¸³ë»ñª ä»ïñáë سñϳñÇëÇó
§ÒÙ»é³ÛÇÝ ùáõݦ
гñó³½ñáõÛó. øßÇßïáý ¼³ÝáõëëÇ
Interview: Krzysztof Zanussi
Winter Sleep: Silent Language
Godard Does it Doggy Style ¶á¹³ñÁª ßݳí³ñÇ
Harutyun Khachatryan looks back
GOLDEN APRICOT DAILY | DAY 7 | 19 JULY | 2014
2 Íñ³·Çñ/program 19 ÑáõÉÇëÇ/ 19 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ×/ Moscow Cinema, Blue Hall 11:30
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ×/ Moscow Cinema, Red Hall 13:00
13:00
& ' !( /The First Lad /Sergei Parajanov Ukr/86’/T
/Winter Sleep /Nuri Bilge Ceylan Tur-Deu-Fra/196’/YP
Lang.: Russian Subt.: English
Lang.: Turkish/English Subt.: English and Armenian
13:00 ) ( " /Flower on the Stone /Sergei Parajanov Ukr/76’/T
Lang.: Armenian Subt.: English
) 0 /Ziazan ' +/Derya Durmaz Arm-Tur/15’/FAB
Lang.: Armenian Subt.: English (/Diyar 0 ' &11 / Devrim Akkaya Tur/71’/FAB
15:00 1 /Crossroads & ! " ) 2 / Anastasiya Miroshnichenko Blr-Swe/69’/FAB
14:30
Lang.: Russian Subt.: English
! " /Goodbye to Language - /Jean-Luc Godard Fra/70’/CF
ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema
Lang.: French Subt.: English and Armenian Ðñ³í»ñáí/Invitations Only
16:30
13:00
19:00
- $ / Ukrainian Rhapsody /Sergei Parajanov Ukr/88’/T
Lang.: Russian Subt.: English # $ . % $ /Gainsbourg. A Heroic Life /Joann Sfar Fra/130’/YP
18:30
Lang.: French Subt.: English and Armenian 21:30
& & /Ana Arabia &' ! /Amos Gitai Fra-Isr /85’/R Lang.: Hebrew Subt.: English and Armenian
# /The Book ! " /Vitali Mansky Rus/86’/YP
Lang.: Armenian/Russian/ English/Spanish/Turkish Subt.: English and Armenian
/The Whistleblower /Larysa Kondracki Deu-Can-USA/112’/CSC
Lang.: English/Romanian/ Russian/Serbian Subt.: English and Armenian 15:00 /Meeting with Anna Mouglalis 18:00
19:00
$! ! 0 / The Constant Factor () )! * /Krzysztof Zanussi Pol/91’/YP
Lang.: Polish Subt.: English and Armenian
, /Two Days, One Night - , /JeanPierre Dardenne, Luc Dardenne Bel-Fra-Ita/95’/YP Lang.: French Subt.: English and Armenian
/The Legend of Suram Fortress /Sergei Parajanov Geo/88’/T
Lang.: Georgian Subt.: English and Armenian
GOLDEN APRICOT DAILY ¶É˳íáñ ËÙμ³·Çñ` Úáëà ´ñá»ñ»Ý
Editor-in-chief: Joost Broeren
úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý
Armenian coordinator: Artur Vardikyan
²ß˳ï³Ï³½Ù` ²Ý³ëï³ëdz ÎáëïÇß³Ýáõ, ÜÇÝÏ» гÛï»Ý·³ лÕÇݳÏÝ»ñ` ¸³íÇà ì³ñ¹³½³ñÛ³Ý, ²ñÍíÇ ´³ËãÇÝÛ³Ý, سñdz ÂáùÙ³çÛ³Ý, ØÇù³Û»É سñ·³ñÛ³Ý, ijÝ-øñÇëïáý ü»ññ³ñÇ êñμ³·ñÇãÝ»ñª سñÇÝ» Ô³ñ³Ë³ÝÛ³Ý, èÇÙ³ ²Õ»ÏÛ³Ý
Staff: Anastasia Costianu, Nienke Huitenga Contributors: David Vardazarian, Michael Margaryan, Maria Toqmajyan, Jean-Christophe Ferrari, Artsvi Bakhchinyan Photographer: Sona Andreasyan
Èáõë³ÝϳñÇã` êáݳ ²Ý¹ñ»³ëÛ³Ý
Design: Gayane Grigoryan
¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý
General Supervising Manager: Peter van Bueren
¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý îå³·ñí³Í ¿ §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ
