Golden Apricot Daily - 2014, Day 4

DAY 4, WEDNESDAY, JULY 16

Locked Up in the Big House Ø»Í ï³Ý μ³Ýï³ñÏÛ³ÉÁ

èÇã³ñ¹ ä»ÝÛ³

§î³ÝÁ¦, §Î³Ý³Ûù »õ áõÕ»õáñÁ¦

гñó³½ñáõÛó. ò½Û³ âųÝÏ»

Interview: Jia Zhangke

At Home: Tragedy in Broad Daylight

Cinema for Social Change

GOLDEN APRICOT DAILY | DAY 4 | 16 JULY | 2014

2 Ă?ù³¡Çù/program 16 ÑåþÉÇÍÇ/ 16 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γüåþÛï š³ÑÉÇ×/ Moscow Cinema, Blue Hall 10:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γùÙÇù š³ÑÉÇ×/ Moscow Cinema, Red Hall 10:00

10:00

0 /At Home

/Athanasios Karanikolas Deu-Grc/103’/FC

7 /The Abode - ( /Lusine Sargsyan Arm/100’/AP

Lang.: Greek Subt.: English

Lang.: Armenian Subt.: English

12:00 : /Still Life Q- 8 & /Uberto Pasolini UK-Ita/87’/FC

12:00 8 / Romanticists ( &

, 6 % 4 . /Areg Azatyan, Shogher Tadevosyan Arm/95’/AP

Lang.: English

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

14:00

/The Useless # ; 0

/Arshak Zakaryan, Arm/13’/AP

Lang.: Armenian Subt.: English

2 /The Big House :

/Fellipe Barbosa Bra/112’/FC

Lang.: Portuguese Subt.: English 16:00 Q /Jack ( / Edward Berger Deu/103’/NGC

Lang.: German Subt.: English and Armenian

16:00

! /The Isle - - / Ki-duk Kim Kor/102’/R

Lang.: Korean Subt.: English and Armenian

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

Lang.: Hungarian Subt.: English 14:00 !V /Films About Conscience 15:30

22:00

/The Useless # ; 0

/Arshak Zakaryan Arm/13’/AP 7 /The Abode - ( /Lusine Sargsyan Arm/100’/AP

Lang.: Armenian Subt.: English

0! 1 /Men and Women - 3 / Ruth Meehan, Irl/13’/SC

Lang.: English 12:00, 20:00 2 3 "/Just for One Day 4 - 5 6 3 /Tunç Şahin Tur/23’/SC

! " / Presumed Guilty

, ! / Roberto Hernandez and Geoffrey Smith Mex/90’/CSC

Lang.: Spanish Subt.: English and Armenian 17:30 # $ /Parajan "# $% &

'/Oshin Yeghiazaryants Arm/11’/P

Lang.: Russian Subt.: English

19:00 ! /The Ceremony 9

,

@ /Avi Weissblei, Eliran Knoller Isr/85’/DC

Lang.: Hebrew Subt.: English and Armenian 21:00 & " /The Ruler 6

6 ( /Shalva Shengeli Geo/52’/FAB

2

/We are From Ani

"3

/ Mariam Ohanyan Arm/29’/FAB

Lang.: Hungarian/English/ Armenian Subt.: English

œÉ˳íåù ËÙΟ³¡Çù` ĂšĂĄĂŤĂƒ ´ùåùĂ?

Editor-in-chief: Joost Broeren

ĂşĂąÂłĂƒÂťĂąĂƒĂ‡ ѳٳĂ?³ù¡åÕ` Â˛ĂąĂƒĂĄĂľĂą ϳùšÇĂ?Û³Ă?

Armenian coordinator: Artur Vardikyan Staff: Anastasia Costianu, Nienke Huitenga Contributors: David Vardazarian, Lilit Hovhannisyan, Maria Tokmajyan

êùΟ³¡ùÇãĂ?ùª Ă˜ÂłĂąĂ‡Ă?Âť Ô³ù³Ë³Ă?Û³Ă?, èÇÙ³ ²ÕĂ?Û³Ă?

Photographer: Sona Andreasyan

ĂˆĂĄĂľĂŤÂłĂ?Ă?³ùÇã` ĂŞĂĄĂ?Âł ²Ă?šù³ÍÛ³Ă?

General Supervising Manager: Peter van Bueren

Design: Gayane Grigoryan

Printer: "Noyyan Tapan" Ltd.

% ! & '/Ashik-Kerib ( )

* /Sergei Parajanov Geo/88’/T

19:30 ( /Ziazan +

+ - &/Derya Durmaz Arm-Tur/15’/FAB

Lang.: Armenian Subt.: English

Lang.: Georgian Subt.: English

1 !1 /The Women and the Passenger 8

, 9

0-: /Patricia Correa, Valentina Mac-Pherson Chl/45’/DC

/My Kith and Kin

/ Rodion Ismailov Rus-Aze/63’/FoCa

Lang.: Azerbaijani/Russian Subt.: English 16:00

/Melancholy

/Nara Karapetyan Arm/23’/IE

Lang.: Armenian Subt.: English . / Khachkar – The Tree of Life

/ Tatiana Snisarenko, Rus/35’/IE

Lang.: Armenian/Russian Subt.: English

Lang.: Russian Subt.: English

5 " 6 "/ Once Upon Another Time

0

./Alexandr Baev, Geo/30’/FoCa

Ă?. Ă˜ÂłĂ‰Ă›ÂłĂ?Ç ÂłĂ?Ă­ÂłĂ? Ă?ÇĂ?嚝ù³Í³Ă?Ç ĂƒÂłĂŻĂąĂĄĂ?/ Theater-Studio of Cinema Artists After H. Malyan 14:00

