10:00
13:00 % & ' /Meeting with Anna Melikyan 15:00
/Brides /Tinatin Kajrishvili Geo-Fra/93’/FAB
Lang.: Georgian Subt.: English 12:00
' ( /The Last Tightrope Dancer in Armenia % ( ) , /Arman Yeritsyan, Inna Sahakyan Arm/60’/FoCa
Lang.: Armenian Subt.: English . / Brothers. The Final Confession /Victoria Trofimenko Ukr/124’/UPC, FAB
Lang.: Ukrainian Subt.: English 15:00
/Master Class with Jia Zhang-ke
16:30 & (/Knock * + /Nare Haykazyan USA/18’/IE
No Dialogues ' /The Girl on the Moon % & ' /Aren Malakyan Arm/32’/IE
Lang.: Armenian Subt.: English
18:00
/ Hakop Hovnatanian /Sergei Parajanov Arm/8’/T
No Dialogues / Kyiv Frescoes /Sergei Parajanov Ukr/13’/T
18:00 & %/Chagrin * . ! /Nahapet Sargsyan Arm/8’/IE
No Dialogues ) * +/ Letters to Myself & * /Masha Novikova Nld/82’/IE
Lang.: Russian Subt.: English
No Dialogues
êÇĂ?Ù³ ĂŤĂƒÂłĂą/ Cinema Star
19:00 /Arabesques On The Pirosmani Theme /Sergei Parajanov Geo/20’/T
No Dialogues 19:30 , /Pieta 0 -1 # 0 / Ki-duk Kim Kor/104’/R
Lang.: Korean Subt.: English and Armenian
GOLDEN APRICOT DAILY œÉ˳ĂĂĄĂą ËÙΟ³¡Çù` ĂšĂĄĂŤĂƒ ´ùåùĂ?
Editor-in-chief: Joost Broeren
ĂşĂąÂłĂƒÂťĂąĂƒĂ‡ ѳٳĂ?³ù¡åÕ` Â˛ĂąĂƒĂĄĂľĂą ϳùšÇĂ?Û³Ă?
Armenian coordinator: Artur Vardikyan
Ă?ÕÇĂ?ÂłĂ?Ă?ù` ĂœĂ‡Ă?Ă?Âť Ă?³ÛïĂ?¡³, êÇù³Ă?åþÛĂ&#x; œ³ÉÍïÛ³Ă?, ĂˆÂ¨ĂĄĂ? œ¨åù¡Û³Ă?, Ă˜ÂłĂąĂ‡Âł ÂåÚÙ³çÛ³Ă?, ĂœÂłĂ?Âť ê³Ñ³Ă?Û³Ă?, Ă˜Ă‡ĂšÂłĂ›ÂťĂ‰ Ă˜ÂłĂąÂˇÂłĂąĂ›ÂłĂ?, ĂˆĂ‡Ă‰Ă‡Ăƒ Ă?ĂĄĂĂ‘ÂłĂ?Ă?ÇÍÛ³Ă? êùΟ³¡ùÇãĂ?ùª Ă˜ÂłĂąĂ‡Ă?Âť Ô³ù³Ë³Ă?Û³Ă?, èÇÙ³ ²ÕĂ?Û³Ă? ĂˆĂĄĂľĂŤÂłĂ?Ă?³ùÇã` ĂŞĂĄĂ?Âł ²Ă?šù³ÍÛ³Ă? ¸Ç½³ÛĂ?ù` œ³Û³Ă?Âť œùÇ¡åùÛ³Ă? œÉ˳ĂĂĄĂą ËåùÑùš³ïåþ` äÇïù ĂÂłĂ? ´ÛåþùĂ? Îü³¡ùĂÂłĂ? Âż Â§ĂœĂĄĂ›Ă›ÂłĂ? γü³Ă?ÂŚ êäÀ-åþÙ
/The World /Jia Zhangke Chn/135’/R
Lang.: Chinese Subt.: English and Armenian
Photographer: Sona Andreasyan Design: Gayane Grigoryan General Supervising Manager: Peter van Bueren Printer: "Noyyan Tapan" Ltd.