²Ûë ï³ñÇ ³é³çÇÝ ³Ý·³Ù ÙñóáõóÛÇÝ Íñ³·ñÇ ýÇÉÙ»ñÝ ÁÝïñ»É ¿ ѳÝÓݳÅáÕáíÁ, áñÇ ³Ý¹³ÙÝ»ñÁ ÷³é³ïáÝÇ Ñ»ï áñáß³ÏÇ Ï³å áõÝ»óáÕ, μ³Ûó¨³ÛÝå»ë ³ÝÏ³Ë Ù³ëݳ·»ïÝ»ñ ¿ÇÝ: §Ø»Ýù ß³ï μ³ÝÇÙ³ó ѳÝÓݳÅáÕáí áõÝ»ÇÝù, Ù³ñ¹ÇÏ, áíù»ñ Çëϳå»ë ½·áõÙ »Ý, û áñÝ ¿ ɳí ÏÇÝáÝ: Æ٠ϳñÍÇùáí ¹ñ³ ³ñ¹ÛáõÝùÁ ï»ë³Ý»ÉÇ ¿ Íñ³·ñáõÙ, áñÝ Çëϳå»ë ß³ï áõÅ»Õ ¿ñ¦: ʳã³ïñÛ³ÝÁ ݳ¨ ϳñ¨áñáõÙ ¿ ³ÛÝ Ñ³Ý·³Ù³ÝùÁ, áñ ³Ûë ï³ñí³ ÷³é³ïáÝáõÙ ³é³ÝÓݳѳïáõÏ ï»Õ ¿ñ ѳïϳóí³Í ³ëÇ³Ï³Ý ÏÇÝáÛÇÝ` û ºñ¨³ÝÛ³Ý ßÝáñѳݹ»ëÝ»ñ Íñ³·ñáí, û ÎÇÙ ÎÇ-¹áõÏÇ áõ ò½Û³ âųÝÏ»Ç ýÇÉÙ»ñÇ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝÝ»ñáí: ²Ûë ï³ñí³ ¹ÇÙáõÙÝ»ñÇ ÃÇíÝ ¿É ¿ñ ½·³ÉÇáñ»Ý ³×»É: ʳã³ïñÛ³ÝÇ Ëáëù»ñáí` ³í»ÉÇ ù³Ý 1500 é»ÅÇëáñÝ»ñ Çñ»Ýó ýÇÉÙ»ñÝ áõÕ³ñÏ»É ¿ÇÝ ºñ¨³Ý, ß³ï »Ý »Õ»É ݳ¨ ³ÛÉ ÷³é³ïáÝ»ñáõÙ å³ñ·¨³ïñí³Í ¨ ݳËáñ¹ ï³ñÇÝ»ñÇÝ §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇÝ Ù³ëݳÏó³Í é»ÅÇëáñÝ»ñÇ ýÇÉÙ»ñÁ: §Ø»½ ѳٳñ É³í³·áõÛÝ Ñ³×áÛ³ËáëáõÃÛáõÝÝ ³ÛÝ ¿, áñ ß³ï é»ÅÇëáñÝ»ñ í»ñ³¹³éÝáõÙ »Ý ¨ ÝáñÇó Ù³ëݳÏóáõÙ Ù»ñ ÏÇÝá÷³é³ïáÝÇÝ: êñ³ ßÝáñÑÇí Ù³ëݳÏÇóÝ»ñÇ Ñ»ï Ù»ñ »ñÏËáëáõÃÛáõÝÁ, ϳåÁ ß³ñáõÝ³Ï³Ï³Ý ¿ ¹³éÝáõÙ¦: ʳã³ïñÛ³ÝÝ ³Ûë ï³ñí³ ³Ù»Ý³Ù»Í Ó»éùμ»ñáõÙÝ»ñÇó ¿ Ñ³Ù³ñáõÙ ³ÛÝ, áñ ÏÇÝá÷³é³ïáÝÝ ³í»ÉÇ ×³Ý³ãí³Í ¿ ¹³ñÓ»É` û° ѳݹÇë³Ï³ÝÇ ¨ û° ÏÇÝáùÝݳ¹³ïÝ»ñÇ ÏáÕÙÇó: ØǨÝáõÛÝ Å³Ù³Ý³Ï ³Ûë ׳ݳãÙ³Ý Ñ»ï¨³Ýùáí ëñí»É ¿ ݳ¨ ºñ¨³ÝÇ ÏÇÝáóïñáÝÝ»ñÇ ë³Ï³í³ÃÇíáõÃÛ³Ý ËݹÇñÁ: §ÆѳñÏ» Ù»½ ѳٳñ ³Ù»Ý³Ï³ñ¨áñÁ ѳݹÇë³ï»ëÝ ¿: ²Ûë å³ÑÇÝ ºñ¨³ÝáõÙ Áݹ³Ù»ÝÁ ãáñë ÏÇÝáóïñáÝ Ï³, μáÉáñÝ ¿É ù³Õ³ùÇ Ï»ÝïñáÝáõÙ: ê³ ß³ï ÷áùñ ÃÇí ¿: ºë Ïó³ÝϳݳÛÇ, áñ ³í»ÉÇ ß³ï ÏÇÝáóïñáÝÝ»ñ ÉÇÝ»ÇÝ, ѳïϳå»ë Ù³Ûñ³ù³Õ³ùÇ Í³Ûñ³Ù³ë»ñáõÙ, áñå»ë½Ç ÏÇÝá÷³é³ïáÝÇ ýÇÉÙ»ñÝ ³í»ÉÇ ß³ï Ù³ñ¹Ï³Ýó ѳë³Ý»ÉÇ ÉÇݻݦ: лÝó ³Ûë Ýå³ï³Ïáí ¿É §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÁ ÑÇÙ³ ÷áñÓáõÙ ¿ ýÇÉÙ»ñ áõÕ³ñÏ»É Ð³Û³ëï³ÝÇ ßñç³ÝÝ»ñ: ²é³çÇÝ ù³ÛÉÁ ÏÉÇÝÇ
ýÇÉÙ»ñÇ óáõó³¹ñáõÃÛáõÝÁ ¸ÇÉÇç³ÝáõÙ, áñÁ г۳ëï³ÝÇ ³Ù»Ý³Ï³ñ¨áñ ѳݷëï³í³Ûñ»ñÇó ¿: §Ø»Ýù ϳñáÕ »Ýù ³ÛÝï»Õ ¿É ÙÇ ÷áùñÇÏ ÙñóáõÛà ϳ٠¿É ÝáõÛÝÇëÏ ³é³ÝÓÇÝ ÷³é³ïáÝ Ï³½Ù³Ï»ñå»É¦,– ³ëáõÙ ¿ ʳã³ïñÛ³ÝÁ: ²Ûë ï³ñí³ ÝáñáõÃÛáõÝÝ»ñÇó Ù»ÏÝ ¿ ÉÇÝ»Éáõ гÛ-íñ³ó³Ï³Ý ÏÇÝá¿ùëåñ»ë Íñ³·ÇñÁ, áñÁ ϳ½Ù³Ï»ñåí»É ¿ гÛÝñÇË ´ÛáÉ ÑÇÙݳ¹ñ³ÙÇ áõ »ñÏáõ »ñÏñÝ»ñÇ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝÝ»ñÇ Ý³Ë³Ó»éÝáõÃÛ³Ùμ: §î³ñ³Í³ßñç³Ý³ÛÇÝ Ñ³Ù³·áñͳÏóáõÃÛáõÝÁ ÙÇßï ¿É »Õ»É ¿ Ù»ñ »ñϳñ³Å³ÙÏ»ï Ýå³ï³ÏÝ»ñÇó Ù»ÏÁ,– ³ëáõÙ ¿ ʳã³ïñÛ³ÝÁ:– Þ³ï ó³ÝϳÉÇ ÏÉÇÝ»ñ, áñ ³å³·³ÛáõÙ ÷³é³ïáÝÇÝ ³í»ÉÇ ß³ï ýÇÉÙ»ñ Ù³ëݳÏó»ÇÝ ²¹ñμ»ç³ÝÇó, ²μ˳½Ç³ÛÇó, ÂáõñùdzÛÇó áõ Æñ³ÝÇó: ê³ ß³ï μ³ñ¹ ËݹÇñ ¿, μ³Ûó Ç٠ϳñÍÇùáí ³ÛÝ Ñݳñ³íáñ ¿ ÉáõÍ»É: Ø»Ýù å³ïñ³ëï »Ýù ÁݹáõÝ»É Ýñ³Ýó, μ³Ûó »ë íëï³Ñ ã»Ù, áñ Ù»ñ ³Ûë å³ïñ³ëï³Ï³ÙáõÃÛáõÝÁ ÷á˳¹³ñÓ ¿¦: ÎÇÝá÷³é³ïáÝÇ` Ùáï³íáñ³å»ë 300 000 ¹áɳñÇ Ñ³ëÝáÕ ß³ÑáõÛÃÁ ß³ï ùÇã ¿ ³ÛÝ Í³Ëë»ñÇ Ñ³Ù»Ù³ï, áñáÝù ·»ñ³½³ÝóáõÙ »Ý Ù»Ï ÙÇÉÇáÝÁ: ºí Ñ»Ýó ³Ûë å³ï׳éáí ¿É Ï³é³í³ñáõÃÛ³Ý, ù³Õ³ù³å»ï³ñ³ÝÇ, ÇÝãå»ë ݳ¨ ·É˳íáñ Ñáí³Ý³íáñÇ` ìÇí³ë»É-Øîê-Ç Ñ³ïϳóñ³Í ýÇݳÝë³Ï³Ý ³ç³ÏóáõÃÛáõÝÁ Ï»Ýë³Ï³Ý ³ÝÑñ³Å»ßïáõÃÛáõÝ ¿ ÷³é³ïáÝÇ Ñ³Ù³ñ: ʳã³ïñÛ³ÝÝ ³ëáõÙ ¿, áñ ³é³çÇϳ ÙÇ ù³ÝÇ ï³ñÇÝ»ñÇÝ §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝáõÙ ¿³Ï³Ý ÷á÷áËáõÃÛáõÝÝ»ñ ã»Ý ÉÇÝÇ: §ºë Ù»Í Ñå³ñïáõÃÛ³Ùμ »Ù ³ëáõÙ, áñ ÷³é³ïáÝÇ ³ß˳ï³ÏÇóÝ»ñÁ ï³ñ»óï³ñÇ ³í»ÉÇ »Ý ÑÙï³ÝáõÙª ѳëÝ»Éáí åñáý»ëÇáݳÉǽÙÇ μ³ñÓñ ٳϳñ¹³ÏÇ: ÐÇÙ³ Ù»ñ ÑÇÙÝ³Ï³Ý Ýå³ï³ÏÝ ¿ª ѳëï³ïáõÝ áõ ß³ñáõÝ³Ï³Ï³Ý ¹³ñÓÝ»É ³ÛÝ, ÇÝã ëï»ÕÍ»É »Ýù, ¨ ѳçáÕáõÃÛ³Ùμ Çñ³Ï³Ý³óÝ»É ³ÛÝ μáÉáñ ÷á÷áËáõÃÛáõÝÝ»ñÁ, áñáÝó ³ÝÑñ³Å»ßïáõÃÛáõÝÁ ųٳݳÏÇ ÁÝóóùáõÙ μݳϳݳμ³ñ ϳé³ç³Ý³¦: ²Î
س·ÉóáÕ Ù³ñ¹Á
20:30
êÇݻٳ ëóñ/ Cinema Star
ʳã³ïñÛ³ÝÝ ³Ù÷á÷áõÙ ¿ ï³ñÇÝ §àëÏ» ÍÇñ³Ý¦ 11-ñ¹ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÁ ßáõïáí ϳí³ñïíÇ, ¨ ³Û¹ ϳå³ÏóáõÃÛ³Ùμ ÷³é³ïáÝÇ ïÝûñ»Ý гñáõÃÛáõÝ Ê³ã³ïñÛ³ÝÝ Ç ÙÇ ¿ μ»ñáõÙ ³Ûë ï³ñí³ Ó»éùμ»ñáõÙÝ»ñÝ áõ μ³óÃáÕáõÙÝ»ñÁ, áñáÝù ÑáõÛë áõÝÇ ßïÏ»É Ùáï ³å³·³ÛáõÙ:
Lang.: Turkish/Kurdish Subt.: English and Armenian
17:00
Lang.: Russian Subt.: English
* %
+ $ + / Philosophers of the Road # $ % ! /Harutyun Shatyan Arm/77’/AP
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1
Printer: "Noyyan Tapan" Ltd.