Lang.: Turkish Subt.: English

Lang.: Hungarian/English/ Armenian Subt.: English

GOLDEN APRICOT DAILY

Îü³¡ùí³Ă? Âż Â§ĂœĂĄĂ›Ă›ÂłĂ? γü³Ă?ÂŚ êäÀ-åþÙ

Lang.: Romanian Subt.: English

16:00

Lang.: Georgian Subt.: English and Armenian

Lang.: Armenian Subt.: English

œÉ˳íåù ËåùÑùš³ïåþ` äÇïù í³� ´Ûåþù�

, )/Luminita

#/AndrÊ Marques Prt-Rom/20’/SC

2

/We are From Ani

"3

/ Mariam Ohanyan Arm/29’/FAB

Lang.: Hungarian Subt.: English and Armenian

Lang.: Chinese Subt.: English and Armenian

¸Ç½³Û�ù` œ³Û³� œùÇ¡åùÛ³�

Lang.: French Subt.: English

0! , !$ /Guys Girls ( /Liam Engle Fra/14’/SC

17:30 < [ /Stream of Love ( # 6 #/Agnes SĂłs Hun/70â&#x20AC;&#x2122;/DC

19:30 : /Still Life <&

=> /Jia Zhangke Chn/111â&#x20AC;&#x2122;/R

Ă?ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?Ă?ù` Ă&#x2DC;³ùĂ&#x2021;Âł Ă&#x201A;ĂĄĂšĂ&#x2122;³çĂ&#x203A;ÂłĂ?, ²ùĂ?Ă­Ă&#x2021; ´³Ă&#x2039;ĂŁĂ&#x2021;Ă?Ă&#x203A;ÂłĂ?, Ă&#x2DC;Ă&#x2021;Ú³Ă&#x203A;ÂťĂ&#x2030; Ă&#x2DC;³ù¡³ùĂ&#x203A;ÂłĂ?, Ă&#x2C6;Ă&#x2021;Ă&#x2030;Ă&#x2021;Ă&#x192; Ă?ĂĄĂ­Ă&#x2018;ÂłĂ?Ă?Ă&#x2021;ĂŤĂ&#x203A;ÂłĂ?

+ ' /Never Ever

2 + - /Erwan Le Duc Fra/28â&#x20AC;&#x2122;/SC

13:00

Lang.: Greek Subt.: English

Lang.: Turkish/Kurdish Subt.: English and Armenian

²Ă&#x;Ă&#x2039;³ï³Ă?³½Ă&#x2122;` ²Ă?³Íï³ÍĂ&#x2021;Âł Ă&#x17D;ĂĄĂŤĂŻĂ&#x2021;Ă&#x;ÂłĂ?ĂĄĂľ, Ă&#x153;Ă&#x2021;Ă?Ă?Âť Ă?ÂłĂ&#x203A;ĂŻÂťĂ?¡³

10:00, 18:00

# ! /Dead End

#

/Tonia Mishiali Cyp/15â&#x20AC;&#x2122;/SC

\ ! /The Walkers + & 6 ( 5/Deniz Ĺ&#x17E;engenç Tur/52â&#x20AC;&#x2122;/FAB

17:30

Lang.: German/English/Dari/ Pashto Subt.: English and Armenian

22:00 Y ' ) /Barbaric Land $

, *

55 - /Yervant Gianikian, Angela Eicci Luchhi Fra/65â&#x20AC;&#x2122;/YP

12:00 < [ /Stream of Love ( # 6 #/Agnes SĂłs Hun/70â&#x20AC;&#x2122;/DC

Ă&#x153;ÂłĂ&#x2021;ĂąĂ&#x2021; Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?/ Nairi Cinema

Ă&#x2DC;ĂĄĂŤĂ?Ă­Âł Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, ÜåÚù š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014; 2/ Moscow Cinema, Small Hall 2

Lang.: French Subt.: English

%9 $1/ Inbetween Worlds :

%/Feo Aladag Deu/103â&#x20AC;&#x2122;/NGC

Lang.: Romanian Subt.: English and Armenian

Lang.: Hebrew Subt.: English

Lang.: Turkish Subt.: English and Armenian

Lang.: German Subt.: English and Armenian

X % /The Japanese Dog - @ - * -/Tudor Cristian Jurgiu Rom/85â&#x20AC;&#x2122;/FC

! /The Ceremony 9

,

@ /Avi Weissblei, Eliran Knoller Isr/85â&#x20AC;&#x2122;/DC

14:00

/The Impeccables

/ Ramin Martin, Tur/95â&#x20AC;&#x2122;/FAB

18:00 V / Stations of the Cross + X -( /Dietrich BrĂźggemann Deu-Fra/107â&#x20AC;&#x2122;/FC

20:00

Ă&#x2DC;ĂĄĂŤĂ?Ă­Âł Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, ÜåÚù š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014; 1/ Moscow Cinema, Small Hall 1

!/Diyar +. 00

/ Devrim Akkaya Tur/71â&#x20AC;&#x2122;/FAB

Lang.: Turkish/Kurdish Subt.: English and Armenian 22:00

18:00

/Now I Know

/Anna Bayatyan Arm/22â&#x20AC;&#x2122;/IE

Lang.: Armenian Subt.: English

/Caucho

/Lilit Movsisyan Arm/85â&#x20AC;&#x2122;/IE

Lang.: Armenian Subt.: English 20:00

/Meeting with Ken Davtyan

Ă&#x201A;ĂĄĂľĂ&#x2122;ĂĄ ĂŤĂŻÂťĂ&#x2022;Ă?³ù³ù ĂŻÂťĂ&#x2039;Ă?ĂĄĂ&#x2030;å¡Ă&#x2021;ÂłĂ?ùĂ&#x2021; Ă?ÂťĂ?ïùåĂ?/ Tumo Center For Creative Technologies 13:30

Lang.: Spanish Subt.: English and Armenian

Ă&#x2DC;ĂĄĂŤĂ?Ă­Âł Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, ²Ă&#x2122;³Ê³Ă&#x203A;Ă&#x2021;Ă? š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014;/ Moscow Cinema, Summer Hall

