Golden Apricot Daily - 2014, Day 6

Page 1

DAY 6, FRIDAY, JULY 18

è»ÅÇëáñÝ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñÇ

ø³Ý¹³Ï»Éáí ųٳݳÏÁ

гñó³½ñáõÛó. úóñ Æáë»ÉdzÝÇ

Interview: Otar Iosseliani

A Japanese Dog in Rural Rumania

Two Days in Hell ºñÏáõ ûñ ¹ÅáËùáõÙ

Fellipe Barbosa's Big House

GOLDEN APRICOT DAILY | DAY 6 | 18 JULY | 2014

2 Ă?ù³¡Ă‡Ăą/program 18 ÑåþÉÇÍÇ/ 18 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³üåþÛï š³Ă‘ÉÇ×/ Moscow Cinema, Blue Hall 10:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ĂŽ³ùÙÇù š³Ă‘ÉÇ×/ Moscow Cinema, Red Hall 10:00, 15:00

@ # & /Zoran, My Nephew the Idiot # /Matteo Oleotto Ita-Svn/106’/FC

Lang.: Italian Subt.: English

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ× 1/ Moscow Cinema, Small Hall 1 10:00, 19:00

% . " ; & % /Andin Armenian Journey Chronicles ; *: /Ruben Giney Chn-Arm-Rus-Ind/128’/AP

Lang.: Armenian Subt.: English

= /The Stone River Q 6 ! / Giovanni Donfrancesco Ita-Fra/88’/DC

Lang.: English 12:00, 17:30

12:00 Q & / The Japanese Dog @ *

. ! Q * */Tudor Cristian Jurgiu Rom/85’/FC

Lang.: Romanian Subt.: English 13:30

10:00, 18:00

4 /Games # # 5! /Maciej Marczewski Pol/30’/SC

Lang.: Polish Subt.: English 5 * & /A Good Story # - . ! 6

/Martin-Christopher Bode Deu/20’/SC

Lang.: German Subt.: English

12:30

/Nora $ 7 * / NoÍl Fuzellier Fra/22’/SC

, < % < * & 7 /The Subscriber is Temporarily Unreachable ( ) /Arman Yeritsyan Arm-Rus/22’/AP

Lang.: French Subt.: English

13:00

14:00

14:30 Y /Boyhood ; U " /Richard Linklater, USA/161’/FC

= ' 24/24 City < => /Jia Zhangke Chn/112’/R

] * /The Unsaved 3 0 : ! /Igor Cobileanski, Rom/82’/FAB

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

19:30 ) /The Big House 7 1 : ! /Fellipe Barbosa, Bra/112’/FC

Lang.: Portuguese Subt.: English and Armenian 22:00

67 8 % / Electric Indigo 8 -8 0 /Jean-Julien Collette Bel-Fra/24’/SC

& ' / Stock Exchange 6 9 , 7 # : / Stephane Everaert, Frederic Mosbeux, Bel/12’/SC

Lang.: French Subt.: English

15:30 16:00 $ 9 . '/Gainsbourg. A Heroic Life 8 6 /Joann Sfar Fra/130’/YP

, " ' /Under the Open Sky ( ) / Arman Yeritsyan Rus-Arm/39’/CSC

Lang.: Russian Subt.: English

- * / Documentarist 2 *" * - /Harutyun Khachatryan Arm/80’/CSC

Lang.: Armenian Subt.: English

0 /The Constant Factor . 6 ? *!! /Krzysztof Zanussi Pol/91’/YP

Lang.: Polish Subt.: English and Armenian

15:00 - & % / Master Class with Petros Markaris 18:00

Lang.: Persian Subt.: English and Armenian 21:00

Lang.: Georgian Subt.: English and Armenian

0 * 7 " /The Last Tightrope Dancer in Armenia ( ) , 3 & /Arman Yeritsyan, Inna Sahakyan, Arm/60’/FoCa

Lang.: French Subt.: English and Armenian

+ /The Role 0 ! 1 * ! /Konstantin Lopushansky Rus-Blr-Fin-Deu/121’/FAB

21:00

œÉ˳íåù Ă‹Ă™Ο³¡Ă‡Ăą` ĂšĂĄĂŤĂƒ ´ùåùĂ?

Editor-in-chief: Joost Broeren

úù³ĂƒùĂƒĂ‡ ѳٳĂ?³ù¡åĂ•` ²ùĂƒåþù ϳùšĂ‡Ă?Û³Ă?

Armenian coordinator: Artur Vardikyan

Ă?ÕÇĂ?ÂłĂ?Ă?ù` ²ùĂ?íÇ ´³Ă‹ĂŁĂ‡Ă?Û³Ă?, Ă˜³ùdz ÂåÚÙ³çÛ³Ă? êùΟ³¡ùÇãĂ?ùª Ă˜³ùÇĂ?Âť Ă”³ù³Ă‹ÂłĂ?Û³Ă?, èÇÙ³ ²Ă•ÂťĂ?Û³Ă? ĂˆåþͳĂ?Ă?³ùÇã` ĂŞĂĄĂ?Âł ²Ă?šù³ÍÛ³Ă?

Staff: Anastasia Costianu, Nienke Huitenga Contributors: David Vardazarian

/Beats of Freedom , ! /Wojciech Slota, Leszek Gnoinski Pol/78’/CSC

Lang.: Polish Subt.: English and Armenian 23:00

) ' * /Train Operator + - /Stepan Khachatryan Arm/12’/IE

Lang.: Armenian Subt.: English " ( / Blood is Thicker Than Water . ! " /Cristian Leighton Chl-Arm/52’/IE

Lang.: Armenian/Spanish Subt.: English

ÂåþÙå ÍïÕĂ?³ù³ù ïËĂ?åÉå¡Ă‡ÂłĂ?ùÇ Ă?ÂťĂ?ïùåĂ?/ Tumo Center For Creative Technologies 13:30

œÉ˳íåù ËåùÑùš³ïåþ` äÇïù Ă­ÂłĂ? ´Ă›åþùĂ?

Printer: "Noyyan Tapan" Ltd.

15:30 ! 9 . - * / Brothers. The Final Confession @ 6 ) /Victoria Trofimenko Ukr/124’/UPC, FAB

Lang.: Ukrainian Subt.: English and Armenian 17:30 0 % & /Meeting with Christian Berger

11:00 /Parajan /Oshin Yeghiazaryants, Arm/11’/P

Lang.: Russian Subt.: English .   / The World is a Window: the Making of the Color of the Pomegranates /Daniel Bird, UK/75’/P

Lang.: Armenian/Russian/English Subt.: English

Design: Gayane Grigoryan General Supervising Manager: Peter van Bueren

$ , , , ( ... 3 " / Spring, Summer, Fall, Winter... and Spring 0 ) 0 * /Kim Ki-duk, Kor/103’/R

ĂŽĂąĂƒÂłĂ™Ă&#x;ÂłĂ?ĂĄĂľĂƒÂłĂ›Ă‡Ă? ÑÇÙĂ?³šù³Ă™/ "Union Of Folk Arts" Educational Cultural Fund

Photographer: Sona Andreasyan

¸Ă‡½³Ă›Ă?ù` œ³Ă›ÂłĂ?Âť ϝÇ¡åùÛ³Ă?