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Üñ³ ³ÝÏ»ÕÍ ½ñáõÛóÁª ÁÝÏ»ñáõÑáõ Ñ»ï Çñ»Ýó í³Ë»ñÇ áõ ׳ϳﳷñÇ Ù³ëÇÝ, ÇëÏ Ñ»ïá ³ñ¹»Ý ׳Ù÷»½ñÇ ½ñáõÛóÝ»ñÁ Ñ»é³íáñ Ðݹϳëï³ÝáõÙ ³ÛÝ Ù³ñ¹Ï³Ýó Ù³ëÇÝ, §áíù»ñ ÁÝïñáõÃÛáõÝ áõÝ»Ý, ù³ÝÇ áñ Ýñ³Ýù ²ñ¨Ùáõïù í»ñ³¹³éݳÉáõ ïáÙë áõÝ»Ý áõ Ýñ³Ýó Ù³ëÇÝ, áíù»ñ ½áõñÏ »Ý ³Û¹ ÁÝïñáõÃÛáõÝÇó¦: ÐÝ¹Ï³Ï³Ý ï»ë³ñ³ÝÝ»ñÁª å³ñ»ñáí áõ ÍÇë³Ï³ï³ñáõÃÛáõÝÝ»ñáí, ï³ñ³ß˳ñÑÇÏ ÙÃÝáÉáñï »Ý ëï»ÕÍáõÙ ýÇÉÙáõÙ ª ÑÇß»óÝ»Éáí ³ÛÝ Å³Ù³Ý³ÏÝ»ñÁ, »ñμ ÑÝ¹Ï³Ï³Ý ýÇÉÙ»ñÁ Ù»Í ë»ñ ¿ÇÝ í³Û»ÉáõÙ ëáódzÉÇëï³Ï³Ý ѳٳÛÝùÝ»ñáõÙ: ¸ñ³Ýù ݳ¨ ³ÛÝ Å³Ù³Ý³ÏÝ»ñÝ ¿ÇÝ, »ñμ ²ØÜ ¹áɳñ áõݻݳÉÁ ·ñ»Ã» ѳÝó³·áñÍáõÃÛáõÝ ¿ñ ѳٳñíáõÙ ³Û¹ ѳë³ñ³ÏáõÃÛáõÝÝ»ñáõÙ: âÝ³Û³Í ¹áɳñÁ ìÇÃáÉ¹Ç Ñ³Ù³ñ ¿É ¿ áñáß ËݹÇñÝ»ñ ëï»ÕÍáõÙ: ´³Ûó ³Ûë ËݹÇñÝ»ñÁ Ù³ÝñáõùÝ»ñ »Ý ÃíáõÙ ª »Ã» ѳٻٳï»Ýù ³ÛÝ ³Ù»ÝÇ Ñ»ï, ÇÝã Ó»éù ¿ μ»ñáõÙ ìÇÃáÉ¹Ý Çñ áñáÝáõÙÝ»ñÇ ³ñ¹ÛáõÝùáõÙ: ÆѳñÏ», ¹³ ï»ÕÇ ¿ áõÝ»ÝáõÙ áã ³ÛÝå»ë, ÇÝãå»ë ÇÝùÝ ¿ñ å³ïÏ»ñ³óÝáõÙ: ÆëÏ Ù»Ï ûñ ³é³ç ÁÝÏ»ñáõÑÇÝ ³ë»É ¿ñ, áñ í³ï ϳÝ˳½·³óáõÙ áõÝÇ, μ³Ûó Ýñ³ÝóÇó áã Ù»ÏÁ ã¿ñ ¿É å³ïÏ»ñ³óÝáõÙ, áñ ѳëï³ïáõÝ ·áñÍáÝÝ Çñ ë»÷³Ï³Ý Íñ³·ñ»ñÝ áõÝ»ñ ìÇÃáÉ¹Ç í»ñ³μ»ñÛ³É: ¸ì
GOLDEN APRICOT DAILY | DAY 7 | 19 JULY | 2014
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çáóáíª å³ïÙ»Éáí ³ÛÝ, ÇÝã å³ï³Ñ»É ¿ Ù»Ï ³ÛÉ Ñ³×³Ëáñ¹Ç Ñ»ï¦: ²ëí³ÍÁ ×ßÙ³ñÇï ¿ μáÉáñ ³½·»ñÇ ï³ùëÇëïÝ»ñÇ Ñ³Ù³ñ: гñáõà ޳ïÛ³ÝÇ ýÇÉÙÇ Ñ»ñáëÝ»ñÁ ÑÇÙݳϳÝáõÙ å³ïϳÝáõÙ »Ý ¾ÏáÛÇ Ýß³Í ³é³çÇÝ Ï³ï»·áñdzÛÇÝ: ØÇçÇÝ ï³ñÇùÇ ³Û¹ ã³ñù³ß ³ß˳ï³íáñÝ»ñÇ μ³ó, å³ÛٳݳϳÝáõÃÛáõÝÝ»ñÇó ½»ñÍ Ëáëùáõ½ñáõÛóáõÙ É³í³·áõÛÝë ¿ μ³ó³Ñ³ÛïíáõÙ Ù»ñ-
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´³í³Ï³Ý ¿, áñ »ë ³ÛÝ å³ïÏ»ñ³óÝ»Ù, ¨ é»ÅÇëáñÝ ¿É ÝÛáõóϳݳóÝÇ ÇÙ ï»ëɳϳÝÁ¦: سñϳñÇëÁ ÝßáõÙ ¿, áñ ÏÇÝáëó»Ý³ñÝ»ñ ·ñ»ÉÝ Çñ ѳٳñ ÷³ÛÉáõÝ ¹åñáó ¿ñ, ù³ÝÇ áñ ÏÇÝáÝ, ¹ñ³ ·»Õ³·ÇïáõÃÛáõÝÁ ٻͳå»ë ³½¹»É »Ý Ýñ³ ·ñ³Ï³Ý ëï»Õͳ·áñÍáõÃÛ³Ý, ³ñÓ³Ï ·áñÍ»ñÇ íñ³: سñϳñÇëÁ ѳïáõÏ ÑÇß³ï³ÏáõÙ ¿ ²Ý·»ÉáåáõÉáëÇ ÏÇÝáÝϳñÝ»ñÇ ³ÛÝ »ñϳñ åɳÝÝ»ñÝ áõ ѳçáñ¹³Ï³Ý ѳٳÛݳå³ïÏ»ñÝ»ñÁ, áñáÝù Çñ»Ýù ëï»ÕÍáõÙ ¿ÇÝ Ý³Ëª ÃÕÃÇ íñ³ ¨ ³å³ª ï»Õ³÷áËáõÙ ¿Ïñ³Ý: §´áÉáñ ëó»Ý³ñÇëïÝ»ñÇÝ ËáñÑáõñ¹ »Ù ï³ÉÇë Ù»Ï ³ÛÉ μ³Ý ¨ë ·ñ»É: ø³ÝÇ áñ ¹áõù ÙÇßï å»ïù ¿ ÑÇß»ù, áñ ÏÇݻٳïá·ñ³ýÇ ïÇñáõÛÃáõÙ ëó»Ý³ñÇëïÇ ·áñͳéáõÛÃÁ ݳ˨³é³ç é»ÅÇëáñÇÝ û·Ý»ÉÝ ¿, áñ ݳ ϳñáճݳ å³ïÙ»É Ñ³Ý¹Çë³ï»ëÇÝ Çñ ë»÷³Ï³Ý å³ïÙáõÃÛáõÝÁ, ³ç³Ïó»É Ýñ³Ý, ½³ñ·³óÝ»É Ýñ³ ûñÇ·ÇÝ³É ·³Õ³÷³ñÝ»ñÁ¦: è»ÅÇëáñÇ ¨ ëó»Ý³ñÇëïÇ Ñ³çáÕ ³ß˳ï³ÝùÇ ÑÇÙùÁ »íñáå³Ï³Ý ÏÇÝáÛÇ μ³½Ù³í³ëï³Ï ¹ñ³Ù³ïáõñ·Á ѳٳñáõÙ ¿ ³é³çÇÝ Ñ»ñÃÇÝ ùÝݳñÏáõÙÁ, μ³Ý³í»×Á, ÇÝãÇ ³ñ¹ÛáõÝùáõÙ É³í ·³Õ³÷³ñÇó É³í ·ñ³Ï³Ý ÑÇÙù ¿ ëï»ÕÍíáõÙ: ØdzÛÝ ³Ûë Ï»ñå ϳñ»ÉÇ ¿ Ñáõë³É, áñ ýÇÉÙÁ ÏѳçáÕíÇ: ²Ûë ³éáõÙáí ݳ ϳñ¨áñáõÙ ¿ ѳïϳå»ë ³Ù»ñÇÏÛ³Ý ÏÇÝáÝ, áñÁ ¹ñ³Ù³ïáõñ·Ç³ÛÇ Ï³Û³ó³Í ¨ áõÅ»Õ ¹åñáó ·áÛáõÃÛáõÝ áõÝÇ: ØÂ/ØØ
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гñáõà ޳ïÛ³ÝÇ »ññáñ¹ª §Ö³Ý³å³ñÑÇ ÷ÇÉÇëá÷³Ý»ñÁ¦ ³ß˳ï³ÝùÁ ß³ñáõݳÏáõÙ ¿ ÏÇÝáå³ïáõÙÁ Ýáñ ¨ ÇÝùݳïÇå ³ñï³Ñ³Ûïã³ÙÇçáóÝ»ñáí Ý»ñϳ۳óÝ»É »ñÇï³ë³ñ¹ ÏÇÝáé»ÅÇëáñÇ áñáÝáõÙÝ»ñÁ: ÆÝãå»ë Çñ ³é³çÇݪ §Ü»ñμ»éÝ»Éáí ÏÛ³ÝùÁ¦ ÏÇÝáÝϳñÁ, ³Ûë ³ß˳ï³ÝùÁ ¨ë ³ÙμáÕçáíÇÝ Ýϳñ³Ñ³Ýí³Í ¿ μçç³ÛÇÝ Ñ»é³Ëáëáí (ѳ׳˪ ·³ÕïÝÇ), í³í»ñ³·ñ»Éáí Ù»ñ ųٳݳÏÝ»ñÇ Ñ³ÝñáõÃÛ³Ý ³Ýμ³Å³Ý»ÉÇ ¨ ¿³Ï³Ý ¹»ñ³Ï³ï³ñÝ»ñÇݪ ï³ùëáõ í³ñáñ¹Ý»ñÇÝ: Æï³É³óÇ Å³Ù³Ý³Ï³ÏÇó ٻͳ·áõÛÝ ·ñáÕ àõÙμ»ñïá ¾ÏáÝ §ÆÝãå»ë ·áñÍ áõÝ»Ý³É ï³ùëáõ í³ñáñ¹Ç Ñ»ï¦ ¿ëë»áõÙ Çñ ѳÛñ»Ý³ÏÇó í³ñáñ¹Ý»ñÇÝ ËÙμ³íáñ»É ¿ »ñ»ù ϳﻷáñdzݻñáõÙ. §Üñ³Ýù, áíù»ñ ³ñï³Ñ³ÛïáõÙ »Ý Çñ»Ýó ï»ë³Ï»ïÝ»ñÝ ³ÙμáÕç »ñÃáõÕáõ ÁÝóóùáõÙ, Ýñ³Ýù, áíù»ñ ѳٳéáñ»Ý ÉéáõÙ »Ý ¨ ³ñï³Ñ³ÛïáõÙ Çñ»Ýó Ù³ñ¹³ïÛ³óáõÃÛáõÝÁ Õ»ÏÇ ÙÇçáóáí ¨ ÇѳñÏ», ³ÛÝ í³ñáñ¹Ý»ñÁ, áíù»ñ Çñ»Ýó ɳñí³ÍáõÃÛáõÝÁ Ù»ÕÙáõÙ »Ý Ëáë»Éáõ ÙÇ-