) */Address Unknown - - /Ki-duk Kim, Kor/117â&#x20AC;&#x2122;/R

Lang.: Korean Subt.: English and Armenian

21:00

ĂŞĂ&#x2021;Ă?ÂťĂ&#x2122;Âł ĂŤĂ&#x192;³ù/ Cinema Star

80 /80 Million 9

@# /Waldemar Krzystek Pol/102â&#x20AC;&#x2122;/CSC

Lang.: Polish Subt.: English and Armenian

19:00

<1 9, ' ) / Black Coal, Thin Ice +

/Diao Yinan Chn/106â&#x20AC;&#x2122;/YP

Lang.: Mandarin Subt.: English and Armenian

Ă&#x17D;ĂąĂ&#x192;ÂłĂ&#x2122;Ă&#x;ÂłĂ?ĂĄĂľĂ&#x192;ÂłĂ&#x203A;Ă&#x2021;Ă? Ă&#x2018;Ă&#x2021;Ă&#x2122;Ă?³šù³Ă&#x2122;/ "Union Of Folk Arts" Educational Cultural Fund

15:30 " ) 2 93

/St. Johnâ&#x20AC;&#x2122;s Eve ? - /Yuri Ilienko Ukr/71â&#x20AC;&#x2122;/UPC

17:30

/Meeting with Gideon Koppel

No Dialogues

No Dialogues

Lang.: Ukrainian Subt.: English and Armenian

Lang.: Ukrainian Subt.: English and Armenian

23:00 # ) /Arabesques On The Pirosmani Theme ( )

* /Sergei Parajanov Geo/20â&#x20AC;&#x2122;/T @ /Dumka ( )

* /Sergei Parajanov Ukr/25â&#x20AC;&#x2122;/T

!' ; " /A Spring for the Thirsty ? -

/Yuri Ilienko Ukr/73â&#x20AC;&#x2122;/UPC

21:00

ºù¨³Ă?Ă&#x203A;ÂłĂ? ¡Ă&#x2021;Ă&#x;ùĂ?ù äåĂ&#x2022;ĂĄĂŤĂ&#x203A;ÂłĂ? ÂłĂ&#x203A;¡Ă&#x2021;Ă?ùåþĂ&#x2122;/ Yerevan Nights at Poghosyan Gardens 21:00

22:00 ' " / Hakop Hovnatanian ( )

* /Sergei Parajanov Arm/8â&#x20AC;&#x2122;/T

No Dialogues ( ! " /Flower on the Stone ( )