Lang.: Armenian/Russian/ English/Spanish/Turkish Subt.: English and Armenian
22:00
ºù¨³Ă?Û³Ă? ¡ÇĂ&#x;ùĂ?ù äåÕåÍÛ³Ă? ³Û¡ÇĂ?ùåþÙ/ Yerevan Nights at Poghosyan Gardens
Staff: Anastasia Costianu, Nienke Huitenga Contributors: Levon Gevorgyan, David Vardazarian, Lilit Hovhannisyan, Maria Tokmajyan, Michael Margaryan
21:00 - * /The Book & ! /Vitali Mansky Rus/86’/YP
21:00 ! " # /Once upon a Time There was a singing blackbird ! /Otar Iosseliani Geo/83’/R
Lang.: Georgian Subt.: English and Armenian
$ % /Ziazan " " # /Derya Durmaz Arm-Tur/15’/FAB
Lang.: Armenian Subt.: English & /Tevanik $ % ! /Jivan Avetisyan Arm-Ltu/81’/AP
Lang.: Armenian Subt.: English
GOLDEN APRICOT DAILY | DAY 3 | 15 JULY | 2014
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GOLDEN APRICOT DAILY | DAY 3 | 15 JULY | 2014
4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ
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GOLDEN APRICOT DAILY | DAY 3 | 15 JULY | 2014
interview 5
Kim Ki-duk each other a little bit better. However, things are not like that in Asia. Western countries are intrigued by the quarrels amongst Asian people, and therefore they seem to be interested in the social conflicts that I try to depict in my films, which are basically Asian reality. Even though it’s not their problem, foreigners get thoroughly invested in it. Two of my movies have been very successful in the west in this way: The Isle and Spring, Summer, Fall, Winter... and Spring. Although the reactions to each of them were quite different: The Isle was more of a shocker, while on the other hand, many people found Spring... enchanting. Actually, these two films are more popular abroad than they are in Korea.
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Are Koreans more critical of your work? Well, in Korea there are those who love my movies and those who don’t. Some don’t like them at all... It depends. Since you started making films, you have made one every year, and some years even three or four. How do you manage this? I just write screenplays all the time. I always have a lot of them waiting to be filmed. My films are not American blockbusters; they are much easier to make, they take less time and they’re cheaper to produce. Also, when I write, I already imagine how this or that scene is going to end up looking. Having done that, when we’re filming I react very rapidly.
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In his twenty-year carreer, Kim Ki-duk has become one of the most celebrated Korean directors of all times, and one of the most prominent filmmakers working today. Visually driven and low on dialogue, his films show a world in which primitive instincts and human compassion go hand in hand. Often inspired by Buddhist philosophy, Kim creates passionate stories of kindred souls lost and separated in the midst of violence and greed. Yet despite his succes, Kim was already in his early thirties when he entered a cinema and watched the silver screen for the very first time. This was in Paris, 1991, where Kim was studying fine arts. Before that he had already worked in a factory, served in the Korean army for five years and spent two years in a monastery aiming to become a priest. But after his first trip to the movies he knew exactly what he wanted to do with his life. What did you feel after that screening? Actually, I saw two films. One was American: The Silence of the Lambs by Jonathan Demme. And the other was French: Leos Carax’s Les amants du Pont-Neuf – he has been one of my favorite directors ever since. I was shocked and amazed. It was a really good feeling. After that I started writing screenplays and even won first prize in a contest in Korea. And in 1996 I was lucky enough to be able to make my first film. It’s obvious what a great impact these two movies had on you: your own films seem to combine the raw brutality of Silence of the Lambs and the odd sentimentality of Carax. But surely there must have been other elements that formed your vision. I am inspired by life itself, and by Korean history. Korea was once under the rule of Japan. Then there was the war in the 1950’s which divided the country in two, the North and the South. Of course during all of this there was a lot of cruelty and murder. People were forced to go through many hardships. This is what I try to depict in my movies, most notably in Address Unknown. Audiences, especially in the West, are often shocked by the cruelty in your films. I think that after the two World Wars the countries of Western Europe found a way of understanding