Îü³¡ùí³Ă? Âż §ĂœĂĄĂ›Ă›ÂłĂ? γü³Ă?ÂŚ êäĂ€-åþÙ

18:00

, 9 7 XX/Babylon XX 3 # * /Ivan Mikolaychuk Ukr/95’/UPC

Lang.: Korean Subt.: English and Armenian

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

GOLDEN APRICOT DAILY

²Ă&#x;Ă‹³ï³Ă?³½Ă™` ²Ă?³Íï³Ídz ÎåÍïÇĂ&#x;ÂłĂ?ĂĄĂľ, ĂœĂ‡Ă?Ă?Âť Ă?³ÛïĂ?¡³

Lang.: Russian/Armenian Subt.: English

22:00

Lang.: Armenian Subt.: English

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ²Ă™³Ê³Ă›Ă‡Ă? š³Ă‘ÉÇ×/ Moscow Cinema, Summer Hall

Lang.: Armenian Subt.: English

Lang.: English Subt.: Armenian

$ % & ' / No One Writes to the Colonel & ' /Vahe Yan Arm-Rus/21’/IE

Lang.: Ukrainian Subt.: English and Armenian

9 /Milky Brother & ) # " /Vahram Mkhitaryan, Pol-Arm/30’/AP

! [ , /Two Days, One Night 8 -\ ] , * /JeanPierre Dardenne, Luc Dardenne Bel-Fra-Ita/95’/YP

16:00

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

22:00

7 , % / Please, Be Normal 2 . /Haik Kocharian USA/89’/AP

Lang.: Russian/Armenian Subt.: English

0 ** /Pastorali " 3 ! /Otar Iosseliani, Geo/95’/R

1

/ Disengagement () ! / Amos Gitai Deu-Ita-Isr-Fra/115’/R

^ % /Trapped % &: /Parviz Shahbazi, Irn/92’/FAB

! "#

/From Two Worlds as a Keepsake $ % / Nika Shek Arm/90’/FAB

12:30

20:00

Lang.: French Subt.: English and Armenian 20:00

14:00

Lang.: English Subt.: Russian

Lang.: Vietnamese Subt.: English

17:30

Ă?. Ă˜ÂłĂ‰Ă›ÂłĂ?Ç ÂłĂ?Ă­ÂłĂ? Ă?ÇĂ?嚝ù³Í³Ă?Ç Ăƒ³ïùåĂ?/ Theater-Studio of Cinema Artists After H. Malyan

(/Hold Me Tight ( ) * / Artyom Barkudr Arm/20’/IE

0 9 /My Father’s Truck # * ! * ! /Mauricio Osaki Bra-Vnm/15’/SC

Lang.: Chinese Subt.: English and Armenian

17:30

Lang.: Georgian Subt.: English and Armenian

Lang.: Russian/Finnish Subt.: English

Lang.: English

Lang.: English Subt.: Armenian

< % / Blind Dates 5 0 * /Levan Koguashvili, Geo/98’/FC

+ /The Role 0 ! 1 * ! /Konstantin Lopushansky Rus-Blr-Fin-Deu/121’/FAB

\ " 7 /Flowers from the Mount of Olives 2 \ /Heilika Pikkov Est/70’/DC

Lang.: Estonian/English/Russian Subt.: English

Lang.: Ukrainian Subt.: English and Armenian

10:00

12:00, 20:00

Lang.: Armenian Subt.: English

7 V <* /Natalya Uzhviy / Sergei Parajanov, Ukr/36’/T

ĂœÂłĂ‡ĂąĂ‡ Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?/ Nairi Cinema

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒ³ïùåĂ?, ÜåÚù š³Ă‘ÉÇ× 2/ Moscow Cinema, Small Hall 2

22:00 /Caucho " # ! ! /Lilit Movsisyan Arm/85’/IE

/Arabesques On The Pirosmani Theme /Sergei Parajanov Geo/20’/T

Lang.: Armenian Subt.: English

No Dialogues

ºù¨³Ă?Û³Ă? ¡Ă‡Ă&#x;ùĂ?ù äåÕåÍÛ³Ă? ³Û¡Ă‡Ă?ùåþĂ™/ Yerevan Nights at Poghosyan Gardens 22:00 9 /Milky Brother & ) # " /Vahram Mkhitaryan Pol-Arm/30’/AP

Lang.: Armenian Subt.: English 4 /Games # # 5! /Maciej Marczewski Pol/30’/SC

Lang.: Polish Subt.: English and Armenian

GOLDEN APRICOT DAILY | DAY 6 | 18 JULY | 2014

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²ëïÍá, Çñ»Ýù ׳Ù÷áñ¹áõÃÛ³Ý Ù»ÏÝ»óÇÝ, »ñμ Ù»Ýù ³ñ¹»Ý »ñÏáõ ûñ ¿ñª ÝϳñáõÙ ¿ÇÝù: гÛñë ÇÝÓ í»ñçݳųÙÏ»ï ïí»ó. å»ïù ¿ í»ñç³óÝ»ÇÝù Ýϳñ³Ñ³ÝáõÙÝ»ñÁª ÙÇÝã Çñ»Ýó í»ñ³¹³ñÓÁ: âѳëóñÇÝù: ºíë ÙÇ ù³ÝÇ Å³Ù ¿ñ ѳñϳíáñ: гÛñë ß³ï çÕ³Ûݳó³Í ¿ñ¦: è»ÅÇëáñÁ Ëáëïáí³ÝáõÙ ¿, áñ ï³Ý Ýϳñ³Ñ³ÝáõÙÝ»ñÁ ß³ï ¹Åí³ñ ¿ÇÝ. §îáõÝÁ ß³ï Ëáñ³Ù³ÝÏ ¿ñ, Ñ»ïë ³ÝÁݹѳï ˳ջñ ¿ñ ˳ÕáõÙ: úñÇݳϪ ³ÛÝ ï»ë³ñ³ÝÁ, áñï»Õ ѳÛñÝ ÁÝÏÝáõÙ ¿ ͳéÇó, ݳ˳å»ë åɳݳíáñí³Í ã¿ñ... àõ Ñ»ïá »ë áñáᯐ ¿Ç ÏñÏÇÝ Ýϳñ»É ï»ë³ñ³ÝÝ»ñ, áñáÝù ³ñ¹»Ý ÇëÏ Ï³ï³ñÛ³É ¿ÇÝ: Þ³ï í³ï áñáßáõÙ ¿ñ: ºë ß³ï Ñëï³Ï å³ïÏ»ñ³óáõÙ áõÝ»Ç, û ÇÝãå»ë »Ù áõ½áõÙ Ýϳñ³Ñ³Ý»É ïáõÝÁª ýÇÉÙÇ Ý»ñùÇÝ Ï³ÝáÝÝ»ñÁ: ¸áõù ¹ñ³Ýù ãå»ïù ¿ ·Çï³Ïóáñ»Ý ѳëϳݳù, ³ÛÉ å»ïù ¿ ½·³ù: úñÇݳϪ ýÇÉÙÇ ÁÝóóùáõÙ ïÝÇó ³ÝÁݹѳï Çñ»ñ »Ý ³ÝÑ»ï³ÝáõÙ ª Ù³ïݳÝß»Éáí, áñ ÁÝï³ÝÇùÝ ³Õù³ï³ÝáõÙ ¿: ê»ÝÛ³ÏÝ»ñÇó Ù»Ïáõ٠ϳ ËáÉáñÓÝ»ñÇ Ýϳñ, áñÁ ѻﳷ³ÛáõÙ ÷á˳ñÇÝíáõÙ ¿ ãáñ³ó³Í ͳÕÇÏÝ»ñÇ å³ïÏ»ñáí: ¶áõó» ¹³ ãÝϳï»ù, μ³Ûó ³Ýå³ÛÙ³Ý Ï½·³ù: γñÍáõÙ »Ù ª É³í ¿ ÝÙ³Ý Ï³ÝáÝÝ»ñ áõݻݳÉÁ, ë³Ï³ÛÝ Ý³¨ ѳëϳó³, áñ ³Ù»Ý³Ï³ñ¨áñÁ ¹³ 㿦: Ú´

