Golden Apricot Daily - 2011, Day 1 & 2

DAY 1& 2 SUNDAY / MONDAY JULY 10/11

2011

àêκ ÌÆð²Ü

Abbas Kiarostami and Fanny Ardant:

Heroes of the opening ²µ³ë ødzéáëóÙÇÝ »õ ü³ÝÇ ²ñ¹³ÝÁ` µ³óÙ³Ý Ñ»ñáëÝ»ñ Abbas Kiarostami

ü³ÝÇ ²ñ¹³Ý é»ÅÇëáñÇ »ñÏáõ ýÇÉÙ»ñÁ

Interview

ØñóáõóÛÇÝ ýÇÉÙ»ñ` ܳ¹»ñ »õ êÇÙÇÝ.

The Boy Mir, The General, The World According to Ion B., Absent Dreams

³ÙáõëݳÉáõÍáõÃÛáõÝ, ºíñáåáÉÇë гñó³½ñáõÛó.

²µ³ë ødzéáëóÙÇ

Artistic director Susanna Harutyunyan, Dmitry Kesayants

GOLDEN APRICOT DAILY | DAY 1&2 | 10/11 JULY | 2011

2 Íñ³·Çñ/programm 10 ÑáõÉÇëÇ/ 10 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 11:00 ø»ñÉÇÝ·/Curling ¸ÁÝÇ Îáï»/Denis Côté, Can, 92 , FC

Lang.: French, Subt.: English 13:00 ò³íÇ ½³í³ÏÁ/Sweet Evil úÉÇíÛ» ÎáõëÙ³Ï/Olivier Coussemacq, Fra, 90', FC

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 19:00 ´³óÙ³Ý ³ñ³ñáÕáõÃÛáõÝ/ Opening Ceremony ì³í»ñ³óí³Í å³ï×»Ý/ Certified Copy ²µ³ë ødzéáëóÙÇ/Abbas Kiarostami, Fra/Ita, 106', OF

Lang.: French/English/Italian, Subt.: English and Armenian Ðñ³íÇñ³ïáÙë»ñáí/ Invitations only

Lang.: French, Subt.: English

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall 11:00 ÒÇóí³×³éÇ áñ¹ÇÝ/The Son of the Olive Merchant سÃÛá ¼»ÛÃÇÝçÇûÕÉáõ/Mathieu Zeitindjioglou, Fra, 77', AP

Lang.: English/French/Turkish, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet theatre, Small Hall 11:00 ºñÏáõëáí/Together ä³í»É ÎáëïáÙ³ñáí/Pavel Kostomarov, Rus, 52’, DC

Lang.: Russian, Subt.: English 12:00 ²½·Ç ÑÛáõñ³ë»ÝÛ³ÏÁ/ The Living Room of the Nation ÚáõÏϳ ÎÛ³ñÏÛ³ÛÝ»Ý/Jukka Kärkkäinen, Fin, 79’, DC

Lang.: Finnish, sbt.: English

Lang.: Russian

17:00 ä³ñ½ Ãí»ñÇ Ù»ÝáõÃÛáõÝÁ/ The Solitude of Prime Numbers ê³í»ñÇá Îáëï³Ýóá/Saverio Costanzo, Ita/Deu/Fra, 118 , FC

Lang.: Italian, Subt.: English and Armenian 19:30 ̳éÁ/The Tree ÄÛáõÉÇ ´»ñïáõã»ÉÉÇ/Julie Bertuccelli, Deu/Fra/Ita/Aus, 100', FC

Lang.: English and Armenian

ØáëÏí³ÛÇ ïáõÝ ºñ¨³ÝáõÙ/ “Dom Moskvy” in Yerevan 18:00 ´ñ»ëïÇ ³ÙñáóÁ/Fortress of War ²É»ùë³Ý¹ñ Îáïï/Alexander Kott, Rus/Blr, 133', CIS

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet theatre, Small Hall 11:00, 18:00 ØÇñ ³ÝáõÝáí ïÕ³Ý. ï³ëÁ ï³ñÇ ²ýÕ³Ýëï³ÝáõÙ/The Boy Mir-Ten Years in Afghanistan üÇÉ ¶ñ³µëÏÇ/ Phil Grabsky, UK, 90', DC

Lang.:, Afghani, Subt.: English 13:00, 20:00 ²ß˳ñÑÁ` Áëï ÚáÝ ´.-Ç/The World According to Ion B ²É»ùë³Ý¹ñ ܳݳáõ/ Alexander Nanau, Rom, 60', DC

Lang.: Romanian, Subt.: English 16:00 гÛÁ/The Armenian Êáë» Î³ñ³ëÏá/José Carrasco, Esp, 61', FV

20:30 ػݳíáñ ·³ÛÉÁ (´ÇñÛáõÏ)/Lone Wolf èáÙ³Ý ´³É³Û³Ý//Roman Balayan, USSR (Ukr), 77', R

