GOLDEN APRICOT DAILY | DAY 1&2 | 13/14 JULY | 2014
2 Íñ³·Çñ/program ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ×/ Moscow Cinema, Blue Hall
ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ×/ Moscow Cinema, Blue Hall
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ×/ Moscow Cinema, Red Hall 10:00
12:30
Աստղ/Star Աննա Մելիքյան/ Anna Melikyan Rus/128’/AP
Սպիտակ աստված/White God Կոռնել Մունդրուցո/ Kornél Mundruczó Hun-Deu-Swe/119’/FC
Lang.: Russian Subt.: English
Land.: Hungarian Subt.: English
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ×/ Moscow Cinema, Red Hall
10:00 Կույր ժամադրություններ/ Blind Dates Լևան Կոգուաշվիլի/Levan Koguashvili Geo/98’/FC
Lang.: Georgian Subt.: English
12:00
12:30 Կատատոնիա/Catatonia Կարեն Խոսրովյան/Karen Khosrovyan Arm/12’/AP
Lang.: Armenian Subt.: English Փուշը/The Thorn Սուրեն Բաբայան/Suren Babayan Arm/68’/AP
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00, 17:30 Արևմտյան Բեռլին/ West Berlin Դրագան ֆոն Պետրովիչ, Լենա Մյուլեր/ Dragan von Petrovic, Lena Müller Deu-Srb/87’/DC
Lang.: Serbian/English/German Subt.: English 12:00 Գրատախտակ/Blackboard Իվ Յերսեն/Yves Yersin Che/117’/DC
Lang.: French Subt.: English
Lang.: Armenian Subt.: English
Կաթնեղբայր/Milky Brother Վահրամ Մխիթարյան/Vahram Mkhitaryan, Pol-Arm/30’/AP
Lang.: Armenian Subt.: English
Մենք ուղղակի ուզում էինք երջանիկ լինել/We Just Wanted to be Happy Սեգ Կիրակոսյան/Seg Kirakosyan Arm/56’/AP
Lang.: Armenian Subt.: English
Հոգաբարձուներ/Caregivers Վիկտորյա Ալեքսանյան/ Viktorya Aleksanyan, Arm/20’/AP
Lang.: Armenian Subt.: English 17:00 Նռան գույնը/The Color of Pomegranates Սերգեյ Փարաջանով/Sergei Parajanov Arm/74’/OF, T
12:00 Ես նա չեմ/I’m not him Թայֆուն Փիրսելիմողլու/Tayfun Pirselimoğlu Tur-Grc-Deu-Fra/124’/FC
Lang.: Turkish Subt.: English 14:30 Տանը/At Home Աթանասիոս Կարանիկոլաս/Athanasios Karanikolas Deu-Grc/103’/FC
Lang.: Greek Subt.: English and Armenian 16:30
11:30, 16:00 Քաղաքների շշունջները/ Whispers of the Cities Քասիմ Աբիդ/Kasim Abid Irq-UK/62’/DC
Lang.: Arabic Subt.: English
Կանայք և ուղևորը/The Women and the Passenger Պատրիսիա Կորրեա, Վալենտինա Մաք-Ֆերսոն/ Patricia Correa, Valentina Mac‑Pherson Chl/45’/DC
Lang.: Spanish Subt.: English 14:00 Երկու աշխարհից՝ ի հիշատակ/From Two Worlds as a Keepsake Նիկա Շեկ/ Nika Shek, Arm/90’/FAB
Lang.: Russian/Armenian Subt.: English and Armenian 17:30 Գրատախտակ/Blackboard Իվ Յերսեն/Yves Yersin Che/117’/DC
Lang.: French Subt.: English and Armenian
ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema 11:00 Անթերիները/The Impeccables Ռամին Մաթին/ Ramin Martin Tur/95’/FAB
Lang.: Turkish Subt.: English 13:00 Սիրիր ինձ/Love Me Մարինա Էր Գորբաչ, Մեհմեթ Բահադիր Էր/Maryna Er Gorbach, Mehmet Bahadir Er Ukr-Tur/90’/FAB
Lang.: Ukrainian/Turkish/ Russian/English Subt.: English
Lang.: Korean Subt.: English and Armenian 15:30 Եղբայրներ. Վերջին խոստովանությունը/ Brothers. The Final Confession Վիկտորյա Տրոֆիմենկո/Victoria Trofimenko Ukr/124’/UPC, FAB
Lang.: Ukrainian Subt.: English and Armenian 18:00 Գիրքը/The Book Վիտալի Մանսկի/Vitali Mansky Rus/86’/YP
No Dialogues Հրավերով/Invitations Only
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1
14:00 Դատարկ տունը/3-Iron Կիդուկ Կիմ/Ki-duk Kim Kor/95’/R
Զորանը՝ իմ ապուշ ազգականը/Zoran, My Nephew the Idiot Մատտեո Օլեոտտո/Matteo Oleotto Ita-Svn/106’/FC
Lang.: Italian Subt.: English and Armenian 18:30 Ցեղը/The Tribe Միրոսլավ Սլաբոշպիցկի/Myroslav Slaboshpytskiy Ukr/132’/FC
Sing Language 21:00 Հարություն/Resurrection Ալեն Մանուկյան/Alen Manukyan, Arm/12’/AP
Lang.: Armenian Subt.: English
Հոգաբարձուներ/Caregivers Վիկտորյա Ալեքսանյան/ Viktorya Aleksanyan Arm/20’/AP
Lang.: Armenian/Russian/ English/Spanish/Turkish Subt.: English and Armenian 20:00 Պիետա/Pieta Կի-դուկ Կիմ/ Ki-duk Kim Kor/104’/R
Lang.: Korean Subt.: English and Armenian 22:00 Կատատոնիա/Catatonia Կարեն Խոսրովյան/Karen Khosrovyan Arm/12’/AP
Lang.: Armenian Subt.: English
Ռոմանտիկները/ Romanticists Արեգ Ազատյան, Շողեր Թադևոսյան/Areg Azatyan, Shogher Tadevosyan Arm/95’/AP
