LAST DAY, SUNDAY, JULY 20
гÕÃáÕ ýÇÉÙ»ñ
гÕÃáÕÝ»ñ, Ùñó³Ý³ÏÝ»ñ
Winners and prizes
Winning films
Yana's Tribe takes the gold àëÏ» §ò»ÕÁ¦
2 ѳÕÃáÕ ýÇÉÙ»ñ Íñ³·Çñ 20 ÑáõÉÇëÇ/program 20 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ×/ Moscow Cinema, Blue Hall 13:30
ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ×/ Moscow Cinema, Red Hall
/ Prize-Winner film
/ Inbetween Worlds /Feo Aladag Deu/103’/NGC
Lang.: German/English/Dari/ Pashto Subt.: English and Armenian
Lang.: Korean Subt.: English and Armenian 16:00 / Prize-Winner film
/ Prize-Winner film 21:00 / Prize-Winner film
17:30 / Prize-Winner film 20:00
14:30
/ Prize-Winner film
/ Prize-Winner film 17:00 /Promised Land /Amos Gitai Isr-Fra/88’/R
Lang.: Arabic/Hebrew/Russian/ English/German Subt.: English and Armenian 19:00
18:30
ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1 16
12:00
, , , ! ... " / Spring, Summer, Fall, Winter... and Spring - /Kim Ki-duk Kor/103’/R
вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð §àêκ ÌÆð²Ü¦ L³í³·áõÛÝ Ë³Õ³ñϳÛÇÝ ýÇÉÙ
/Pieta - / Ki-duk Kim Kor/104’/R
Lang.: Korean Subt.: English and Armenian
êÇݻٳ ëóñ/ Cinema Star
19:00 /Goodbye to Language -
/Jean-Luc Godard Fra/70’/CF
Lang.: French Subt.: English and Armenian
21:00 /Still Life /Jia Zhangke Chn/111’/R
Lang.: Chinese Subt.: English and Armenian
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вÚÎ²Î²Ü Ð²Ø²Úܲä²îκð §àêκ ÌÆð²Ü¦ L³í³·áõÛÝ Ï³ñ׳ٻïñ³Å ýÇÉÙ
ÚáõñÇ Ø»ãÇïáíÁª ³Ûë ï³ñí³ §àëÏ» ÍÇñ³ÝÁ¦ åë³ÏáÕ ÷³ñ³ç³ÝáíÛ³Ý å³ïÏ»ñÇ Ñ»ÕÇݳÏÁ, í»ñëï»ÕÍáõÙ ¿ Çñ ѳÛïÝÇ Éáõë³ÝϳñÁ: Yuri Mechitov, creator of the Parajanov photograph gracing this year's GAIFF poster, recreates his iconic image.
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` ²ñÙ»Ý úѳÝÛ³Ý, سñdz ÂáùÙ³çÛ³Ý, ijÝ-øñÇëïáý ü»ññ³ñÇ êñμ³·ñÇãÝ»ñª سñÇÝ» Ô³ñ³Ë³ÝÛ³Ý, èÇÙ³ ²Õ»ÏÛ³Ý
Staff: Anastasia Costianu, Nienke Huitenga Contributors: Michael Margaryan, Maria Toqmajyan, Jean-Christophe Ferrari, Armen Ohanyan
Èáõë³ÝϳñÇã` êáݳ ²Ý¹ñ»³ëÛ³Ý
Photographer: Sona Andreasyan
¸Ç½³ÛÝ»ñ` ¶³Û³Ý» ¶ñÇ·áñÛ³Ý
Design: Gayane Grigoryan
¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý
General Supervising Manager: Peter van Bueren
îå³·ñí³Í ¿ §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ
Printer: "Noyyan Tapan" Ltd.