Lang.: Russian, Subt.: English

Lang.: Spanish/Armenian

11 ÑáõÉÇëÇ/ 11 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00, 17:00 ܳ¹»ñ ¨ êÇÙÇÝ. ³ÙáõëݳÉáõÍáõÃÛáõÝ/ Nader and Simin, A Separation ²ëÕ³ñ ü³ñѳ¹Ç/Asghar Farhadi, Irn, 123', FC

Lang.: Persian, Subt.: English 12:30 ºíñáåáÉÇë/Europolis ÎáéÝ»É ¶»áñ·Çï³/Cornel Gheorghita, Rom/Fra, 100', FC

Lang.: Romanian, Subt.: English 20:00 ØáËÇñ ¨ ³ñÛáõÝ/Ashes and Blood ü³ÝÇ ²ñ¹³Ý/Fanny Ardant, Fra/Rom/Prt, 105', YP

Lang.: French/Romanian, Subt.: English and Armenian ´³ó³Ï³ »ñ³½Ý»ñ/Absent Dreams ü³ÝÇ ²ñ¹³Ý/Fanny Ardant, Fra/Ita, 12', DAB

Lang.: Italian, Subt.: English and Armenian

ì. ´ñÛáõëáíÇ ³Ýí³Ý ºñ¨³ÝÇ å»ï³Ï³Ý É»½í³µ³Ý³Ï³Ý ѳٳÉë³ñ³Ý Yerevan state linguistic university after V. Bryusov 16:00 лé³ó³ÍÁ/When We Leave ü»á ²É³¹³Õ/Feo Aladag,

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall

13:30 ܽáíù/Damnation ´»É³ î³ñ/ Béla Tarr, Hun, 122', R

10:00 ì³ñ¹³·áõÛÝ ù³Õ³ùÇ í»ñçÇÝ ÑÇåÇÝ/The Last Hippie of the Pink City ²Ý³ëï³ëdz äáåáí³/ Anastasia Popova, Rus, 56', AP

Lang.: Hungarian, Subt.: English and Armenian 16:00 î»ñÝ áõ ͳé³Ý/The Master and the Servant ¸ÙÇïñÇ Î»ë³Û³Ýó/Dmitri Kesayants, Arm, 22', T

Lang.: Armenian ²í¹áÛÇ Ù»ù»Ý³Ý/Avdo's Car ¸ÙÇïñÇ Î»ë³Û³Ýó/Dmitri Kesayants, Arm, 32', T

Lang.: Armenian â³Ë-ã³Ë ó·³íáñÁ/King Chakh-Chakh ¸ÙÇïñÇ Î»ë³Û³Ýó/Dmitri Kesayants, Arm, 35', T

æ³½, ÍÇñ³Ý, ÏÇÝá/Japricot ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý/Vardan Danielyan, Arm, 21 ', AP

Lang.: English/Armenian, Subt.: English/ Armenian. ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 12:30 ø³ñ»ñ/Stones ¾¹áõ³ñ¹ ³¹¨áëÛ³Ý/Eduard Tadevosyan, Rus/Arm, 30', AP

Lang.: Armenian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury

Lang.: Armenian 18:00 Æß˳ÝáõÑÇ ¹Á ØáÝå³ÝëÛ»/ The Princess of Montpensier ´»ñïñ³Ý î³í»ñÝÛ»/ Bertrand Tavernier, Fra, 139', R

Lang.: French, Subt.: English and Armenian 21:00 ÞÝ»ñÇ å³ïÙáõÃÛáõÝÁ/History of Dogs ê»ñÅ ²í»ïÇùÛ³Ý/ Serge Avedikian, Fra/Tur, 52', YP

Lang.: Turkish/French, Subt.: Armenian

Lang.: German/Turkish, Subt.:

ÞÝ»ñÇ ÏÕ½ÇÝ/Barking Island ê»ñÅ ²í»ïÇùÛ³Ý/Serge Avedikian, Fra

English

No dialogues

Deu, 119', DAB

Lang.: Russian, Subt.: English

ºÂÎäÆ/Institute of Theatre and Cinematography

16:30 ²Ù»ñÇϳ/America ¾É¹³ñ ¶ñÇ·áñÛ³Ý/Eldar Grigorian, Deu, 23', AP

Lang.: German/Persian, Subt.: English and Armenian îÇ»½»ñ³Ý³íÁ/The Spaceship ¾ÙÇÉ ØÏñïãÛ³Ý/ Emil Mkrttchian, Swe, 25', AP

Lang.: Swedish Subt.: English and Armenian 18:00 Ø»Ýù »Ýù.../We Are... ²ßáï ²¹³ÙÛ³Ý, ¸³íÇà سèáëÛ³Ý/Ashot Adamyan, David Matevosyan, Arm, 70', AP

Lang.: Armenian, Subt.: English 19:30 ì³ñ¹³·áõÛÝ ù³Õ³ùÇ í»ñçÇÝ ÑÇåÇÝ/The Last Hippie of the Pink City ²Ý³ëï³ëdz äáåáí³/ Anastasia Popova, Rus, 56', AP