14:30 Գույներ/The Colors Վիորիկա Մեշինը/Viorica Meșină Mda/65’/FAB
Lang.: Romanian Subt.: English and Armenian 16:00 Բաբելոն 13/Babylon 13 Ukr/60’/FAB
Lang.: Ukrainian Subt.: English and Armenian 19:30 Կանայք և ուղևորը/The Women and the Passenger Պատրիսիա Կորրեա, Վալենտինա Մաք-Ֆերսոն/Patricia Correa, Valentina Mac-Pherson Chl/45’/DC
Lang.: Spanish Subt.: English and Armenian 21:00 Կյանքը նորից սկսել. չհորինված պատմություն/ To start life anew. А true story Իվան Տվերդովսկի/Ivan Tverdovskiy USA-Rus/97’/AP
Lang.: Russian Subt.: English
ºñև³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens
No Dialogues
Մոռացված նախնիների ստվերները/Shadows of Forgotten Ancestors Սերգեյ Փարաջանով/Sergei Parajanov Ukr/96’/T, UPC
Lang.: Ukrainian Subt.: English and Armenian
ØáëÏí³ ÏÇÝáóïñáÝ, ²Ù³é³ÛÇÝ ¹³ÑÉÇ×/ Moscow Cinema, Summer Hall 21:00 Նռան գույնը/The Color of Pomegranates Սերգեյ Փարաջանով/Sergei Parajanov Arm/74’/T
No Dialogues 23:00 Սիրո բիֆշտեքսներ/Love Steaks Յակոբ Լաս/Jakob Lass Deu/90’/NGC
Lang.: German Subt.: English and Armenian
14:00 Արտաժամ/Overtime Գյուրջան Քելթեք/Gürcan Keltek, Tur/20’/FoCa
21:00
Lang.: Georgian Subt.: English 16:00 Անտղամարդ աշխարհ/A World Without Men Մոնիկա Պետկևիչյուտե/Monika Petkeviciute Arm/19’/IE
Աֆղանական աստղ/Afghan Star Հավանա Մարքինգ/ Havana Marking, UK/88’/CSC
Lang.: Bulgarian Subt.: English
Lang.: English Subt.: Armenian
Դասալիքը/Deserted Յոավ Հորնունգ/Yoav Hornung Isr/25’/SC
Lang.: Hebrew Subt.: English
Դինոլա/Dinola Մարիամ Խաչվանի/Mariam Khatchvani Geo/15’/SC
Lang.: Georgian Subt.: English 12:00, 20:00 Թեև գիտեմ, որ գետը չորացել է/Though I Know the River is Dry Օմար Ռոբերտ Համիլթոն/Omar Robert Hamilton Pal-Egy-Qat-UK/20’/SC
Անդրիեշ/Andriesh Սերգեյ Փարաջանով/Sergei Parajanov Ukr/62’/T
Lang.: Russian Subt.: English
Lang.: Georgian Subt.: English
Lang.: Chinese Subt.: English and Armenian
Հայելու մեջ պատկերվողն ավելի մոտ է, քան թվում է/Objects in the Mirror are Closer Then They Appear Ալեքսանդրու Կապոտոյու/ Alexandru Capatoiu Rom/10’/SC
Lang.: Romanian Subt.: English 16:00 Արտաժամ/Overtime Գյուրջան Քելթեք/Gürcan Keltek Tur/20’/FoCa Մի ձիու երկու կողմը/ Two Sides of One Horse Տատյանա Սոբոլևա/Tatyana Soboleva Rus/35’/FoCa
22:00 Տերևաթափ/Falling Leaves Օթար Իոսելիանի/Otar Iosseliani, Geo/96’/R
Lang.: Georgian/French/Russian Subt.: English and Armenian
Թումո ստեղծարար տեխնոլոգիաների կենտրոն/ Tumo Center For Creative Technologies
Lang.: Russian Subt.: English
13:30 Զվենիգորա/Zvenigora Ալեքսանդր Դովժենկո/ Aleksandr Dovzhenko Ukr/67’/UPC
Lang.: Russian Subt.: English
Սիրո բիֆշտեքսներ/Love Steaks Յակոբ Լաս/Jakob Lass Deu/90’/NGC
Կիևյան որմնանկարներ/ Kyiv Frescoes Սերգեյ Փարաջանով/Sergei Parajanov Ukr/13’/T
Lang.: German Subt.: English and Armenian
No Dialogues
Lang.: Russian Subt.: English
No Dialogues
17:30 Հանդիպում Ռիչարդ Փենյայի հետ/Meeting with Richard Peña
Նռան գույնը/The Color of Pomegranates Սերգեյ Փարաջանով/Sergei Parajanov Arm/74’/T
15:30 Հող/Earth Ալեքսանդր Դովժենկո/Aleksandr Dovzhenko, Ukr/84’/UPC
GOLDEN APRICOT DAILY ¶É˳íáñ ËÙµ³·Çñ` Úáëà ´ñá»ñ»Ý
Editor-in-chief: Joost Broeren
úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý
Armenian coordinator: Artur Vardikyan
Lang.: Armenian Subt.: English
êñµ³·ñÇãÝ»ñª Մարինե Ղարախանյան, Ռիմա Աղեկյան
Lang.: English
No Dialogues
20:00 Գրպանահատը/Pickpocket Ցզյա Չժանկե/Jia Zhangke Chn/105’/R
Lang.: Armenian Subt.: English
18:00 Ցեղասպանության որբերը/ Orphans of the Genocide Պարետ Մարոնյան/Bared Maronian, USA/91’/IE
18:00 Դումկա/Dumka Սերգեյ Փարաջանով/Sergei Parajanov Ukr/25’/T
Պայթուցիչը/Detonator Բեսո Սոլոմանաշվիլի/Beso Solomanashvili Geo/11’/SC
лÕÇݳÏÝ»ñ` êÇñ³ÝáõÛß ¶³ÉëïÛ³Ý, ȨáÝ ¶ñÇ·áñÛ³Ý, سñdz ÂáùÙ³çÛ³Ý, êáõë³Ýݳ гñáõÃÛáõÝÛ³Ý, ܳݻ ê³Ñ³ÏÛ³Ý, ê»ñ·»Û îñÇÙµ³ã
Նամակ մորը/A Letter to Mother Աշոտ Սարգսյան/ Ashot Sargsyan, Arm/36’/IE
15:00 Վարպետության դաս Քրիստիան Բերգերի հետ/ Master Class with Christian Berger
Lang.: Arabic Subt.: English
22:00
Lang.: Turkish Subt.: English
Անգլերենի ուսուցիչը/ The English Teacher Նինո Օրջոնիկիձե, Վանո Արսենիշվիլի/Nino Orjonikidze, Vano Arsenishvili Geo/56’FoCa