Do you have a specific goal while making a movie? When I write, I want to leave a kind of message for the viewers. A message on what I’m feeling at that moment. You can notice a bit of madness in some of my films, and I guess that’s because that was the state I was in while writing the screenplay. So, I wouldn’t say I have a specific goal. I’m just expressing myself. And you’ve been doing so for almost twenty years now. In the end, what is cinema to you? I’ve been asked this many times. A few years ago, I used to answer that cinema is my job, it’s something that I have to do. At times I thought of it simply as a way of making a living. Now my answer is: I don’t know. I ask myself this question every day, but I haven’t figured it out yet. One way I look at it is: now I’m in Yerevan and I’m meeting people who have understood and connected with my work. So I got the notion that perhaps cinema is a fantasy, a dream and a way of communicating with those who share your dreams. Do people understand your films? I’m not sure. People all over the world seem to know my name – not only here in Armenia, but in France, Italy... all over. So I guess if they know who I am and they have seen and liked my films, then they’ve probably understood them as well. The movies have spoken to them. But I don’t feel that everyone should like my work; I don’t mind if some do not. Thank you for the conversation. Thank you. May I just add that interviews are always hard for me. It’s difficult to explain myself, especially through a language barrier. I’m not insisting that everything I’ve said is right. But either way, I have tried to share my thoughts. AV Pieta (South Korea, 2012), 15-7, 19:00, Cinema Star and 20-7, 19:00, Moscow Cinema, Red Hall The Isle (South Korea, 2000), 16-7, 16:00, Moscow Cinema, Red Hall Address Unknown (South Korea, 2001), 16-7, 22:00, Nairi Cinema The Coast Guard (South Korea, 2002), 17-7, 22:00, Nairi Cinema Spring, Summer, Fall, Winter... and Spring (South Korea, 2003), 18-7, 22:00, Nairi Cinema, 20-7, 13:30, Moscow Cinema, Blue Hall
GOLDEN APRICOT DAILY | DAY 3 | 15 JULY | 2014
6 reviews
Scarring a Little Girl Stations of the Cross (Dietrich Brüggemann, Germany/France, 2014), 15-7, 13:00 and 16-7, 18:00, Moscow Cinema, Blue Hall With his third feature Stations of the Cross (Kreuzweg) rising talent Dietrich Brüggemann cements his place amongst the most thoughtful filmmakers of the new German cinema. The film is divided into 14 chapters. Fourteen is also the age of Maria, an obedient, pure and thoughtful girl who is verbally abused for her every naive "wrongdoing". In her family of Christian fundamentalists, run by her conservative mother, even wanting to look pretty or to sing in a gospel choir are considered dreadful sins. Maria is torn between the temptation of being a normal girl with everyday interests and being a safekeeper of the word of God. Misunderstanding the lectures of their priest, she eventually becomes possessed by the idea of martyrdom so that her 4 year old brother may finally speak.
Not coincidentally, fourteen is also the number of stations that Jesus passed while carrying his cross to Golgotha. Every chapter in the movie is accompanied by a caption describing a specific moment on Christ’s path to crucifixion. The first, titled “Jesus is condemned to death”, shows a seminary class where the shy Maria asks the pedantic priest what it means to sacrifice one’s life to God. What he doesn’t know is that the troubled girl is thinking of physical sacrifice. The obvious religious allegories and Brüggemann’s decision to film every chapter in a single, mostly static shot could have worked against the film, turning it into a highbrow piece. However, the restraint and discipline with which Brüggemann and his sister Anna have constructed the screenplay keep the story grounded and relatable. No less crucial are the exceptionally committed performances by Lea van Acken as Maria and Franziska Weisz as her mother. While this material could easily have
been reduced to antireligious propaganda, Brüggemann sets the tone just right, allowing the audience to concentrate on the pure human drama of the situation. With every scene the screenplay takes a courageous step forward, marching toward its inevitable climax. Brüggemann and director of photography Alexander Sass display an impressive visual sensibility. With framing and blocking reminiscent of the work of Dreyer and Bergman, the director creates a pressing atmosphere which is sustained even in a scene of a family dinner or a seemingly calm seminary lesson. One can almost see the dark shadows hanging over Maria, and the inner tension is so thick you could cut it with a knife. Every frame has distinct colors effectively glooming up the scene, but the most effective of them all is the pale white of Maria’s face. The girl stares into the abyss with confused eyes and in them one can clearly see a soul full of scars. AV
Some of them end up only having a fleeting presence in his life (although neither Mason nor the audience knows this when we first meet them), with his family serving as the only true constant: his sister Samantha (played by the director’s daughter Lorelai), his loving mother (Patricia Arquette) and his wayward father (Ethan Hawke, a fixture in Linklater’s films).