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GOLDEN APRICOT DAILY | DAY 7 | 19 JULY | 2014
4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ
¶á¹³ñÁª ßݳí³ñÇ §Ðñ³Å»ßï É»½íÇݦ, é»Å.ª ijÝ-ÈÛáõÏ ¶á¹³ñ, üñ³Ýëdz (ö³ÏÙ³Ý ýÇÉÙ), §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 19.07 (17:00) (ÙdzÛÝ Ññ³íÇñ³ïáÙë»ñáí), §êÇݻٳ êóñ¦, 20.07 (19:00) ê»ñ·»Û ö³ñ³ç³ÝáíÇ §Üé³Ý ·áõÛÝÁ¦ ¨ ijÝÈÛáõÏ ¶á¹³ñÇ §Ðñ³Å»ßï É»½íÇݦª ëñ³Ýù §àëÏ» ÍÇñ³ÝǦ μ³óÙ³Ý áõ ÷³ÏÙ³Ý Ã»ñ¨ë ³Ù»Ý³³ñï³ëáíáñ ýÇÉÙ»ñÝ »Ýª ÏÇÝá÷³é³ïáÝÇ ³ÙμáÕç å³ïÙáõÃÛ³Ý Ù»ç: §Ðñ³Å»ßï É»½íÇݦ ųå³í»ÝÁ ýñ³ÝëdzóÇ ³Ýí³ÝÇ ÏÇÝáé»ÅÇëáñÇ Ýáñ ýÇÉÙÝ ¿, áñÝ ³Ûë ï³ñÇ ÷³é³Ñ»Õ ѳçáÕáõÃÛáõÝ áõÝ»ó³í γÝÝÇ ÷³é³ïáÝáõÙ: üÇÉÙÁ ¹Çï»ÉÇë ϳñáÕ ¿ ѳñó ³é³ç³Ý³É, û áí ¿ ¹ñ³ Ñ»ÕÇݳÏÁ, ù³ÝÇ áñ ýÇÉÙÝ ³í»ÉÇ ß³ï ÏÇÝá¹åñáóÇ áõë³ÝáÕÝ»ñÇ ³ß˳ï³Ýù ¿ ÑÇß»óÝáõÙ, ù³Ý ÏÇÝá³é³ëå»ÉÇ Ñ»ñÃ³Ï³Ý ·ÉáõË·áñÍáó: Ø»½ ³ëáõÙ »Ý, áñ ë³ ÏáɳŠ¿, μ³Ûó ýÇÉÙÝ ³í»ÉÇ ß³ï ÷³½ÉÇ ¿ ÝÙ³Ý, áñÝ Çñ³Ï³ÝáõÙ ß³ï å³ñ½ μ³Ý»ñÇ Ù³ëÇÝ ¿. ÏÇÝáÛÇ 83-³ÙÛ³ í³ñå»ïÁ 3D ýÇÉÙ ¿ Ýϳñ³Ñ³Ý»É ÙÇ ïÕ³Ù³ñ¹áõ, ÙÇ ÏÝáç áõ ÙÇ ß³Ý Ù³ëÇÝ: Àëï »ñ¨áõÛÃÇݪ ѳñÏ ¿ Ó»½ ݳ˳½·áõß³óÝ»É ¥Ï³Ù ·áõó» ·áí³½¹»É), áñ §Ðñ³Å»ßï É»½íÇݦ ýÇÉÙÁ å³ñáõݳÏáõÙ ¿ ϳݳóÇ ë»é³Ï³Ý ûñ·³ÝÝ»ñÇ ³Ù»Ý³»ñϳñ³ï¨ áõ ³Ù»Ý³Ù³Ýñ³ÏñÏÇï å³ïÏ»ñÁ, áñÁ »ñμ¨¿ ϳñáÕ »ù ï»ëÝ»É ÝÙ³Ý ³ß˳ñѳÑéã³Ï é»ÅÇëáñÇ ýÇÉÙáõÙ: Æ ¹»å ÏÇÝÁ ß³ï ÝÙ³Ý ¿ ýñ³ÝëÇ³Ï³Ý ÏÇÝáÛÇ ÑÇÝ áõ ɳí ûñ»ñÇ ³ëïÕ ´ñÇÅÇï ´áñ¹áÛÇÝ, áí Ýϳñ³Ñ³Ýí»É ¿ñ ¶á¹³ñÇ §²ñѳٳñѳÝù¦ ýÇÉÙáõÙ: àÙ³Ýó ÏÃí³, û ¶á¹³ñÁ ã³÷³½³Ýó ß³ï ¿ §Ù»ñϳóñ»É¦ Çñ Ùǽ³ÝïñáåÇÏ ÁÝϳÉáõÙÝ»ñÁ, áñáÝó Ù³ëÇÝ μáÉáñÁ ßßáõÏáí »Ý ËáëáõÙ: àñáß ç³Ýù ¿ å³Ñ³ÝçíáõÙ ýÇÉÙÝ ÁÝϳɻÉáõ ѳٳñ: ƱÝã ϳå áõÝÇ ³Û¹ Éáõé ³ÕçÇÏÁª çñÇ Ù»ç ³ñÛáõݳÑáëáÕ ·ÉËÇ Ñ»ï: ºí ϳå ϳ ÐÇïÉ»ñÇ áõ êáÉÅ»ÝÇóÇÝÇ ª §²ñËÇå»É³· ·áõɳ·¦ ·ñùÇ Ñ»ÕÇݳÏÇ ÙÇç¨, áñÇ ³ÝáõÝÝ ³ÝÁݹѳï ÑÇß³ï³ÏáõÙ »Ý ¶á¹³ñÇ Ñ»ñáëÝ»ñÁ ϳ٠³í»ÉÇ ×Çßï ³ÛÝ Ù³ñ¹ÇÏ, áõÙ å³ïÏ»ñ»É ¿ Ýñ³ ï»ë³ËóÇ-
ÈéáõÃÛ³Ý É»½áõÝ §ÒÙ»é³ÛÇÝ ùáõݦ, é»Å.ª ÜáõñÇ ´ÇÉ·» æ»ÛɳÝ, Âáõñùdz/¶»ñÙ³Ýdz/üñ³Ýëdz, §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 19.07 (13:00) Æñ Ûáûñáñ¹ª §ÒÙ»é³ÛÇÝ ùáõݦ ɳÛݳٻïñ³Å ýÇÉÙáí ÜáõñÇ ´ÇÉ·» æ»ÛɳÝÁ ѳëï³ïáõÙ ¿, áñ å³ïϳÝáõÙ ¿ Ù»Í μݳÝϳñÇã é»ÅÇëáñÝ»ñÇ ¹³ëÇÝ: ÆÝãå»ë ä³áÉáõ èáß³Ý áõ ìÇÙ ì»Ý¹»ñëÝ »Ý ³ñ»É ³ÝóÛ³ÉáõÙ ª Ãáõñù ÏÇÝá·áñÍãÇÝ Ñ³çáÕí»É ¿ 黽áݳÝë ëï»ÕÍ»É Ù³ñ¹áõ ¨ Ýñ³ ßñç³å³ïÇ ÙÇç¨: ²Ûë ï³ñí³ Î³ÝÝÇ ÏÇÝá÷³é³ïáÝáõÙ §àëÏ» ³ñÙ³í»Ýáõݦ ³ñųݳó³Í ýÇÉÙÁ Ñ»ï¨áõÙ ¿ »ñμ»ÙÝÇ Ñ³ÛïÝÇ ¹»ñ³ë³Ý ²Û¹ÇÝÇÝ, áí
Ì˳ËáïÁ, ϳݳÛù áõ »ñ·Á §¶»Ýëμáõñ. Ñ»ñáë³Ï³Ý ÏÛ³Ýù¦, é»Å.ª Äá³Ý êý³ñ, üñ³Ýëdz (²ñï³ÙñóáõóÛÇÝ Íñ³·ñ»ñ), §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 19.07 (19:00)
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ß³ï í³Õáõó ÙÇ ÑÛáõñ³Ýáó ¿ μ³ó»É γ峹áíÏdzÛÇ ëù³Ýã»ÉÇ, ·ñ»Ã» ³Ñ³ë³ñëáõé μÝáõÃÛ³Ý ·ñÏáõÙ: ܳ ³Ùáõëݳó³Í ¿ ß³ï ³í»ÉÇ »ñÇï³ë³ñ¹ ÜÇѳÉÇÇ Ñ»ï ¨ Çñ û¨Ç ï³Ï ¿ ³é»É Ü»çɳÛÇÝ, áí ï³é³åáõÙ ¿ ³ÙáõëݳÉáõÍáõÃÛ³Ý Ñ»ï¨³Ýùáí: ²Ý·Çï³Ïó³μ³ñ ݳ ³Ýѳñ·³ÉÇó ¿ í³ñíáõÙ Çñ ëå³ë³íáñÝ»ñÇ áõ ïÝíáñÝ»ñÇ Ñ»ï: ØÇ ÏáÕÙÇó ³åß»óáõóÇã ɳݹ߳ýïÝ»ñÝ »Ý áõ Ù»Í ïÇ»½»ñ³Ï³Ý Ù³ñÙÇÝÝ»ñÁ, ÇëÏ ÙÛáõë ÏáÕÙÇóª óùÝí³Í áõ ó³í³ÉÇ ½·³óÙáõÝùÝ»ñÇ Ý»ñϳåݳÏ: ØÇ ÏáÕÙÇóª ÑëÏ³Û³Ï³Ý áõ ³Ý÷á÷áË Ï»Ý¹³ÝÇ å³ïÏ»ñÝ»ñÁ, ÙÛáõë ÏáÕÙÇóª ·Çï³ÏóáõÃÛ³Ý óÝóáõÙÝ»ñ: æ»ÛɳÝÇ í³ñå»ïáõÃÛáõÝÁ Ýñ³ÝáõÙ ¿, û ÇÝãå»ë ¿ ݳ ³ÝóÝáõÙ Ù»ÏÇóª ÙÛáõëÁ: Üñ³ ýÇÉÙáõ٠ѳí»ñÅ³Ï³Ý ³Ý³ïáÉÇ³Ï³Ý μݳå³ïÏ»ñÝ»ñÇÝ Ñ³çáñ¹áõÙ »Ý Ùï»ñÙÇÏ ½ñáõÛóÝ»ñÁ ÑÛáõñ³ÝáóÇ ïÝûñ»Ý ¹³ñÓ³Í ¹»ñ³ë³ÝÇ ¨ Çñ ï³ÝÇùÇ ï³Ï ³åñáÕ