13:00
Պատիվ/Pride Պավել Վեսնակով/Pavel Vesnakov Bgr-Deu/30’/SC
Կրթամշակութային հիմնադրամ/ TheaterStudio Of Cinema Artists After H. Malyan
Lang.: Armenian/English Subt.: English and Armenian
Ð. سÉÛ³ÝÇ ³Ýí³Ý ÏÇÝá¹»ñ³ë³ÝÇ Ã³ïñáÝ/ Theater-Studio of Cinema Artists After H. Malyan
10:00, 18:00
Lang.: Turkish Subt.: English
Lang.: Armenian Subt.: English 22:00 Կիևյան որմնանկարներ/ Kyiv Frescoes Սերգեյ Փարաջանով/Sergei Parajanov Ukr/13’/T
ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 2/ Moscow Cinema, Small Hall 2
Èáõë³ÝϳñÇã` êáݳ ²Ý¹ñ»³ëÛ³Ý ¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý
Staff: Anastasia Costianu, Nienke Huitenga Contributors: Siranush Galstyan, Levon Grigoryan Photographer: Sona Andreasyan Design: Gayane Grigoryan
¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý
General Supervising Manager: Peter van Bueren
Տպագրված է §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ
Printer: "Noyyan Tapan" Ltd.
GOLDEN APRICOT DAILY | DAY 1&2 | 13/14 JULY | 2014
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²Ù»Ý ÇÝã Ù³ñáõÙ ¿ ØÇÝã ÏÇÝá·áñÍÇã ¹³éݳÉÁª úóñ Æáë»Édz ÝÇÝ (µÇÉÇëÇ, 1934) ½³ñ·³óñ»ó áõÕ»ÕÇ »ñÏáõ ÏÇ ë³·Ý¹»ñÁ: ¸³ßݳÙáõñ Ýí³·»É ݳ ëáíáñ»ó ï» Õ³Ï³Ý ÏáÝë»ñí³ïáñdzÛáõÙ, ÇëÏ ³ñ¹»Ý ØáëÏ í³ÛáõÙ áõëáõÙݳëÇñáõÙ ¿ñ ·ñ³ýÇÏ³Ï³Ý ³ñí»ëï Ý»ñ áõ ٳûٳïÇϳ: ºí ëñ³ÝÇó Ñ»ïá ÙdzÛÝ Ý³ Çñ ѳ۳óùÁ ûù»ó ÏÇÝá¹åñáóÇÝ, áñï»Õ Ýñ³ áõ ëáõóÇãÝ»ñÇó ¿ñ Ù»ÍÝ ²É»ùë³Ý¹ñ ¸áíÅ»ÝÏáÝ: Üñ³ ³é³çÇÝ É³Ûݳٻïñ³Å ýÇÉÙÁª §²åñÇÉÁ¦ (1958, 46ñ.), ³ñ·»Éí»ó íñ³ó³Ï³Ý ·ñ³ùÝÝÇãÝ» ñÇ ÏáÕÙÇó: Æáë»ÉdzÝÇÝ ¹³¹³ñ»ó Ýϳñ³Ñ³Ý»ÉÁ, ¹³ñÓ³í Íáí³·Ý³ó, Ñ»ï᪠³ß˳ïáõÙ ¿ñ ·áñͳ ñ³ÝáõÙ: 1966-ÇÝ Ý³ í»ñ³¹³ñÓ³í §î»ñ¨³Ã³÷¦ ÏÇÝáÝϳñáí, ë³Ï³ÛÝ ÝáñÇó ËݹÇñÝ»ñ ³é³ç³ó³Ý Çß˳ÝáõÃÛáõÝÝ»ñÇ Ñ»ï: ÜáõÛÝÁ »Õ³í §²åñáõÙ ¿ñ ÙÇ »ñ ·áÕ Ï»é ݻ˦ (1970) áõ §Ðáíí»ñ ·áõ ÃÛáõݦ (1975) ųå³í»ÝÝ»ñÇ ¹»åùáõÙ: ²Ûë ýÇÉÙ» ñáõÙ ìñ³ëï³ÝÁ Ý»ñϳ۳ÝáõÙ ¿ áñå»ë å³ïÙáõ ÃÛ³Ý, åỽdzÛÇ, ÑáõÙáñÇ áõ ·ÇÝáõ »ñÏÇñ: ¸Åí³ñ ¿ ѳëϳݳÉ, û ÇÝãáõ ¿ÇÝ ýÇÉÙ»ñÝ ³ñ·»Éí»É, ù³ ÝÇ áñ ¹ñ³Ý óáõ٠ϳñÍ»ë û ãϳ áã ÙÇ Ñ³ ϳ Çß Ë³Ý³Ï³Ý ï³ññ: ê³Ï³ÛÝ Ñ»Ýó ¹³ ¿ñ Çß˳Ýáõ ÃÛáõÝÝ»ñÇ ½³ÛñáõÛÃÇ å³ï׳éÁ: Æáë»ÉdzÝÇÝ ³ë»É ¿. §üÇÉÙ»ñë áã ëáí»ï³Ù»ï ¿ÇÝ, áã ¿É Ñ³Ï³ëáí» ï³Ï³Ý, ³ÛÉ §³ëáí»ï³Ï³Ý¦ ¿ÇÝ: è»ÅÇÙÇ Ñáï ³Ý·³Ù ãϳñ Ýñ³Ýó Ù»ç: âϳñ ëáí»ï³Ï³Ý ÙÃÝá Éáñïª Ï³ñÍ»ë ³ÛÝ ·áÛáõÃÛáõÝ ¿É ãáõÝ»ñ¦: âëï³Ý³Éáí ï³ñ³ÍáõÙ ë»÷³Ï³Ý »ñÏñáõÙª ³Ûë ýÇÉÙ»ñÁ ׳ݳå³ñÑ ·ï³Ý ¹»åÇ ³ñï³ë³ÑÙ³Ý, ûñÇݳϪ èáï»ñ¹³ÙÇ ÏÇÝá÷³é³ïáÝ: üñ³Ýëdz óÇ ùÝݳ¹³ïÝ»ñÁ ÝáõÛÝå»ë ѳÛïݳµ»ñ»óÇÝ Çñ»Ýó ѳٳñ ³Ûë óñÙ áõ ·ñ³íÇã, í³í»ñ³·ñ³Ï³Ý Ñá ï³éáõÃÛ³Ùµ ýÇÉÙ»ñÝ áõ ¹ñ³Ýó Ññ³ß³ÉÇ å³ñ½áõ ÃÛáõÝÁ (²Û¹åÇëÇÝ ¿ ݳ¨ Æáë»ÉdzÝÇÇ Ï³ñ·³ËáëÁ. §Æñ³Ï³Ý ÏÛ³ÝùÁ Ý߳ݳÏáõÙ ¿ª µ³½Ù³ÃÇí ËݹÇñ Ý»ñ, ѳ½í³¹»å ѳçáÕáõÃÛáõÝÝ»ñ áõ »ñç³ÝÏáõÃÛ³Ý ÙÇ ù³ÝÇ å³Ñ¦): ö³ñǽáõ٠ϳ½Ù³Ï»ñåí»ó Æáë» ÉdzÝÇÇ é»ïñáëå»ÏïÇí: ¼³ñٳݳÉÇ ¿, µ³Ûó é» ÅÇëáñÇÝ Ñ³çáÕí»ó ëï³Ý³É üñ³Ýëdz Ù»ÏÝ»Éáõ íÇ ½³: ºí ݳ Ùݳó ³ÛÝï»Õª ·Çï³Ïó»Éáí, áñ áñå»ë ÏÇÝá·áñÍÇã ѳñ³½³ï µÇÉÇëÇáõÙ ³å³·³ ãáõÝÇ: Æáë»ÉdzÝÇÝ Ñ³ëï³ïáõÝ ³ÝáõÝ ¹³ñÓ³í ÷³ñǽ Û³Ý ÏÇÝá³ß˳ñÑáõÙ, µ³Ûó ݳ¨ Ñ³×³Ë ×³Ù÷áñ¹áõÙ ¿ñª Æï³Édz, λÝïñáÝ³Ï³Ý ²ýñÇϳ áõ üñ³ÝëdzÛÇ ·ÛáõÕ³Ù³ë»ñ: î³ñÇÝ»ñ ³Ýóª 1994ÇÝ, ݳ í»ñ³¹³ñÓ³í ìñ³ëï³Ý, áñ Ýϳñ³Ñ³ÝÇ Seule, Georgie ÏÇÝáÝϳñÁ: ²Û¹ å³ÑÇÝ ¿É ݳ ѳë ϳó³í, áñ Çñ »ñÇï³ë³ñ¹áõÃÛ³Ý Å³Ù³Ý³ÏÝ»ñÝ ³ÝÑ»ï Ïáñ»É »Ý. ³Ù»Ý ÇÝã ³ÝÑ»ï³ÝáõÙ ¿, ¨ Æá ë»ÉdzÝÇÝ Çñ ß³ï ýÇÉÙ»ñáõÙ ËáñÑáõÙ ¿ ³Ûë Ù³ëÇÝ: ²í³Ý¹áõÛÃÝ»ñÁ ÑáÕÇÝ »Ý ѳí³ë³ñíáõÙ, ¨ ³Õ»ïÁ Ùáï»ÝáõÙ ¿ ·³Õï³·áÕǪ ÇÝãå»ë ³ËïÁ, áñÇó ³ÝÑ
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FAB ÐáõÉÇëÇ 14-Çݪ ųÙÁ 15:30, §ØáëÏí³¦ ÏÇÝáóïñáÝÇ §Î³ñÙÇñ¦ ¹³ÑÉÇ×áõÙ ï» ÕÇ Ïáõݻݳ §üÇÉÙ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñǦ Íñ³·ñÇ µ³óáõÙÁª ìÇÏïáñÛ³ îñáýÇÙ»ÝÏáÛÇ §ºÕµ³ÛñÝ»ñ: ì»ñçÇÝ Ëáëïáí³ÝáõÃÛáõÝÁ¦ ýÇÉÙÇ óáõó³¹ñáõÃÛ³Ùµ (àõÏñ³Çݳ):