Seeing an actor grow up (or, in the cases of Arquette and Hawke, grow older) before your eyes is a unique pleasure in and of itself. Combined with Linklater’s understated wit and his ability to build a monumental story from the accumulation of minor moments, this makes a 166-minute film fly by in the blink of an eye. JB
Sculpting Time Boyhood (Rickard Linklater, USA, 2014), 157, 10:00 and 18-7, 14:30, Moscow Cinema, Blue Hall “If cinema was painting, time would be the paint itself”, Richard Linklater said on the occasion of the release of his latest film Boyhood. “That’s what we’re capturing and manipulating. Every director is sculpting time, in different ways.” Linklater’s films have often grapled with the passing of time, but none more so than Boyhood, which brings this process of sculpting time to the fore in a unique and remarkale way. Filmed in bits and pieces over a 12-year production and focussing on the youth and young manhood of Mason (Ellar Coltrane), the film sublimely shows the relentless passage of life and the inevitable process of growing older. The first thing we see in this “period film made in the present tense”, as Linklater has called it, is six-year-old Mason, laying on his back in a verdant field of grass and staring up at a clear blue sky. This may well be his first conscious moment; the first moment the boy recognizes himself as an individual, a seperate entity from the world that surrounds him. The film then shows the development of this individual from boy to man, through life-changing moments and minor occasions, ending at the point where he has fully come of age. Along the way, Mason is helped (or hindered) in his growth by the people around him.
At the End of the World
The Tribe (Myroslav Slaboshpytskiy, Ukraine, 2014), 15-7, 17:00 and 17-7, 12:30, Moscow Cinema, Blue Hall Starting out as a winning Ukrainian pitch at the 2012 GAIFF’s Directors Across Borders forum, The Tribe (Plemya) ended up winning three awards at the 2014 Cannes Film Festival’s International Critic’s Week section. Myroslav Slaboshpytsky’s debut feature follows a shy young man who arrives at a school for the deaf-and-dumb and soon finds that most of his schoolmates are in a gang, dealing in violence and prostitution. At first the young man joins them, but it’s only a matter of time before his aims and those of his friends start to contradict. The premise is ancient: an outsider joins a group, becomes a major player, but eventually has a falling out with other members. In that sense, the title of the film is spot on. The only way these characters know to solve problems is by physical force or mental domination, only exacerbated by the fact that they can communicate only through gestures and stares. Remarkably, although the characters communicate entirely in sign language, the basics of every dialogue are easily understandable. The Tribe is rather explicit, if not naturalistic in its depiction of violence and sex, sketching an isolated and at times disturbing primal environment. Filming every scene in a single take, the camera follows the characters with mild curiosity yet always keeps a safe distance. It’s as though the camera is somewhat intimidated to take a close-up of this tribe, where the discovery of power and pleasure eventually leads to the birth of hate and self-destruction. AV
Love in Times of Abkhazia
Under the Skin
Coast of Death (Lois Patiño, Spain, 2013), 15-7, 10:00 and 19:00, Moscow Cinema, Small Hall 1 “Upon the arrival of men in the landscape and the landscape in men, the eternal life of Galicia was created.” This is the quote that opens the poetic documentary Coast of Death (Costa da morte), becoming the verbal equivalent of the impressive, meditative, phantasmal beauty of the film. Lois Patino’s superb debut is an ode to the Spanish landscape with its haunting blend of chimera, rage and selflessness. Located at the end of the world, according to a pre-Roman legend, the so-called Coast of Death is part of the Galician coastline in northern Spain. The frightful name comes from the many ships that have perished in the heavy sea that washes the deceitfully rocky shores. There’s a certain magical ancestry surrounding the area, nurtured by tall tales about things that happened “60, 70 or 100 years ago” and fabulous legends whose chronology is undetermined. Couples that can’t have children go to “the fertility bed”, located on a looming sacred mountain, to have the sea and land as their witness. Rumours say that when a ship loaded with condensed milk sank, people’s houses were colored all along the shore, and they thought it was paint. Patiño tells us about this coast in a visual rather than a verbal way. His shots, most of them static and from a distance, bring to the fore the contemplative plasticity of