* /Sergei Parajanov Ukr/76â&#x20AC;&#x2122;/T

Lang.: Russian Subt.: English

!' . = $ 9 ) " / Brothers. The Final Confession 9

! /Victoria Trofimenko, Ukr/124â&#x20AC;&#x2122;/UPC, FAB

Lang.: Ukrainian Subt.: English and Armenian

< [/Love Me

[ 5, 3 3

/Maryna Er Gorbach, Mehmet Bahadir Er Ukr-Tur/90â&#x20AC;&#x2122;/FAB

Lang.: Ukrainian/Turkish/ Russian/English Subt.: English and Armenian

GOLDEN APRICOT DAILY | DAY 4 | 16 JULY | 2014

ýÇÉÙ»ñ »õ é»ÅÇëáñÝ»ñ 3

üÇÉÙ»ñÁ ÷áËáõÙ »Ý Ù³ñ¹Ï³Ýó, Ù³ñ¹ÇÏ ¿Éª ³ß˳ñÑÁ §êáóÇ³É³Ï³Ý ÷á÷áËáõÃÛáõÝÝ»ñÇ ÏÇÝᦠÍñ³·ñáõÙ Áݹ·ñÏí³Í μ³½Ù³½³Ý ·áñÍ»ñÁ ÙdzíáñáõÙ »Ý ï³ñμ»ñ »ñÏñÝ»ñÇ ³é³ÝÓÇÝ ù³Õ³ù³óÇÝ»ñÇ Ï³Ù ËÙμ»ñÇ ç³Ýù»ñÁ, áñ áõÕÕí³Í »Ý ëáóÇ³É³Ï³Ý ¨ ù³Õ³ù³Ï³Ý å³ÛÙ³ÝÝ»ñÇ ÷á÷áËáõÃÛ³ÝÝ Çñ»Ýó μݳÏáõÃÛ³Ý í³Ûñ»ñáõÙ: ºñ»Ï Íñ³·ñÇ Ñ³Ù³Ï³ñ·áÕÝ»ñ èÇã³ñ¹ ä»ÝÛ³Ý ¨ ä³í»É äáïáñáãÇÝÁ, ÇÝãå»ë ݳ¨ Íñ³·ñÇ ÑÛáõñ ²¹³Ù ØÇËÝÇÏÁ Ý»ñϳ۳óÝáõÙ ¿ÇÝ Íñ³·ÇñÁ: Ìñ³·ñÇ áõà ýÇÉÙ»ñáõÙ ù³Õ³ù³óÇÝ»ñÝ Áݹ¹ÇÙ³ÝáõÙ »Ý ³ÛÝ ³Ù»ÝÇÝ, ÇÝãÝ ³Ý³ñ¹³ñ »Ý ѳٳñáõÙ, ¨ Ñ³×³Ë ¹³ ѳݷ»óÝáõÙ ¿ μ³ËÙ³Ý` ϳé³í³ñáõÃÛ³Ý, ѳٳÛÝùÇ ¨ ÝáõÛÝÇëÏ ÁÝï³ÝÇùÇ Ñ»ï: Ìñ³·ÇñÝ Çñ³Ï³Ý³óí»É ¿ Ȼѳëï³ÝÇ ²¹³Ù ØÇóϨÇã ÆÝëïÇïáõïÇ Ý³Ë³Ó»éÝáõÃÛ³Ùμ, áñÝ ³é³ù»ÉáõÃÛáõÝ áõÝÇ Ñ³ëï³ï»É Ȼѳëï³ÝÇ ³é³ç³ï³ñ ¹Çñù»ñÁ ·³Õ³÷³ñÝ»ñÇ áõ Ùß³ÏáõóÛÇÝ ³ñÅ»ùÝ»ñÇ ÙÇç³½·³ÛÇÝ ³ëå³ñ»½áõÙ: §àëÏ» ÍÇñ³ÝǦ ·»Õ³ñí»ëï³Ï³Ý ïÝûñ»Ý êáõë³Ýݳ гñáõÃÛáõÝÛ³ÝÁ ·áÑáõݳÏáõÃÛ³Ùμ ÷³ëï»ó. §àõñ³Ë »Ù, áñ Ù»ñ ÷³é³ïáÝÝ áõÝÇ ³ÛÝåÇëÇ Ù»Í í³ñϳÝÇß, áñ Ȼѳëï³ÝÇ ³Ûë ÇÝëïÇïáõïÇ ÝÙ³Ý Ï³Û³ó³Í áõ Ñ»ÕÇݳϳíáñ Ùß³ÏáõóÛÇÝ ûç³ËÁ ¹ÇÙáõÙ ¿ Ù»½ª ѳٳ·áñͳÏóáõÃÛ³Ý ³é³ç³ñÏáí: Ðáõëáí »Ýùª ë³ ÏÉÇÝÇ »ñϳñ ׳ݳå³ñÑÇ ³é³çÇÝ ù³ÛÉÁ¦: سÙáõÉÇ ³ëáõÉÇëáõÙ ÜÛáõ ÚáñùÇ ÏÇÝá÷³é³ïáÝÇ Ý³ËÏÇÝ ïÝûñ»Ý, §êáóÇ³É³Ï³Ý ÷á÷áËáõÃÛáõÝÝ»ñÇ ÏÇÝᦠÍñ³·ñÇ Ñ³Ù³Ï³ñ·áÕÝ»ñÇóª èÇã³ñ¹ ä»ÝÛ³Ý μ³ó³ïñ»ó Íñ³·ñÇ ÇÙ³ëïÁ. §Üå³ï³Ï áõÝ»ÇÝù Ý»ñ·ñ³í»É ³ÛÝ »ñÏñÝ»ñÁ, áñï»Õ Ýáñ ¿ ½³ñ·³ÝáõÙ ÅáÕáíñ¹³í³ñáõÃÛáõÝÁª ûñÇÝ³Ï Î»ÝïñáÝ³Ï³Ý ²ëdzÛÇ áõ ²ñ¨»ÉÛ³Ý ·áñÍÁÝÏ»ñáõÃÛ³Ý Íñ³·ñÇ »ñÏñÝ»ñÁ: ²Ûëï»Õ ÙdzÛÝ Ù³ñ¹Ï³Ýó ³ÏïÇíáõÃÛáõÝÁ μ³í³ñ³ñ ã¿ ÷á÷áËáõÃÛáõÝÝ»ñ ³Ý»Éáõ ѳٳñ¦: ä»ÝÛ³Ý Ýß»ó, áñ ³Ûë ýÇÉÙ»ñÁ ï³ñμ»ñ Çñ³Ï³ÝáõÃÛáõÝÝ»ñ »Ý Ý»ñϳ۳óÝáõÙ: §Ìñ³·ÇñÁ μ³ó³Ñ³ÛïáõÙ ¿ ù³Õ³ù³óÇ³Ï³Ý ³ÏïÇíáõÃÛ³Ý §Ñ³ÙÁݹѳÝáõñ å³ïÏ»ñÁ¦ª ëÏë³Í ݳËÏÇÝ Ð³ñ³íëɳídzÛÇó, г۳ëï³ÝÇó ¨ È»Ñ³ëï³ÝÇó ÙÇÝ㨠ػùëÇϳ, âÇݳëï³Ý ¨ ²ýÕ³Ýëï³Ý: üÇÉÙ»ñÇ ÙÇ Ù³ëÁ ß³ï áÕμ»ñ·³Ï³Ý ¿, μ³Ûó μáÉáñÝ ¿É ³ÛÝ Ù³ëÇÝ »Ý, û ÇÝãå»ë »Ý ù³Õ³ù³óÇÝ»ñÁ áñáßáõÙÝ»ñ ϳ۳óÝáõÙ ¨ ÷áñÓáõÙ ÷áË»É ³ÛÝ Çñ³Ï³ÝáõÃÛáõÝÁ, áñáõÙ ³åñáõÙ »Ý: ²Ûë ýÇÉÙ»ñÁ Ññ³íÇñáõÙ »Ý Ó»½ »ñÏËáëáõÃ۳ݦ: Ìñ³·ÇñÁ μ³óí»É ¿ ÑáõÉÇëÇ 15-Çݪ §80 ÙÇÉÇáݦ ýÇÉÙáí, áñÁ 2013-ÇÝ È»Ñ³ëï³ÝÝ ³é³ç³¹ñ»É ¿ñ §úëϳñǦ §È³í³·áõÛÝ ³ñï³ë³ÑÙ³ÝÛ³Ý ýÇÉÙ¦ ³Ýí³Ý³Ï³ñ·áõÙ: ê³ Íñ³·ñÇ ÙÇ³Ï É»Ñ³Ï³Ý ýÇÉÙÁ ã¿: ä³í»É äáïáñáãÇÝÁª ²¹³Ù ØÇóϨÇãÇ ÆÝëïÇïáõïÇ ïÝûñ»ÝÁ, ³ë³ó. §ºÃ» áõ½áõÙ »ù ѳëÏ³Ý³É É»Ñ³Ï³Ý