§ø³ñ» ·»ïÁ¦, é»Å.ª æáí³ÝÝÇ ¸áÝýñ³Ýã»ëÏá, Æï³Édz/üñ³Ýëdz (ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃ), §ØáëÏí³¦ Ï/Ã, öáùñ ¹³ÑÉÇ× 1, 18.07 (10:00, 19:00) Æï³É³óÇ í³í»ñ³·ñáÕ æáí³ÝÝÇ ¸áÝýñ³Ýã»ëÏáÛÇ §ø³ñ» ·»ïǦ Ý»ñ³Í³Ï³Ý ¹ñí³·Á ѳëï³ïáõÙ ¿ ýÇÉÙÇ Ñ»ï³·³ ïñ³Ù³¹ñáõÃÛáõÝÁ: ÒÛáõÝ» ³Ý³å³ïÇ Ù»çï»ÕáõÙ Ï³Ý·Ý³Í ¿ ÙÇ ÏÝ×é³å³ï ïÇÏÇÝ: ܳÛáõÙ ¿ Ñ»éáõÝ»ñÁ, áñï»Õ ͳé»ñÇ ·³·³ÃÝ»ñÁ óóí»É »Ý ëåÇï³Ï ͳÍÏÇ ÙÇçÇó: ºí ݳ ëÏëáõÙ ¿ Ëáë»É: ê³Ï³ÛÝ ßáõñûñÁ ã»Ý μ³óíáõÙ: ¸áÕ³óáÕ ÙÇ Ó³ÛÝ ¿ ·³ÉÇë Ñ»éíÇó, ÇëÏ ËóÇÏÁ ß³ñáõÝ³Ï ß»ßïáõÙ ¿ ÏÝáç ³ãù»ñÇ ÷³ÛÉÝ áõ ßñç³Ï³ ×»ñÙ³ÏáõÃÛáõÝÁ: ܳ ëÏëáõÙ ¿ å³ïÙ»É, û ÇÝãå»ë ³Ùáõëݳó³í Çï³É³Ï³Ý γé³ñ³ÛáõÙ, ÇÝãå»ë ù³ñï³ß ³ÙáõëÇÝÁ, ãÝ³Û³Í Ñáñ μáÕáùÝ»ñÇÝ, ï³ñ³í Çñ»Ý ²Ù»ñÇϳª ì»ñÙáÝï Ý³Ñ³Ý·Ç ´³ñÇ ù³Õ³ù, áñï»Õ 20-ñ¹ ¹³ñÇ ëϽμÇÝ μ³óíáõÙ ¿ÇÝ ·ñ³ÝÇïǪ ³ß˳ñÑÇ Ù»Í³·áõÛÝ ù³ñѳÝù»ñÁ:

ÐáõÉÇëÇ 18-Çݪ ųÙÁ 15:00-ÇÝ, §Ü³ÇñǦ ÏÇÝáóïñáÝáõÙ Çñ í³ñå»ïáõÃÛ³Ý ¹³ëÁ Ïí³ñÇ ÑáõÛÝ ·ñáÕ, ëó»Ý³ñÇëï ä»ïñáë سñϳñÇëÁ, áí ³Ûë ï³ñÇ Áݹ·ñÏí³Í ¿ §àëÏ» ÍÇñ³ÝǦ ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃÇ ÅÛáõñÇáõÙ: سñϳñÇëÁ ÍÝí»É ¿ êï³ÙμáõÉáõÙª Ñ³Û Ñáñ ¨ ÑáõÛÝ Ùáñ ÁÝï³ÝÇùáõÙ ¨ ïÝï»ë³·ÇïáõÃÛáõÝ áõë³Ý»É: 1976-Çó ÝíÇñí»É ¿ ·ñ»ÉáõÝ: Üñ³ ¹»ï»ÏïÇíÝ»ñÁ óñ·Ù³Ýí»É »Ý ï³ëÝí»ó É»½áõÝ»ñáí: ²ß˳ï»É ¿ Â»á ²Ý·»ÉáåáõÉáëÇ Ñ»ï. Ýñ³ ÙÇ ß³ñù ýÇÉÙ»ñÇ ëó»Ý³ñÇ Ñ³Ù³Ñ»ÕÇݳÏÝ ¿: ²ñųݳó»É ¿ ÎáõñÙ³ÛáñÇ §ë¨ ýÇÉÙǦ ÷³é³ïáÝÇ (Æï³Édz) è»ÛÙáݹ â³Ý¹É»ñ ¨ §üñ»ç»Ýﻦ ÙÇç³½·³ÛÇÝ (Æï³Édz) Ùñó³Ý³ÏÝ»ñÇÝ, ÇÝãå»ë ݳ¨ §ê¨ ´³ñë»Éáݦ Ùñó³Ý³Ï³μ³ßËáõÃÛ³Ý ä»å» γñí³ÉÛáõ, 2012-Ç É³í³·áõÛÝ ¹»ï»ÏïÇíÇ Ñ³Ù³ñ Le Point ѳݹ»ëÇ Ùñó³Ý³ÏÝ»ñÇÝ (ÈÇáÝ, üñ³Ýëdz), ¶»ñÙ³ÝdzÛÇ ¸³ßݳÛÇÝ Ð³Ýñ³å»ïáõÃÛ³Ý ¶Ûáû Ù»¹³ÉÇÝ:

ä³ñ·¨³ïñáõÙ ÜáõÛÝ Å³ÙÇÝ Ø³Ûñ ²Ãáé êμ ¾çÙdzÍÝÇ ¶¨áñ·Û³Ý ×»Ù³ñ³ÝÇ ²ñ³ñáÕáõÃÛáõÝÝ»ñÇ ëñ³ÑáõÙ ï»ÕÇ Ïáõݻݳ §ºÔÆòÆ ÈàôÚê¦ Ùñó³Ý³ÏÇ ßÝáñÑáõÙÁ øßÇßïáý ¼³ÝáõëÇÇÝ: ÆëÏ ÙÇ ù³ÝÇ Å³Ù ³Ýóª 20:00-ÇÝ, §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³ñÙÇñ ¹³ÑÉÇ×áõÙ ³é³çÇÝ ³Ý·³Ù »ñ¨³ÝÛ³Ý Ù»Í ¿Ïñ³ÝÇÝ Ïóáõó³¹ñíÇ Ýñ³ §Ð³ëï³ïáõÝ ·áñÍáݦ ýÇÉÙÁ (1980):

Üáñ Íñ³·Çñ ²Ûëûñª 17:30-ÇÝ, §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³ñÙÇñ ¹³ÑÉÇ×áõÙ ÏÇÝáë»ñÝ»ñÇÝ ëå³ëáõÙ ¿ ÷³é³ïáݳÛÇÝ ¨ë Ù»Ï Íñ³·ñǪ üñ³ÝëÇ³Ï³Ý ÏÇÝáÍñ³·ñÇ μ³óáõÙ ª §¶»Ýëμáõñ. лñáë³Ï³Ý ÏÛ³Ýù¦ (é»Å.ª Äá³Ý êý³ñ) ýÇÉÙÇ óáõó³¹ñáõÃÛ³Ùμ:

²å³ ÏÇë³í³é ÃáõÝ»ÉÁ ï³ÝáõÙ ¿ Ù»½ ´³ñÇÇ ·»ñ»½Ù³Ýáó, áñï»Õ ³Ù»Ý ÙÇ ·»ñ»½Ù³Ý³ù³ñ Çñ å³ïÙáõÃÛáõÝÝ áõÝÇ. ºíñáå³ÛÇó ѳñÛáõñ³íáñ ·³ÕóϳÝÝ»ñÇ å³ïÙáõÃÛáõÝÝ»ñÝ »Ý, áíù»ñ 20ñ¹ ¹³ñÇ ëϽμÇÝ ï»Õ³÷áËí»É ¿ÇÝ ²Øܪ ³í»ÉÇ É³í ÏÛ³ÝùÇ ÑáõÛë»ñáí: ê³Ï³ÛÝ Ù³Ñ³Ý³Éáí ëÇÉÇÏá½Çóª ùã»ñÁ ѳï»óÇÝ 40 ï³ñ»Ï³ÝÇ ë³ÑÙ³ÝÁ: ÆëÏ Ýñ³Ýù, áíù»ñ áÕç áõ ³éáÕç ¹áõñë »Ï³Ý ·ñ³ÝÇïÇ ÷áßáõ ÷áÃáñÏÇó, áÙ³Ýù ϳٳíáñ, áÙ³Ýù ¿Éª áã, Ý»ñ·ñ³íí»óÇÝ ù³Õ³ù³Ï³Ý í»×»ñáõÙ, áñáÝù Ç í»ñçá 1922-ÇÝ Ñ³Ý·»óñÇÝ ³åëï³ÙμáõÃÛ³Ý: 1930-³Ï³ÝÝ»ñÇÝ ´³ñÇÇ μݳÏÇãÝ»ñÁ ѳñó³½ñáõÛóÝ»ñ ïíÇÝ Çñ»Ýó ÏÛ³ÝùÇ Ù³ëÇÝ: ¸áÝýñ³Ýã»ëÏáÝ Ëݹñ»ó ´³ñÇÇ ³ÛÅÙÛ³Ý μݳÏÇãÝ»ñÇݪ μ³ñÓñ³Ó³ÛÝ ÁÝûñó»É Çñ»Ýó ݳËÝÇÝ»ñÇ Ëáëù»ñÁ: ²ñ¹ÛáõÝùáõÙ ÍÝí»ó §ø³ñ» ·»ïÁ¦ª ³é»ÕÍí³Í³ÛÇÝ ÙÇ ·áñÍ, áñÁ Ï³Ý·Ý³Í ¿ í³í»ñ³·ñ³Ï³ÝÇ áõ ˳ճñϳÛÇÝÇ ë³ÑÙ³ÝÇÝ: ´³Ý³ëï»ÕÍáñ»Ý ÙdzÑÛáõë»Éáí ³ÝóÛ³ÉÇ μ³é»ñÝ áõ Ý»ñϳÛÇ å³ïÏ»ñÝ»ñÁ, ¸áÝýñ³Ýã»ëÏáÛÇÝ Ñ³çáÕíáõÙ ¿ §μéÝ»óݻɦ 20-ñ¹ ¹³ñ³ëϽμÇ ²Ù»ñÇϳÛǪ ÑáõÛë»ñÇ áõ Ñݳñ³íáñáõÃÛáõÝÝ»ñÇ »ñÏñÇ ¿áõÃÛáõÝÁ: ܳ ÝϳñáõÙ ¿ ÙÇ Ëáßáñ Ïï³í ³ÛÝ Ù³ëÇÝ, û ÇÝãå»ë ¿ñ ÷áËíáõÙ ³ß˳ñÑÁª 1900-³Ï³ÝÝ»ñÇ ·³Õ³÷³ñ³Ëáë³Ï³Ý å³Ûù³ñÝ»ñÇ ÑáñÓ³ÝáõïáõÙ: ²ì