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ÝÇ áõ Ýñ³ ùñáç ÙÇç¨, ÙÛáõëÁª ïÝûñ»ÝÇ áõ Ýñ³ ÏÝáç, áõÙ ¹³Å³ÝáõÃÛáõÝÝ áõ å³ñ½áõÃÛáõÝÁ ÑÇß»óÝáõÙ »Ý ´»ñ·Ù³ÝÇ §î»ë³ñ³ÝÝ»ñ ³ÙáõëÝ³Ï³Ý ÏÛ³ÝùÇó¦ ÏÇÝáÝϳñÁ: üÇÉÙÁ ѳÙμ»ñ³ï³ñ ùáÕ³½»ñÍáõÙ ¿ »ñÏ»ñ»ë³ÝÇáõÃÛáõÝÁ, ˳μ»áõÃÛáõÝÝ áõ ½·³óÙáõÝù³ÛÇÝ ïñ³íٳݻñÁ, áñáÝù ÙÇ³Å³Ù³Ý³Ï ¨° ϳåáõÙ, ¨° μ³Å³ÝáõÙ »Ý ÁÝï³ÝÇùÁ: æ»ÛɳÝÝ áõëáõÙݳëÇñáõÃÛ³Ý ¿ ѳÝáõÙ ÁÝï³Ý»Ï³Ý Ù»Õë³ÏóáõÃÛáõÝÁ ¨ ³ÛÝ, û ÇÝã ¿ óùóÝáõÙ: ܳ Ññ³íÇñáõÙ ¿ Ù»½ 3 ų٠16 ñáå» Ñ»ï¨»É Ëáñ, ³Ýѳݷëï³óÝáÕ áõ ³Ýëå³é ÙÇ å³ïÙáõÃÛ³Ý: ê³Ï³ÛÝ Ç í»ñçá §ÒÙ»é³ÛÇÝ ùáõÝݦ ³í»ÉÇ ß³ï ѳñáõÙ ¿ â»ËáíÇÝ, ù³Ý ´»ñ·Ù³ÝÇÝ: ÆÝãå»ë ¨ éáõë ¹ñ³Ù³ïáõñ·Áª Ãáõñù é»ÅÇëáñÝ Çñ ýÇÉÙ»ñáõÙ Áݹ·ÍáõÙ ¿, áñ Ù³ñ¹ ¿³ÏÁ, ÇÝã ¿É ³ÝÇ, ÙÇßï Ϲ³í³×³ÝÇ ³ÛÝ »ñ³½³ÝùÝ»ñÇÝ, áñáÝù ÙÇ Å³Ù³Ý³Ï áõÝ»ñ: Äøü
GOLDEN APRICOT DAILY | DAY 7 | 19 JULY | 2014
interview 5
Krzysztof Zanussi ºñ»Ï øßÇßïáý ¼³ÝáõëëÇÝ ¥1939Ã. ì³ñß³í³, Ȼѳëï³Ý) ëï³ó»É ¿ гÛáó ³é³ù»É³Ï³Ý »Ï»Õ»óáõ ë³ÑÙ³Ý³Í §ºÕÇóÇ ÉáõÛë¦` Ãíáí »ññáñ¹ Ùñó³Ý³ÏÁ: ²Ûë Ùñó³Ý³Ïáí å³ñ·¨³ïñíáõÙ »Ý Ýñ³Ýù, áíù»ñ Ýå³ëï»É »Ý Ñá·¨áñ, Ùß³ÏáõóÛÇÝ áõ Ù³ñ¹³ëÇñ³Ï³Ý ³ñÅ»ùÝ»ñÇ å³Ñå³ÝÙ³ÝÁ, ϳñ¨áñ ³í³Ý¹ »Ý áõÝ»ó»É ѳٳß˳ñѳÛÇÝ ÏÇݻٳïá·ñ³ýdzÛáõÙ: ²Ûë Ùñó³Ý³ÏÁ ѳٳÉñ»ó É»Ñ ³Ýí³ÝÇ é»ÅÇëáñÇ å³ñ·¨³ïñáõÙÝ»ñÇ »ñϳñ ó³ÝÏÁ: ÆÝãå»ë Ýñ³ ýÇÉÙ»ñÇó ß³ï»ñÁ` ³Û¹å»ë ¿É §Ð³ëï³ïáõÝ ·áñÍáÝÁ¦, áñÝ ³Ûëûñ óáõó³¹ñí»Éáõ ¿ ³Ûë Ùñó³Ý³ÏÇ Ï³å³ÏóáõÃÛ³Ùμ, ³ñï³óáÉáõÙ ¿ ³ÛÝ »ñÏáõ μݳ·³í³éÝ»ñÁ, áñáÝù ¼³ÝáõëëÇÝ áõëáõÙݳëÇñ»É ¿ ѳٳÉë³ñ³ÝáõÙ` ÙÇÝ㨠ÏÇÝáÛÇ ³ß˳ñÑ ÙïÝ»ÉÁ` ýǽÇÏ³Ý áõ ÷ÇÉÇëá÷³ÛáõÃÛáõÝÁ: ²Ûë ûñ»ñÇÝ ¼³ÝáõëëÇÝ Ýϳñ³Ñ³ÝáõÙ ¿ Çñ Ýáñ ýÇÉÙÁ` ݳ¨ ßñç»Éáí ºíñáå³ÛáõÙ` áñå»ë μ³½Ù³åñáýÇÉ Ã³ï»ñ³Ï³Ý é»ÅÇëáñ:
What would you like to tell the audience that will see The Constant Factor tonight? The film is about the discrepancy between our ideals and our reality, between despising corruption and living passively in its grip. This is a universal problem. What I would like the audience to feel and understand is that, like the protagonist of the movie, all idealistic people are bound to suffer in the daily rush, since they cannot deal with the corruption of this world, whether it is big or small. This is why these people eventually turn into revolutionaries.
¸áõù Ó»ñ ϳñÇ»ñ³ÛÇ ÁÝóóùáõÙ μ³½Ù³ÃÇí Ùñó³Ý³ÏÝ»ñ »ù ëï³ó»É, ³Û¹ ÃíáõÙ μ³½Ù³ÃÇí ѳٳÉë³ñ³ÝÝ»ñÇ å³ïí³íáñ ¹áÏïáñÇ ÏáãáõÙÝ»ñ: ƱÝã ½·³óáÕáõÃÛáõÝ áõÝ»ù ³Ûëù³Ý ß³ï Ùñó³Ý³ÏÝ»ñ áõݻݳÉáõ ϳå³ÏóáõÃÛ³Ùμ: ¶Çï»±ù, »ë ÇÝÓ ÙÇßï ß³ï »ñç³ÝÇÏ »Ù ½·³ó»É Ùñó³Ý³ÏÝ»ñ ëï³Ý³ÉÇë, ù³ÝÇ áñ ÇÝÓ μÝáñáß ¿ ÇÝùݳùÝݳ¹³ïáõÃÛáõÝÁ, »ë ÙÇßï ϳëϳÍÝ»ñ áõݻ٠ÇÙ ³ñ³Í ³ß˳ï³ÝùÇ í»ñ³μ»ñÛ³É: ²ÛÝå»ë, áñ ÇÝÓ Ñ³Ù³ñ ÙÇßï ¿É ß³ï Ñáõë³¹ñáÕ ¨ áõñ³Ë³ÉÇ ¿, »ñμ ÇÝã-áñ Ù»ÏÁ Ùñó³Ý³ÏÇ ÙÇçáóáí ³ëáõÙ ¿. §¶Çï»ë, ³ÛÝ, ÇÝã ¹áõ ³ÝáõÙ »ë, ³ñųÝÇ ¿ ·Ý³Ñ³ï³ÝùǦ:
One of the questions hovering over The Constant Factor is the meaning of its title. What does it mean for you? Well, I would say that the constant factor in any human’s life is our consciousness. This is what we have to bear, whatever decisions we make in all the choices we face during our lives.