²Ûëûñª ÑáõÉÇëÇ 16-ÇÝ, §êáóÇ³É³Ï³Ý ÷á÷áËáõÃÛáõÝÝ»ñÇ ÏÇÝᦠÍñ³·ñÇ ßñç³Ý³ÏÝ»ñáõÙ ï»ÕÇ Ïáõݻݳ μ³Ý³í»×ª μ³Ý³ËáëÝ»ñ ²¹³Ù ØÇËÝÇÏÇ ¨ èÇã³ñ¹ ä»ÝÛ³ÛÇ Ù³ëݳÏóáõÃÛ³Ùμ ųÙÁª 13:00-Çݪ ܳÇñÇ ÏÇÝáóïñáÝáõÙ:

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GOLDEN APRICOT DAILY | DAY 4 | 16 JULY | 2014

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ î³ÝÁ... áñ ùáÝÁ ã¿ §î³ÝÁ¦, é»Å.ª ²Ã³Ý³ëÇáë γñ³ÝÇÏáɳë, Ðáõݳëï³Ý/¶»ñÙ³Ýdz (ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, γåáõÛï ¹³ÑÉÇ×, 16.07 (10:00)

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GOLDEN APRICOT DAILY | DAY 4 | 16 JULY | 2014

interview 5

Jia Zhangke the other hand, what I like about documentary is that it keeps a record of people and events in an unequivocal way. People cannot question it: it is true and cannot be denied.

ijٳݳϳÏÇó âÇݳëï³ÝÇ Ý߳ݳíáñ å³ïÙ³·Çñ ò½ Û³ âųÝÏ»Ç ùÝݳ¹³ï³Ï³Ý ¹Çï³ñÏáõÙÝ»ñÝ Çñ ѳÛñ»ÝÇùÇ ³ñ³· áõ ³ÝÙ³ñ¹Ï³ÛÇÝ Ù»ï³Ùáñýá½Ý»ñÇ Ù³ëÇÝ ³ñ¹»Ý ·Ý³Ñ³ïí»É »Ý ³ÙμáÕç ³ß˳ñÑáõÙ: ²Û¹ Ù³ëÇÝ ¿ íϳÛáõÙ 2013 Ã. γÝÝÇ ÏÇÝá÷³é³ïáÝÇ È³í³·áõÛÝ ëó»Ý³ñ ³Ýí³Ý³Ï³ñ·áõÙ ëï³ó³Í Ùñó³Ý³ÏÁª §Ø»ÕùÇ ÑåáõÙ¦ í»ñçÇÝ ýÇÉÙÇ Ñ³Ù³ñ: âÇݳëï³Ýáõ٠ѳٳñí»Éáí §Áݹѳï³ÏÛ³¦ é»ÅÇëáñª ݳ ß³ñáõݳÏáõÙ ¿ ³ß˳ñÑÇÝ Ý»ñϳ۳óÝ»É Ñ³Ûñ»ÝÇùÇ ÷áËíáÕ Ñ³ë³ñ³ÏáõÃÛ³Ý Çñ ½·³Û³Ï³Ý ÁÝϳÉáõÙÝ»ñÁ ¨ ³ÝÓÝ³Ï³Ý í»ñ³μ»ñÙáõÝù Ó¨³íáñ»É å³ïÙáõÃÛ³Ý Ù³ëÇÝ:

You are highly renowned in the international film industry, yet your films are seldom screened in China. Do you primarly make your films for a Chinese audience or for an international one?

There is no nationality when it comes to audiences.

Films are about people and this experience goes beyond nationality. Film is about understanding people’s lives, regardless of country, politics or cultural background.

One has to face similar questions about human understanding. Buddhism tackles four basic questions of existence: life, growing old, illness and death. These, I believe, are the four basic dilemmas of humankind.

When I was born, the great revolution ended in China and the Cold War began. When I was young I thought it was a cultural controversy, but only later on I fully understood how offending this altercation was, because it emphasized the opposition between individuals in stead of the similarity of humanity. Hence, when my camera faces China, it faces the world and all humankind.

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A celebrated chronicler of modern-day China, Jia Zhangke’s critical observations of the rapid and dehumanizing metamorphosis of his home country have been awarded all over the world, including a prize for Best Screenplay at the Cannes Film Festival 2013 for his latest film A Touch of Sin (shown at GAIFF last year). Remaining an underground director in China, he persists in providing an emotional understanding of his changing society and creating a personal relation with history.

Your movies depict a China that seems to be in despair, and bring up issues like inequality, violence and alienation.

The background for my films is the rapidly changing society in contemporary China. When I was born in 1970, China was in the middle of the Cultural Revolution, the goals of which were to remove capitalist, traditional and cultural elements from society. The current changes have three sides: materialistic, economical and cultural. China is rapidly changing from a poor country to a rich one and because of this process people remodel their values. They start to forget what socialism is, becoming materialistic and market-driven.

Many of your films blend documentary and fiction. Why do you use this approach?

The most meaningful thing in the process of filmmaking is the beauty of the film. This beauty is achieved by exposing the world, whether it is through fiction or documentary. Most important is recording it and in doing so, I like to keep the beauty of realism. But beyond that looms the complexity of it and many times one cannot reach the true reality through documentary. In stead, you sometimes have to use fictional stories that can give a voice to people’s hidden thoughts and perceptions. Consequently, I start from reality, but use fiction to actually reach this reality. My film 24 City, which uses both documentary and fictional elements, may be the best example of this approach. In the same way, surreal expressions of feelings can become genuine, like in the movie Still Life, in which I use surreal images of UFO’s to reveal the main character’s experience of alienation. On

You once said that you would like your movies to bring a change to Chinese society, a difficult task given your “undeground” status. Do you think that your movies have brought a change?

For any single director it is very hard to change a whole society through his films. Any work is just part of the cultural environment. In China there are many writers, film directors and other artists who try to bring a change, which is a major task.

The most important is to record the world from the people’s perspective, to understand and respect them, to preserve their rights and their freedom.