GOLDEN APRICOT DAILY | DAY 6 | 18 JULY | 2014

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ

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GOLDEN APRICOT DAILY | DAY 6 | 18 JULY | 2014

interview 5

Otar Ioselliani note persons who are ‘good-for-nothings’, disinterested, vagabonds, poets. Tolstoy, Dostoyevsky, Tjechov, Stravinsky, Rachmaninoff; they were all chantrapas-es.

§àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ Ñ³ïáõÏ ÑÛáõñÁª íñ³óÇ Ý߳ݳíáñ é»ÅÇëáñ úóñ Æáë»ÉdzÝÇÝ, áí 1980-³Ï³ÝÝ»ñÇó ëÏë³Í ³åñ»É áõ ³ß˳ï»É ¿ üñ³ÝëdzÛáõÙ, ÷»ïñí³ñÇÝ Ýᯐ ¿ Çñ 80-³ÙÛ³ÏÁ, μ³Ûó ³Ûë å³ïϳé»ÉÇ ï³ñÇùáõÙ ¿É ݳ ÝáõÛÝù³Ý ÷³ÛÉáõÝ íÇ׳ÏáõÙ ¿, áñù³Ý Çñ ýÇÉÙ»ñÁ: лï³Ñ³Û³ó Íñ³·ñáõÙ Áݹ·ñÏí³Í »Ý »ñ»ù ýÇÉÙ»ñ, áñáÝù ݳ 1960-³Ï³ÝÝ»ñÇÝ áõ 1970-³Ï³ÝÝ»ñÇÝ Ýϳñ³Ñ³Ý»É ¿ ìñ³ëï³ÝáõÙª §î»ñ¨³Ã³÷¦, §²åñáõÙ ¿ñ ÙÇ »ñ·áÕ Ï»éݻ˦, ¨ Ýñ³ í»ñçÇݪ §Ê³Å³ÙáõŦ (Chantrapas) ýÇÉÙÁ, áñÁ Ýϳñ³Ñ³Ýí»É ¿ 2010 Ã. ýñ³Ýë-íñ³ó³Ï³Ý ѳٳ·áñͳÏóáõÃÛ³Ùμ: Æáë»ÉdzÝÇÇ Å³å³í»ÝÝ»ñÝ áõÝ»Ý ³ÛÝ ³åß»óáõóÇã μ³ñÇ Ñ»·Ý³ÝùÁ, áñÁ μÝáñáß ¿ Ä³Ï î³ïÇÇ Ï³ï³Ï»ñ·áõÃÛáõÝÝ»ñÇÝ, ÇëÏ »ñÏËáëáõÃÛáõÝÝ»ñÇ ë³Ï³íáõÃÛáõÝÝ áõ »ñ³ÅßïáõÃÛ³Ý ³é³ïáõÃÛáõÝÁ Ù³ïÝáõÙ »Ý Ýñ³ »ñ³Åßï³Ï³Ý áõ ٳûٳïÇÏ³Ï³Ý ÏñÃáõÃÛáõÝÁ, áñÝ ëï³ó»É ¿ñ ÙÇÝ㨠é»ÅÇëáñ ¹³éݳÉÁ: ƱÝã ¿ Ý߳ݳÏáõÙ Chantrapas μ³éÁ: ²Û¹ μ³éÁ èáõë³ëï³ÝáõÙ ß³ï ·áñÍ³Í³Ï³Ý ï»ñÙÇÝ ¿ñ ¹³ñÓ»É: ¸³ Chantera ou chantera pas?ª §Ü³ Ï»ñ·Ç, û á㦠ýñ³ÝëÇ³Ï³Ý ³ñï³Ñ³ÛïáõÃÛ³Ý Ó¨³÷áËí³Í ï³ñμ»ñ³ÏÝ ¿: ²Û¹ μ³éÝ ëï»ÕÍí»É ¿ Çï³É³óÇ åñáý»ëáñÇ ßÝáñÑÇí, áñÁ ¹³ë³í³Ý¹áõÙ ¿ñ ê³ÝÏï ä»ï»ñμáõñ·Ç éáõë³Ï³Ý í»ñݳ˳íÇ »ñ»Ë³Ý»ñÇÝ, μ³Ûó ß³ï í³ï ¿ñ ËáëáõÙ ýñ³Ýë»ñ»Ý: äñáý»ëáñÁ áñáᯐ ¿ñ »ñ»Ë³Ý»ñÇÝ »ñ·»É ëáíáñ»óÝ»É ¨ ù³ÝÇ áñ ýñ³Ýë»ñ»ÝÇ Ûáõñ³Ñ³ïáõÏ ³éá·³ÝáõÃÛáõÝ áõÝ»ñª ³Û¹ ³ñï³Ñ³ÛïáõÃÛáõÝÁ ëË³É ¿ñ ѳëϳóí»É: ²Ñ³ ³Û¹å»ë ¿É ¹³ ¹³ñÓ³í éáõë³Ï³Ý ³ñï³Ñ³ÛïáõÃÛáõÝ, áñÝ û·ï³·áñÍíáõÙ ¿ ³ÛÝ Ù³ñ¹Ï³Ýó Ù³ëÇÝ, áñáÝù áã