Lang.: Russian, Subt.: English 14:30 ´»ñïñ³Ý î³í»ñÝÛ» — ì³ñå»ïáõÃÛ³Ý ¹³ë/Bertrand Tavernier-Master Class

ºñ³½³Ýù/Dream ì³Ñ» ´³ñë»ÕÛ³Ý/Vahe Barseghyan, Arm, 3', FS

17:00 ÐáõÉ³Ý ¨ ܳóÝÁ/Hula and Natan èáµÇ ¾ÉÙ³Édz/Robby Elmaliah, Isr, 55', FS

ÂíáõÙ ¿, û ³Ýó»É ¿, ÇëÏ Çñ³Ï³ÝáõÙ »ñ¨Ç ãÇ ³Ýó»É/It Only Seems to Have Gone, But Actually It May Have Not سùëÇÙ ¼ÇÏáí/Maksim Zykov, Rus, 19', FS

Lang.: Hebrew/Arabic, Subt.: English and Armenian ´ÉÛáõ½/Blues ¶»Õ³Ù ØÏñïãÛ³Ý/Gegham Mkrtchyan, Arm, 55', FS

No dialogues 20:30 ²ÛÉ Ñ³ñ³µ»ñáõÃÛáõÝÝ»ñ/ Different Relations ¸ÙÇïñÇ ê»ÉÇí³Ýáí/Dmitry Selivanov, Rus, 55', FS

No dialogues

Lang.: Russian, Subt.: English 21:00 ¶É³ÝÇíÝ áõ çáõóÏÁ/ Streamroller and Violin ²Ý¹ñ»Û î³ñÏáíëÏÇ/Andrei Tarkovsky, Rus, 48', FS

Lang.: Russian

´³ñÇ ÉáõÛë/The Kind Light 껹³ ¶ñÇ·áñÛ³Ý/Seda Grigoryan, Arm, 11', FS

¸»Õ³·áñÍÇ ÏÇÝÁ/The Chemist s Wife êï³ÝÇëÉ³í ¶áíáñáõËÇÝ/Stanislav Govorukhin, Rus, 22', FS

No dialogues

Lang.: Russian

Lang.: Russian, Subt.: English

21:00 æ³½, ÍÇñ³Ý, ÏÇÝá/Japricot ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý/Vardan Danielyan, Arm, 21 ', AP

Lang.: English/Armenian, Subt.: English/ Armenian öáùñÇÏ ù³ñ»ñ/Little Stones ³ٳñ³ êï»÷³ÝÛ³Ý/ Tamara Stepanyan, Dnk/Lbn, 27', AP

Lang.: English/Armenian, Subt.: English/Armenian

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, Ø»Í ¹³ÑÉÇ× Puppet theatre, Big Hall 12:00 гÛÁ/The Armenian Êáë» Î³ñ³ëÏá/José Carrasco, Esp, 61', FV

Lang.: Spanish/Armenian, Subt.: English and Armenian Æ٠ѳÛÏ³Ï³Ý Ã³ÕÁ/My Armenian Neighborhood ê³ÙÇÙÇïñ³ ¸³ë/Samimitra Das, Ind, 27', FV

Lang.: English, Subt.: Armenian 16:00 êå³ëáõÙ/Waiting ò½ááõ â½Ç ì»Û/Jow Zhi Wei, Sgp, 20', SC

Lang.: Mandarin, Subt.: English and Armenian §Þ³Ùµáñ¦ ÑÛáõñ³Ýáó/Hotel Chambord ¸áñáû ´»é/ Dorothée Baert, Bel, 16', SC

Lang.: French, Subt.: English and Armenian ¸³ßݳÙáõñ ɳñáÕÁ/The Piano Tuner úÉÇí Û» îñ»Ý»/ Olivier Treiner, Fra, 14', SC

Lang.: French, Subt.: English and Armenian 17:30 ²ÝÑá· ïÕ³Ý/Lighthearted Boy سñÏá æ³Ýýñ»¹³/ Marco Gianfreda, Ita, 15', SC

Lang.: Italian, Subt.: English and Armenian Üñ³Ý ëå³ë»Éáí/Awaiting Her æ»ÛÙë æáÛÝÃ/James Joint, Hnd, 15', SC

Lang.: English, Subt.: Armenian ¶áñÇáí/Via Gori ¶»áñ·Ç ´³ñµ³Ï³Ó»/George Barbakadze, Aus/Geo, 13', SC

Lang.: Russian/Georgian, Subt.: English and Armenian 19:00 êáõñµ ØÇù³Û»ÉÁ ³ù³Õ³Õ áõÝ»ñ/St. Michael Had a Rooster ä³áÉá î³ídzÝÇ, ìÇïïáñÇá î³ídzÝÇ/Paolo Taviani and Vittorio Taviani, Ita, 90', RG

