĂĄĂ•ùÇ ĂŻÂłĂ?ÂŚ í³íù³¡ù³Ă?ÂłĂ? ýÇÉÙà Ă?Ă›åþÍÇͳÛÇĂ? ĂŽåù³Ă›Ă‡ Ă™³ÍÇĂ? ĂłĂ?óó ÇĂ?Ă“. Ă&#x;³ï ËåùÇÙ³Íï ĂĄĂľ Ă›åþùÝùÇĂ?ÂłĂ? ýÇÉÙ ¿Œ:

Armenian Panorama, Short: Golden Apricot Leopard’s Silence (Viken Armenian) % Q % & + ( . ( @ ` C Q 3 - % Z [ $ (\ < )

GOLDEN APRICOT DAILY LAST DAY | 17 JULY | 2016

6 WINNING FILMS DOCUMENTARY COMPETITION GOLDEN APRICOT

FEATURE COMPETITION GOLDEN APRICOT, FIPRESCI JURY PRIZE

Across the Don

Ungiven

Evgeny Grigoriev, Russia, 2016

Branko Schmidt, Croatia, 2015

Olga is looking for a hero for a documentary she’s shooting in her Russian home town Rostov-on-Don. Unfortunately, most people just don’t feel courageous enough. Some tell her that they’re too old, too young, or they’d rather be an anti-hero. But while she doesn’t find her hero, Olga does show a range of Russian citizens that directly or indirectly tell us something about their life and town. Olga’s quest is one of eight short film projects that together form a mosaic of a Russian city and its inhabitants in Across the Don. There’s a butcher with musical skills and a man who makes gold out of waste. There’s a young girl searching for a well-to-do man who can make her life as perfect as she looks – with a little help from the gym, the tanning salon and her doctor. There’s a girl who never stops running, a fireman with fiery dancing skills and a young man asking his neighbours about the block they all live in. The young filmmakers themselves also display the way they perceive their life in this city, with their cameras, but also during interviews with director Evgeny Grigoriev. And he’s not afraid to turn the heat on them about their film plans and the difficulties they might have in life. In between

Ungiven, the most recent film by acclaimed Croatian director Branko Schmidt, joins the company of a number of recent films to reflect on the complicated relationships between elderly spouses. But this Bosnian elderly couple living a hard life in post-war Croatia are still making efforts to improve the sunset of their lives. They give meaning to their dreary existence by renovating their barn, herding cows and planting fruit trees. But the psychological, mental and physical problems that are worsening with age constantly complicate the couple’s coexistence. In interviews, Schmidt has questioned whether this story is appropriate for our times, since it is very different from his two previous films which focused on pressing issues in Croatian society. But actually, these psychological dramas always remain urgent, especially in our times which can drive a person to isolation. Actors Ivo Gregurević and Nada Đurevska carry the narrative and Ungiven benefits greatly from their acting, which is quite convincing. The relations between the constantly grumbling husband and his demure wife, who seem intolerant towards each other at first, take on new meaning as we see

the shorts and the interviews, which are staged in a kind of casting setting, drone images show the storytellers with their cameras, while also giving a literally broader view on the city. Across the Don is part of a cross-media project in which citizens explore their home towns under guidance of film professionals. The result is a collective, colourful portrait of a city and a closer look at how these young storytellers discover their world through a lens. MN

EVGENY GRIGORIEV “For me, our participants were the real heroes. Their interviews made the stories they tell more layered and richer. They had to be honest, so we had to push them a little. It was crucial for them to open up in front of my camera; after all, the heroes they were filming would have to do the same. We were observing the observers, so to say.”