ÙÇ ßÝáñÑù ãáõÝ»Ý, ³Ýï³ñμ»ñ »Ý, ³ÝåÇï³ÝÝ»ñ »Ý, μ³Ý³ëï»ÕÍÝ»ñ: ØÇ Ëáëùáíª îáÉëïáÛÁ, ¸áëïá¨íëÏÇÝ, êïñ³íÇÝëÏÇÝ, è³ËÙ³ÝÇÝáíÁ, Ýñ³Ýù ¿É ¿ÇÝ chantrapas-Ý»ñ: γñÍ»ë û ÜÇÏáɳëÝ ¿É ¿ chantrapas, μ³Ûó ¹ñ³Ï³Ý ÇÙ³ëïáí: ²Ûë Ñ»ñáëÇ Ý³Ë³ïÇåÁ ¹á±õù »ù: â»Ù ϳñáÕ ÙdzÝß³Ý³Ï ³ë»É, áñ »ë »Ù, μ³Ûó ³Û¹å»ë ¿É ϳñ»ÉÇ ¿ ÁÝϳɻÉ: ÜÇÏáɳëÁ ѳí³ù³Ï³Ý Ï»ñå³ñ ¿, Ù³ñÙݳíáñáõÙ ¿ ÇÙ μáÉáñ ·áñÍÁÝÏ»ñÝ»ñÇÝ, áíù»ñ ÷áñÓ»É »Ý ³Ý»É Çñ»Ýó ·áñÍÁ, ë³Ï³ÛÝ Çñ»Ýó ˳ݷ³ñ»É »Ýª ϳ٠·³Õ³÷³ñ³Ëáë³Ï³Ý ·ñ³ùÝÝáõÃÛ³Ùμ, ϳ٠¿É ëïÇå»Éáí, áñ Ñ»é³Ý³Ý ѳÛñ»ÝÇùÇó: è»ÅÇëáñÝ»ñ è»Ý» ÎÉ»ñÁ, üñÇó ȳݷÁ, î³ñÏáíëÏÇÝ, ö³ñ³ç³ÝáíÁ® ²Ûë óáõó³ÏÁ ϳñ»ÉÇ ¿ »ñϳñ ß³ñáõݳϻÉ: Chantrapas ýÇÉÙáõÙ ·ñ³ùÝÝáõÃÛáõÝÁ »ñÏÏáÕÙ³ÝÇ ¿ª û° ²ñ¨»ÉùáõÙ, û° ²ñ¨ÙáõïùáõÙ: ê³ ÝáõÛÝå»±ë Ó»ñ ³ÝÓÝ³Ï³Ý ÷áñÓÇó ¿ñ: ²Ûá°, ËáñÑñ¹³ÛÇÝ ·ñ³ùÝݳ¹³ïÝ»ñÇÝ ÜÇÏáɳëÇ ýÇÉÙÁ ¹áõñ ¿ ·³ÉÇë, μ³Ûó Ýñ³Ýù å³ñï³íáñ »Ý ·ñ³ùÝÝáõÃÛ³Ý »ÝóñÏ»É ³ÛÝ: Üñ³Ýó íñ³ ѳٳϳñ·³ÛÇÝ ×Ýßáõ٠ϳ, Ýñ³Ýù ³ÛÉÁÝïñ³Ýù ãáõÝ»Ý: ÆëÏ ²Ù»ñÇϳÛáõÙ ß³ï é»ÅÇëáñÝ»ñ Çñ³Ï³ÝáõÙ Çñ»Ýó ýÇÉÙÇ Ñ»ÕÇݳÏÁ ã»Ý: ÆÙÇçdzÛÉáó cinema d’auteur, ³ÛëÇÝùݪ Ñ»ÕÇݳϳÛÇÝ ÏÇÝá ³ñï³Ñ³ÛïáõÃÛ³Ý Ù»ç áñáß Ñ»·Ý³Ýù ϳ: ²ÛÝåÇëÇ ïå³íáñáõÃÛáõÝ ¿, ϳñÍ»ë ÙdzÛÝ ¹ñ³Ýù »Ý Ñ»ÕÇݳϳÛÇÝ ýÇÉÙ»ñ: ÆëÏ Ùݳó³ÍÁ, DZÝã ¿, ٳϳñáݻջÝÇ ³ñï³¹ñ³Ù³ë»±ñ »Ý: ÆÝ㨿, ²Ù»ñÇϳÛáõÙ ß³ï Ñ³×³Ë áõñÇßÝ»ñÝ »Ý ËÙμ³·ñáõÙ ùá ýÇÉÙ»ñÁ: ÆÙ ÁÝÏ»ñ ìÇÙ ì»Ý¹»ñëÝ ²Ù»ñÇϳ ¿ñ Ù»Ïݻɪ ýÇÉÙ Ýϳñ³Ñ³Ý»Éáõ: ºñμ Ýϳñ³Ñ³ÝáõÙÝ»ñÝ ³í³ñïí»É ¿ÇÝ, Çñ»Ý ÃáõÛÉ ã¿ÇÝ ïí»É Ù³ëݳÏó»É ýÇÉÙÇ ³ß˳ï³ÝùÝ»ñÇÝ: ÆëÏ ÇÙ ÙÛáõë é»ÅÇëáñ ÁÝÏ»ñáçÁ Ù»Ï ÙÇÉÇáÝ ¹áɳñ ¿ÇÝ ³é³ç³ñÏ»É, áñ Ñ»é³Ý³ áõ ã˳ݷ³ñÇ ËÙμ³·ñ³Ï³Ý ³ß˳ï³ÝùÝ»ñÇÝ: ÆëÏ »ë ÙÇßï ÇÝùë »Ù ËÙμ³·ñáõÙ ÇÙ ýÇÉÙ»ñÁ: üñ³ÝëdzÛáõ٠ɳ±í ¿Çù ½·áõÙ ª ³ß˳ï»Éáõ ï»ë³Ï»ïÇó: ¶Çï»ù, Ç٠ϳñÍÇùáí μáÉáñ ³ÛÝ ýÇÉÙ»ñÁ, áñáÝù Ýϳñ³Ñ³Ý»É »Ù üñ³ÝëdzÛáõÙ, ³Û¹ ÃíáõÙ Chantrapas-Á ѳçáÕáõÃÛ³Ý ã»Ý ³ñųݳó»É: ´³Ûó ¹³, Áëï »ñ¨áõÛÃÇÝ, ÝáñÙ³É ¿: ÖÇßï ¿ ³Û¹ ýÇÉÙÁ óáõó³¹ñí»É ¿ ï³ñμ»ñ ÏÇÝá÷³é³ïáÝ»ñÇ ßñç³-