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ÍÇùáíª ³Ùáõñ ÑÇÙù ãϳ ϳñÍ»Éáõ, û ÙÛáõë ³Ý·³Ù ³ñ¨Á ÏßáÕ³, ù³Ý½Ç å³ïÙáõÃÛáõÝÝ ³å³óáõóáõÙ ¿, áñ ³ß˳ñÑÁ ϳé³í³ñáõÙ »Ý ïËÙ³ñÝ»ñÝ áõ ѳÝó³·áñÍÝ»ñÁ: Úáõñ³ù³ÝãÛáõñ ë»ñáõݹ ϳñ ÍáõÙ ¿, û ³Ýó³ÍÁ ëË³É ¿ñ áõ ó³ÝϳÝáõÙ ¿ ÷áË»É ¹ñí³ÍùÁ: ê³Ï³ÛÝ ³ñ¹ÛáõÝùÁ ÙÇßï ÝáõÛÝÝ ¿ (ï»°ë, ûñÇݳÏ, Brigands, Chapitre VII, 1996): ö³ñǽ ï»Õ³÷áËí»Éáõó Ñ»ïá Æáë»ÉdzÝÇÝ ùÝݳ¹³ï»É ¿ éáõë³Ï³Ý Ñáï áõÝ»óáÕ ³Ù»Ý ÇÝã áõ µáÉáñÇÝ (µ³óÇ, ÇѳñÏ», ûÕáõó): ØdzÛÝ ëáíáñ³ Ï³Ý Ù³ñ¹Ï³Ýó ݳ ãÇ Ù»Õ³¹ñáõÙ áõ ݳ¨ Ýñ³Ýó, áíù»ñ Çñ»Ýó å³ñïùÝ »Ý ϳï³ñáõÙ: ²Û¹åÇëÇù ¿ÇÝ, ûñÇݳÏ, Ù³ùë³ÛÇÝÇ ³ß˳ï³ÏÇóÝ»ñÁ, áí ù»ñ ÙÇ ³Ý·³Ù ϳݷݻóñÇÝ Çñ»Ý, ù³Ý½Ç ³ÝÓݳ· ñÇ í³í»ñ³Ï³ÝáõÃÛ³Ý Å³ÙÏ»ïÝ ëå³éí»É ¿ñ: ܳ ·áí»ó Ýñ³Ýó, áñ å³ßïå³ÝáõÙ »Ý Çñ»Ýó ѳÛñ»ÝÇ ÑáÕÁ ÙÇç³½·³ÛÇÝ Ù³ýdzÛÇó: Æáë»ÉdzÝÇÇ í»ñçÇݪ §Ê³Å³ÙáõŦ (Chantrapas, 2010) ýÇÉÙÁ üñ³Ýëdz ÛÇ áõ ìñ³ëï³ÝǪ Ýñ³ »ñÏáõ ѳÛñ»ÝÇùÝ»ñÇ Ñ³Ù³ ·áñͳÏóáõÃÛ³Ý ³ñ¹ÛáõÝùÝ ¿: ²ÛÝ å³ïÙáõÙ ¿ ÏÇ Ýá·áñÍÇã ÜÇÏáÛÇ Ù³ëÇÝ, áí å³ñ½³å»ë áõ½áõÙ ¿ ÇÝùݳñï³Ñ³Ûïí»É, ÇëÏ ³Ù»Ý áù ÷áñÓáõÙ ¿ñ Ýñ³Ý Éé»óÝ»É: ºñµ ݳ ìñ³ëï³ÝáõÙ Çñ ³é³çÇÝ ù³ÛÉ»ñÝ ¿ ³ÝáõÙ, ·³Õ³÷³ñ³ËáëÝ»ñÁ ÑáõÛë áõÝ»Ý ÷³Ï»É Ýñ³ µ»ñ³ÝÁª ³Ýѳݷëï³ó³Í, áñ ÜÇÏáÛÇ ³ß˳ ï³ÝùÁ ãÇ Ñ³Ù³å³ëï³ë˳ÝáõÙ ÁݹáõÝí³Í ϳ ÝáÝÝ»ñÇÝ: êñ³Ýó áñáßÙ³Ý å³ï׳éáí ÜÇÏáÝ Ñ» é³ÝáõÙ ¿ ѳÛñ»ÝÇùÇó, ï»Õ³÷áËíáõÙ üñ³Ýëdzª ³½³ïáõÃÛ³Ý ¨ ÅáÕáíñ¹³í³ñáõÃÛ³Ý »ñÏÇñÁ: ê³ Ï³ÛÝ ³Û¹ »ñ³Ý³í»ï íÇ׳ÏÁ »ñϳñ ãÇ ï¨áõÙ: ²Ûë å³ïÙáõÃÛáõÝÁ ϳñÍ»ë û ÇÝùݳϻÝë³· ñ³Ï³Ý ï³ññ»ñ áõÝÇ: öí´ §î»ñ¨³Ã³÷¦, §Ü³ÇñǦ Ï/Ã, 14.07 (22:00) §²åñáõÙ ¿ñ ÙÇ »ñ·áÕ Ï»éݻ˦, §Ü³ÇñǦ Ï/Ã, 15.07 (22:00) §Ê³Å³ÙáõŦ, §ØáëÏí³¦ Ï/Ã, §Î³ñÙÇñ ¹³ÑÉÇצ, 17.07 (16:00) §Ðáíí»ñ·áõÃÛáõݦ, §Ü³ÇñǦ Ï/Ã, 18.07 (22:00, 18:00)
Ä»ÝÛ³ ³ÝáõÝáí ³ëïÕÁ ö³é³ïáݳÛÇÝ ³é³çÇÝ ûñÝ ÁݹáõÝí³Í ¿ ¨ áõ ½áõÙ »ë Ëáë»É ÙdzÛÝ áõñ³Ë³ÉÇǪ ѳٳß˳ñѳ ÛÇÝ ÑÇûñÇ åñ»ÙÇ»ñ³Ý»ñÇ, ·³É³-µ³óÙ³ÝÁ ų Ù³ÝáÕ ÏÇÝá³ëïÕ»ñÇ Ù³ëÇÝ: ê³Ï³ÛÝ ³Ýó³Íª Ñáµ»ÉÛ³Ý³Ï³Ý §àëÏ» ÍÇñ³ÝǦ áõ Ý»ñϳ ÛÇëª 11-ñ¹Ç ÙÇç¨ ³åñ³Í áõ í»ñ³åñ³Í ÏÛ³ÝùÇ Ïïñí³ÍùÝ áõÝÇ Ó»éùµ»ñáõÙÝ»ñÇ áõ í³Õ³Å³Ù ÏáñáõëïÝ»ñÇ Çñ ѳßí³ñÏÁ, áñÝ ³ñÃݳóÝáõÙ ¿ Ñݳá× Ùïù»ñ Ù»ñ Ñá·¨áñ å³ñïù»ñÇ Ù³ëÇÝ® Ò»ñ Ó»é ùÇÝ ¿ 11-ñ¹ §àë Ï» ÍÇñ³ ÝǦ ûñ³ ûñÃÇ ³é³çÇÝ Ñ³Ù³ñÁ, áñÇ Ùßï³Ï³Ý ËÙµ³ ·ÇñÝ ¿ñ Ä»ÝÛ³ سñïÇñáëÛ³ÝÁª ³Ïݳéáõ Éñ³· ñáÕ, µáÉáñÇë ѳٳñ ß³ï ѳñ³½³ï Ù³ñ¹: ²Ûë ÷³é³ïáÝÁ Ù»Ýù µ³óáõÙ »Ýù ³é³Ýó Ù»ñ Ä»ÝÛ³ ÛÇ, ³é³Ýó Ýñ³ ýǽÇÏ³Ï³Ý Ý»ñϳÛáõÃÛ³Ý, ÇÝ ãÇ Ñ»ï ѳßïí»ÉÁ ÙÇÝã ûñë ·ñ»Ã» ³ÝÑݳñÇÝ ¿: γñÍáõÙ »Ùª áã ÙdzÛÝ »ë áõ ÇÙ ·áñÍÁÝÏ»ñÝ» ñÁª §àëÏ» ÍÇñ³ÝǦ ÑÇÙݳ¹ÇñÝ»ñÝ áõ ϳ½Ù³Ï»ñ åÇãÝ»ñÁ, ³Ûɨ ÷³é³ïáݳÛÇÝ Ã»ñÃÇ ³ÙµáÕç ÙÇ ç³½·³ÛÇÝ ÃÇÙÁ ã¿ÇÝ å³ïÏ»ñ³óÝáõÙ, û ÇÝãå»ë ¿ ·á۳層Éáõ ËÙµ³·ñáõÃÛáõÝÝ ³é³Ýó Ä»ÝÛ³ÛÇ µ³ ó³éÇÏ ËÙµ³·ñ³Ï³Ý áõ Ù³ñ¹Ï³ÛÇÝ ï³Õ³Ý¹Ç: ܳ ³Ù»Ý ÇÝãÇ Ï»ÝïñáÝáõÙ ¿ñ, ³Ù»Ý ÇÝãáõÙ Ý»ñϳ ¿ñª ÙÇÝ㨠ÇëÏ ³ÛÝåÇëÇ Ù³ÝñáõùÝ»ñáõÙ, ÇÝãåÇëÇù ¿ÇÝ ÃËí³ÍùÝ áõ ëáõñ×Áª ËÙµ³·ñ³Ï³½ÙÇ ³Ù»Ýû ñÛ³ ³é³íáïÛ³Ý Ñ³í³ùÝ»ñÇ Ñ³Ù³ñ, áñáÝù µ» ñáõÙ ¿ñ ³ÝÓ³Ùµª ãѳÝÓݳñ³ñ»Éáí ¹³ áã Ù»ÏÇÝ: ²Ûëûñ Ù»Ýù ëáíáñáõÙ »Ýù ûñà ³Ý»Éª ³é³Ýó Ä»ÝÛ³ÛÇ: лï³ùñùÇñ ¿ª DZÝã ϳë»ñ ݳª ï»ëÝ»Éáí ³Ûë ѳٳñÁ: гí³Ý³µ³ñ ÇÝã-áñ µ³Ý ³ÛÉ Ï»ñå ϳݻñª Çñ Ó¨áí: »å»ï ÁݹѳÝáõñ ³éٳٵ Ù»Ýù ÷áñÓ»É »Ýù ѳí³ï³ñÇÙ ÙÝ³É Ýñ³ Ó¨³íáñ³Í ÏáÝ ó»å ódz ÛÇÝ áõ Ýñ³ á·áõÝ, áñÁ ѳݷñí³Ý ¿ ·ï»É Ñ»éáõ-Ñ»éáõÝ»ñáõÙª ³Ý³ÝáõÝ ³ëïÕ»ñÇ ßáõñç: ...Եվ ³ÛÝáõ³Ù»Ý³ÛÝÇí Ù»ÕùÇ ³Ýµ³ó³ïñ»ÉÇ ½·³óáõÙ ¿ ÙÝáõÙ Ä»ÝÛ³ ³ÝáõÝáí í³Õ³Å³Ù Ñ³Ý ·³Í ³ëïÕÇ Ñ³Ý¹»å, áí ³Ûëûñ ¿É áõÕղáñ¹áõÙ áõ á·»ßÝãáõÙ ¿ Ù»½: êÐ
GOLDEN APRICOT DAILY | DAY 1&2 | 13/14 JULY | 2014
4 ÙñóáõóÛÇÝ »õ ³ñï³ÙñóáõóÛÇÝ
ÊáõÉ ×Çã` ³é³Ýó µ³é»ñÇ §ò»ÕÁ¦, é»Å.` ØÇñáëɳí êɳµáßåÇóÏÇ, àõÏñ³Çݳ (ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, γåáõÛï ¹³ÑÉÇ×, 14.07 (18:30), §ØáëÏí³¦ Ï/Ã, γåáõÛï ¹³ÑÉÇ×, 17.07 (12:30) àõÏñ³ÇݳóÇ é»ÅÇëáñ ØÇñáëɳí êɳµáßåÇó Ïáõ §ò»ÕÁ¦ ÏÇÝáÝϳñÇ ·É˳íáñ Ñ»ñáë ê»ñ·» ÛÁ ѳÛïÝíáõÙ ¿ ËáõÉ áõ ѳÙñ»ñÇ Ñ³Ù³ñ ݳ˳ ï»ëí³Í ѳïáõÏ ¹åñáóáõÙ, áñÇ ë³Ý»ñÝ Áݹ·ñÏ í³Í »Ý ùñ»³Ï³Ý ËÙµ³íáñÙ³Ý Ù»ç։ ¶Çß»ñûÃÇÏ ¹åñáóÇ Ý»ñëáõÙ ¨ ¹ñ³ÝÇó ¹áõñë Çñ»Ýù ³åñáõÙ »Ý ݳËݳ¹³ñÛ³Ý í³ÛñÇ ó»ÕÇ ã·ñí³Í ·³½³Ý³ÛÇÝ ûñ»ÝùÝ»ñáí՝ ϳï³ÕÇ ÏéÇí ï³Éáí ·áÛáõÃÛ³Ý Ñ³ Ù³ñ։ Þ³ï ßáõïáí ê»ñ·»ÛÁ ÝáõÛÝå»ë ëÏëáõÙ ¿ ˳ Õ³É §ó»ÕǦ ûɳ¹ñ³Í ϳÝáÝÝ»ñáí, ÙÇÝ㨠í»ñç ãѳÕóѳñ»Éáí Ý»ñùÇÝ ¹ÇÙ³¹ñáõÃÛáõÝÁ ¹ñ³Ýó ѳݹ»å։ Üñ³ ëñïáõÙ µáõÛÝ »Ý ¹ÝáõÙ ó³íÝ áõ í³ ËÁ, ó³ ëáõÙÝ áõ ³ï» Éáõ ÃÛáõ ÝÁ։ Üñ³ Ý»ñ ùÇÝ ÁÙ µáëïáõÃÛáõÝÁ §ó»ÕǦ í³ñùáõµ³ñùÇ, ÝÇëïáõϳ óÇ áõ ï³µáõÝ»ñÇ Ñ³Ý¹»å Ç í»ñçá ѳݷ»óÝáõÙ ¿ ³Ý¹³éݳÉÇ áÕµ»ñ·áõÃÛ³Ý։ üÇÉÙÁ ïá·áñí³Í ¿ ³ÝóùáõÛó ýǽÇáÉá·Ç³ Ï³Ý Ý³ïáõñ³ÉǽÙáí։ §ò»ÕǦ ¿ëûïÇÏ³Ý ¿ëû ïÇϳÛÇ Çëå³é µ³ó³Ï³ÛáõÃÛ³Ý Ù»ç ¿։ ¶ñ»Ã» ãÙß³Ïí³Í, í³í»ñ³·ñ³Ï³Ý Çñ³Ï³ÝáõÃÛáõÝÁ ã³ ÷Çó ¹áõñë ѳí³ëïÇ ¿՝ ÇÝã-áñ ã³÷áí Ùáï»Ý³ Éáí í»ñçÇÝ ï³ñÇÝ»ñÇ éáõÙÇÝ³Ï³Ý Ýáñ ÏÇÝáÛÇÝ։ ºí ³Ûë ³Ù»ÝÁ é»ÅÇëáñÝ ³ÝáõÙ ¿ Ù³ùáõñ ÏÇÝá ³ñï³Ñ³Ûïã³Ï³ÝáõÃÛ³Ùµ՝ ³é³Ýó áñ¨¿ Ëáë ùÇ։ êɳµáßåÇóÏÇÝ ¹»ï³ÉÝ»ñÇ í³ñå»ï ¿։ ܳ óáõÛó ¿ ï³ÉÇë, û ÇÝãå»ë ϳñáÕ »Ý ³é³çÇÝ Ñ³ Û³óùÇó Ù³ñ¹Ï³ÛÇÝ ³é³ñϳݻñÁ ˳ճñÏí»É áõ
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GOLDEN APRICOT DAILY | DAY 1&2 | 13/14 JULY | 2014