It is also the audience’s duty to be persistent, because the old cultural traditions still exist in society, with the Chinese film system banning many films.

Change requires patience and it can only be done through incremental progress. I like to say that I don’t believe in personal strenght, but in cultural strenght. I don’t mean that tradition is wrong, I just emphasize the passive part of tradition. The fundamental task is to create public awareness, to speak to people’s personal rights and dignity. In the past China was all about collectivism and individuals were expected to obey this principle.

The social category you portray is the working class, marginalised people. This was also the enviroment in which you grew up. Do you feel that you have grown away from it?

Society consists of many levels of people. The past world of my films is my favourite world, I love it.

But my concern and curiosity is drawn not only by the old world, but by all kinds of people. I have indeed changed slightly, but nevertheless, what doesn’t change is my focus on people’s lives. The cornerstone of my films remains the individual crisis and people’s personal oppression facing social change, especially in the films Pickpocket and Still Life. In my most recent film, A Touch of Sin, which has yet to be screened in China, I showed how this social burden can lead to extreme, violent consequences.

You are part of the Sixth Generation of Chinese cinematographers: you grew up at the end of the 1970s, a turning point for China. How do you look at recent developments; can we already talk about a Seventh Generation?

The Chinese film industry is making impressive progress: last year there were more than 800 film productions and the box office went to 20 billion Yuan (about 2,4 billion Euro). But while the market is making very fast improvements, the creativity and artistry of the films has dropped. From my personal viewpoint, I would not like there to be a seventh generation. The art of cinema should be about multiple, independent and personal perspectives. I hope that the future of Chinese film can have unconstrained aestetiscs and unique beauty. That’s why I hope that the new generation is no generation. AC

GOLDEN APRICOT DAILY | DAY 4 | 16 JULY | 2014

6 reviews

Escaping Boyhood Casa Grande (Fellipe Barbosa, Brazil, 2014), 16-7, 14:00 and 18-7, 19:30, Moscow Cinema, Blue Hall A multilayered film does not necessarily have to be grand or complex. Sometimes the simplest stories can have the most depth. Brazilian director Fellipe Barbosa’s promising debut feature Casa Grade is that kind of film. With a simple premise about the eternal conflict between rebellious youth and parental conservatism, the film works both as a coming-of-age story and an unflinching statement on social and racial inequality.

Seventeen-year-old Jean lives in a luxurious villa in Rio de Janeiro with his wealthy parents and spoiled sister. What Jean doesn’t know is that his father went bankrupt, so he doesn’t understand why their driver, who also acts as his guardian, has to be laid off. The conflict deepens when his parents be-

come critical of Jean’s new, mixed-race girlfriend.

Starting out at a moderate pace the film picks up the rhythm as the inevitable falling out comes closer and closer.

The film’s opening shot says it all without a single word. The big house rises above the garden, where the father is relaxing in the family’s private pool. With classical music ringing from the house,

he comes out of the pool, dries himself with long, tired wipes and slowly enters the villa, turning off the music and lights. The house is now in the dark.

A moment later a light turns on in one of the windows: Jeans room.

Casa Grande goes with the flow of recent cinematic tendencies. It is a story of a modern family falling apart. But more so it is a tale of losing one’s naivety and escaping boyhood. The charm of the film lies in its simplicity. While Jean is slowly coming to terms with harsh reality, the film always manages to sustain an endearing lightheartedness through snappy dialogue, juicy camerawork and compelling acting, especially from newcomer Thales Cavalcanti as Jean. Screenwriters Barbosa and Karen Sztajnberg have constructed a flowing narrative, but it’s Barbosa’s warm-hearted and wellthought-out direction that makes everything come together. AV

One, Two, Three, Four The Ceremony (Avi Weissblei & Eliran Knoller, Israel, 2013), 16-7, 10:00 and 19:00, Moscow Cinema, Small Hall 1 “In the world we live in today, just passing the flag would be pathetic and inadequate. That’s why we put on a big show.” In their first endeavor together, Israeli directors Avi Weissblei and Eliran Knoller have created a film which exhales a love of their country. Their documentary offers a view behind the scenes of the most important national celebration in Israel: Independence Day. For the third decade, 80-year-old colonel David Rokni will lead the military parade, an integral part of the event.

Shot in a loose way, almost like a reality show, the camera follows Rokni during four months of preparation. He’s a master of his art, and seems irreplaceable. With the steely attitude typical of a military man, the colonel directs the laborious procedure of formations and foot drills. However, the smooth, firm pace of the preparations is disturbed by misfortune a week before the celebration, as an unexpected event overshadows the 64th Independence Day and brings to light Rokni’s human side.

In the gradual unfolding of critical moments, The Ceremony offers a vision of devotion, discipline, empathy, and ultimately patriotism. AC

Sex in the Village Stream of Love (Ágnes Sós, Hungary, 2013), 16-7, 12:00 and 17:30, Moscow Cinema, Small Hall 1

Tragedy in Broad Daylight At Home (Athanasios Karanikolas, Greece/ Germany, 2014), 16-7, 10:00, Moscow Cinema, Blue Hall “Horrible things happen during daytime, in beautiful places. But still we don’t see them.” Director Athanasios Karanikolas used these gloomy words to describe his actually rather tender film At Home (Sto spiti) at its premiere at the Berlin Film Festival.

Georgian immigrant Nadja is a patient and committed housekeeper for an upper class Greek couple and their daughter, although this is not immediately appa-

rant: in the opening scene, Karanikolas shows her eating withb the family, even comforting the daughter as if she were a next-door-aunt, and the family’s luxuries and wealth are bestowed upon her too.