Nicolas seems to be a chantrapas too, but in a more positive way. Is the character based on you? No, it is not necessarily me, but you can make of it what you want. He stands for all my beloved colleagues who tried to do their work but were prohibited, either by ideological censorship, or because they had to leave the country because of public censorship. Directors like René Clair, Fritz Lang, Tarkovsky, Parajanov... The list can go on and on. The censorship in Chantrapas happens on both sides, East and West. Was this your experience as well? Yes. The Soviet censors actually love Nicolas’s film, but they are obligated to censor it. They are under so much pressure, they have not other choice. But in America many directors aren’t really the auteurs of their film either. By the way, there is a certain contempt for the term cinema d’auteur. Yet there seems to be only this auteur cinema. Is the rest a macaroni factory? Anyway, in America often someone else edits your film. My friend Wim Wenders went to America to make a film. After having shot his material, the producer wanted to send him away. He wasn’t allowed to touch his own material. Once, a filmmaker friend of mine was even paid a million dollars to leave, so he couldn’t stand in the way of the editing process. I make sure I edit my own films.

ݳÏÝ»ñáõÙ, μ³Ûó ³ÛÝ ãÇ ·Ý³Ñ³ïí»É ³Ûëûñí³ Ñ³Ý¹Çë³ï»ëÇ ÏáÕÙÇó. ³Ûëûñí³ Ñ³Ý¹Çë³ï»ëÝ ³ÛÝ »ñÇï³ë³ñ¹Ý»ñÝ »Ý, áíù»ñ ÏñÃí»É »Ý ÑáÉÇíáõ¹Û³Ý ýÇÉÙ»ñáí: äñá¹Ûáõë»ñÝ»ñÁ Ñ»ï³ùñùÇñ ݳ˳·Í»ñ »Ý ëï³ÝáõÙ ³ÙμáÕç ³ß˳ñÑÇó, μ³Ûó Ñ»ïá ëÏëáõÙ »Ý Ùï³Í»Éª ³ñ¹Ûá±ù 20 ï³ñ»Ï³Ý å³ï³ÝÇÝ»ñÁ Ï·Ý³Ý ³Û¹ ýÇÉÙÁ ¹Çï»Éáõ: ê³ ÇѳñÏ» ³ÝѻûÃáõÃÛáõÝ ¿: Üñ³Ýù ݳ˳å»ë áñáßáõÙ »Ý ³Û¹ ýÇÉÙÇ ×³Ï³ï³·ÇñÁ: ê³ ¿É ¿ ·ñ³ùÝÝáõÃÛáõÝ, μ³Ûó áã û å»ï³Ï³Ý, ³ÛÉ Ñ³ë³ñ³Ï³Ï³Ý: Chantrapas-Á Ýϳñ³Ñ³Ýí»É ¿ ³Ý³Éá·³ÛÇÝ ï»ë³ËóÇÏáí, μ³Ûó ÙáÝï³Åí»É ¿ Ãí³ÛÇÝáí: гñÙ³±ñ ¿ñ Ãí³ÛÇÝ ï»ËÝáÉá·Ç³Ý»ñáí ³ß˳ï»ÉÁ: ¶ñ»Ã» ï³ñμ»ñáõÃÛáõÝ ãϳ: ìï³Ý·Ý ³ÛÝ ¿, áñ ã³÷³½³Ýó ß³ï ï³ñμ»ñ³ÏÝ»ñ Ýϳñ³Ñ³Ý»Éáõ ·³ÛóÏÕáõÃÛáõÝÝ ³í»ÉÇ Ù»Í³ÝáõÙ ¿: ´³Ûó å»ïù ¿ ϳñáÕ³Ý³ë ¹ÇÙ³¹ñ»É: ¸áõ å»ïù ¿ ³ÛÝå»ë ÙáÝï³Å»ë, ÇÝãå»ë ³é³çª ÙÏñ³ïÇ ÝÙ³Ý Ïïñ»Éáíª ³Ý»Éáí Áݹ³Ù»ÝÁ »ñÏáõ ï³ñμ»ñ³Ïª ÇÝãå»ë ÙÇßï: ¸áõù å³Ñå³Ýá±õÙ »ù Ó»ñ ϳå»ñÁ ìñ³ëï³ÝÇ é»ÅÇëáñÝ»ñÇ Ñ»ï: ÆѳñÏ»: ²Ûë å³ÑÇÝ »ñÇï³ë³ñ¹ é»ÅÇëáñÝ»ñÇ Ýáñ ³ÉÇù ϳ: Üñ³Ýù ³Ý¹ñ³¹³éÝáõÙ »Ý ųٳݳϳÏÇó ËݹÇñÝ»ñÇÝ, ûñÇÝ³Ï ³ÛÝ ËݹñÇÝ, û ÇÝãå»ë »Ý ÇÝùÝáõñáõÛÝ ÏÛ³Ýù ÙïÝáÕ »ñÇï³ë³ñ¹Ý»ñÁ ѳëϳÝáõÙ, áñ ìñ³ëï³ÝáõÙ ³åñ»ÉÝ ³ÛÝù³Ý ¿É Ñ»ßï ã¿: ´³Ûó¨³ÛÝå»ë Ýñ³Ýù ß³ñáõݳÏáõÙ »Ý å³Ûù³ñ»É: ºë ß³ï ɳí³ï»ëáñ»Ý »Ù ïñ³Ù³¹ñí³Í ³Ûë ѳñóáõÙ, Ýñ³Ýù ɳí Ù³ëݳ·»ïÝ»ñ »Ý, ɳí ýÇÉÙ»ñ »Ý Ýϳñ³Ñ³ÝáõÙ ª ãÝ³Û³Í ìñ³ëï³ÝáõÙ ýÇݳÝë³Ï³Ý íÇ׳ÏÝ ³ÛÝù³Ý ¿É μ³ñ»Ýå³ëï ã¿: ´³ñ»μ³Ëï³μ³ñ, ìñ³ëï³ÝáõÙ ýÇÉÙ Ýϳñ³Ñ³Ý»ÉÝ ¿É ß³ï óÝÏ ã¿: ºë Ýϳï»É »Ù, áñ ÏÇÝ é»ÅÇëáñÝ»ñÁ ß³ï Ñ»ï³ùñùÇñ ýÇÉÙ»ñ »Ý Ýϳñ³Ñ³ÝáõÙ: ò³íáù ÙÛáõë ËݹÇñÝ ¿É ³ÛÝ ¿, áñ »ñÇï³ë³ñ¹ ·áñÍÁÝÏ»ñÝ»ñÇ ýÇÉÙ»ñÁ ìñ³ëï³ÝáõÙ óáõó³¹ñí»Éáõ ³ÛÝù³Ý ¿É ß³ï Ñݳñ³íáñáõÃÛáõÝ ãáõÝ»Ý, áñáíÑ»ï¨ ÝáõÛÝÇëÏ Ù»Í ù³Õ³ùÝ»ñáõÙ ª ûñÇÝ³Ï ÂμÇÉÇëÇáõÙ Áݹ³Ù»ÝÁ ѳïáõÏ»Ýï ÏÇÝáóïñáÝÝ»ñ ϳÝ: 2 ÙÇÉÇáÝ μݳÏãáõÃÛáõÝ áõÝ»óáÕ ù³Õ³ùáõÙ Áݹ³Ù»ÝÁ »ñ»ù ÏÇÝáóïñáÝ Ï³: ÜÐ

He may be eighty years old, but his next film is already in the works. Renowned Georgian director Otar Iosseliani, who has lived and worked in France since the 1980’s, is a special guest at the Golden Apricot Film Festival in honor of his 80th birthday last February, and he’s looking as sharp as his films. The Retrospective offers three films he made in Georgia in the 1960’s and 1970’s, Falling Leaves, Once Upon a Time There Was a Singing Blackbird and Pastoral, as well as his most recent film Chantrapas (2010), a French/Georgian coproduction. A clear but whimsical rebellious streak runs through his work, which shows the love/hate-relationship that comes with the dilemma of freedom and humanity. Chantrapas shows how young filmmaker Nicolas is brutally censored in Soviet Georgia. But while his film is strictly denied any screening, he has no trouble getting a visa to travel to France to make a new film. Sadly, the West does not give him the freedom he is looking for: his producers are too greedy to let Nicolas work on his own and interfere with his editing, just as Soviet censorship had done before. Time is money. Iosseliani’s films have a striking lighthearted irony reminiscent of Jacques Tati’s comedies, while his economical use of dialogue and music belies his education in music and mathematics, before he became a filmmaker. What does the word Chantrapas mean? It has become a common term in Russian, which is a mutation of the French phrase “Chantera ou chantera pas?”, meaning “Will he sing or not?”. It originates with an Italian professor who taught the children of the Russian elite in St. Petersburg, but spoke very bad French, you see. At that time, a century ago, the St. Petersburg elite spoke French. The professor decided to teach the kids to sing, and with his peculiar pronunciation with a strong Italian accent, the phrase was misunderstood. That’s how it became a Russian expression, which is used to de-

Has France been good to you? Well, I think all the films that I have made in France, Chantrapas included, have not been successful. But I guess that’s normal. (shrugs) Yes, the film has been recognized by various festivals, but the audience of today, in France but also Italy, Germany and the Netherlands, Belgium... They are young people who grew up on Hollywood cinema. Producers receive interesting projects from all over the world, but then they think about whether this 20-something-year-old boy will go see it or not. That’s ridiculous. They decide beforehand that the film will not be worth it. In a way, this is public censorship at its worst. Chantrapas was still shot on celluloid, but edited digitally, which is turning into the norm. What was your experience with working digitally? Well, it’s almost the same thing as working with celluloid. But there is a danger you’ll make too many versions, you shouldn’t do that. You should still edit like you’re at the editing table with a pair of scissors. Then, you have to think hard before every cut. The same should go for filming digitally: it’s tempting to make a lot of shots, but you should refrain yourself. Just take two, like always. Have you kept up with filmmaking in Georgia? Of course. There is a new wave of young film directors at the moment. They address contemporary issues, such as how youths who are starting a life for themselves realize that life in Georgia is not that great. Still, they remain brave. I am very optimistic about it, they make good work although Georgia isn’t in the best financial situation. Luckily, production in Georgia isn’t that expensive. I find that women especially are making interesting films. Unfortunately, another problem is that the films of my younger colleagues in Georgia have little chance to be seen, because there are only a few film theaters even in big cities like Tbilisi. On about 2 million inhabitants, there are only three screens. What can you tell us about your next film? I don’t want to talk about it yet. You don’t scream before you’ve taken the leap! NH

GOLDEN APRICOT DAILY | DAY 6 | 18 JULY | 2014

6 reviews

A Cruel Setup, or Not? Two Days, One Night (Jean-Pierre & Luc Dardenne, Belgium/France/Italy, 2014), 18-7, 22:00, Moscow Cinema, Blue Hall and 19-7, 19:00, Cinema Star With Two Days, One Night (Deux jours, une nuit), directors Luc and Jean-Pierre Dardenne pose a radical question about crisis and solidarity. Once again, the Belgian brothers use a bleak socio-economic situation to reflect on Western society. Returning from a temporary break, Sandra hears on a Friday that she has been voted out of her job. The factory she works in is struggling and offered its employees a choice: either they could keep their end-of-year-bonusses, or Sandra could keep her job. A cruel set-up, or is it? The Dardennes answer this question in two ways, by showing both the moral and the practical struggle in hard times. Shot in the brothers’ signature style, with roving