FEATURE COMPETITION SILVER APRICOT, ECUMENICAL JURY PRIZE

Immortal Seyed Hadi Mohaghegh, Iran, 2015

Immortal expores some of the cruelest phenomena of life – the relations between an ill man and his caregiver, as well as people’s suicidal tendencies – with a documentary’s rigor. Ayaz feels guilty for the death of his family and is constantly searching for ways to end his mental and physical suffering. But again and again, his suicide attempts are thwarted by his grandson Ebrahim’s timely interventions. Ebrahim is suffering too – he sacrifices all he can, afraid to lose another relative, even though Ayaz is alive only physically. Ebrahim is even ready to marry Narges, a teenager like him, believing that the marriage will bring some positivity to their miserable family life. The primal environment of an isolated Iranian village, far from the developed world, and the rigorous natural panoramas surrounding it only emphasize the tragedy of the film. The Iranian semi-desert reality, which might be familiar to some from Abbas Kiarostami’s Taste of Cherry (which also explores the subject of suicide), becomes a character in itself. The image of a lone tree which is repeatedly brought on screen truly reflects the themes of solitude, fate and resistance. There are many other objects which are used by the director as active agents in the drama: the deceased wife’s voice coming from a walkman; a strand of her hair kept in a pillow; Narges’ needlework. Immortal depicts the habits and lifestyle of the people living in the mountains. The detailed wedding scene of Ebrahim and Narges, the healing rituals, the final rites for the dying man: they all add authenticity and credibility. AB

original manifestations of devotion and affection. The psychological depth of these moments reaches its peak during the emotional ending of the film. Compared to Amour by Michael Haneke or 45 Years by Andrew Haigh, two remarkable recent films which also explored the relationships between elderly couples, Schmidt’s film has a lighter feel. This goes especially for the dialogues between the spouses, which are brief, sometimes witty, and sometimes inadequate and absurd. AB

BRANKO SCHMIDT “The elderly are not filmed so often, perhaps because that would not be as marketable as those films with adult characters having sex or something sensational like that. Also, it’s very difficult to work with elderly actors, like it is with children! If you make a wrong choice, nobody can help you – not even God.”

DOCUMENTARY COMPETITION SILVER APRICOT

Don Juan

Jerzy Sladkowski, Sweden/Finland, 2015 Of course 22-year-old Oleg understands very well that he is supposed to act like an adult, like a cool bloke who attracts ladies, goes to college, makes friends and does his mother proud. Alas: he isn’t like that. His mom thinks he' s a lonely, lazy, autistic figure that will have to depend on her care for the rest of his life. She’s even more desperate than he is. A never-ending series of therapists are not making things easier for shy Oleg. Their conflicting messages about the opposite sex are no help at all: some say it’s a good idea to just grab a woman’s breast when you meet them, others stress that every woman just wants to be protected and receive just enough money for make-up. The screaming therapist who rides Oleg as if he’s a horse tops it all. How could he not end up being socially paralyzed? There’s no looking away in this tragicomic documentary. Scene after scene poor Oleg is being suffocated by all this attention. Then, the sky brightens. Oleg joins a small theatre group full of cheerful young ladies who take him under their wings. Slowly, lovable Oleg comes out of his shell. Probably due to the fact that veteran filmmaker Jerzy Sladkowski produced and directed over

fifty films during his career – usually about social issues – he was able to make all the protagonist feel comfortable enough with him around: no one ever holds back in his presence, no matter the uneasiness of the situation. Olegs mother and grandmother have no qualms about discuss-

ing Olegs burdensome situation right in front of him. Funnily enough, Oleg appears to be the voice of reason during this catfight around the small kitchen table. In a way, this Russian kid is keener and more mature than one might think. Good for him! MN

DOCUMENTARY COMPETITION SPECIAL MENTION

Curumim Marcos Prado, Brazil, 2016 “Cages are where certainty thrives”, states a quote by influential Brazilian theologian Rubem Alves at the beginning of Curumim. And there is one certainty indeed in this documentary by Marcos Prado: that our title character Marco “Curumim” Archer will eventually be executed by a firing squad in an Indonesian maximum-security prison. How Brazilian paraglider Curumim crashed into this abyss and how it has influenced his views on life is the main focus of this heartfelt documentary, a portrait of an honest man who is paying the price for the dishonest things he has done in life. It was Curumim who reached out to Prado to collaborate on a documentary. He didn’t want to be remembered as a macabre statistic or a gruesome

example of crime and punishment. Instead, he wanted to tell his story as he experienced it, share his daily life in prison and ultimately confess his sins on camera. It may seem as if Prado was just a direc-

tor for hire for the somewhat egocentric yet sincere Curumim, but the relationship between filmmaker and subject goes deeper. They talked for more than seventy hours, they wrote many letters and Curumim recorded countless videos of his life in a prison cell he shared with murderers and Al-Qaeda terrorists, among others. Compared to his cellmates, Curumim’s crime (smuggling 30 pounds of cocaine into Asia) seems quite petty, but ultimately this profound documentary is not about justice. It’s about acceptance and repentance, about facing the facts of life and making the most of what’s left of it. What makes this documentary stand out is Curumim’s radiant energy: seeing him goof around with hardened criminals even provides the film some feel-good moments before things inevitably get more melancholy. As Alvast already stated, Curumim’s cage eventually only stands for the ultimate certainty: that all things must pass. HE