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§Ðð²Üî زºìàêڲܦ ÐÆØܲ¸ð²ØÆ Øðò²Ü²Î
æÇí³Ý ²í»ïÇëÛ³Ý/Jivan Avetisyan
§Î³ÃÝ»Õμ³Ûñ¦ (ì³Ññ³Ù ØËÇóñÛ³Ý, Ȼѳëï³Ý/г۳ëï³Ý, 2014)
§ö²ð²æ²ÜàìÚ²Ü Â²Èºð¦ Øðò²Ü²Î ò½Û³ âųÝÏ» سñÏá ØÛáõÉ»ñ
سñÏá ØÛáõÉ»ñ/ Marco Müller
§Â²¶àôÐÆ Üàô²ð¸¦ Øðò²Ü²Î вڲêî²ÜÆ ÎÆܺزîà¶ð²üÆêîܺðÆ ØÆàôÂÚàôÜ §ÜáñÙ³É »ÕÇñ, ËݹñáõÙ »Ù¦ (гÛÏ øáã³ñÛ³Ý, ²ØÜ 2013) §²Ý¹ÇÝ. ѳÛáó ׳ݳå³ñÑáñ¹áõÃÛ³Ý ï³ñ»·ñáõÃÛáõݦ (èáõμ»Ý ¶ÇÝ»Û, âÇݳëï³Ý/г۳ëï³Ý/èáõë³ëï³Ý/Ðݹϳëï³Ý, 2014)
²ðØºÜ Ø²¼Ø²ÜÚ²ÜÆ ²Üì²Ü Øðò²Ü²Î æáí³ÝÝÇ ¸áÝýñ³Ýã»ëÏá/Giovanni Donfrancesco
ÈáõëÇÝ» ê³ñ·ëÛ³Ý/Lusine Sargsyan
È³í³·áõÛÝ Ñ³ÛÏ³Ï³Ý ¹»μÛáõï §Ð³ñáõÃÛáõݦ (²É»Ý سÝáõÏÛ³Ý, г۳ëï³Ý, 2013)
How can one film torment? “Tears scorn the sympathiser” – René Char
Ȩ³Ý Îá·áõ³ßíÇÉÇ Levan Koguashvili
FEATURE COMPETITION Golden Apricot The Tribe (Myroslav Slaboshpytskiy, Ukraine, 2014) Silver Apricot Blind Dates (Levan Koguashvili, Georgia/Ukraine, 2013) Jury Diploma Still Life (Uberto Pasolini, UK/Italy, 2013)
DOCUMENTARY COMPETITION Golden Apricot The Stone River (Giovanni Donfrancesco, Italy/France, 2013) Silver Apricot Domino Effect (Elwira Niewiera & Piotr Rosołowski, Poland/Germany, 2014)
ARMENIAN PANORAMA
I have not always been able to look them in the eyes. They were sad sometimes, the eyes of these men, these women, these children, beaten against the wind here in Armenia. Whether it was in the wide streets of Yerevan and Gyumri, in the green valleys of Lorri, in the poor villages of Syunik, or in the ancient monasteries of Aragatsotn. Sometimes I felt their eyes seeking mine, as if they were hoping for a moment of complicity, of brotherly sympathy. But soon, they lowered their eyelids, cutting contact. Out of shyness? Modesty? Boredom? Humility? Pride? What do I know? What I am certain about is that Armenians have sad eyes. It’s even the title of a popular song... If I believed that people have a soul, a spiritual identity derived from their homeland, independent of history, I would say without hesitation that the Armenian soul is tormented. But here’s the thing: I believe more in history than in fate. I know too well the misery suffered by this people. I know too well how little hope they have for a better future. I know too well why Armenia, today, is a wounded country. It is therefore not surprising that I encountered expressions of this torment in the films of the Armenian Panorama that I watched this week. The opposite would have surprised me. In fact, the opposite would have seemed suspicious to me. But torment turns out to be difficult material to turn into gold. It needs to be decanted, purified. René Char, one of my favorite French poets, once wrote that from grief, we should only keep the crystal. Unfortunately, with a few rare exceptions, the relationship between Armenian filmmakers and suffering – their own and their country’s – is too direct. They have not distanced themselves from grief, and are too often content to throw it on the screen in a gesture of nihilistic rage. They refrain from inventing their own language, instead borrowing from a variety of influences: a little bit of absurdist theater here, some of Gombrowicz’s black humor there; a whiff of Kafkaesque terror here, a drop of Carverian pessimism there; a touch of the Coen brothers’s cynicism here and a spoonful of heavy metal brutality there. Or worse, they recycle Armenian folklore, without understanding that by recycling it they actually betray it and bury it. It is true that their task is not easy. Suffering constricts, chokes and shuts off prospects and horizons. It often requires us to cling to foreign models, as we cling to a buoy. Yet some films shown this week (Tevanik by Jivan Avetisyan, Milky Brother by Vahram Mkhitaryan, Please Be Normal by Haik Kocharian, The Romanticists by Ager Azatyan and Shoger Tadesvoyan) have proven that it is possible for Armenian cinema to have its own voice – that some filmmakers know how to keep not the grief but the crystal. There are, of course, neither models nor recipes. But one thing is certain: filmmakers must bypass their torment and make some sidesteps. That’s the only way that the voice of Armenian cinema will once again find the magnitude it used to have. That’s the only way that it can speak with a singular voice. When this is found, the whole world will eagerly await each new Armenian movie, just as at one time we awaited each new Iranian film, each new Romanian film, each new Korean film.