Eagerly Awaiting Silence Flowers from the Mount of Olives (Heilika Pikkov, Estonia, 2013), 18-7, 12:00 and 17:30, Moscow Cinema, Small Hall 1 “God is my father and the church my mother, I have no others.” These are the bold words of Mother Ksenya, a nun in a Russian Orthodox convent on the mount of olives, near Jerusalem. Here, Ksenya leads a quiet life, caring for the plants in her “flower-hospital” and the turtles that roam free in her garden. but this wasn’t always how she lived: Ksenya only entered the convent in her late 50s and lived a rich and wild life before that. Striving towards the Great Schema, the vow of silence which will be the final step in her spiritual

handheld camera’s shooting uncompromising long takes filmed with natural light, the Dardennes look us straight in the eyes and reach for our conscience.

journey, she tells us her life’s story, almost as if to expell her past. “I buried all this and I don’t want to dig it up again”, she sighs at one point, but mostly she seems happy to recall her storied past. In fact, no stone is kept unturned, it seems, and we hear about it all: her unhappy childhood in Estonia, with parents who were always on the verge of another fight; her many boyfriends and three marriages; her period of morphine addiction. The documentary Flowers from the Mounts of Olives (Õlimäe õied), awarded as the Best Estonian Documentary of 2013, takes on the rhythm of life in the convent. As Mother Ksenya tells her story, we see her potter around the garden, cutting and drying her flowers, and fulfil her many other tasks. It seems this woman, who has been uncomfortable with human contact all her life, has found her place here though she seems anxious to put herself at even more distance from the world: “This trembling life moves more and more inward.” JB

Luckily for Sandra, her friend Juliette and some other loyal co-workers manage to convince the manager to organize a second vote on Monday. Encouraged by her husband, Sandra undertakes a laborious mission to visit all her colleagues over the weekend to try to convince them to change their votes. Like a modern-day Sisyphus, fragile Sandra, played au naturel by French actress Marion Cotillard, encounters all possible emotions and reasons her colleagues could have. During two days and one night she gets yelled at because she’s “stealing” bonuses and asked for forgiveness through instant confessions of guilt. But she’s also confronted with the struggles her co-workers have, some financial and some of a more abusive nature. The Dardennes are known for their naturalistic approach to drama, told from the personal perspective of the working class in conflict with society’s dominant norms and standards. Two Days, One Night masterfully shows how Sandra’s in-

Dignified Loneliness The Japanese Dog (Tudor Cristian Jurgiu, Romania, 2013), 18-7, 12:00, Moscow Cinema, Blue Hall Romanian director’s Cristian Tudor Jiurgiu feature debut The Japanese Dog (Câinale Japonez), a minimalistic drama set in a destitute rural area of Romania, tells the story of a father-son relationship. They have grown estranged through geographical distance and a lack of communication. No explanations are given as the film unfolds, opening with an old, lonely man going around his village with a cart, filling it with tidbits and trinkets he finds along the way. The director is stingy with details, instead building his character from subtleties and silences. As the story is unraveled, we find out the old man is Costache, who lost his wife

Anti-Romance Blind Dates (Levan Koguashvili, Georgia/ Ukraine, 2013), 18-7, 17:30, Moscow Cinema, Blue Hall

Granite Dust The Stone River (Giovanni Donfrancesco, Italy/France, 2013), 18-7, 10:00 and 19:00, Moscow Cinema, Small Hall 1 The opening sequence of young Italian documentary filmmaker Giovanni Donfrancesco’s The Stone River sets the tone for the whole movie. Amidst a desert of snow stands a wrinkled old lady. She looks in the distance where trees are popping out of the white. Then she starts talking, yet her lips do not move. A quivering voice comes from the distance, while the camera shows the shiver in her eyes and the white around her. She tells the story of how she got married in the Italian town of Carrara and how her husband, a stonecutter, argued with her father but eventually got permission to take her to America to a place called Barre, Vermont, where the biggest granite quarry in the world had just opened.

Then a half-lit tunnel takes us to the graveyard in Barre, where every tombstone has a story. These are the stories of immigrant stonecutters from all over Europe who moved here in the beginning of the 20th century hoping for a better life. Instead, few of them made it past 40, and many died of lung diseases. And those who did make it through the granite dust unharmed were embroiled (some willingly, the others not) in political controversy, which eventually lead to a riot in 1922. In the 1930’s the people of Barre were interviewed about their lives. For his film, Donfrancesco asked today’s residents to read out these interviews with their ancestors. The result is an atmospheric piece walking the fine line between documentary and fiction. Poetically combining words of the past and images of the present Donfrancesco manages to capture the essence of early 20th century America, the land of hope and opportunities. He paints a grand picture of the early 1900’s, when a drastically changing world was caught in a whirlpool of ideological battles. AV

“I don’t like this online thing”, says Sandro. “Do you have any other options?”, responds his friend Iva. In modern-day Georgia, 40-something-year-old men struggle to find love like everywhere else. Sandro and Iva are waiting for two ladies from Gori who they found through an online dating site. Pokerfaced actor Andro Sakhvarelidze, who portrays the wimpy but gentle Sandro, so effectively sets up an absurdist tone in this opening scene of Blind Dates (Brma parmnebi) that you’ll never see its ending coming. But it’s director Levan Koguashvili’s mischievous storytelling and understated humor that pull us into this surprising journey, which develops into a heartwarming drama about the differences between looking for and finding love. Iva, a former soccer player-turned-coach, pushes his friend to find a girlfriend. Sandro also gets lambasted by his parents: girls from the provinces have no manners, and girls who play soccer are

stinct for survival clashed with her moral compass at every step of her endeavor. At some point she reaches for tranquilizers to bear the fear and insecurity she’s feeling. Although the Dardennes force you to see things from Sandra’s perspective, duped by a manager who wants to cut costs, it’s not the only way this injustice can be interpreted. During a press conference at the Cannes Film Festival, where Two Days, One Night premiered in competition earlier this year, the Dardennes described solidarity as an attitude that is not self-evident: “To be solidary you have to sacrifice. It is not a natural thing to do.” In other words, it is something we have learned to do, and now have perhaps forgotten. As the Dardennes said, “Solidarity is not a moral act in and of itself, but can also be a practical decision.” The capitalist mindset is not just that of the manager; Sandra’s co-workers are as much a part of this crisis. To find a suitable ending for the film, the brothers said they continuously asked each other to put oneself in the other man’s shoes. Which, it seems, is easier said than done. The ending of the film offers an emotional twist that sets Sandra’s efforts during the weekend in a bleak new light. NH

Maria, his home and his life savings in the recent devastating floods. Without any hurry, and with a welcome absence of the pathos that would normally accompany such a tragedy, the film shows the daily routine of a flood victim who has to start anew. But his endless, dignified loneliness is disrupted when his wayward son Ticu pays him a visit after a ten-year abesence, bringing his Japanese wife and their son. The familiy’s former life rematerializes, as a chest of the past brings out memories, conflicts, faults and shame. There is more dialogue, filling the missing pieces of the puzzles and old coloring Costache’s life, the fatality of a lonely ageing father taking a turn. Aside from creating a distinctive typology of an inhabitant of rural Romania, the simplicity of its universal topic is colored by its locale, where aged wisdom and traditional customs are discussed over dinner enjoyed by the light of a candle. AC

too muscular. But the complaints don’t seem to affect Sandro. So what does move him? When Iva and Sandro walk into Iva’s favorite soccer mom Manana on a weekend trip, they enjoy some drinks on a rainy seaside terrace under a large piece of plastic. Koguashvili revels in emphasizing how anti-romance, in unexpected places, can actually create romance. Ironically, Sandro’s parents are at that very moment awaiting his return in the company of several young and eligible women. But when Sandro en Manana start to spend more time together, he finds a problem he certainly wasn’t looking for: Manana’s husband Tengo will be released from jail earlier than expected and wants to come home. Sandro’s kindness and love for Manana go beyond his own desires, and he drives her to the prison to pick up Tengo. Things only get worse from there. The sheer genius of Blind Dates is that Koguashvili shows you how comedy is not always in the acting, but instead can hinge on the ways fate plays and interferes with our expectations. As we all know, good men usually don’t get the girl. In Blind Dates, Sandro wins a few girls too many, but still doesn’t end up a winner. NH

GOLDEN APRICOT DAILY | DAY 6 | 18 JULY | 2014

news and reviews 7

"The house played tricks on me" Director Fellipe Barbosa has been traveling the world with his first feature film Casa Grande ever since its premiere in competition at the Rotterdam Film Festival last January. The story of 17-year-old Jean, whose privileged life gets shaken up when his family is hit by the financial crisis, was drawn from his own experiences, the director tells us.