Lang.: Italian, Subt.: English and Armenian

ØáëÏí³ÛÇ ïáõÝ ºñ¨³ÝáõÙ “Dom Moskvy” in Yerevan

Lang.: Russian, Subt.: English

Horse ´»É³ î³ñ/Béla Tarr, Hun/Fra/Che/Deu, 146', R

Lang.: Hungarian, Subt.: English and Armenian

10:00, 18:00 ²Õµ³Ýáó/Waste Land ÈáõëÇ àõáù»ñ, ø³ñ»Ý гñÉÇ/Lucy Walker, Karen Harley, Bra/UK, 99', DC

Lang.: English/Portuguese, Subt.: English 12:00, 20:00 ¶»Ý»ñ³ÉÁ/The Genera ܳï³ÉÛ³ ²ÉÙ³¹³/Natalia Almada, USA, 83', DC

Lang.: Spanish, Subt.: English 16:00 ØÇᯐ ¶.` ³ß˳ñÑÇ ïÇñ³Ï³ÉÁ/Michel G, King of the World êï»ý³Ý γ½³ÝçÛ³Ý/Stephane Kazandjian, Fra, 87', AP

Lang.: French, Subt.: English and Armenian

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/ Naregatsi Art Institute 15:00 ²é³Ýó ë³ÑÙ³ÝÝ»ñÇ/Films Beyond Borders ²Õ³íÝÇÝ»ñÇ í³ñå»ïÁ/Master of Doves ²ñÃáõñ êáõùdzëÛ³Ý/ Arthur Sukiasyan, Arm/Tur, 41', DAB

Lang.: Armenian/Turkish, Subt.: English îÇÏÝÇϳÛÇÝ Ã³ïñáÝ/Puppet Theatre ²ÉÃ³Ý ´³É, æ³Ý³Û ú½¹»Ý/ Altan Bal, Canay Ozden, Arm/Tur, 11', DAB

Lang.: Armenian/Turkish, Subt.: English гñ¨³ÝÝ»ñÁ/Neighbors ¶áé ´³Õ¹³ë³ñÛ³Ý/Gor Baghdasaryan, Arm/Tur, 40', DAB

Lang.: Armenian/Turkish, Subt.: English ØÇ Ïáñã»ù, »ñ»Ë³Ý»ñ/Don t Get Lost Children ¶ÛáõɻݷÛáõÉ ²ÉÃÇݳß/Gülengül Altina_, Arm/Tur, 30', DAB

Lang.: Armenian/Turkish, Subt.: English ¶³É³Ã³/Galata ¸Ç³Ý³ γñ¹áõÙÛ³Ý/Diana Kardumyan, Arm/Tur, 10', SC/DAB

No dialogues 17:30 îáõÝ/Home ¸áñáï³ ä»ïñáõë, ´á·¹³Ý È»Ýãݳñ/Dorota Petrus, Bogdan Lecznar, Pol, 43', DAB

Lang.: Polish, Subt.: English 18:30 ´³ó³Ï³ »ñ³½Ý»ñ/Absent Dreams ü³ÝÇ ²ñ¹³Ý/Fanny Ardant, Fra/Ita, 12', DAB

Lang.: Italian, Subt.: English ¶³á/Gao èáµ»ñï àõÇÉëáÝ/Robert Wilson, USA, 3', DAB

Lang.: Multilingual, Subt.: English ø³Ù»É»áÝÇ »ñϳñ »ñÃÁ/The Long March of a Chameleon ƹñÇë³ àõ»¹ñ³á·á/Idrissa Ouédraogo, Bfa, 6', DAB

Lang.: Multilingual, Subt.: English àã ÙÇ Ë³í³ñ Ù»½ ãÇ ëïÇåÇ Ùáé³Ý³É/No Darkness Will Made Us Forget ÐÛáõë»ÛÇÝ Î³ñ³µ»Û/ Hüseyin Karabey, Tur, 10', DAB

Lang.: Multilingual, Subt.: English лé³íáñ ѳÛñ/Far Away a Father س뵻¹á/Masbedo, Ita, 7', DAB

Lang.: Multilingual, Subt.: English ²ëïí³Í³ÛÇÝ Ï³éݳí³É/Divine Carnival î³ï³ ²Ù³ñ³É/Tata Amaral, Bra, 6', DAB

Lang.: Multilingual, Subt.: English ²Ïáñ¹»áÝÁ/The Accordion æ³ý³ñ ö³Ý³ÑÇ/Jafar Panahi, Irn, 8', DAB

Lang.: Multilingual, Subt.: English 18:00 ÆëÏ³Ï³Ý Ï»ëûñ/True Noon ÜáëÇñ ê³Ûǹáí/Nosir Saidov, Tjk, 83', CIS

17:00 ÂáõñÇÝÛ³Ý ÓÇÝ/The Turin

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ×/Puppet theatre, Small Hall

20:00 ä³Ñå³ÝÇñ ÇÝÓ, Ç٠óÉÇëÙ³Ý/Guard Me, My Talisman èáÙ³Ý ´³É³Û³Ý/Roman Balayan, USSR (Ukr), 70', R