Golden Apricot for Feature Film Tevanik (Jivan Avetisyan, Armenia/Lithuania, 2014) Golden Apricot for Short Film Milky Brother (Vahram Mkhitaryan, Poland/Armenia, 2014) Silver Apricot Romaticists (Shoghik Tedevosyan & Areg Azatyan, Armenia, 2014) Jury Diploma Please Be Normal (Haik Kocharian, USA, 2013)
Jean-Christophe Ferrari, film critic for Positif and president of the Armenian Panorama jury
APRICOT STONE SHORT FILM COMPETITION Golden Apricot Though I Know the River is Dry (Omar Robert Hamilton, Palestine/Egypt/Qatar/ UK, 2013) Special Jury Prize Red Hulk (Assimina Proedrou, Greece, 2013)
FIPRESCI JURY PRIZE The Tribe (Myroslav Slaboshpytskiy, Ukraine, 2014)
ò½Û³ âųÝÏ»/Jia Zhangke
ECUMENICAL JURY PRIZE The Abode (Lusine Sargsyan, Armenia, 2014) Commendation Blind Dates (Levan Koguashvili, Georgia/Ukraine, 2013)
HRANT MATEVOSYAN FOUNDATION AWARD Milky Brother (Vahram Mkhitaryan, Poland/Armenia, 2014)
PARAJANOV THALER AWARD Jia Zhangke Marco Müller
гÛÏ øáã³ñÛ³Ý/Haik Kocharian
èáõμ»Ý ¶ÇÝ»Û/Ruben Giney
QUEEN NUARD AWARD ARMENIAN ASSOCIATION OF FILMMAKERS Please Be Normal (Haik Kocharian, USA, 2013) Andin: Armenian Journey Chronicles (Ruben Giney, China/Armenia/Russia/India, 2014)
ARMEN MAZMANYAN AWARD Best Armenian Debut Resurrection (Alen Manukyan, Armenia, 2013)
²É»Ý سÝáõÏÛ³Ý/Alen Manukyan
ì³Ññ³Ù ØËÇóñÛ³Ý/Vahram Mkhitaryan
FEATURE COMPETITION GOLDEN APRICOT, FIPRESCI JURY PRIZE
Primal Fear The Tribe (Myroslav Slaboshpytskiy, Ukraine, 2014)
Starting out as a winning Ukrainian pitch at the 2012 GAIFF’s Directors Across Borders forum, The Tribe (Plemya) ended up winning three awards at the 2014 Cannes Film Festival’s International
Critic’s Week section. Myroslav Slaboshpytsky’s debut feature follows a shy young man who arrives at a school for the deaf-and-dumb and soon finds that most of his schoolmates are in a gang, dealing in violence and prostitution. At first the young man joins them, but it’s only a matter of time before his aims and those of his friends start to contradict.