interview 5
Sergei Parajanov 1988-Ç ÷»ïñí³ñÇ 4-ÇÝ, ÏÛ³ÝùáõÙ ³é³çÇÝ ³Ý·³Ù ³ñï³ë³ÑÙ³Ý ×³Ý³å³ñÑáñ¹»Éáõ ÃáõÛÉ ïíáõÃÛáõÝ ëï³Ý³Éáõó ³ÝÙÇç³å»ë Ñ»ïá, ê»ñ ·»Û ö³ñ³ç³ÝáíÝ û¹³Ý³í Ýëï»ó ¹»åÇ ²Ùëï»ñ ¹³Ù ¨ »ñ»ÏáÛ³Ý Å³Ù³Ý»ó èáï»ñ¹³ÙÇ ÏÇÝá÷³ é³ïáÝ: ºñÏáõ ûñ ³Ýó »ë Ýëï³Í ¿Ç ÐÇÉïáÝ ÑÛáõ ñ³ÝáóáõÙª Ù³Ñ׳ϳÉÇ »½ñÇÝ: ºñÏáõ ų٠߳ñáõÝ³Ï ö³ñ³ç³ÝáíÁ ù³ÛÉáõÙ ¿ñ ë»ÝÛ³ÏáõÙ, »ñµ»ÙÝ ÷áñ÷ ñ»Éáí å³ñÏÁ` Ùáï»ÝáõÙª ÇÝã-áñ ëñµ³å³ïÏ»ñ, Ù³ ïÇï ϳ٠ÝÙ³Ý µ³Ý ÇÝÓ ï³Éáõ ѳٳñ: ØÇçÇÝ ï³ ñÇùÇ մի ÏÇÝ ÙÇ ù³ÝÇ ³Ý·³Ù ¹áõéÁ óϻÉáíª Ý»ñë Ùï³í ¨ ö³ñ³ç³ÝáíÇ Ñ»ï ·Ý³ó ÉáÕ³ë»ÝÛ³Ï: ØÇ ùÇã ÷ë÷ë³Éáõó Ñ»ïá ݳ ·Ý³óª Ï»ë ųÙÁ Ù»Ï ÝáõÛÝ ³ñ³ñáճϳñ·áí í»ñ³¹³éݳÉáí: ²ñ¨ÙáõïùáõÙ ö³ñ³ç³ÝáíÇ ³é³çÇÝ Ñ³ñó³½ñáõÛóÁ ¹³ñÓ³í ûñÑ ÝáõÃÛáõÝÝ»ñÇ, ù³ñá½Ý»ñÇ ¨ µ³ó³Ï³ÝãáõÃÛáõÝÝ»ñÇ ÙÇ ³Ýí»ñç ß³ñ³Ý: Ä³Ù³Ý³Ï ³é Å³Ù³Ý³Ï ÏáõÙ ³Ý»Éáí çÇÝÇ ¨ ûÕáõ ˳éÝáõñ¹Çóª ݳ Çñ Ùïù»ñáí åñáíáϳóÇáÝ ¨ ï»Õ-ï»Õ ÍáõéáõÙáõé ·áõÝ»Õ ÙÇ Ïá ɳŠëï»ÕÍ»ó: ÞÝã»Éáí ³½³ïáõÃÛ³Ý û¹Á, ݳ Ñ³Ý Ï³ñͳÏÇ ëÏë»ó ³í»ÉÇ ³½³ï Ëáë»É, ù³Ý ݳËÏÇ ÝáõÙ: ÜáõÛÝ ï³ñáõÙ՝ ³í»ÉÇ áõß, ·É˳íáñ ù³ñïáõ Õ³ñ ØÇ˳ÛÇÉ ¶áñµ³ãáíÁ ¹³ñÓ³í ÊêÐØ-Ç Ý³ ˳·³Ñ ¨ ³ñ¹»Ý ï»Õ»Ï³óñ»É ¿ñ §·É³ëÝáëïǦ ¨ §å»ñ»ëïñáÛϳÛǦ Ù³ëÇÝ: ²Û¹ Å³Ù³Ý³Ï ìɳ¹Ç ÙÇñ äáõïÇÝÁ ¹»é ζ´-Ç ³ÝѳÛï ëå³ ¿ñª ï»Õ³ ϳÛí³Í ¸ñ»½¹»ÝáõÙ (¶¸Ð), ÇëÏ ö³ñ³ç³ÝáíÁ ã¿ñ ¿É »Ýó¹ñáõÙ, áñ Ïٳѳݳ »ñÏáõ ï³ñÇ ³Ýóª ºñ¨ ³ÝáõÙ, ÇÝãå»ë ²Ý¹ñ»Û î³ñÏáíëÏÇÝ ¹ñ³ÝÇó »ñÏáõ ï³ñÇ ³é³ç ٳѳó³í ö³ñǽáõÙ: §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝǪ ö³ñ³ç³Ýá íÇÝ ÝíÇñí³Í ѳïáõÏ Íñ³·ñÇ Ï³å³ÏóáõÃÛ³Ùµ Ý»ñϳ۳óÝáõÙ »Ýù ѳïí³ÍÝ»ñ ³Û¹ Ñ»ï³ùñù ñ³ß³ñŠѳݹÇåáõÙÇó: Ò»ñ ýÇÉÙ»ñÁ ѳñ·í³Í »Ý ³ÙµáÕç ³ß˳ñ ÑáõÙ, µ³Ûó ß³ï»ñÇ Ñ³Ù³ñ ³ÝѳëϳݳÉÇ »Ý: ÆÝÓ ãÇ Ñáõ ½áõÙ, áñ Ù³ñ ¹ÇÏ ¹»é ã»Ý ѳë ϳ ÝáõÙ ÇÙ ýÇÉÙ»ñÁ: øë³Ý ï³ñÇ ³Ýó ѳݹÇë³ï» ëÁ í»ó ų٠߳ñáõÝ³Ï Ï¹ÇïÇ ¹ñ³Ýù: ºë ³ñí»ëï »Ù ëï»ÕÍáõÙ, ÇëÏ ¹ñ³ Ëáñù»ñÁ ó÷³Ýó»Éáõ ѳ Ù³ñ Å³Ù³Ý³Ï ¿ å»ïù: ÊáñÑñ¹³ÛÇÝ Çß˳ÝáõÃÛáõÝÝ»ñÁ ¹»é å³ï ñ³ëï ã»Ý ¹ñ³Ý: Üñ³Ýù ã¿ÇÝ Ï³ñáÕ ÇÝÓ Ë»É³·³ñ ѳÛï³ñ³ ñ»É. ³Û¹ ¹»åùáõÙ å»ïù ¿ ÇÝã-áñ µ³Ý ³ë»ÇÝ ýÇÉ Ù»ñÇë Ù³ëÇÝ, áñáÝù ã»Ý ѳëϳÝáõÙ: â¿ÇÝ Ï³ñáÕ µ³ó³ïñ»É, û ÇÝãÝ ¿ ÇÙ ýÇÉÙ»ñÇ ï³ñûñÇݳÏáõ ÃÛáõÝÁ ¨ ·ï³Ý Ù»Ï ³ÛÉ µ³Ý: ²ëáõÙ ¿ÇÝ §Ùdzë»é³ Ï³Ý »ë¦, ÇÝãÁ µ³í³Ï³Ý ¿ñ՝ µ³Ýï Ý»ï»Éáõ ѳٳñ: ²é³çÇÝ ³Ý·³Ù ÇÝÓ ¹³ï³å³ñï»óÇÝ áõÏñ³Ç Ý³Ï³Ý ³½·³ÛݳϳÝáõÃÛ³Ý Ñ³Ù³ñ: 1964-ÇÝ ¿ñ: ÌÝáÕÝ»ñë Ñ³Û »Ý, µ³Ûó ÏñÃáõÃÛáõÝ ëï³Ý³Éáõó Ñ» ïá áõÏñ³ÇݳóÇÝ»ñÇ ³ÝóÛ³ÉÇ Ù³ëÇÝ ýÇÉÙ Ýϳñ» óǪ §Øáé³óí³Í ݳËÝÇÝ»ñÇ ëïí»ñÝ»ñÁ¦: Üñ³Ýó ѳݷÇëï ã¿ñ ï³ÉÇë ³ÛÝ ÙÇïùÁ, թե ÇÝãáõ ѳÛÁ ³Ûë åÇëÇ ïÇåÇÏ áõÏñ³ÇÝ³Ï³Ý Ã»Ù³ ¿ ÁÝïñ»Éª Ùáé³ Ý³Éáí, áñ ¾Û½»Ýßï»ÛÝÝ ¿É Ù»ùëÇϳóÇ ãÉÇÝ»Éáí Ñ³Ý ¹»ñÓª Ø»ùëÇϳÛáõÙ ¿ñ ýÇÉÙ Ýϳñ»É: ´³Ûó ù³ÝÇ áñ ã¿ÇÝ Ï³ñáÕ å³ñ½³µ³Ý»É, û ÇÝãáõ »Ý ¹»Ù ³Ûë ýÇÉ ÙÇÝ, Ýñ³Ýù ÇÝÓ Ùdzë»é³Ï³Ý Ñéã³Ï»óÇÝ ¨ åݹ» óÇÝ, áñ ÏáÙáõÝÇëï³Ï³Ý Ïáõë³ÏóáõÃÛ³Ý ³Ý¹³ÙÝ» ñÁ ïáõÅ»É »Ý ÇÙ Ùdzë»é³Ï³ÝáõÃÛáõÝÇó: ¸áõù ³Ùáõëݳó³Í »ù, áñ¹Ç áõÝ»ù: ƱÝã ϳ ë»ù Ùdzë»é³Ï³ÝáõÃÛ³Ý Ù³ëÇÝ: ºë ²ñ¨»ÉùÇó »Ù, ¨ ¹³ µ³í³Ï³Ý³ã³÷ µ³ó³ï ñáõÃÛáõÝ ¿: ²ÛÅÙ ³ÛÝù³Ý Í»ñ »Ùª 64 ï³ñ»Ï³Ý, ³Ûɨë ϳå ãáõÝÇ՝ »ë ·»±Û »Ù, û áã: ²Û¹ ѳñóÁ ³é³ç ¿ñ ·³ ÉÇë ³Ù»Ý ³Ý·³Ù, »ñµ ÇÝÓ Ó»ñµ³Ï³ÉáõÙ ¿ÇÝ, ¨ Ýá ñÇó ϳñáÕ »Ý Ó»ñµ³Ï³É»É áñ¨¿ Ù³ÝñáõùÇ Ñ³Ù³ñ: úñÇݳϪ í»ñçÇÝ ³Ý·³Ù »ë û·Ý»óÇ ÇÙ ½³ñÙÇÏÇÝ áñáß ·áõÙ³ñáí, áñ ÁݹáõÝíÇ ÇÝëïÇïáõï: ¶áõó» ¹³ ëË³É ¿ñ, µ³Ûó µáÉáñÝ ¿É ÝÙ³Ý µ³Ý»ñ ³ÝáõÙ »Ý: Æñ³Ï³Ý å³ï׳éÝ ³ÛÝ ¿ñ, áñ óïñáÝáõÙ »ÉáõÛà ¿Ç áõÝ»ó»É ٳѳó³Í ³ÛɳËáÑ ¹»ñ³ë³Ý ¨ »ñ·Çã ìɳ¹ÇÙÇñ ìÇëáóÏáõ մասին¦: ²ÛÅÙ ª §·É³ëÝáëïǦ ¨ §å»ñ»ëïñáÛϳÛǦ Å³Ù³Ý³Ï ÷á÷áËáõÃÛáõÝ Ï³±: г°, ѳ°, ѳ°: ÈëÇ°ñ: سÑí³ÝÇó Ñ»ïá ´ñ»ÅÝ¨Ý áõ ÊñáõßãáíÁ ѳݹÇåáõÙ »Ý ѳݹ»ñÓÛ³É ÏÛ³Ý ùáõÙ: ´ñ»ÅÝ¨Ý ³ëáõÙ ¿. §Èë»±É »ëª Ýñ³Ýù ÇÝã-áñ µ³Ý »Ý í»ñ³Ýáñá·áõÙ¦: Êñáõßãáí. §ì»ñ³Ýáñá ·á±õÙ: ´³Ûó »ë áãÇÝã ã»Ù ϳéáõó»É: ÆëÏ ¹á±õ¦:
You were married and had a son, so what about that homosexuality? “I am a man from the East and that explains enough. At this moment I’m 64 years old, old enough that it doesn’t matter anymore if I am gay or not. It came up every time they arrested me again and they can still pick me up for small things. I was released in probation, which can always be extended for another five years.” What small things for instance? “The last time I helped my nephew with some money to be accepted by an institute. Maybe that was wrong, but everyone does such things. The real reason was that I made a speech in a theatre about the dead dissident actor and protest singer Vladimir Vysotski.”