Primal Fear
the landscapes. Nature, with its primordial elements of water, ground, air and fire, becomes embodied. Therefore, focus shifts away from the landscape’s inhabitants, who become little figures in the majestic landscapes, all alike, without identities. They simply provide fragments of stories, with the wind and the waves in the background. But the deeply rooted traditional connection with nature seems to be shattered intermittently by antagonising artificial intruders: chainsaws, tractors, explosives, all abusively manipulated by people. Distinguished by its smooth mood, a genuine, peculiar sense of rythm and a birds-eye vision, Coast of Death offers an impecable film essay. AC
I Am Not Him (Tayfun Pirselimoğlu, Turkey/ France/Greece/Germany, 2013), 15-7, 19:30, Moscow Cinema, Blue Hall
Domino Effect (Elwira Niewiera & Piotr Rosołowski, Poland/Germany, 2014), 15-7, 12:00 & 17:30, Moscow Cinema, Small Hall 1
Tayfun Pirselimoğlu’s I Am Not Him (Ben o degilim) is vaguely reminiscent of Michelangelo Antonioni’s 1975 classic The Passenger, in which the main character decides to change his life by taking someone’s identity, not realizing the consequences this might have. In I Am Not Him, too, a case of mistaken identity has far-reaching results. In this peculiar mix of psychological drama and thriller in which not everything is explained and much is left to the viewer’s subjective understanding. Nihat (Ersan Kesal) and Ayşe (Maryam Zaree) live in a provincial city in Turkey. Theirs is a gloomy and monotonous life, both working as cleaners in a hospital canteen. They are united by loneliness and the wish for a partner, even if it is only for sex. It’s been four years since Ayşe’s abusive husband was sent to jail and he still has a long to time to go. Nihat’s desire to relate with a woman slowly and strangely turns into an obsession with Ayşe’s husband, with whom he bears an uncanny resemblance. When Nihat is alone again after an unfortunate event, he quickly transforms himself into Ayşe’s criminal husband. How was he to know that the latter will soon break out of prison and he will mistakingly be taken in in his place? Is Nihat ready to live his life under the skin of his Doppelgänger? LG
An intricate love story becomes a metaphor for the unrecognized country of Abkhazia in the documentary Domino Effect (Efekt domina). The reality in the rusty and futureless Abkhazian capital Sukhumi is bitterly felt through the daily life of Abkhazian/Russian couple Rafael and Natasha. Rafael, shown in excruciating archive footage from 1993 as a soldier in the war with Georgia, is now the Minister of Sports, trying to organize the domino world championship in helplessly isolated Abkhazia. Natasha is a Russian opera singer who gave up her country and family to be with Rafael, but feels alienated and rejected by his unwelcoming family and society. Their beautiful romance is shaped by the values the characters are ready to make sacrifices for: Natasha does it all in the name of love, whereas firmly nationalistic Rafael puts his country before all else. In a remote, war-torn country with 100.000 inhabitants and ravishing landscapes but scarred homes and souls, the excuse: “Our republic is young and developing”, given for the frequent power failures, sounds ludicrous twenty years on. “In times of peace they will crush us” seems the burdensome prospect, a valid sentiment in this non-existent place. From a deeply personal documentary, Domino Effect grows into a socio-political commentary on a place stuck between past and future. AC
GOLDEN APRICOT DAILY | DAY 3 | 15 JULY | 2014
news and reviews 7
Vitaly Mansky presents The Book
Sing Me a Song
"Life is no longer than a movie" A thousand years ago in ancient Armenia, St. Grigor Narekatsi wrote his Book of Prayers, an insightful revelation of man’s spiritual world. In a press conference yesterday, Russian filmmaker Vitaly Mansky spoke about his documentary The Book, inspired by Narekatsi’s work. Mansky’s new film, which premiered at the Moscow film festival in June, focuses on man living in the modern world, where the fundamental quest for the meaning of life is not a priority. “I’ll never get tired of repeating that this is a very simple film”, Mansky said, “and that’s why it’s so complex. It is probably the most complex movie in my career.” Mansky noted that he was happy to bring this Armenian story back to its country of origin: “Narekatsi is a genius, cherished by the Armenians.” Indeed, the original idea for the movie came from Armenian priest Mesrop Aramyan, also present at the press conference. “Narekatsi’s Book of Prayers is the inspiration for the film, but