Lang.: Russian, Subt.: English

Ü»ñßÝãí³Í Ñá·ÇÝ»ñ. ³É³íÇ-´»ÏóßÇÝ»ñÁ/Canlar, Alevis/ Bektashis Üáõñ¹³Ý ²ñç³/Nurdan Arca, Tur, 59', DAB

Lang.: Turkish, Subt.: English and Armenian

ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens 22:00 ÆÝùݳëå³ÝÝ»ñÇ ³ÏáõÙµ/Suicide Club úɳý ¼³áõÙ»ñ/Olaf Saumer, Deu, 96', FC

Lang.: German, Subt.: English and Armenian

GOLDEN APRICOT DAILY | DAY 1&2 | 10/11 JULY | 2011

÷³é³ïáÝÇ µ³óáõÙ 3 ѳÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ

µ³óÙ³Ý ýÇÉÙ

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GOLDEN APRICOT DAILY | DAY 1&2 | 10/11 JULY | 2011

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ ѳñ·³ÝùÇ ïáõñù

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³ñ³·ÁÝóó ß³ñÅáõÙ ÎÇÝáé»ÅÇëáñ ¸ÙÇïñÇ Î»ë³Û³ÝóÇ (1931-2001) ÷³ÛÉáõÝ ³é³çÝ»ÏÁ` §î»ñÝ áõ ͳé³Ý¦ (1962) ϳñ׳ٻïñ³ÅÁ (Áëï ÐáíѳÝÝ»ë ÂáõÙ³ÝÛ³ÝÇ Ñ³Ù³ÝáõÝ Ñ»ùdzÃÇ), 1960-³Ï³ÝÝ»ñÇ Ñ³Û ÏÇÝáÛÇ í»ñ»ÉùÝ ³å³ÑáíáÕ ýÇÉÙ»ñÇó ¿ñ: ØÇÝã Édzٻïñ³Å ýÇÉÙ»ñÇÝ ³ÝóÝ»ÉÁ` ݳ Ýϳñ»ó ¨ë »ñÏáõ ϳñ׳ٻïñ³Å. §â³Ë-ã³Ë ó·³íáñÁ¦ (1969 Ã., ¹³ñÓÛ³É Áëï ÂáõÙ³ÝÛ³ÝÇ) ¨ §²í¹áÛÇ Ù»ù»Ý³Ý¦ (Áëï ì³Éï»ñ ²ñ³ÙÛ³ÝÇ å³ïÙí³ÍùÇ, 1966) »ñ·ÇÍ³Ï³Ý Ï³ï³Ï»ñ·áõÃÛáõÝÁ: ²Ûë ·áñÍÁ ϳñáÕ ¿ñ Ý߳ݳϳÉÇ ýÇÉÙ ¹³éÝ³É Ñ³Û ÏÇÝá³ñí»ëïÇ å³ïÙáõÃÛ³Ý Ù»ç, ë³Ï³ÛÝ ·ïÝí»óÇÝ Ù³ñ¹ÇÏ, áñáÝù áã ÙdzÛÝ ×Çßï ã·Ý³Ñ³ï»óÇÝ Ñ»ÕÇݳÏÇ Ùï³ÑÕ³óáõÙÁ, ³Ûɨ µ½Ïï»óÇÝ, ç³Ëç³Ë»óÇÝ ýÇÉÙÁ, ýÇÉÙÇ Ñ»ï ݳ¨` Ñ»ÕÇݳÏÇÝ, ³Û¹åÇëáí ¹Åí³ñ³óÝ»Éáí ØáëÏí³ÛÇ ÏÇÝáÇÝëïÇïáõïÇ (ì¶ÆÎ) ßñç³Ý³í³ñï, ¶.Îá½ÇÝó¨Ç ³ñí»ëï³ÝáóáõÙ ÏñÃí³Í Ñ³Û ÏÇÝáé»ÅÇëáñÇ ëï»Õͳ·áñÍ³Ï³Ý ÁÝóóùÁ: ܳ, ÇѳñÏ», ß³ñáõݳϻó Çñ ·áñÍáõÝ»áõÃÛáõÝÁ, ë³Ï³ÛÝ` ³ñ¹»Ý ÃéÇãùÇ µ³ñÓñáõÃÛáõÝÁ Ïáñóñ³Í: ²Ûëûñ ÍÇͳջÉÇ Ï³ñáÕ ¿ Ãí³É ËáñÑñ¹³ÛÇÝ ·ñ³ùÝÝÇãÝ»ñÇ Ó¨³Ï»ñåáõÙÁ` §ýÇÉÙÝ ³Õ³í³ÕáõÙ ¿ ³éѳë³ñ³Ï ³é³çÁÝóóÇ ·³Õ³÷³ñÁ...¦: ²ÛÝÇÝ㠳ݻϹáï³ÝÙ³Ý, ·ñáï»ëϳÛÇÝ ³Ûë ëï»Õͳ·áñÍáõÃÛ³Ý Ù»ç ³ñï³Ñ³Ûïí»É ¿ñ ÑÝÇ áõ ÝáñÇ ÙßïÝç»Ý³Ï³Ý å³Ûù³ñÁ: ÀݹѳÝñ³å»ë, ¸ÙÇïñÇ Î»ë³Û³ÝóÁ É³í ¿ñ ½·áõÙ ¨ ³ñï³Ñ³Ûïáõ٠IJزܲÎÀ, áñÁ ûñ¨ë Ýñ³ ýÇÉÙ»ñÇ ·É˳íáñ Ñ»ñáëÝ ¿: ²ÝóÛ³É ¹³ñÇ 20-³Ï³Ý ÃÃ. ÑÇÝ ºñ¨³Ýáõ٠ϳé³å³ÝÝ»ñÝ ³Ýѻûà ¨ ÍÇͳճ߳ñÅ ¹³í³¹ñáõÃÛáõÝ »Ý ϳ½Ù³Ï»ñåáõÙ Çñ»Ýó Éáõñç Ùñó³ÏóÇ` ³íïáÙáµÇÉÇëï ²í¹áÛÇ ¹»Ù: Üñ³Ýó §ç³Ýù»ñáí¦ ß³ñùÇó ¹áõñë ¿ ·³ÉÇë ù³Õ³ùáõ٠ѳÛïÝí³Í ³é³çÇÝ §»ñϳû ÝÅáõÛ·Á¦: γé³å³ÝÝ»ñÇ ÙÕ³Í §å³ï»ñ³½ÙÇݦ ½áõ·³Ñ»é, ³ÝóÛ³ÉÇÝ Çñ ë»÷³Ï³Ý ϳï³ÕÇ å³ï»ñ³½ÙÝ ¿ ѳÛï³ñ³ñáõÙ ÏáÙ»ñÇï³Ï³Ý ³ÏïÇíÇë-