ܳËÏÇÝáõÙ ³ÛÉ ³é³çÝáñ¹Ý»ñÇ ¹ÇÙ³Ýϳñ Ý»ñÝ ¿ÇÝ ù³ñß ï³ÉÇë ÷áÕáóÝ»ñáí: ²ÛÅÙ »ñç³ ÝÇÏ »Ù, áñ í»ñç³å»ë áõÝ»Ýù ÙÇ ³é³çÝáñ¹, áí ϳñáÕ ¿ ³½³ï ßñç»É ÷áÕáóáõÙ ՝ ÏÝáç Ñ»ï: ܳ Ëáñ¹ ³é³çÝáñ¹Ý»ñÇ Ï³Ý³Ûù ³ÛÝù³Ý ï·»Õ ¿ÇÝ, áñ ã¿ÇÝ Ñ³Ù³ñÓ³ÏíáõÙ Ýñ³Ýó Ñ»ï ¹áõñë ·³É: ´ñ»ÅÝ¨Ç ÏÇÝÁ, ³ë»ë سáÛÇ ³ñÓ³ÝÁ ÉÇÝ»ñª ϳ ݳóÇ ½·»ëïáí, ÇëÏ ÊñáõßãáíÇ ÏÇÝÁ ï³ïÇÏÇ ¿ñ ÝÙ³Ý: àõ½áõÙ ¿ÇÝù, áñ Ù»ñ ݳ˳·³ÑÁ ³ñÃݳ ݳñ ·»Õ»óÏáõÃÛ³Ý, ³ÛÉ áã û ë³éÝ ³ñÓ³ÝÇ ÏáÕ ùÇÝ: ¶áñµ³ãáíÇ ÏÇÝÁ ɳíÇÏÝ ¿: ºñµ ÇÝÓ ³½³ï ³ñӳϻóÇÝ, Çß˳ÝáõÃÛáõÝÝ» ñÁ ã·Çï»Çݪ ÇÝãáõ, ù³Ý½Ç ã·Çï»ÇÝ ¿Éª ÇÝãáõ »Ý µ³Ý ï³ñÏ»É: ºë ÙÇßï ×ßÙ³ñïáõÃÛáõÝÝ »Ù ³ë»É, ÇëÏ ÑÇ Ù³ ³Û¹ µáÉáñ »ÉáõÛÃÝ»ñն ÇÙ ÷á˳ñ»Ý ¶áñµ³ãáíÝ ¿ ³ÝáõÙ: È»ÝÇÝÇó Ñ»ïá ݳ Ù»ñ ³Ù»Ý³»é³Ý¹áõÝ ³é³çÝáñ¹Ý ¿: ö³ëï³óǪ »ë µ³Ýïáõ٠ѳÛïÝí»óÇ ¶áñµ³ãáíÇ Ëáëù»ñÇ §ßÝáñÑÇí¦: ÐÇÙ³ »ë ϳñáÕ »Ù Éé»É. ݳ ÇÝùÝ ¿ ³Û¹ ³Ù»ÝÝ ³ëáõÙ: Æß˳ÝáõÃÛáõÝ Ý»ñÇÝ ÙÇ µ³ÝÇ Ñ³Ù³ñ »Ù »ñ³Ëï³å³ñï. Ó»ñµ³ ϳɻÉáí ÇÝÓª ³ÝÙ³Ñ ¹³ñÓñÇÝ: î³ñÏáíëÏáõÝ ³ëáõÙ ¿Ç, áñ ݳ ¿É ϳñáÕ ¿ ³ÝٳѳݳÉ, »Ã» ÙÇ ï³ñÇ ÝëïÇ: î³ñÏáíëÏÇÝ Ý³ËÁÝïñ»ó ³ñï³ë³ÑÙ³ÝÁ: ܳ ÁÝÏ»ñë ¿ñ: êÇñáõÙ ¿Ç Ýñ³Ý, µ³Ûó ÝáõÛÝÇëÏ Ýñ³ Ù³ÑÇó Ñ»ïá »ë ¹»é µ³ñϳó³Í »Ù: ºë Ýñ³Ý Ù» Õ³¹ñ»óÇ, »ñµ Ù»ÏÝ»ó, µ³Ûó ݳ Ù»ÏÝ»É ã¿ñ áõ½áõÙ: лé³ó³í, ù³ÝÇ áñ ÏÇÝÝ ³Û¹å»ë ó³Ýϳó³í: ²Û¹ ÏÇÝÁ ѳí³ù³ñ³ñÇ áõÕ»Õ áõÝ»ñ: ´³Ûó, ÙǨÝáõÛÝ ¿, ϳñáÕ³ó³í Ý»ñËáõÅ»É î³ñÏáíëÏáõ ÏÛ³Ýù: ²Ûë ³Ýٳϳñ¹³Ï ÏÇÝÝ ³ÙµáÕçáõÃÛ³Ùµ í»ñ³ÑëÏáõÙ ¿ñ Ýñ³Ý: ²Ñ³, û ÇÝãáõ ݳ ٳѳó³í: ÆÝã ³ÝѻûÃáõÃÛáõÝ: ø³ÕóÏ»ÕÇó ¿ Ù³Ñ³ ó»É: ƱÝã ¿ª ÏÇÝÁ å»ïù ¿ Ýñ³Ý ٻݳ±Ï ÃáÕÝ»ñ: ÆѳñÏ», á°ã, µ³Ûó ݳ î³ñÏáíëÏáõ ÏÛ³ÝùáõÙ ã³ ÷³½³Ýó Ù»Í ¹»ñ ˳ճóª ѳïϳå»ë Ýñ³ ëï»Õ ͳ·áñÍ³Ï³Ý Ñ³ñó»ñáõÙ: ºñµ î³ñÏáíëÏáõÝ ùÝݳ ¹³ïáõÙ ¿ÇÝ, Ýñ³ ÷á˳ñ»Ý ÏÇÝÝ ¿ñ ½³Ûñ³ÝáõÙ: ÆëÏ »ë ϳñÍáõÙ ¿Ç, û ݳ ï³Ý»É ã¿ñ ϳñáÕ ùÝݳ¹³ïáõÃÛáõÝ ¨ ϳï³ÕáõÙ ¿ñ, »ñµ ËݹñáõÙ ¿Çñ µ³ó³ïñ»É ³ÝѳëϳݳÉÇ ÙÇ ï³ññ: î³ñÏáíëÏÇÝ ³ñí»ëï³·»ï ¿ñ. ÇëÏ³Ï³Ý ³ñí»ë ï³·»ïÝ»ñÁ ãå»ïù ¿ ùÝݳñÏáõÙÝ»ñÇ Ù»ç ÙïÝ»Ý: Üñ³Ýù å»ïù ¿ ÇÝùÝáõñáõÛÝ ¨ ÙdzÛÝ³Ï ÉÇÝ»Ý: ¸áõù ÙdzÛݳ±Ï »ù: ºë ãáñë ÏÇÝ »Ù áõÝ»ó»É, µáÉáñÝ ¿Éª ·»Õ»óÏáõÑÇ: ÆÙ í»ñçÇÝ ÏÇÝÁ, áõÙÇó áñ¹Ç áõÝ»Ù, ³Ù»ñÇϳóÇ ¿ñ, ÑÇÙ³ Þ³ÝѳÛáõÙ éáõë»ñ»Ý ¿ ¹³ë³í³Ý¹áõÙ: ÆÝÓÝÇó 14 ï³ñáí ÷áùñ ¿ñ ¨ èáÙÇ Þݳ۹»ñÇÝ ¿ñ ÝÙ³Ý, ÙdzÛÝ Ã»ª ß³ï ³í»ÉÇ ·»Õ»óÇÏ: ºí ÝáñÇó Ùdzë»é³Ï³ÝáõÃÛ³Ý Ù»Õ³¹ ñ³ÝùÝ»ñÇ Ù³ëÇÝ® ²ñ¹»Ý ³ë³óǪ »ë ²ñ¨»ÉùÇó »Ù: ²ñ¨»ÉÛ³Ý ïÕ³Ù³ñ¹ÇÏ ë»ùëáõ³É ³éáõÙáí ³í»ÉÇ Éǵ»ñ³É »Ý, ù³Ý ëɳíáÝ³Ï³Ý ïÕ³Ù³ñ¹ÇÏ: äí´
On February 4, 1988, just after he got permission to travel abroad for the first time in his life, Sergei Parajanov took a plane to Amsterdam and arrived in the evening at the Rotterdam film festival. Two days later I was sitting on the edge of his bed in the Hilton hotel. For the next two hours Parajanov walked around the room, at times approaching to give me, after ruffling through a bag, a devotional picture, a pencil or some other small item. Several times a middle-aged woman knocked on the door, entered and went with him into the bathroom. After some mumbling she left again, returning every half hour for a similar ceremony. Every time, Parajanov continued his last sentence, translated into my ears by a whispering beauty called Natasja. His first interview in the West became an endless stream of blessings, sermons and exclamations. Occasionally sipping from his glass, which contained a mixture of gin and vodka, Parajanov composed a colorful collage of sentences, provocative and not always in a straight line. Inhaling the air of freedom, he spoke more openly than ever. Later that year, secretary-general Mikhail Gorbachev would become president of the USSR, having already introduced glasnost and perestroika. Vladimir Putin was still an unknown officer in the KGB, stationed in Dresden (DDR), and Parajanov had no idea that he would die two years later in Yerevan, like Andrei Tarkovsky died two years before in Paris. On occasion of the special Parajanov-program hereby some fragments of this intriguing meeting, with statements that are historical even now, so many years later. Your films are respected very much all over the world, but for many people they aren’t easy to understand. “I don’t care if people don’t understand my films yet. Within twenty years, the audience will stay six hours in a row to watch them. I create art and it takes time to penetrate the depth of it.” The Soviet authorities are not ready for that yet. “They couldn’t declare me crazy, because in that case they should have said something about those films they didn’t understand. They couldn’t describe what was so strange about my cinema, so they found something else. They said: you are a homosexual, which was enough to put me in jail. First I was condemned because I was a Ukrainian nationalist. That was in 1964. I was born from Armenian parents, but after university I made a film, Shadows of Forgotten Ancestors, about the past of the Ukrainian people. For this I got 23 medals, but they wondered why an Armenian had chosen such a typically Ukrainian subject, forgetting that Eisenstein made a film in Mexico without being Mexican. But how could they make clear why they were against that film? So they declared me homosexual and claimed that members of the communist party had suffered from my homosexuality.”