FEATURE COMPETITION SILVER APRICOT, ECUMENICAL JURY PRIZE
The premise is ancient: an outsider joins a group, becomes a major player, but eventually has a falling out with other members. In that sense, the title of the film is spot on. The only way these characters know to solve problems is by physical force or mental domination, only exacerbated by the fact that they can communicate only through
FEATURE COMPETITION JURY DIPLOMA
Too Much Compassion
Anti-Romance Blind Dates (Levan Koguashvili, Georgia/ Ukraine, 2013)
Still Life (Uberto Pasolini, UK/Italy, 2013) “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-yearold 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 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
The English language allows for multiple interpretations of the title of Uberto Pasolini’s second feature Still Life. Does it deal with a person standing still? Or is it a person experiencing life once more? A still life, of course, is also a classic genre in painting and photography, in which tableaus of collected items are portrayed. The film’s main character John May (Eddie Marsan) does the same, in a way: as a council worker his job is to find the next of kin of those who have died alone. His work entails going through personal items like photo albums and bills to trace, like a detective, any lawful heirs to the deceased’s posessions. But May goes beyond the call of duty: his compassion for the dead leads him to write personal eulogies and select music only he will hear, as the only visitor at their funerals. 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
gestures and stares. Remarkably, although the characters communicate entirely in sign language, the basics of every dialogue are easily understandable. The Tribe is rather explicit, if not naturalistic in its depiction of violence and sex, sketching an isolated and at times disturbing primal environment. Filming every scene in a single take, the camera follows the characters with mild curiosity yet always keeps a safe distance. It’s as though the camera is somewhat intimidated to take a close-up of this tribe, where the discovery of power and pleasure eventually leads to the birth of hate and selfdestruction. AV
Pasolini paints May’s world in bleak colors, though there’s room for some dry British humor, epitomized by an upbeat morgue worker who often deals with Mr. May’s cases. While Pasolini, best known as the producer of hit comedy The Full Monty (1997), mostly steers away from comedic material, the light-hearted editing still places Still Life in a similar style of storytelling. Pasolini spent several months visiting houses of the recently deceased with real council officers in various London districts to create his main character. A horrible conclusion dawned on him from this research: Western society treats its dead, and thus the living, as disposable and unworthy of attention. Case in point: May’s boss, who prefers an efficient cremation and thinks May’s empathy is too costly. He’s allowed one last case before he’s made redundant. When his neighbor Billy Stoke is found dead, May visits the flat to search for clues and sees a mirror image of his own – except that Stoke’s is full of garbage and dirty dishes. While finding connections, May will have an unexpected encounter with someone who confronts him with the stillness in his own life. NH
GOLDEN APRICOT DAILY | LAST DAY | 20 JULY | 2014
winning films 7 DOCUMENTARY COMPETITION GOLDEN APRICOT
Granite Dust The Stone River (Giovanni Donfrancesco, Italy/France, 2013) 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
DOCUMENTARY COMPETITION SILVER APRICOT
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,
ARMENIAN PANORAMA GOLDEN APRICOT FOR SHORT FILM
Familial Idyll Milky Brother (Vahram Mkhitaryan, Poland/ Armenia, 2014)
Love in Times of Abkhazia Domino Effect (Elwira Niewiera & Piotr Rosołowski, Poland/Germany, 2014) An intricate love story becomes a metaphor for the unrecognized country of Abkhazia in the documentary Domino Effect (Efekt domina). The reality in the rusty and futureless Abkhazian capital Sukhumi is bitterly felt through the daily life of Abkhazian/Russian couple Rafael and Natasha. Rafael, shown in excruciating archive footage from 1993 as a soldier in the war with Georgia, is now the Minister of Sports, trying to organize the domino world championship in helplessly isolated
Abkhazia. Natasha is a Russian opera singer who gave up her country and family to be with Rafael, but feels alienated and rejected by his unwelcoming family and society. Their beautiful romance is shaped by the values the characters are ready to make sacrifices for: Natasha does it all in the name of love, whereas firmly nationalistic Rafael puts his country before all else. In a remote, war-torn country with 100.000 inhabitants and ravishing landscapes but scarred homes and souls, the excuse: “Our republic is young and developing”, given for the frequent power failures, sounds ludicrous twenty years on. “In times of peace they will crush us” seems the burdensome prospect, a valid sentiment in this non-existent place. From a deeply personal documentary, Domino Effect grows into a socio-political commentary on a place stuck between past and future. AC