ƱÝã Ïáõ½»Çù ³ë»É ³ÛÝ Ñ³Ý¹Çë³ï»ëÇÝ, áñÝ ³Ûëûñ ³é³çÇÝ ³Ý·³Ù ¹Çï»Éáõ ¿ 34 ï³ñÇ ³é³ç Ýϳñ³Ñ³Ýí³Í §Ð³ëï³ïáõÝ ·áñÍáݦ ýÇÉÙÁ: Æ٠ϳñÍÇùáí ÏÇÝáÝ ³Û¹ù³Ý ³ñ³· ãÇ ÷áËíáõÙ, ѳٻݳÛݹ»åë, »Ã» ËáëáõÙ »Ýù ³ñÅ»ù³íáñ ýÇÉÙ»ñÇ Ù³ëÇÝ: ²Û¹ ÇÙ³ëïáí ÏÇÝáÝ ï³ñÇù ãáõÝÇ: ºë Ïáõ½»Ç, áñ Ýñ³Ýù, áíù»ñ ³é³çÇÝ ³Ý·³Ù »Ý ³Ûëûñ ¹Çï»Éáõ ÇÙ ýÇÉÙÁ ½·³Ý áõ ѳëϳݳÝ, áñ ÇÝãå»ë ýÇÉÙÇ ·É˳íáñ Ñ»ñáëÁ, ³Û¹å»ë ¿É μáÉáñ ǹ»³ÉÇëï Ù³ñ¹ÇÏ ¹³ï³å³ñïí³Í »Ý Ñá·»Ï³Ý ï³é³å³ÝùÝ»ñÇ, ù³ÝÇ áñ Ýñ³Ýù ã»Ý ϳñáÕ Ñ³Ý¹áõñÅ»É ³ß˳ñÑáõÙ ïÇñáÕ ÏáéáõåódzÝ` ÉÇÝÇ ³ÛÝ Ù»Í, û ÷áùñ ¹ñë¨áñáõÙÝ»ñáí: лÝó ë³ ¿ å³ï׳éÁ, áñ ÝÙ³Ý Ù³ñ¹ÇÏ Ç í»ñçá ѻճ÷á˳ϳÝÝ»ñ »Ý ¹³éÝáõÙ: ¸áõù μ³í³Ï³ÝÇÝ »ñϳñ Å³Ù³Ý³Ï ¿, ÇÝã ¹³ë³í³Ý¹áõÙ »ù ½³Ý³½³Ý ÏÇÝá¹åñáóÝ»ñáõÙ: ÆÝùÝ»ñ¹ ÇÝã-áñ μ³Ý ¹ñ³ÝÇó ëáíáñ»É »±ù: ºñμ»ÙÝ ëáíáñáõÙ »Ù, μ³Ûó ³í»ÉÇ Ñ³×³Ëª áã: ºñμ Ùïù»ñ¹ í»ñ³ÍáõÙ »ë μ³é»ñÇ, ¹ñ³Ýù ³ñÑ»ëï³Ï³Ý áõ ³Ý¿³Ï³Ý »Ý ¹³éÝáõÙ: Æ Ñ³Ï³é³Ï ÇÝï»É»Ïïáõ³É ³ß˳ï³ÝùǪ ³ñí»ëïáõÙ áã ÙÇßï ¿ ϳñ¨áñ ѳëϳݳÉ, û ÇÝã »ë ³ÝáõÙ: §Ð³ëï³ïáõÝ ·áñÍáÝÁ¦ ýÇÉÙáõÙ í»ñݳ·ñÇ μ³ó³ïñáõÃÛáõÝÁ ãϳ: ƱÝã ÇÙ³ëï áõÝÇ ³ÛÝ Ó»½ ѳٳñ: ºë ϳë»Ç, áñ ó³Ýϳó³Í Ù³ñ¹áõ ÏÛ³Ýùáõ٠ѳëï³ïáõÝ ·áñÍáÝÁ Ýñ³ ·Çï³ÏóáõÃÛáõÝÝ ¿: ê³ ³ÛÝ ·áñÍáÝÝ ¿, áñÁ ÙÇßï å»ïù ¿ ѳßíÇ ³éÝ»Ýù` Ù»ñ μáÉáñ áñáßáõÙÝ»ñáõÙ, Ù»ñ ϳï³ñ³Í μáÉáñ ÁÝïñáõÃÛáõÝÝ»ñáõÙ: ÆÝãå»±ë »ù ·Ý³Ñ³ïáõÙ É»Ñ³Ï³Ý ÏÇÝáÛÇ Ý»ñϳÝ: ºë ã»Ù ϳñáÕ ·Ý³Ñ³ï»É ³ÛÝ, ù³ÝÇ áñ ÇÝùë ¿É »Ù ³Û¹ μݳ·³í³éÇ Ý»ñϳ۳óáõóÇãÁ: Ø»Ýù ã»Ýù ϳñáÕ ÇÝùÝ»ñë Ù»½ ¹³ï»É: ê³ Ç ¹»å ³Ù»Ý³ï³ñ³Íí³Í ë˳ÉÝ»ñÇó Ù»ÏÝ ¿` »ñμ é»ÅÇëáñÝ»ñÁ ¹³ïáõÙ »Ý Çñ»Ýó ·áñÍÁÝÏ»ñÝ»ñÇÝ: è»ÅÇëáñÇ ³ß˳ï³ÝùÁ å»ïù ¿ ¹³ï»Ý áõñÇßÝ»ñÁ: ØdzÏ
Do you think this 34-year-old film can still be relevant for today’s audience? Of course. I don’t think things change that fast in cinema, at least not if a film is really topical when it is made. In that sense, there is no aging in cinema. Although perhaps there is less enthusiasm for this kind of cinema, which is demanding for an audience. Back when I started making films, the public was ready to accept such a language; people wanted to follow difficult films. Today there are less such moves. Maybe it will change tomorrow, but at the moment people seem to be rejecting things that need real concentration and reflection.
μ³ÝÁ, áñ ϳñáÕ »Ù ³ë»É, ³ÛÝ ¿, áñ ³é³çÁÝóó ϳ: Î³Ý ß³ï ï³Õ³Ý¹³íáñ Ù³ñ¹ÇÏ: Üñ³ÝóÇó Ù»ÏÁ` سã»Û سñã¨ëÏÇÝ, ³Ûë ï³ñÇ Ù³ëݳÏóáõÙ ¿ §àëÏ» ÍÇñ³Ý¦ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇÝ: Üñ³ Ññ³ß³ÉÇ ýÇÉÙÁ` §Ê³Õ»ñÁ¦ óáõó³¹ñí»É ¿ ϳñ׳ٻïñ³Å ýÇÉÙ»ñÇ Íñ³·ñáõÙ: ܳ ß³ï ßÝáñѳÉÇ »ñdzïë³ñ¹ é»ÅÇëáñ ¿: ²ÛÝå»ë áñ, Ç٠ϳñÍÇùáí ÑÇÙù»ñ Ï³Ý ³ë»Éáõ, áñ É»Ñ³Ï³Ý ÏÇÝáÝ ÑÇÙ³ ³ÛÝù³Ý ¿É í³ï íÇ׳ÏáõÙ ã¿: ƱÝã »ù Ùï³ÍáõÙ ÏÇÝáÛÇ Ù»Í í³ñå»ïÝ»ñÇ Ù³ëÇÝ: ijٳݳϳÏÇó ÏÇÝáÛÇ ³ëå³ñ»½áõ٠ϳ±Ý Ù³ñ¹ÇÏ, áíù»ñ ϳñáÕ »Ý ѳٻٳïí»É ³ÝóÛ³ÉÇ í³ñå»ïÝ»ñÇ Ñ»ï, áñáÝóÇó ß³ï»ñÇÝ Ù»Ýù í»ñÑÇᯐ »Ýù ³Ûë ï³ñí³ ÷³é³ïáÝÇ ßñç³Ý³ÏÝ»ñáõÙ: ÐÇÙ³ ϳ±Ý ³Û¹åÇëÇ Ù»ÍáõÃÛáõÝÝ»ñ: ºë íëï³Ñ »Ù, áñ ÇѳñÏ», í³ñå»ïÝ»ñ ϳÝ: ´³Ûó ³ñí»ëïáõÙ ÅáÕáíñ¹³í³ñáõÃÛáõÝ ãϳ, ÇÝãå»ë ¨ Éñ³·ñáõÃÛ³Ý Ù»ç: ä³ñ½³å»ë Ï³Ý É³í áõ í³ï Éñ³·ñáÕÝ»ñ: êáíáñ³μ³ñ ³ëáõÙ »Ý, áñ μáÉáñÁ ï³ñμ»ñ »Ý, μáÉáñÝ ¿É ³Ýѳï³Ï³ÝáõÃÛáõÝÝ»ñ »Ý: ´³Ûó ¹³ ³ÛÝù³Ý ¿É ×Çßï ï»ë³Ï»ï ã¿: Àݹ³Ù»ÝÁ áÙ³Ýù ï³Õ³Ý¹³íáñ »Ý, áÙ³Ýù` áã ³ÛÝù³Ý: ÆÝãå»ë ûñÇÝ³Ï ¾É ¶ñ»ÏáÝ, áñÁ ÇÝãå»ë ·Çï»Ýù` ѳÝ׳ñ»Õ ÝϳñÇã ¿ñ, ÇëÏ Ýñ³ ųٳݳϳÏÇóÝ»ñÇó ÙÇ ù³ÝÇëÁ` ѳÝ׳ñ»Õ ÝϳñÇãÝ»ñ ã¿ÇÝ: Îå³ïÙ»±ù Ó»ñ Íñ³·ñ»ñÇ Ù³ëÇÝ: Üáñ ýDZÉÙ »ù Ýϳñ³Ñ³ÝáõÙ: ²Ûá°, »ë ³ñ¹»Ý ·ñ»Ã» í»ñç³óñ»É »Ù ÇÙ Ýáñ ýÇÉÙÇ ³ß˳ï³ÝùÝ»ñÁ, áñÁ å»ïù ¿ ÃáÕ³ñÏíÇ ³Ûë ³ßݳÝÁ: ²ÛÝ Ïáãí»Éáõ ¿ §úï³ñ Ù³ñÙÇݦ áõ Ýϳñ³Ñ³Ýí»É ¿ ³Ýó³Í ï³ñǪ Ȼѳëï³ÝáõÙ áõ Æï³ÉdzÛáõÙ: ÆÝÓ ÙÇßï ¿É ¹áõñ ¿ »Ï»É ³ñï³ë³ÑÙ³ÝáõÙ ³ß˳ï»ÉÁ, ·áõó» ÙÇ ûñ »ë г۳ëï³ÝáõÙ ýÇÉÙ ÏÝϳñ³Ñ³Ý»Ù (ÍÇͳÕáõÙ ¿): ´³Ûó ÏÇÝáÛÇó μ³óÇ` í»ñçÇÝ ï³ñÇÝ»ñÇÝ »ë ß³ï ³ß˳ï³Ýù »Ù ³ñ»É óïñáÝáõÙ` ºíñáå³ÛÇ ï³ñμ»ñ »ñÏñÝ»ñáõÙ μ»Ù³¹ñ»Éáí ûå»ñ³Ý»ñ áõ Ý»ñϳ۳óáõÙÝ»ñ: ²Ûë å³ÑÇÝ ÇÝÓ ß³ï ¹áõñ ¿ ·³ÉÇë ¹ñ³Ýáí ½μ³Õí»ÉÁ: ¸ì
Yesterday, Krzysztof Zanussi (1939, Warsaw, Poland) received the third-ever Let There Be Light Award, established by the Armenian Apostolic church to award those who promote spiritual, cultural and humanitarian values and who have made a significant contribution to global cinematography. It’s the latest in a long list of prestigious awards for the renowned Polish director. Many of his films, starting from debut feature The Structure of Crystal (1969), deal with the grand questions in life: what is the nature of fate, of redemption, of sin? Like much of his work, The Constant Factor (1980), screening today in honor of his award, reflects the two areas of research that Zanussi undertook at university before he turned to cinema: physics and philosophy. These days, Zanussi is preparing the release of his latest film and working all over Europe as a prolific theatre director. You have received many awards in your career, including honorary doctorates at many Universities. How do you feel about getting these awards? You know, all my life I have been very happy to get awards, because I am a person who has so many doubts about what I do. So those moments when somebody, by way of an award, says to me: “What you do is worthwhile”, this is always a great consolation to me. You spend a lot of time teaching cinema at various schools and universities. Have you learnt anything from this yourself? Sometimes I learn from teaching, but not that much. Once you verbalize your thoughts, they somehow become artistically irrelevant. Unlike in purely intellectual work, in artistic work it is important to not always understand what you do. Once you understand, it’s already explained.