Is there no change in this time of glasnost and perestroika? “Hahaha! Listen. After their death, Brezhnev and Krushchev met each other. Brezhnev said: ‘Did you hear they are reconstructing there?’ Krushchev answered: ‘Reconstruct, rebuild? I didn’t build anything, did you?’ All my life I was dragging other portraits of lea ders through the streets. I’m happy that we finally have a leader who can be seen and who at least is free to go around with his wife. Early leaders had such ugly wives, that they didn’t dare to take them with them. Brezhnev’s wife was like a statue of Mao in a woman’s dress. Krushchev’s wife was like a grandmother. We wanted a woman like Kennedy had. We wanted that our president, too, awoke next to a beauty and not a cold statue. Mikhail Gorbachev has a wife who has talents and is watchable. When they released me, the authorities didn’t know why, just as they didn’t know why they arrested me. I have always spoken the truth, and all my statements are told now by Gorbachev, who is our most energetic leader since Lenin: artistic, talented and with a clear vision. In fact I was in jail for the words of Gorbachev. Now I can be silent because he tells it all. I have to be grateful to the authorities for one thing: they made me immortal by locking me up. I told Tarkovsky that he also could be immortal by being in jail for a year.” Tarkovsky chose to go abroad. “Tarkovsky was my friend. I loved him, but even after his death I’m angry at him about something I will never forget. I accused him for leaving, but he didn’t leave, he left because his wife wanted to. Tarkovsky committed one stupidity in his life: he had a wife with the brains of a cleaning lady. And still, she penetrated into his life.” My impression was that she was a controlling mother for Tarkovsky and the clique around him. “She was a chambermaid and a governess at the same time. This woman without any level controlled him totally. That’s why he died.” What nonsense: he died of cancer. And about his wife: should he have left her then? “Of course not, but he let her play too big a role, especially about things he was dealing with as an artist. If he got criticism he was not angry, but she.” I had the impression that he couldn’t stand criti cism and became furious even if you asked him an explanation of something you didn’t understand. “Tarkovsky was an artist and artists shouldn’t go into discussion. A great artist should be on his own and alone.” Are you alone? “I had four wives, all beautiful. My last wife, who gave me a son, was an American who now lives in Shanghai and teaches Russian language. She was fourteen years younger than me and looked like Romy Schneider, but much more beautiful.” But then again: what about the accusation of your homosexuality? “I’m a man from the East, I told you already. Men from the East are more liberal sexually than Slavic men.” PvB
GOLDEN APRICOT DAILY | DAY 1&2 | 13/14 JULY | 2014
6 reviews
Three Times, Three Dimensions The Color of Pomegranates (Sergei Parajanov, Armenia, 1968), 13-7, 17:00, Moscow Cinema, Red Hall (invitation only), 14-7, 21:00, Moscow Cinema, Summer Hall and 22:00, Union of Folk Arts Sergei Parajanov’s The Color of Pomegranates combines three different times: the time of the hero, the 18th century Armenian poet Sayat-Nova; the time of the filmmaker; and eternity. This film is a soul diagram of both a poet-director and a poethero. Parajanov pictures the ‘character’ of a poet’s soul, its ‘plot’, its emotional fluctuations. In The Color of Pomegranates, which is screening at the festival from a newly restored print, the look of the main character shapes the screen space. In the architectonical structure of this masterpiece, in the world of poetic imagery, encoded in the seemingly illogical, musical sequence of externally static pictures is the internal, almost indiscernible motion of thoughts and feelings, the inner music of an image. As Parajanov explained: “It is not fatigue but a passion to make dynamics inside a static shot.” By stopping the image Parajanov discovered the reverse side of motion. Just as poetry is built by each individual word, in Parajanov’s cinema each shot has its own identity, exists in itself and on its own, but at the same time is part of a whole. The original montage by the filmmaker reveals their emotional and dramaturgical correlation. Parajanov’s biggest cinematographic achievement is his ability to reconcile incompatible and incomparable objects and connect them through a visible language of communication. The most incredible configurations of objects in Parajanov’s films create, through visual dramaturgy and specific plasticity, a harmony of primeval nature. The key substance of his cinematic world is the object, but life is given to that substance by man, by an actor, who
in turn is enlivened by the filmmaker, who holds everything and everybody in his hands. In his films physical reality is reproduced into his own. Behind every shot his shadow is visible, his voice audible; in every object and every actor his pulse and his breath can be felt. The Color of Pomegranates is a screen-parchment, a screen-carpet, a screen-miniature and a fresco all at the same time. Even more, its architecture, its frame composition and structure make it similar to the Armenian Church. It seems that the poetry created by the poet’s lyre exists in a three-
dimensional reality: the realities of books, colorful carpets and the church – the latter being the place where the poet died... All that Parajanov created, his films and collages, confirm the well-known thesis that things are just part of what they mean. There was nothing more boring for Parajanov than to use things according to their meaning. He used to say: “A soldier’s helmet meant something to me only when I saw flowers growing in it.” Parajanov invents his own rules. His art confirms that ‘handmade reality’ can exist and raises cinema to a new level.
Summarizing the peculiarities of Parajanov’s artistic method, he has imparted cinematographic authenticity to handmade reality; he has stopped the shot in motion; he has revolutionized the way the actor is used, and the concepts of frame composition and montage. In a word, he ‘forgot’ everything he knew about cinema and created it anew, following his primeval inspiration. Proclaimed as ‘the filmmaker of the 21st century’, alongside others, Parajanov cast away generally accepted forms and methods, brea king the rules of the game to turn around our perception of cinema and to turn about its history. SG
Whispering Loudly
more or less uniform existence come from sudden explosions, gunfire heard from an area outside the camera’s view, ambulances and tanks stopping the flow of traffic, or guns being fired at random into the air. But in a continuous state of conflict, even these variations become a routine: people go on with their lives while guns are fired in the back ground, in an attempt to impose normality. The documentary has a well defined structure: it is plain, open, without narration, commentary or cinematic artistry, and this modesty suits it very well. The simplicity may come from the observational, non-interfering technique that evokes guerilla journalism. The essence of Whispers of the Cities hence lies in editing and choices, which makes it, as Kasim Abid says, “a subjective and personal journey to the world close to my heart.” It is a world where things are broken even before they are built; where workers dig next to a billboard showing a university graduate, while tanks cross the street; where policemen ridiculously try to regulate a chaotic flow of cars. And although the film insists on routine and familiarity, it alternates, in a sharp confrontation, with insecurity, desolation, fragility and even the grotesqueness of the condition. AC
Whispers of the Cities (Kasim Abid, Iraq/ UK, 2014), 13-7, 11:30 and 16:00, Moscow Cinema, Small Hall 1
Man becomes dog, dog becomes human White God (Kornél Mundruczó, Hungaria, 2014), 13-7, 12:30, Moscow Cinema, Blue Hall, 15-7, 17:00, Moscow Cinema, Blue Hall Some 250 dogs were found in animal shelters to act in White God, a genre-bending film about precocious 13-year-old Lili (newcomer Zsofia Psotta) who is heartbroken when her father gets rid of her dog Hagen. When the city of Budapest puts in place a senseless measure to tax impure breeds more than purebreds, Lili's father is unable to bear the costs for the mongrel Hagen, and leaves it by the side of the highway. The film was warmly welcomed in the Un Certain Regard programme at the Cannes Film Festival this year with its surprising mix of realism developing to a dystopian dog-revenge slasher. With this approach director Kornél Mundruczó takes a drastic turn towards genre experiments. Mundruczó sais he wants to address the past and future of
Hungary through “vengeance films and the allegorical qualities of animal stories, where typically a narrow stratum rules over a greater mass. This is becoming increasingly true for Europe as well. If we don’t pay attention, one day the masses will rise up.” Through spirited storytelling and cross-cut editing, the actions of Lili and Hagen function as mirrors on these rancorous present-day social relations. Both are battling to find friendship and respect. Lili is fighting her father’s heartless decision by being disobedient and searching for Hagen. Hagen, in turn, soon realizes that not every man is a dog’s best friend. After being picked up by a dog trainer who builds him up to win illegal dog fights, hatred and anger towards humanity takes shape in Hagen. Mundruczó juggles White God's simple plot with grand themes like revolution and justice. But at its core, he tells a simpler truth, which upholds throughout the film despite its stylistic twist: man becomes dog because of elitist behavior and vice versa. “To tell this story I chose animals as the subject instead of minorities. Because I wanted to focus freely on this sensitive subject, with as little taboos as possible.” NH
The documentary Whispers of the Cities presents the scrupulous synopsis of an impressive chronology, collected from ten years of footage. For a decade, Iraqi director and cameraman Kasim Abid observed, from the height of three balconies, daily life in the troubled cities of Erbil (Northern Iraq), Ramallah (West Bank) and Baghdad. A title card at the begining of this observational, dialogue-free film sets the stage: Whispers of the Cities requires viewers to watch, see and feel. What is ordinary life like in conflict zones, beyond the daily media coverage which focusses mainly on extraordinary events? The result of excluding these extraordinary circumstances is a repetetive and familiar film, divided into three separate stories. The streets of Erbil, Ramallah and Baghdad are crowded from morning to evening. People go to work, sell newspapers, beg for money, wait in traffic jams or work on construction sites. The variations in their