Vitaly Mansky
it’s not about that book or Narekatsi”, Aramyan explained. “It’s about the meaning of life. When [legendary Armenian documentarist] Artavazd
Peleshyan saw the movie, he said that we should have named it Why. By showing a modern person living in a world in which this question is not asked, we tried to come to the ideas of Narekatsi’s book.” Mansky confessed that it was a hard film to make. “I started shooting when I had already lived most of my life, but making the film forced me to look at my life in a new light. That’s not an easy thing to do. I’m sure no one confronts those question until they reach 40. I myself was surprised when I did. I understood that life is not much longer than the film. Life ends really quickly and the nearer to the end you are, the less you can change it. Or maybe you won’t be able to change anything at all. That’s why you need to start changing at the very beginning. Of course, that is impossible!” LH The Book (Russia, 2014), 15-7, 21:00, Cinema Star and 19-7, 21:30, Moscow Cinema, Red Hall
Painting with light For this year’s first Master Class, renowned Austrian cinematographer, director and producer Christian Berger took to the stage yesterday. Berger willingly shared the secrets and delicacies of his art. Berger’s first steps in the world of cinema were the documentaries he made in Tyrol and Forarlberg studios. He also had a considerable output in Austrian television. But he gained real fame when he started shooting the films of director Michael Haneke. The two have collaborated on such films as Benny’s Video (1992), The Pianist (2001) Hidden (2005), and The White Ribbon (2009). The latter earned Berger an Oscar nomination and twelve other international awards. Berger is also the director of photography for Amos Gitai’s Disengagement (2007), which is featured in this year’s Retrospective on the Israeli director.
At the Master Class Berger explained the essence of cinematography through examples from his own films. It is worth noting that Berger invented the Cine Reflect Lighting System, which advanced the possibilities of the camera: "This system gives the director, the cinematographer and even the actor incredible freedom and flexibility. It contains a set of energy-saving devices, which expand the possibilities of the lighting equipment." In his work Berger pays equal attention to these technical aspects and the aesthetics of the image. Above all he cherishes simplicity and quality of composition: "It must be clear and natural." To achieve this, Berger implored the attending students to explore nature just as the great filmmakers of the past did, naming Carl Theodor Dreyer, Robert Bresson and Ingmar Bergman in particular. Berger’s own compositions have a special depth to them, in which the modeling of light and shadow is both hidden and obvious, and saturated with ox-
Upon receiving his Parajanov’s Thaler Award during the opening ceremony, Korean director Kim Ki-duk (see page 5) beautifully sang part of a Korean folk song. Let’s hope this was the start of a new tradition; perhaps the five Golden Apricot winners will perform as a Barbershop Quintet during the Closing Ceremony?
Forum Armenium 10:00, Ani Plaza Hotel. The 8th edition of the Directors Across Borders co-production forum will open its doors today. The three-day Forum is aimed at promoting talents and film (co)production in the Eastern Partnership countries. Fourteen projects were selected to compete for three development grants of €5,000 and two grants of €3,500 each. See opposite page for a review of The Tribe, a result of 2012’s Forum.
Star Director 13:00, Henrik Malyan Theatre (address: 18 Vardanats). Ahead of the first screening of her latest film Star, showing in the Armenian Panorama, Russian/Armenian director Anna Melikyan will give a talk at the renowned Henrik Malyan Theatre. English translation will be available.
Master Class: Jia Zhangke 15:00, Nairi Cinema. Chinese director Jia Zhangke, one of the most renowned guests of the 2014 festival, will speak about the art of filmmaking. An interview with Jia will be published in tomorrow’s Daily.