What is your assessment of recent Polish cinema? I am not in the position to assess it, because I am involved in those processes myself. We cannot judge ourselves! That is, by the way, one of the mistakes that are made too often: having filmmakers judge other filmmakers. It’s for other people to judge what we do. What I can say is that I see that there is progress. There are many talented people; one of them, Maciej Marczewski, is here at the Golden Apricot International Film Festival this year. His wonderful Games is screening in the Apricot Stone program for short films. He is a very promising young director. There is a great continuity between this youngest generation and that of Kieslowski, for instance, in terms of the approach to directing. So, hopefully, there are some reasons to say that things are not bad in Polish cinema at the moment. What is your idea of great masters in cinema? Are there still people working now who can rival the masters from the past, many of whom are honored at the festival? Do we still have such masters now? I am sure we have masters, of course we do. But there is no democracy in arts, the same as in journalism. There are simply good journalists and bad journalists. There is this widespread opinion that everybody is so different, everyone a unique individual. But this is just not true. The only thing is: some people are very good, and some are not quite. The same as we know that El Greco was a great painter, and some of his contemporaries were not. Can you tell us a little about what will be next for you? Will you be making a new film? Yes, I am almost finished with my latest film, which should be released this fall. It will probably be called The Foreign Body and it deals, in a broad sense, with the place of God in public space. The film was shot last year in Poland, Italy and Russia. I’m always happy to work abroad; perhaps one day I will even make a film in Armenia! (laughs) But aside from cinema, I have been doing a lot of work in the theatre in recent years, directing plays and operas all over Europe. This is really exciting for me at the moment. DV
GOLDEN APRICOT DAILY | DAY 7 | 19 JULY | 2014
6 reviews
A man, a woman and a dog Closing Film: Goodbye to Language (Jean-Luc Godard, France, 2014), 19-7, 17:00, Moscow Cinema, Red Hall (invitation only) and 20-7, 19:00, Cinema Star The Color of Pomegranates by Sergei Parajanov and Goodbye to Language by Jean-Luc Godard: these are perhaps the weirdest opening and closing films in the history of the Golden Apricot! Goodbye to Language (Adieu au langage), is the latest work by the renowned French filmmaker and a recent Cannes triumph. Watching the film, it may be perplexing to know who made it, as it resembles the movies film students would make more than it does any masterpiece by a cinema legend. We are told we’ll face a kind of collage, but what we’re actually dealing with is more like a puzzle, which is actually about very simple things; the 83-year-old cinema guru has made a 3D movie about a man, a woman and a dog. We should perhaps warn you (or advertise) that Goodbye to Language contains what is probably the slowest and largest close-up of female genitals you will see in any movie by such a so well-known filmmaker. The woman bears a striking resemblance to French bombshell Brigitte Bardot, from the good old days of French cinema, when she starred in Godard’s Contempt. Some will perhaps feel that Godard has gone too “nude” in showing off his rumored misanthropy. It will take some effort to figure out this film. What does that silent girl have to do with the bleeding head in the water? And what is the connection between Hitler and Solzhenitsyn, the author of The Gulag Archipelago who is mentioned repeatedly by Godard’s characters – or rather, the people caught by his camera. The subtitle of Solzhenitsyn’s novel, “An experiment in literary investigation”, seems to have some essential meaning for them. Indeed, this
subtitle to the iconic Soviet-era novel could also explain Godard’s movie, although here we get the feeling we’re subjected to a more mixed experiment: literary, poetic, philosophical, historical, cinematographic. Some sequences test our endurance for this experiment; one will especially need strong hearing and sight to withstand the attack on the senses that is made by Godard’s erratic editing. Especially with the addition of textual elements like quotes and dialogue. Godard mixes his own scenes with old footage, but also employs texts on screen, without caring too much whether images and words have a direct relation, leading to a Babylonian confusion. Our guide through this French labyrinth is Godard’s very own canine friend: his dog Roxy Miéville, who not coincidentally carries the last
name of Godard’s partner of over 40 years, artist Anne-Marie Miéville. This may be the biggest cinematic dog star appearance since Uggie became an overnight celebrity thanks to the French film The Artist (2011), though Roxy seems to have more intellectual pretentions. The dog actually closes the movie, silent as it has been throughout the film while the man and the woman talk incessantly, in quite a French manner. Through their discussions, they are trying to understand some important things, such as what the two ultimate inventions are. The man suggests Infinity and Zero, but the woman has her answer to that. Only during the closing credits do they shut up, and only then do we hear the doggy star bark softly in the background, accompanied by the sounds of a baby crying. DV
Taxi Talk Philosophers of the Road (Harut Shatyan, Armenia, 2014), 19-7, 14:30, Moscow Cinema, Blue Hall In his third film, young Armenian director Harut Shatyan continues his attempts to develop movie narrative in new and interesting ways. Just like his first film Loading My Life, which won three prizes at GAIFF 2011, the documentary Philosophers of the Road was shot with a cell phone camera, often in secret. It documents the inalienable key players of every modern society: taxi drivers. Italian writer Umberto Eco once created three categories of taxi drivers: “Those who express their opinions the whole way; those who stubbornly stay silent and express their misanthropy through their driving; and those who soften their stress by telling you stories about the previous passengers.” The heroes of Shatyans film mostly fall in the first category. Through the frank and unconventional small talk of these middle-aged working class people, the film describes today’s Armenian reality and its mentality. Unaware that they’re being filmed, the know-it-all drivers monologue freely, spicing up their language with some juicy expressions. It’s rare that a movie which is not about amusing things makes us laugh this hard, and the inevitable technical shortcomings of footage shot on a cell phone being projected on the big screen are neutralized by the lively, fun editing and rhythmic soundtrack. Shatyan’s documentary road movie features not only Armenian taxi drivers, but Georgian, Russian and Serbian ones as well, proving how universal this stratum of society is. And they’re not the only ones philosophizing, either: youngsters who moved away from their homeland and little kids get a say, too. Through all this, Philosophers of the Road has a serious point to make. The thoughts expressed and stories told are like distress signals, pointing out various social problems. It’s obvious how concerned the filmmakers are for the future of their country and its citizens, for injustice and the mother of all issues – migration. AB
Making the Most of Misery Gainsbourg: A Heroic Life (Joann Sfar, France, 2010), 19-7, 19:00, Moscow Cinema, Red Hall
Using Language to Express Silence Winter Sleep (Nuri Bilge Celan, Turkey/Germany/France 2014), 19-7, 13:00, Moscow Cinema, Red Hall With his seventh feature film Winter Sleep, Nuri Bilge Ceylan confirms that he is part of the tradition of the great landscapist filmmakers. As Paolo Rocha and Wim Wenders have done before him, the Turkish filmmaker excels in creating resonance between man and his surroundings. The film, winner of the Palme d’Or at this year’s Cannes Film Festival, follows Aydin, once a famous theatre actor who a long time ago opened a small hotel in a little town trapped in the superb, almost frightening scenery of Cappadocia. He is married to Nihal, a much younger woman, and has taken in his sister Necla, beleaguered by her recent divorce. Without even realizing it, he treats his servants and tenants without respect.