By letting the actors use their bodies in stead of many words, Karanikolas manages to create subtle images that maintain movement throughout the film through fluid editing, concise acting and clear-cut scenes. Nothing feels too long or too short. Through static framing of the family’s bright, sunlit villa, with its austere, modern, blue-and-grey interior, the film gradually implies another reading of Nadja’s relation to her surrogate family. When she collapses as the result of an undefined ailment, she is pampered with high quality medical care. But the balance between love and comfort has shifted. Due to the eco-

nomic crisis the family decides they can’t afford a sick housekeeper. Although they love her very much, as the lady of the house desperately emphasizes, they have to let her go. Accepting her fate calmly and showing minimal emotion, Nadja continues her chores for the last time that day. Gazing at the rippling sea through the broad living room window, she upholds herself as if nothing has changed. It turns out to be the first of many tragedies in Nadja’s life.

Karanikolas gives us a radical heroine, who teaches us a valuable lesson in dignity. At Home is as much about the personal injustice Nadja has to endure, as the forgiveness and love that are necessary to overcome a crisis. Karanikolas allegorically refers to the crisis Greece is going through, and shows what it takes to overcome, rebuild and stand tall in tough times. NH

Cleaning Up After Love The Women and the Passenger (Patricia Correa & Valentina Mac-Pherson, Chile, 2012), 16-7, 16:00, Moscow Cinema, Small Hall 2

In Search of a Lost Mother Jack (Edward Berger, Germany, 2014), 16-7, 16:00, Moscow Cinema Blue Hall “Jack was in my son’s class. One day he was walking from his mother’s house to the children’s home he lived in”, says German director Edward Berger of his film Jack. “I looked at Jack, walking down the street with purpose, not striking me as a poor, abandoned child. This image of the boy with the backpack is behind every scene in the film.”

Jack, shown in competition at the Berlin Film Festival, is Berger’s first feature in over a decade, during which time he worked in television. The socially conscious film follows ten-year-old Jack in his attempts to revitalize his anaemic family. The opening scene shows his circumstances: Jack hastily prepares breakfast for his younger brother Manuel, takes his clothes from the line and dresses, all in the notable absence of any adult. His mother Sanna is loving, but infantile and irresponsible; a party girl. She isn’t a caregiver, but herself in need of someone’s care, and thus

No, Count Dracula is not the only intriguing thing to come from Transylvania. This documentary shows far less famous, but far more human and sensitive inhabitants of that region. Their stories are both simpler, and hotter. With the openness towards sexuality of our modern times, people who lived their lives in an earlier age speak openly about what was taboo in their day. It seems that back then, too, “IT was as popular as eating.”

In this age when love and sex seem to be monopolized by the young, the lives and revelations of these “old nymphomaniacs” may seem too much to some. This open and explicit talking in Ágnes Sós’s film starts with a local old fart riding around town assessing the “fine, really fine” ladies of his area.

But the ladies have their own assessments. They tell us about how perky their breasts were when they were younger, explain the techniques of foreplay, give free advice on increasing potency, reminisce about the penises they saw and how they signaled men that they want them, and even reveal how to have pleasure without a man. Indeed, it doesn’t always end in talking, as these seniors still have plenty of energy and time for some innocent entertainment, like rolling down the hills, giggling as if they were still young schoolgirls. DV

Jack becomes prematurely independent in caring for Manuel. But when an unfortunate accident wounds Manuel, social services decides that Jack should be put in a children’s home. In this numbing environment, far from homely affection, the young boy becomes the subject of bullying. A fight with the bully incites Jack’s escape from the children’s home and with Manuel he goes on a city-wide search of their mother.

Based on what could easily have been a stereotypical plot, Jack nevertheless tackles an acute social

issue, while the intense and intuitive performances of the child actors exhale realism. With slow-paced storytelling and hand-held camerawork always on Jack’s eye level, the film takes on the personal perspective of a child. Throughout the film, Jack stays strong in his attempt to reunite the family and to create a routine from scarce family moments. But while wandering through the overwhelming anonymity of Berlin, chasing a delusion, Jack ends up taking a drastic, but mature decision. AC

The enigmatically named El Pasajero (‘the passenger’ or ‘the passerby’) is one of many motels in Santiago catering to shorty-term stays. In other words: the satisfaction of momentary desire, often between men and prostitutes. After they leave, a new couple arrives in the room and everything starts over.

All of this is left to the viewer’s imagination, however, in this documenary which explores the daily lives of four of El Pasajero’s cleaning ladies.

In stead of being lured in by the erotic desires being fulfilled in these simple rooms, the audience becomes a participant in the ritual of cleaning and tidying up. The women change the sheets, sweep the floors and clean the nightstands. All the while, they talk. One might think that working in such an establishment will have made these women vulgar and cynical, distrusting love and despising men. But the opposite is true: their colorful, heartfelt words are full of subtle humor and witty self-irony. They don’t even think of criticizing the men who buy love or the women selling their bodies for an hour or two.

Instead they offer insightful observations on the essence of mankind. MT

GOLDEN APRICOT DAILY | DAY 4 | 16 JULY | 2014

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Films change people, people change the world The films screening in the Cinema for Social Change program represent the efforts of ordinary citizens, either individually or in groups, to change the social and political conditions in their home areas. Yesterday, curators Richard Peña and Pavel Potorochin and the program’s guest Adam Michnik presented the program.

The eight film in the program show citizens protest things they consider to be unjust, which often leads to conflicts – with their governments, their communities, and in some cases even their own families. The origins of the program lie with the Adam Mickiewicz Institute in Poland, named for one of the country’s greatest poets, which has as its mission to establish Poland as a hub in the international circuit of ideas, values and cultural goods. GAIFF’s artistic director Susanna Harutyunyan praised the Institute highly: “I’m very happy that our festival has such a high rating that a such a respected cultural organization offered us its cooperation. I’m hoping this is a beginning of a long journey.”

During the press conference, Richard Peña, former director of the New York Film Festival and one of the program’s curators (see below), explained the orginal concept of the program. “The idea was to involve countries that are developing democracies, such as those of Central Asia, and countries of the Eastern Partnership program. They are countries where people at present cannot make changes with just their actions.”