Cinema for Social Change Christian Berger
ygen. Berger stated that he used these techniques for the first time in Haneke’s The Pianist, a completely innovative and experimental way of seeing light in cinema. Asked for a final word of advice for your filmmakers, he pointed them to the importance of assembling a good team. But most importantly: to train the eye. MT/MM
Prison Break-up
17:00, Moscow Cinema, Red Hall. Following a press conference (13:00, Royal Tulip Grand Hotel, Vivaldi Room), the non-competition program Cinema for Social Change will be officially opened this afternoon with the screening of the film 80 Million by Waldemar Krzystek, followed by a reception (invitation only) hosted by the program and its partner Culture.pl. The program offers a global snapshot of citizen activism, showing the efforts of private individuals all around the world to better their environments.
Amos Gitai Retrospective
Brides (Tinatin Kajrishvili, Georgia/France, 2014), 15-7, 10:00, Nairi Cinema, 17-7, 14:00, Moscow Cinema, Red Hall
Monumental saga Prometheus (Ivan Kavaleridze, Ukraine, 1936), 15-7, 13:30, Tumo Center With the current situation in the Ukraine making the headlines, it’s surprising to discover a Ukrainian film from 1936 which seems to show that nothing really changed there in the past 80 years. Made by the “Ukrainian Michelangelo” Ivan Kavaleridze, and banned by Stalin upon its first release, Prometheus is one of the highlights of the non-competition program on Ukrainian Poetic Cinema. Combining traditional themes with far-reaching aesthetic innovation, this movement had its most active periods in the 1930’s and 1960’s. In Prometheus, the simple story of the slave Ivas, who is sent by his owner to the Caucasus as
a soldier and becomes a revolutionary, is turned into a monumental saga. The Sovietized peoples are shown as modern-day versions of the mythological Prometheus, their hearts being pecked at not by an eagle but by the “two-headed, mean raven, torn in domestic wars”, a sly reference to the Russian imperial coat of arms. Sounding pro-revolutionary in some sequences, using Soviet slogans and poetic quotations from Shevchenko and Pushkin, the film was nevertheless very controversial, for example proclaiming “Russia and revolution: two lethal enemies” and noting that “the free Caucasian nations started to enjoy true freedom only after having been conquered by the Russians!” It is said that Stalin especially disliked the scenes where the heroism of the Caucasian peoples is shown. DV
“I wish you to be together”, the Civil Registery worker says, recording the marriage of Georgian couple Nutsa and Goga. But there will be no champagne, as this is a wedding in prison, which also means that “being together” is technically possible only once a month, when this young couple get a whole night of honeymoon. Nutsa is far from the only bride going through this kind of marriage. There are lots of them: free brides for locked-up bridegrooms. Some of them have kids, for whom they find lies. Sometimes they need lies for themselves. And there are always the guards to witness their marriages, to shout “Next!”, to touch and search the brides on their long and tiresome way to their partners in prison. Nutsa even gets her pants taken off by a guard before he sends her to her “honeymoon.” Tinatin Kajrishvili’s Brides is one of two Georgian films among the 21 movies in this year’s Films Across Borders program, which is part of the Directors Across Borders initiative, aiming to demonstrate the history, culture, traditions and human experiences of the Post-Soviet countries. Brides’ particular story was experienced by the director herself, although the film is not completely autbiographical. Unlike Nutsa’s story, the director’s had a happy ending, though it seems all of the brides share the feeling uttered by one of them after another jail meeting: “I will never go back to that hell again.” DV
19:00, Moscow Cinema, Red Hall. The Amos Gitai Retrospective will open this evening with his most recent film Ana Arabia (pictured), with three more films by the Israeli director screening in the coming days. An interview with Gitai will be published in Thursday’s Daily.
Midnight Wrap-up 24:00, The Club. Film gurus and GAIFF guests are invited for a daily wrap-up meeting over drinks.
CONVERSATION Critic: "What does nostalgia mean?" Tarkovsky: "You are not Russian, so you don’t understand." Critic: "That’s why I ask you." Tarkovsky: "You will not understand my answer." Critic: "Can I still understand Nostalghia?" Tarkovsky: "Art is not for understanding." Peter