GOLDEN APRICOT DAILY | DAY 1&2 | 13/14 JULY | 2014
news and reviews 7
Everything Fades Away On the occasion of his 80th birthday this past February, the Golden Apricot Film Festival is showing a retrospective of Otar Ioselliani. A profile of the Georgian director, who has lived and worked in France for most of his life. Before he became a filmmaker Otar Iosseliani (Tbilisi, 1934) first developed the two sides of his brain. At the local conservatory he learned to play the piano and then he studied graphic arts and mathematics in Moscow. Only after this did he turn to the film academy, where the great Aleksander Dovzhenko was one of his teachers. His first long film April (1958) was banned by the Georgian censors. Iosseliani stopped filming, became a sailor and worked in a factory. In 1966 he came back with Falling Leaves, but again he got into trouble with the authorities, as he would do again later with Once There Was a Song-Trush (1970) and Pastorali (1975). These films show Georgia as a country of history, poetry, humor and wine. It’s difficult to understand why they were forbidden, because nothing is said that could be understood as politically unfriendly to the ruling system. But that was exactly the reason authorities were irritated, Iosseliani once explained: "My films were pro- nor anti-Soviet, but a-Soviet. There was never a sign of a regime. There was no Soviet atmosphere, as if that didn’t exist. And ignorance can infuriate people for whom power is the only reason of existence." His films found a way abroad, however, for instance at the Rotterdam film festival. French critics, too, discovered these fresh and charming films with a documentary viewpoint and a wonderful simpli city, like Iosseliani’s life motto: "Real life means problems with small fortunes and some moments of happiness." A retrospective of his work was organised in Paris. Surprisingly enough Iosseliani succeeded to get a visa to visit France. And there he stayed, knowing that there was no future for him as filmmaker in his own Tbilisi. Only once, many years later, he briefly returned to Georgia to make Seule, Georgie (1994), learning that the time of his youth was definitively lost, like so many things are lost, as many of his films show. Traditions are demolished and disaster always sneaks in, like a virus nobody can escape. Returning to Georgia, he was especially disappointed by the political changes that didn’t change
anything. "When communism disappeared, many people thought that everything would change for the better. Well, in some ways it did, or appeared to, but in essence it did not. Old rulers were replaced by new ones who wore different masks but were the same underneath it. It was even worse than before, because during the Soviet time there was good infrastructure in many parts of society, and in 1994 there is nothing. In my time, for instance, there were studio’s, camera’s and film material, so you could film, even make films that were forbidden to be shown. Now filmmakers can only work with help from abroad, which mostly doesn’t come, because who cares about poor Georgian filmmakers." In his aesthetic and somewhat conservative philosophy of life Iosseliani shows respect for values that disappear, such as life in an African village not yet destroyed by ‘culture’ (Et la lumière fut, 1989) or the aristocratic habits in the French countryside (La chase aux papillons, 1992). He seems pessimistic, but Iosseliani denies this: "I feel pity and in some cases I can be angry, but on the other hand: everything fades away. Once there was the Etrusk culture, but nobody misses it since it has been gone for so many centuries." Even in his darkest moments Iosseliani mixes his not-so-positive vision with irony. More than a shouting tiger he is a mocking bird. About pessimism, he also said: "I’m pessimist nor optimist,
because I don’t know anything about the future, so I can’t judge. The only thing is that we shouldn’t make the mistake of thinking the future will be better than the past." From his point of view there aren’t so many reasons to suppose that the sun will shine next time, because history shows that the world is ruled by idiots and crooks. Each generation thinks the previous generation was wrong and want to change things, but the results are always the same: bad. See for instance Brigands, Chapitre VII (1996). Since he moved to Paris, wherever he can Iosseliani has attacked everyone and everything with a Russian smell (apart from that of vodka). Only ordinary people he will never blame, and people who do their duty he doesn’t accuse. Like the custom officers who stopped him once because his passport was expired; he praised them loudly for their protection of their holy country against the internatio nal mafia. His most recent film Chantrapas (2010) is a coproduction between France and Georgia, Iosseliani’s two fatherlands, and portrays the filmmaker Nicolas who merely wants to express himself while everyone around him tries to reduce him to silence. In the face of their determination, Nicolas leaves his homeland for France – country of freedom and democracy. But the ‘state of grace’ will not last long. It looks as if this story has autobiographical elements. PvB
Dragan Wende - West Berlin (Dragan von Petrovic & Lena Müller, Germany/Serbia, 2013), 14-7, 10:00 and 17:30, Moscow Cinema, Small Hall 1
Zoran, My Nephew the Idiot (Matteo Oleotto, Italy/Slovenia, 2013), 14-7, 16:30 and 18-7, 10:00, Moscow Cinema, Blue Hall Unexpected circumstances can force a man to change his opinion on life and the values he cherished before. Paolo (Giuseppe Battiston) lives in an Italian village near the Slovenian border. His main business is drinking white wine (“white stays in you, red just comes out”) and getting over his hangover the next morning... by drinking some more wine.
The GAIFF 2014 opening day will be a little like a guided tour of the finest locations in Yerevan. At 15:00, the traditional Apricot Blessing will take place in a new location: the St. Gregor Lusavorich Church (the bus will be at Royal Tulip Grand Hotel from 14:00). Then, guests will move to Moscow Cinema for the opening of a photo exhibition and presentation on a book on Parajanov, followed by the screening of opening film The Color of Pomegranates (see pages 5 and 6). The official opening ceremony (invitation only) will then take place at the State Academic Opera and Ballet Theater from 19:30, including the installation Into the White by Italian filmma kers Karmachina (see below). To top it all off, there will be a reception hosted by the Armenian Ministry of Culture from 22:30.
Busy Day
Stuck in the Past
To Live Life Anew
A Moving Feast
One morning, hungover as always, he gets some sad news. His ‘favorite auntie’ in Slovenia passed away, leaving him a dog statue and his 15-yearold nephew Zoran (Teco Celio). The development of the relationship between Paolo and his dorky nephew forms the central charm of this light-hearted comedy. Reticent to take any repsonsibilty at first, when Paolo discovers Zoran has a talent for darts, he quickly realizes a way he can guide and manipulate his young apprentice. There’s much in store for both men in this ‘road movie in a single place’, with Zoran falling madly in love and Paolo revising his negative views on music and much else. After all, what better way to start life anew? LG
"Everything was simple back then: the Americans had the left bum, the Russians had the right, and we were the arsehole in the middle!" Speaking is Dragan Wende, the self-proclaimed street king of West-Berlin’s hedonistic 1970s disco scene, lamen ting the fall of the Berlin Wall. Before the ‘Wende’ which he ironically took on as his last name, Dragan’s Yugoslav passport meant he was free to travel between East and West-Berlin, giving him and his cronies unique opportunities for less-than-legal profits. For this tragicomic documentary, Serbian/German director duo Dragan von Petrovic and Lena Müller got invaluable assistance from Dragan’s nephew Vuk. He travels to Berlin from his home town Belgrade to visit his uncle, getting embroiled in Dragan’s seedy lifestyle and filming everything along the way. Often we simply see the young man and his older uncle sitting in the cramped kitchen, with Dragan telling tall tales about the dirty scoundrels and prostitutes with hearts of gold that populate his past. These intimate scenes shot in Dragan’s extravagantly furnished little flat, are mixed through lively editing with archival footage of 1970s Berlin as well as interviews with Dragan’s old friends, some of whom are considerably better off. It seems that staying stuck in the past has left Dragan stranded in the present. JB
After the opening festivities on Sunday, Monday will see the first full festival day ope ning with a plethora of activities. At 15:30, the Films Across Borders program opens with a screening of Ukranian film Brothers: The Final Confession. At 18:00, the first screening in the Yerevan Premiere section will showcase The Book, the latest film by Russian documentary grandmaster Vitaly Mansky. At 20:00, the Kim Ki-duk Retrospective will be opened by the Korean filmmaker’s latest film Pieta; Kim Kiduk will be interviewed in the second Daily. And at 22:00, screenings of Shadows of Forgotten Ancestors and Kyiv Frescoes will open the program section on Ukranian Poetic Ci nema.
Into the White
The Italian collective Karmachina, consis ting for the occasion of filmmakers Vinicio Bordin, Paolo Ranieri and Rino Stefano Taglia fierro and set designer Angelo Linzalata, have come to Yerevan to give a new dimension to the visual artistry of Sergei Parajanov’s work. For the festival’s opening ceremony, they will give a video performance at the Opera by ‘vi deo mapping’ selected scenes from Parajanov’s The Color of Pomegranates and The Legend of Suram Fortress on ten screens of various si zes. The piece, called Into the White, has been created specifically for the festival opening.
First Master Class 14-7, 15:00, Nairi Cinema. For the festival’s first Master Class, Austrian cinematographer Christian Berger will take to the stage. Berger is best known for his collaborations with his countryman Michael Haneke, and was nominated for an Oscar for his work on Haneke’s most recent film The White Ribbon.
Midnight Wrap-up 14-7, 24:00, The Club. Film gurus and GAIFF guests are invited for a daily wrap-up meeting over drinks.
Conversation Director: "Did you see my movie?" Critic: "Did you read my review?" Director: "No, I don’t read reviews." Critic: "I wrote that I don’t go to bad movies." Peter