The films represent different realities, Peña said.

“The program displays an overview of worldwide civil activity, spawning from former Yugoslavia,

Directors Across Borders An exciting day lies ahead for the creators of the 14 projects selected for the Directors Across Borders Co-Production Forum. After yesterday's preliminary program of workshops and introductory meetings, today is the day they make their pitch. The Forum will close with a day of one-on-one meetings before the winners of the 2014 DAB Awards will be announced Thursday night.

Armenia-Turkey Cinema Platform The seventh edition of the ATCP, in which 10 projects from Turkey and Armenia go through an intense three-day workshop, is closing today. The winner of the $10,000 ATCP Award will be announced tonight.

Richard Peña and Pavel Potorochin

Armenia and Poland to Mexico, China and Afghanistan. Some of the films are very tragic. But they are all about how citizens make decisions and try to change the reality they live in. These films invite you to a dialogue.”

The program opened yesterday with 80 Millions?, the Polish nomination for the Academy Award for Best Film in a Foreign Language in 2013. It’s not the only Polish film in the program. Pavel Potorochin, director of the Adam Mickiewicz Institute, stated: “If you want to understand the Polish spirit, watch the documentary cycle The Compass of the Poles.” The first part of this cycle, entitled Beats of Freedom, is screening as part of the program. In Potorochins opinion, these films show a creative approach to depicting freedom in Poland, a country whose inhabitants have been raised under the strict eye of the communist party. “This is a story about how art can be used to overcome the obstacles of a regime. We don’t expect these films to change the situation. We expect them to change people, and if

the films can change people, then people can change the world. That is our main mission.”

A discussion with Peña and Adam Michnik, a leading figure in the Polish anticommunist opposition, and moderated by Armenian journalist Nune Sargsyan, will be held as part of the program. “There comes a time in a mans life when he can’t say no”, Michnik explained. “So when I was asked to join the Cinema for Social Change program I immediately agreed. This is a program that leads to free thinking and represents a big step towards truth and freedom.” LH Screening today: 80 Millions? (Waldemar Krzystek, Poland, 2011), 16-7, 21:00, Moscow Cinema, Summer Hall Presumed Guilty (Roberto Hernández & Geoffrey Smith, Mexico, 2009), 16-7, 13:00, Nairi Cinema, followed by a public debate with Richard Peña and Adam Michnik

New German Cinema

17:30, Moscow Cinema, Red Hall: Opening of the non-competition program New German Cinema with a screening of the film Inbetween Worlds by Feo Aladag.

Taste the Dolma 18:00, Dolma Festival, Sardarapat. Festival guests looking for a trip: grab this chance to taste the local speciality at the Dolma Festival, held in Sardarapat, where the very first dolma was created almost 3,000 years ago. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 16:30.

Jia Zhangke Retrospective

80 Millions?

But is it art?

The Cinema for Social Change program offers a global snapshot of citizen activism.

Many of the urgent stories shown in these films could only be laid bare thanks to the high availablity of digital camera’s. Last Monday, Richard Peña gave a workshop on this subject to a room full of engaged students and festival guests.

The spacious lecture hall of the TUMO Center, also the home of the Ukrainian Poetic Cinema program during the festival, was filled with the next generation of mediamakers, ready to soak up this spirited talk entitled 'Film Aesthetics After the Digital Revolution'. Peña, a professor of Film Studies at Columbia University, started with a historical analysis of how film had to battle the status quo to become 'art', before the political question ‘who decides what is art?’ came to the fore in the 1970s.

In Peña’s view, “Everything is film; there is no dis-

tinction. From Andy Warhol to Steven Spielberg, it’s all cinema. There are only correct and incorrect criteria to judge them by. Don't blame Parajanov for not portraying a realistic image of Armenia, it was not his aim!”

The development of film aesthetic, Peña said, depends on the discussions we have about it. In that vein, he invited his young audience to discuss who actually decides on these criteria today. “Nowadays the means of film production and distribution have become digital and affordable”, Peña asserted.

“Everyone in this room can make a feature film.

That’s great!” However, the freedom digitization has brought does not mean that every movie will be ‘good’. “In 1985 there were about 50 independent films produced per year in the US, and only five of them were good. In 1995 there were about 500, but still only 10 were good.” This is the downside of the digital revolution, Peña explained. “Another symptom of easily being able to make a film, is that documentary makers are becoming sloppy. They don’t

really ‘shoot’ their stories anymore, since the digital camera allows them to record endlessly.”

On the upside, the internet gives room for independent communities finding their own meanings and aesthetics, which means that exciting new interpretations of what cinema could be are opening up.

Cameras fit in your pocket and the internet is transgressing borders ever more radically. Peña referred to how modern-day film technology emancipated Palestinian filmmakers from dominant interpretations set by others. It offered them the freedom to redefine their identity independently – through film.

Peña acknowledged that these kinds of movements have always been part of cinema history.

But the broad access to online media means that these niche movements are more visible than ever. Peña will address this in-depth during his Master Class on 17 July, which will deal with independent African cinema of the 1930s and 1940s. “It’s an interesting example of people who, even though they are oppressed in many ways, were simply making their own cinema. Creating their own vision in a time when images of African Americans were really racist.” NH

19:30, Moscow Cinema, Red Hall. The Jia Zhangke Retrospective program (see also our interview on page 5) will open with a screening of his film Still Life.

Midnight Wrap-up 24:00, The Club. Film gurus and GAIFF guests are invited for a daily wrap-up meeting over drinks.

CONVERSATION Critic: Why did you make this bad film?

Director: Why do you think it is a bad film?

Critic: Do you think it is a good film?

Director: I don’t think about my film, I made the film.

Peter

GOLDEN APRICOT DAILY | DAY 4 | 16 JULY | 2014

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