On the one hand, there are petrified landscapes, grand cosmic solids; on the other, a spectrum of hidden and painful feelings. On the one hand are massive and unchanging tableaus; on the other, tiny jolts of consciousness. Ceylan’s artistry lies in the way he goes from one to the other. His film alternates between infinite Anatolian landscapes and intimate conversations between the actor-turned-hotelier and the two women who live under his roof. How can we fight evil? And also, is it needed? Should we feel guilty for the others? How to escape boredom? Watching Ceylan’s films, it seems that man and nature open up together, breathe together, exist together. Confronted by the night, by solitude, by misery, his people chatter away, endlessly talking. In counterpoint to this overabundance of words, Ceylan makes great use of the soundtrack (most notably the sound of the wind) and modulates the rhythms of his sequences (stretching them out while maintaining their power) to give the feeling of a burlesque incongruity of speech. In other words: he uses language to express silence. The film is punctuated by two major dialogue scenes, one between
the hotelier and his sister, the other between him and his wife, whose cruelty and lucidity are reminiscent of Bergman’s Scenes from a Marriage. The film patiently reveals the hypocrisy, lies and emotional trauma that both bind families and tear them apart. Ceylan studies familial complicity and what it conceals, emotional manipulation and its outcomes, frustration and its consequences. For 3 hours and 16 minutes, he invites us into a labyrinthine narrative; deep, disturbing, and inexhaustible. But in the end, Winter Sleep suggests Chekhov more than Bergman. Like the Russian playwright, the Turkish filmmaker displays in his work the belief that human beings, whatever they do, will never be able to avoid betraying the dreams they once dreamed. Life passes through them like a fantasy. They constantly try to start anew, always too late, always in vain. Ceylan records the silence of erasure. Here the man seems to be an anxious spectator of his own life, as if a thin layer separates him from his own heart. Winter Sleep is an invitation to fight against the existential winter which threatens us all, freezing our thoughts en solidifying our emotions. JCF
“Are there croissants?”, Brigitte Bardot asks. “No, but I have three songs”, Serge Gainsbourg answers. For Gainsbourg, sigarettes, women and music were the basic necessities of life. Gainsbourg: A Heroic Life is an elegant summary of the muses and demons that helped France’s most controversial singersongwriter create numerous songs that conquered our hearts, and loins. The women in Gainsbourg are well cast and convincingly portrayed by actresses Deborah Grall (Elisabeth Levizky), Sarah Forestier (France Gall) Laetitia Casta (Brigitte Bardot), Lucy Gordon (Jane Birkin) and Anna Mouglalis (who will be giving a Master Class today, see opposite page) as Juliette Gréco, the singer who helped Gainsbourg on his way. While the film may hold little surprises for fans of Gainsbourg, the music is very well interpreted and the hero is respectfully portrayed in all his colors. Although it is over two hours long, director Joann Sfar breezes through Gainsbourg’s life story. She begins at the beginning, when the young, talented and cheeky seducer Lucien Ginsburg was already different from his peers. A Russian Jew raised in Nazioccupied Paris, little Lucien makes the most of the misery: he quits secondary school, attends painting classes and is taught to play the piano by his father. Sfar illustrates Lucien’s imagination and playfulness by letting the iconic antisemitic imagery of the time step out of the posters and come to life as life-size puppets, who accompany him throughout the film. By playing with these symbols Sfar elegantly translates the development of Gainsbourg’s scarred identity, forever insecure about his big nose and ears. On the other hand, the moment illustrates the transformation of a man who struggles to embrace his artistry: painting or music? Take the striking scene where Gainsbourg meets one of Django Reinhardt’s band members, for instance, who tells Gainsbourg to forget about the chords and technical fuzz of making music. “Just look at your guitar, and tell a story. It’s that simple.” NH
GOLDEN APRICOT DAILY | DAY 7 | 19 JULY | 2014
news and reviews 7
Khachatryan looks back on a strong year With the 11th edition of the Golden Apricot International Film Festival coming to an end, the festival’s general director Harutyun Khachatryan discusses the improvements brought this year, the gaps which still need to be filled and his hopes for the near future. For the first time this year, a selection committee was formed to curate the competition program, composed of professionals linked to but not part of the festival. “We had a very competent committee, with people we felt have a taste for good cinema. I think you can see the result in the program, which is very strong.” Khachatryan also praises the great emphasis on Asian cinema at the festival this year, both with a consistent within the Yerevan Premiers and Retrospectives for Kim Ki-Duk and Jia Zhangke. There was a significant growth in the applications received this year, Khachatryan says, with more than 1,500 filmmakers sending their films to Yerevan, and more films added by selecting them at other festivals and by solliciting filmmakers who have been at GAIFF before. “The best compliment we can get, is that many filmmakers want to come back. This brings a continuity in our dialogue with the participants.” But Khachatryan's personal highlight for this year is the growing visibility of and interest in his festival, both among the audience and with a growing number of film critics. This increase does, however, bring an existing problem into even sharper focus: the small number of cinema halls in Yerevan. “For us, of course, the most important thing is the audience. At the moment there are four theaters, all located in the center of the city. This is a small number and I would like there to
be more in the near future, especially on the outskirts of Yerevan, so that more people can have access to the festival’s films.” With this same aim, GAIFF is now working on bringing its films to other regions of Armenia. The first step will be to bring the films to Dilijan, one of the most important Armenian resorts. Khachatryan: “We could have a small competition there, or maybe even initiate a separate festival.” A novelty this year will be the Armenian-Georgia Cinema Express program, initiated with the support of Heirich Boell Foundation and the Ministries of Culture of the two countries and announced yesterday. The program, which will be held for the first time in September and October this year, aims to strengthen joint activity between the two countries. “Regional cooperation has always been one of our long-term goals”, Khachatryan says. “I would very much like more film people from Azerbaijan, Abkhazia, Turkey and Iran to come to the festival in the future. This is a difficult task, but I see perspectives. We are ready to welcome them, but I am not sure if this is a fully mutual feeling.” The festival’s takings of around $300.000 are small compared to the expenses, which run up to more than $1 million. This is why, the director says, the financial cornerstones from the government, the municipality and general partner Viva Cell MTC are vital. For the next few years, the Golden Apricot International Film Festival will see no significant changes, Khachatryan says. “I am very happy to say that the festival’s staff is becoming better and better every year, every time reaching a higher level of professionalism. Our main responsibility now is to make sustainable what we have created, while dealing with all the changes that will inevitably come along the way.” AC
More and more, the GAIFF is finding a musical note. After Kim Ki-duk’s song during the Opening Ceremony, last night saw Retrospective guest Otar Iosseliani tickle the ivories in the Royal Tulip lobby. In the director’s style, the moment was at once mournful and playful.
Press Conference Jia Zhangke
Talking Parajanov As the festival celebrated the 90th birthday of Sergei Parajanov, a two-day round table curated by Armenian film theorist Garegin Zakoyan was held to discuss the director’s life, work, and poetry. In his introductory speech, David Muradyan, president of the Armenian Film Academy, noted: “Parajanov’s art is aimed at our inner worlds; it does not recognize borders and unites different cultures. He works in a realm beyond rhyme or reason: the domain of mystery.”
Film scholar Suren Hasmikyan, who has studied Parajanov’s life and career since the late 1960’s, added: “He spoke and acted without thinking of the consequences and the authorities didn’t particularly care for that kind of behavior. Also, he taught us how to play with objects, changing our views on the material world.” As if to prove this point, ethnographer Levon Abrahamyan confessed that Parajanov had an astonishing impact on him. “He truly penetrated the deepest historical layers of ancient peoples and preserved their archaic memories. He managed to find the beauty in everything.”
13:00, Royal Tulip Grand Hotel, Vivaldi Meeting-Room. We’ve saved the best for last. 2014’s final press conference (not counting tomorrow’s wrap-up by the juries and festival organizers) will be given by none less than Chinese grandmaster Jia Zhangke, to close the Retrospective of his work.
Master Class Anna Mouglalis
Russian film critic and culturologist Kirill Rozlogov returned to the point of the how Parajanov’s work crosses borders. “His art reflects what I call ‘transstructuralism’, meaning it combines several nations and cultures in the same time, at the same place, and on the same plane of existence.” The round tables were succeeded on both days by screenings of Parajanov’s earliest works. “I’m very happy that we were able to watch these almost forgotten film here”, Razlogov commented. “They show the roots of his best films.” MT/MM
The secrets of words Yesterday Greek writer and screenwriter Petros Markaris, member of the Feature Competition jury, shared his experiences during a Master Class in Nairi cinema. Markaris was born in Istanbul in 1937, to a Greek mother and an Armenian father, and was educated in Vienna and Stuttgart, getting a degree in economics before becoming a writer. He is most famous for his work with renowned Greek film director Theo Angelopoulos, with whom he co-wrote seven screenplays. “I began my career as a playwright, but in 1971 I got a call from Angelopoulos”, Markaris explained. “He had already done his first feature film, and made me the unexpected offer to write a screenplay together. I warned him that I had never worked on a movie, but he laughed and promised to teach me everything I needed to know. So he became my teacher. All the descriptions and storytelling were alien to me. In that sense cinema was exactly the right place for me, because a movie’s narrative is constructed out of images. You don’t need much description; the important thing is that I can imagine it and the director can materialize my vision.” In that way, writing screenplays was a great chance for Markaris to develop his writing skills,
Music in the Air
15:00, Nairi Cinema. French actress Anna Mouglalis, member of the Feature Competition jury, will give this year’s final Master Class. See page 6 for a review of Gainsbourg: A Heroic Life, in which Mouglalis portrays singer and actress Juliette Gréco.
Closing Ceremony 19:00, State Academic Opera and Ballet Theater of Armenia. Following the screening of closing film Goodbye to Language at Moscow Cinema (see page 6), the festival will come to a festive end with the Closing Ceremony (invitation only), where the GAIFF’s plethora of awards will be handed out. All the winning films will be screened once more tomorrow.
CONVERSATION
and he said that the aesthetics of cinema have deeply affected his literary work. Markaris especially notes the long, sequential panoramas in Angelopoulos’s movies, which they wrote together on paper before the director conveyed them to the screen. “I strongly suggest scriptwriters to write in other media as well.
Because you must always remember that in film a scripwriter’s job is to help the director tell his story, support him and develop his ideas. The basis of a successful collaboration between writer and director is discussing and debating; only this can make the future film work.” MT/MM
Director: Why do you hate people? Critic: I don’t hate people. Director: You hate me. Critic: I don’t hate you. Director: Yes you do, because you hate my film and my film is me. Critic: Do you hate yourself so much that you made such a bad movie? Peter