ïáõÑÇ Üí³ñ¹Á` ³ÝÝϳñ³·ñ»ÉÇ á·¨áñáõÃÛ³Ùµ ç³ñ¹áõ÷ßáõñ ³Ý»Éáí §³ÝÇÍÛ³É µáõñÅáõ³Ï³Ý ³ÝóÛ³ÉÇ ÙݳóáõϦ ÇÝùݳ»éÝ»ñÁ... üÇÉÙÇ ³ÙµáÕç³Ï³Ý ï³ñµ»ñ³ÏÁ áãÝã³óí»ó: î³ñÇÝ»ñ ³Ýó, ³ë»ë Ç å³ï³ëË³Ý ¹ñ³, λë³Û³ÝóÁ ÝáñÇó ³Ý¹ñ³¹³ñÓ³í ³Ûë ûٳÛÇÝ` Áëï ²ñ³ÙÛ³ÝÇ Ù»Ï ³ÛÉ å³ïÙí³ÍùÇ Ýϳñ³Ñ³Ý»ó §Ø»ñ å³å»ñÇ ù³ÛÉ»ñ·Á¦ (1980) ϳï³Ï»ñ·áõÃÛáõÝÁ, áõñ å³ïÏ»ñí³Í »Ý ³ñ¹»Ý ³é³çÇÝ ³íïáß³ñ³ëÛ³Ý Å³Ù³ÝÙ³Ý Ñ»ï ϳåí³Í ½³í»ßï³ÉÇ Çñ³íÇ׳ÏÝ»ñÁ: êñ³ÝÇó ³é³ç` 1974-ÇÝ é»ÅÇëáñÁ Ýϳñ³Ñ³Ý»É ¿ñ §Ø³ñ¹Ý úÉÇÙåáëÇó¦ ÏÇÝáÝϳñÁ` ¿ùëó»ÝïñÇÏ, ÙÇ³Å³Ù³Ý³Ï ùݳñ³Ï³Ý ÙÇ ý³Ýﳽdz, áñÇ ¹»åù»ñÁ ï»ÕÇ »Ý áõÝ»ÝáõÙ Çñ³Ï³Ý ù³Õ³ùáõÙ: üÇÉÙÇ ï³ñûñÇÝ³Ï Ñ»ñáëÇ Ý»ñßÝãí³Í Ï»ñå³ñÁ Ù³ñÙݳíáñ»É ¿ γñ»Ý æ³Ý·ÇñÛ³ÝÁ: ²Û¹åÇëáí, ¸ÙÇïñÇ Î»ë³Û³ÝóÇÝ Ñ³ïáõÏ ¿ñ ¿ùëó»ÝïñÇÏ ÑáõÙáñÁ: ܳ ëÇñáõÙ ¿ñ ³Ýß³ñÅáõÃÛáõÝÇó ³Ýëå³ë»ÉÇ ³ÝóÝ»É ³ñ³·ÁÝóó ß³ñÅÙ³Ý, Ýñ³ ýÇÉÙ»ñáõÙ ÛáõñûñÇÝ³Ï ¿ ݳ¨ ϳ¹ñÇ ÏáÙåá½ÇódzÝ: ²Ñ³ Ýñ³ §¼ÇÝíáñÝ áõ ÷ÇÕÁ¦ (1977)