The title of the film is a literal reference to the grandiose villa Jean and his family live in. “It’s a very overprotective environment”, Barbosa says. “Everything outside the gates is seen as an invisible, menacing threat. This is a culture that I’m very familiar with, they’re people that I love, but I don’t share their opinions. That creates an interesting place for me as a director. We shouldn’t make films about people we just love, or people we just hate. There’s no such thing.” The story is based on events that occurred in Barbosa’s family in 2003, he explains. “Like Jean’s father, my dad lost all his money. I wasn’t home then, I was in the U.S. studying film. So the story is sort of a fantasy of what it could have been like if I had been there at the time, although it plays in the present day.” As if to prove its grounding in reality, the house seen in the film actually belongs to Barbosa’s par-

ents. “They’ve been trying to sell it since 2003, but they can’t get rid of it, it’s too expensive. It was tough to shoot there, because my parents didn’t want to leave! Thank God they decided to go on a trip when we were two days into the shoot. My father gave me a deadline: we had to be out of the house by the time they got back. We didn’t make it; we needed a few more hours, so he was really mad at me!” While filming in a location the director knows intimately may seem an easy feat, Barbosa says that shooting at the house was actually the most difficult part of production. “The house was very evasive, it was always pulling tricks on me. For instance, you see the father falling from a tree in the film; that wasn’t planned. And I just made really bad decision, like re-shooting scenes that were already perfect. I had a very precise design of how I wanted to shoot the house the internal rules of the film. You’re not supposed to apprehend them consciously, but you should feel it. For instance, things are disappearing from the house all the time, to show how the family is becoming poorer. There’s a painting of orchids in one of the rooms, which later becomes a painting of dried flowers. You might not notice this, but by repeating the same shot you will feel it. It’s good to have those obstructions, I think, but I found out the hard way that it shouldn't be the most important thing!”

Aside from its literal meaning, the title is a partial reference to Gilberto Freyre’s book CasaGrande & Senzala (1933). In that case, the big house refers to the homes of plantation owners, which Freyre opposes to the slaves creating, but not sharing in, their wealth. Similarly, Barbosa’s film references race relations in modern-day

Directors Across Borders gives out its Awards The winning projects of the 8th Directors Across Borders (DAB) Regional CoProduction Forum were announced after two jampacked days of panel discussion and pitches. Four €3,000 awards went to Siren’s Call, Long Gardens, Jivani-74 and Neighbors. Fourteen projects from the Eastern Partenrship countries were selected for this year’s Forum. The DAB Co-Production Forum is a key annual event in the region, aimed at promoting talents and film production or co-production in the Eastern Partnership countries. Siren’s Call by Turkish directors Ramin Matin and Emine Yildirim was awarded as the best poten-

tial international co-production. It will be a black comedy set in Istanbul, producer Emine Yildirim explained. “The main character wants to escape the city, but he cannot since he is trapped. The film deals with the huge growth developments that are taking place in the city now, which are creating an unlivable place without identity. The state’s policies are oriented on constructing these huge concrete buildings.” The award for the project that best addressed the issue of tolerance went to Nika Shek, Sarik Hovsepyan, Shushan Kocharyan and Eldar Albertson for their project Long Gardens, which shows the human side of the conflict between Armenia and Azerbaijan. This will be the first joint project by independent filmmakers from both coun-

tries, which have been in conflict for over 25 years. A third award, for the best potential regional coproduction, was presented to Jivani-74 by Diana Mkrtchyan and Aram Khatchatrian. It adresses the isue of migration, as main character Arshak is forced, like thousands of his countrymen, to look for a job in Russia, affecting his relationship with his six-year-old son. Finally, the award for the best story went to Neighbors by Grigol Abashidze and Joseph Bliadze from Georgia. “The story is inspired by the enviroment I live in”, Bliadze said. “Most of the houses in Tbilisi are wrecked. The film will be about one area and its habitants, who turn their regular neighborhood into a war-field for their dreams and wellbeing.” AC

Let There Be Light Award 15:00, Gevorkian Seminary of Holy Etchmiadzin Festivity Hall. The 2014 Let There Be Light Awaes will be awarded to Polish director Krzysztof Zanussi. The ceremony is accesible by invitation only. The bus will be waiting at Royal Tulip Grand Hotel Yerevan from 13:00.

Master Class: Petros Markaris 15:00, Nairi Cinema. The Greek novelist, playwright and screenwriter Petros Markaris, member of the jury for GAIFF’s Feature Competition, will give a Master Class on the art of screenwriting.

Apricot Talk: Christian Berger 17:30, Tumo Center for Creative Technologies. Markaris’s fellow juror, the Austrian cinematographer Christian Berger, will hold today’s talk at the Tumo Center.

The Climbing Man

Vive la France

The Constant Factor (Krzysztof Zanussi, Poland, 1980), 18-7, 20:00, Moscow Cinema, Red Hall and 19-7, 20:30, Moscow Cinema, Blue Hall Although The Constant Factor (Constans) might not be the best-known film by Krzysztof Zanussi, who will receive the Let There Be Light Award at GAIFF today (see right), it is still considered a masterpiece of Polish cinema. Some 35 years after its release, the search for a constant factor in life (the title refers to a mathematical concept, though it is never directly named in the film itself) is still topical. We undertake this search along with protagonist Witold, haunted by his father’s accidental death in the Himalayas and now facing the death of his mother. Her slow and painful death seems to entice him to find escape. First Witold hopes to do it with an extrasensory healer. Later he turns to the church, but he discovers that “even the church avoids talking about death.” He even travels to the Himalayas, wanting to follow in his father’s footsteps. A friend advises Witold to accept life as it is, as life itself is all about accepting the things around you, and accepting in turn is about maturity. We see Witold maturing, both in his appearance and his discussions. The latter include pillow talk with his girlfriend

Brazil. “This discussion has only started in the last few years. It’s really hard, because there's such a mixed population. You can’t tell who’s a minority, but at the same time you can, because they’re the most poor. Regardless of your color, if you’re rich you’re seen as white and if you’re poor you’re seen as black.” JB

17:30, Moscow Cinema, Red Hall. There’s special attention for French film at GAIFF, starting with today’s screening of Gainsbourg: A Heroic Life by Joann Sfar. The film will be reviewed in tomorrow’s Daily.

Midnight Wrap-up 24:00, The Club. Film gurus and GAIFF guests are invited for a daily wrap-up meeting over drinks. about their fears and about fate, but also roadside discussions in faraway India about “people who can choose, because they have a ticket back to West, and people who cannot choose.” These Indian sequences bring a welcome bit of exoticism to the movie, with dance and ritual scenes which recalls that Indian movies were once immensely popular in socialist communities. Those were also the times when owning U.S. dollars was almost a crime in those same societies. The dollar is going to cause some trouble for Witold, as well.

But this all will seem minor in relation to what the search brings Witold. It happens not quite the way he dreamed about: not somewhere in the Himalayas but at an appartment block, from which he finds himself “hung.” Just the day before his girlfriend said she was afraid something would happen to him, but neither could have imagined that the constant factor has its plan for him – it seems that the factor expressed itself through the one who had been in search of it. DV

CONVERSATION Director: When did you see my film? Critic: I did not see it. Director: But you wrote a review. Critic: That’s my job. Director: Without seeing the film? Critic: I don’t see films because they spoil my reviews. Peter

GOLDEN APRICOT DAILY | DAY 6 | 18 JULY | 2014

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