GOLDEN APRICOT DAILY 2016 | 17 JULY | LAST DAY

WINNING FILMS & NEWS 7

FEATURE COMPETITION SPECIAL MENTION

The Prosecutor, the Defender, the Father and His Son Iglika Triffonova, Bulgaria/Sweden/The Netherlands, 2015 The human relations and the issues raised in Bulgarian director and screenwriter Iglika Triffonova’s The Prosecutor, the Defender, the Father and His Son are as complex as the film’s title. The result is a sincere and heartfelt drama about justice becoming an end in and of itself. At the The Hague tribunal for Yugoslavia, the trial of Milorad Krstić is underway. This Serbian man is accused of massacring innocent Bosnians in the chaos of the Bosnian War. The film centers on the power play between French prosecutor Catherine Lagrange (Romane Bohringer) and Dutch defender Mikhail Finn (Samuel Fröler). In closeups, the wit-

nesses tell the court about the rape and killings they saw. Their voices, while trembling, are heard clearly through microphones. But the judges, assertive and insistent, keep respectfully interrupting them, asking for details and clarifications as we hear their off-camera voices creeping “into the frame” from dusty headphones. Finally, the prosecution brings a young man to the stand, an orphan as he says, who identifies Krstić as the man who ordered him and his fellow soldiers to burn down a village school. Krstić swears he doesn’t know this boy. Finn undertakes a journey to Bosnia, as he’s sure that the boy is lying. Finding his parents will help him crush Legrange’s case. They both believe in the high power of law. Yet there is something perverse in this whole trial. For

ARMENIAN PANORAMA: FEATURE GOLDEN APRICOT

Good Morning Anna Arevshatyan, Armenia, 2016 There are not many social drama’s in contemporary Armenian cinema. It seems such films are not wanted by audiences, nor producers, who prefer making more entertaining fare. But with her debut feature Good Morning, Anna Arevshatyan has constructed a social drama according to the rules of the genre, even using non-professional actors in

leading roles. Good Morning centers on TV journalist Arshak who loses his job because of his principles. After this, social problems and trouble within his young family lead Arshak to a deadlock, thinking that the only way out is to leave the country. The journey that Arshak and his family undertake to his parents’ house to discuss his decision becomes a kind of road movie, where the evelopment of the plot is less important than coming face to face with childhood memories and the past. RM

Lagrange upholding justice is not just a job, but something akin to a religious experience. Finn, a sly and cunning man, most certainly knows that his client is guilty of something, but it appears the game of legal proceedings excites him, as if he’s rolling

ARMENIAN PANORAMA: DOC GOLDEN APRICOT

Stony Paths Arnaud Khayadjanian, France, 2015 The documentary films included in this year’s Armenian Panorama section explored individual memory and experience. Directors of Armenian descent have created a string of human destinies, where memory and emotion at times become an unbearable burden, uncovering a whole universe in their personal experiences.

ARMENIAN PANORAMA: FEATURE SPECIAL MENTION

Leopard’s Silence

David Safarian, Armenia/Germany/The Netherlands, 2016

Viken Armenian, France, 2015

The director shows the difficulty of being an artist in the 1990s: canvasses won’t dry up, there’s no electricity to print photos, and the circus that houses the puppet show is constantly under threat of clos-

A SAFE PAIR OF HANDS For more than a week, the whole of Yerevan has been looking at one pair of hands. Sticking out from a red and a yellow sleeve, they sign the numbers one and three, gracing the poster of the 13th edition of GAIFF. So who is the man behind that famous pair of hands? Give a hand to Garegin Martirosyan, art director of Yerevan-based design studio The Sign. Garegin and his small team are old hands at the festival, having designed the Golden Apricot’s posters for the last twelve years. His studio has all kinds of clients, including banks, casinos and beer brands, but he is especially fond of working for this festival. “It’s very interesting work, because it’s not the usual commercial client. It’s a creative festival, so we try to make something different and unique every year.” We have to hand it to them: this year’s poster concept is simple yet effective. “When I thought of the idea I needed a model”, Garegin explains. “But in the end I could not find a hand model in time.” That’s why the whole of Yerevan is now dressed in the designer’s own show of hands.