ARMENIAN PANORAMA GOLDEN APRICOT
One Day, Three Viewpoints Tevanik (Jivan Avetisyan, Armenia/Lithuania, 2014) In his second feature film Tevanik, director Jivan Avetisyan once again addresses his invariable and beloved theme: the history and modern-day reality of the unrecognized state of Nagorno-Karabakh. This film triptych depicts a day in a village during the Karabakh War from the viewpoint of the three young inhabitants. The three parts of the film carry their names: “Aram. A Sonnet”, “Astghik. An Elegy”, and “Tevanik. A Tale”. Notably, Tevanik is the first film spoken entirely in the Karabakh dialect of Armenian, adding to its already substantial local charm. The screenplay of the “Tevanik” section was written in the 1990’s by
writer/director Arnold Aghababov, a prominent figure in Armenian cinema who passed away in 1999. The script was never filmed during his lifetime. Now, Avetisyan has taken up this challenge, continuing his collaboration with Karine Khodikyan, the writer of his first film, to add the two other parts. The cast of the film, made up of Armenian celebrities of film and theater, certainly get challenging characters to work with. In the first story the war disrupts main character Aram’s family, leaving two loving hearts on opposite sides of the frontline. In the second, all the men in Astghik’s family are taking part in the defensive battles, while she is experiencing first love. Thirdly, juvenile Tevanik is a soldier fresh from his training. When he accidentally destroys an enemy tank, he becomes the hero of the day for his fellow soldiers, but not for his experienced commander, who is unhappy because they have lost a chance to obtain a working armored vehicle. As a punnishment, Tevanik is sent into the forest for reconnaissance. There, he will learn the most important, if not the final lesson in his life. AO
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
Director Vahram Mkhitaryan’s debut short film Milky Brother is a surprising revelation. It is based on the touching short story Brother Lamb by writer Vano Siradeghyan, who was also Armenia’s Minister of Foreign Affair from 1992 to 1996. Milky Brother depicts a short period in ten-year-old Seto’s life. Seto lives in a faraway Armenian village and is excited about his soon-to-be-born younger brother. He ties symbolic white ribbons on branches, naively believing that this will hasten the baby’s
arrival. Sadly, the newborn dies. But Seto brings home a little newborn lamb, who starts eating milk from his mother’s breast and basically becomes a brother to him. The film depicts familial harmony and the undying longing for perfection. The folksy way of life in this conservative, patriarchal village is spiced with charmingly simple relationships. The film is also impressing on a visual level, with the work of cinematographer Marcin Sauter and production designer Eduard Hakobyan deserving high praise. The visuals are truly reminiscent of the best examples of poetic cinema, finding and depicting eternity in everyday life. One might even gets the impression that God’s invisible but all-seeing eye is watching over this little village lost in the high mountains. MT
ARMENIAN PANORAMA SILVER APRICOT
A Panorama of Dark and Cold Times The Abode (Lusine Sargsyan, Armenia, 2014) The Abode, the debut feature by Armenian director Lusine Sargsyan, is an anthology film consisting of five different short stories. Each of them takes place around a single dwelling in the dark and cold Yerevan of the early 1990’s, when the Karabakh War was still roaring and most people in Armenia, independent after the collapse of the Soviet Union, didn’t have electricity. It’s as though every new morning is the beginning of a new story, in which the characters find themselves in different situations and the consequences force them to reevalueate what they have lost and what they have found.
Tigran, the protagonist of the first part, decides one morning to call his girlfriend over to his house for a date, but an annoying neighbor ruins his plans despite good intentions. The second part has a more tragic tone to it, as it features a man and a woman who have loved each other for 25 years while the events of their lives have continually conspired to separate them. In the third story, the honest main character is given a mysterious suit, quite a rarity in those days, as payment for a debt, but soon realizes that it must have been stolen. The fourth part, which has a certain inner tension, tells the story of Karabakh war veteran Karo. The war ruined his family and left him with paralyzed legs, pains all over his body and resentment in his heart. The only soul that has not abandoned him is his retriever dog. The final part, also dealing with the casualties of war, brings a symbolic ending to the entire film. A new day breaks and a child’s cry can be heard. Rebirth. This humble abode intertwined five different fates, which will be reborn in these new times. MM