Arnaud Khayadjanian, the director of the French film Stony Paths, explores this territory by tracking the trail of a single picture and being open to hear out all possible and alleged witnesses. Thorough conversations are held over a cup of tea, new stories about Armenians’ living in Anatolia are being revealed (or not revealed), and the rhythm of this expectation conveys the essence of this quest rather well. Eventually, if you seek, both you and the people you talk to will change. NH

ARMENIAN PANORAMA: SHORT GOLDEN APRICOT

28:94 Local Time After twenty years of filming, director David Safarian finally finished his film 28:94 Local Time. The long gestation period was mostly due to the director’s financial limitations. The film was presented at the film market of the prestigious Berlinale, where it attracted the attention of European distributors: screening rights were bought for Belgium, The Netherlands and Luxemburg and it has already found a place in the Netherlands film museum. 28:94 Local Time takes place in the 1990s, during harsh times in Armenia which are unveiled through the relationship between a man and a woman. Both are artists: one’s a puppet maker, and the other works through bad memories in photography. This married couple finds itself in harsh conditions, where problems and conflicts are many. Sadly, the more severe their problems are, the better their works become.

dice at a casino. Cinematographer Rali Raltschev lights the court room as if it’s a cathedral where two priests of opposing religions are playing chess. And naturally, ordinary people are the pawns, just means to an end – upholding the law. AV

ing. But as one of the heroes, the clown Karo says: “People need a place to have fun. Kids have to grow up happy, otherwise how are they going to grow strong?” AH

RE-EVALUATING ARMENIAN CINEMA The 13th GAIFF was dedicated to the 25th anniversary of Armenia’s independence. A round-table on the history of Armenian cinema and it's contemporary problems was held yesterday, with many Armenian, Russian and Ukrainian film critics, directors, journalists presnt.

Despite this sudden fame, Garegin is not too fussed about seeing his hands pop up in every corner of Yerevan. “I don’t think about it that much. It’s not the first time that I used my hands on a poster; some years ago I used them for another client. What matters to me is the design itself, not the fact that I’m on the poster.” HE

Born in Beirut, Viken Armenian, the director of Leopard’s Silence, has lived in Paris since 1989. He studied law and philosophy before becoming a director’s assistant, participating in the creation of documentary films. In 2006 he made an experimental film called Happy View, which delved into subconscious memories of the Lebanese civil war. Leopard’s Silence is a medium-length feature made in 2015, which had its premiere at the Vila de Conde International Film Festival. After a party where Mario dances all night as if in a trance, his friends Amin and Victor find him dead in a bed. In the house where they live with friends, located somewhere on the edge of the world, everything starts to fade into darkness and anything can happen. That’s when the leopard-man appears on the horizon. DK

For the past week, audiences could watch 16 Armenian fiction and documentary films made in the last 25 years in the Armenian Cinema: Modern Times program. “We tried to pick the films that most strongly reflect our 25-year journey”, GAIFF’s creative director Susanna Harutyunyan said. “This program is very important because we all have questions and reflections on this part of our history.” Project coordinator Artsvi Backchinyan noted that picking the films of the program was no easy task. “Some criticize GAIFF for not paying enough attention to Armenian cinema, howev-

er that is false. There were many Armenian films in this year’s program, which gave opportunity to explore the whole Armenian cinema field – from Beknazaryan’s Zare (1926) to young modern directors.” Robert Matosyan, the editor-in-chief of film magazine Kino+ emphasized the importance of establishing film schools, while film director Mikayel Dovlatyan expressed his joy about the fact that Armenia has youth with an interesting way of thinking, and they’re making films without being fearful of what others might say. Siranuysh Galstyan, also a coordinator for the festival, emphasized that documentary films have reflected the past decades in Armenia far better than fiction films. She expressed her regret that many people are unaware of the Armenian films being made, even going so far as to say that Armenian cinema is dead: “Often the awareness of an Armenian film ends with its premiere, where only the friends, relatives and colleagues of the crew are present.” RG

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.