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GOLDEN APRICOT DAILY | DAY 1&2 | 10/11 JULY | 2011

interview 5

Abbas Kiarostami ö³é³ïáÝÇ å³ïí³íáñ ÑÛáõñ ²µ³ë ødzéáëóÙÇÝ, áí Ñ»Ýó Ýáñ ¿ Å³Ù³Ý»É Â»Ññ³ÝÇó, Ù»ñ ûñ³Ã»ñÃÇÝ å³ïÙáõÙ ¿ µÝûñÇݳÏÝ»ñÇ áõ å³ï×»ÝÝ»ñÇ ¨ Ö³åáÝdzÛáõÙ Ýϳñí»ÉÇù Çñ Ýáñ ýÇÉÙÇ Ù³ëÇÝ:

documentary of the spectators of the Mona Lisa. I could see the interest and amazement of the spectators for that painting, and I think that it is due to the copies that they were drawn to it. We all have seen copies of the Mona Lisa, and if there weren’t any copies we wouldn’t have been fascinated by the painting that much. The original is unique, there is only one, but we can’t all have that one, that’s why we should appreciate the copies.’

ä³ï×»ÝÁ ϳñáÕ ¿ ÝáõÛÝù³Ý ³ñÅ»ù³íáñ ÉÇÝ»É, áñù³Ý µÝûñÇݳÏÁ ª åݹáõÙ ¿ ødzéáëóÙÇÇ §ì³í»ñ³óí³Í å³ï׻ݦ ýÇÉÙÇ Ñ»ñáëÁ` µñÇï³Ý³óÇ ·ñáÕ æ»ÛÙë ØÇÉÉ»ñÁ: ²ÛÝ Ù³ëÇÝ, áñ Ï»ÕÍÇùÁ ϳñáÕ ¿ ÝáõÛÝù³Ý Ñ»ï³ùñùñ³Ï³Ý ÉÇÝ»É, áñù³Ý ×ßÙ³ñÇïÁ, ødzéáëóÙÇÝ ³Ý¹ñ³¹³ñÓ»É ¿ ݳ¨ Çñ í³í»ñ³·ñ³Ï³Ý Close-up ýÇÉÙáõÙ (1990), áñï»Õ ²ÉÇ ³ÝáõÝáí ÙÇ Ù³ñ¹ Ó¨³óÝáõÙ ¿ ǵñ¨ ÇÝùÁ é»ÅÇëáñ ¿ª ØáÑë»Ý سËٳɵ³Ã ³ÝáõÝáí:

In a crucial scene in Certified Copy writer James Miller states that there are no fixed references if you want to write about art. But are there any fixed reference points in real life? Miller cites the example of the artist who puts something ordinary into a museum and turns it into art. Only your look has changed, not the object itself.

Kiarostami: ‘Nietzsche also said the value is in the eye of the beholder. It’s our look that can transform anything into a work of art or into anything else.’

²µ³ë ødzéáëóÙÇÝ ÷³é³ïáÝÇ ûñ³Ã»ñÃÇÝ ïí³Í ѳñó³½ñáõÛóáõÙ ³ëáõÙ ¿. §Ø»Ýù ãå»ïù ¿ å³ï×»ÝÝ»ñÇÝ í»ñ³µ»ñí»Ýù ǵñ¨ ëáëÏ å³ï×»ÝÝ»ñÇ, å»ïù ¿ Éáõñç í»ñ³µ»ñí»É, ù³ÝÇ áñ ¹ñ³Ýù ϳñ¨áñáõÃÛáõÝ áõÝ»Ý: ä³ï×»ÝÝ»ñÁ ³ñŨáñáõÙ »Ý µÝûñÇݳÏÁ. Ýñ³Ýó ßÝáñÑÇí »Ý µÝûñÇݳÏÝ»ñÝ ³í»ÉÇ Ù»Í áõß³¹ñáõÃÛ³Ý ³ñųݳÝáõÙ: úñÇݳÏ` »ë ÙÇ í³í»ñ³·ñ³Ï³Ý ýÇÉÙ ¿Ç Ýϳñ³Ñ³ÝáõÙ Øáݳ Èǽ³ÛÇ »ñÏñå³·áõÝ»ñÇ Ù³ëÇÝ: Æ٠ϳñÍÇùáí ³Ûë ÝϳñÇ Ñ³Ý¹»å Ù³ñ¹Ï³Ýó Ñ»ï³ùñùñáõÃÛáõÝÝ áõ ÑdzóÙáõÝùÁ Ñ»Ýó å³ï×»ÝÝ»ñÇ ßÝáñÑÇí ¿: ´áÉáñë ï»ë»É »Ýù Øáݳ Èǽ³ÛÇ å³ï×»ÝÝ»ñÁ, »Ã» ¹ñ³Ýù ãÉÇÝ»ÇÝ, Ù»Ýù µÝûñÇݳÏáí ³Û¹ù³Ý Ñdzó³Í ã¿ÇÝù ÉÇÝÇ: ´ÝûñÇݳÏÁ ÛáõñûñÇÝ³Ï ¿ ¨ Ù»ÏÝ ¿, ¨ ³ÛÝ ãÇ Ï³ñáÕ ÉÇÝ»É µáÉáñÇÝÁ. ³Ñ³ û ÇÝãáõ å»ïù ¿ ϳñ¨áñ»É å³ï×»ÝÝ»ñÁ¦:

Kiarostami has often told about the importance of changing your way of looking, for example in his film Ten on 10 (2004). He doesn’t judge people, and gives the viewer a lot of room to look in their own way. ‘Because when you’re not judging, you can give value to the things we have.’ The things we overlook, and not appreciate enough. ‘It’s an epidemic that everybody thinks that the value exist in something that you don’t possess, because as soon as you possess something, the value starts to diminish. I’m not only talking about art but I’m talking of valuing each other. Certified Copy is more about human relations.’

§ì³í»ñ³óí³Í å³ï׻ݦ ýÇÉÙÇ Ï³ñ¨áñ ï»ë³ñ³ÝÝ»ñÇó Ù»ÏáõÙ ·ñáÕ æ»ÛÙë ØÇÉÉ»ñÁ åݹáõÙ ¿, áñ ³ñí»ëïáõÙ Ñëï³Ï ã³÷áñáßÇãÝ»ñ ãϳÝ: ÆëÏ ÙDZû Çñ³Ï³Ý ÏÛ³ÝùáõÙ Ï³Ý ³Û¹ Ñëï³Ï ã³÷áñáßÇãÝ»ñÁ: ØÇÉÉ»ñÁ µ»ñáõÙ ¿ ÙÇ ³ñí»ëï³·»ïÇ ûñÇݳÏ, áñÁ ß³ï ëáíáñ³Ï³Ý ÙÇ ·áñÍ Ã³Ý·³ñ³ÝáõÙ óáõó³¹ñ»Éáí` ³ÛÝ í»ñ³ÍáõÙ ¿ ³ñí»ëïÇ ÇëÏ³Ï³Ý ·áñÍÇ: öáËíáõÙ ¿ ÙdzÛÝ Ù»ñ ÁÝϳÉáõÙÁ, ¨ áã û ûµÛ»ÏïÁ: ødzéáëóÙÇ. §ÜÇóß»Ý ³ëáõÙ ¿ñ, áñ ³ñŨáñáõÙÁ ëáõµÛ»ÏïÇí ѳëϳóáõÃÛáõÝ ¿: Ø»ñ ÁÝϳÉÙ³Ý ßÝáñÑÇí ¿, áñ ó³Ýϳó³Í µ³Ý ϳñáÕ ¿ ³ñí»ëïÇ ·ÉáõË·áñÍáóÇ Ï³Ù áñ¨¿ ³ÛÉ µ³ÝÇ í»ñ³Íí»É¦: ødzéáëóÙÇÝ Ñ³×³Ë ¿ ³Ý¹ñ³¹³ñÓ»É ï»ë³ÝÏÛáõÝÁ ÷áË»Éáõ ϳñ¨áñáõÃÛ³ÝÁ, ûñÇݳÏ` Çñ Ten on 10 (2004 Ã.) ýÇÉÙáõÙ: ܳ ãÇ ¹³ïáõÙ Ù³ñ¹Ï³Ýó ¨ ÁÝϳÉÙ³Ý Ù»Í ³½³ïáõÃÛáõÝ ¿ ï³ÉÇë: àñáíÑ»ï¨ §»ñµ ã»ë ¹³ïáõÙ, ϳñáÕ³ÝáõÙ »ë ³ñŨáñ»É áõÝ»ó³Í¹¦ª ³ÛÝ ³Ù»ÝÁ, ÇÝã Ù»Ýù ³Ýï»ëáõÙ ¨ µ³í³Ï³Ý³ã³÷ ã»Ýù ·Ý³Ñ³ïáõÙ: §Ð³Ù³×³ñ³ÏÇ å»ë ÙÇ µ³Ý ¿, áñ Ù³ñ¹ÇÏ Ï³ñÍáõÙ »Ý, û ³ñÅ»ù³íáñ ¿ ÙdzÛÝ ³ÛÝ, ÇÝãÁ ù»½ ãÇ å³ïϳÝáõÙ, ¨ Ñ»Ýó ùáÝÝ ¿ ¹³éÝáõÙª ëÏëáõÙ ¿ ³ñÅ»½ñÏí»É: ºë ³ñí»ëïÇ Ù³ëÇÝ ã»Ù ËáëáõÙ, ËáëáõÙ »Ù Ù»Ïë ÙÛáõëÇ ³ñÅ»ùÁ ѳëϳݳÉáõ, Çñ³ñ ·Ý³Ñ³ï»Éáõ Ù³ëÇݦ: §ì³í»ñ³óí³Í å³ï×»Ýݦ ³í»ÉÇ ß³ï Ù³ñ¹Ï³ÛÇÝ Ñ³ñ³µ»ñáõÃÛáõÝÝ»ñÇ Ù³ëÇÝ ¿: Üñ³ ýÇÉÙ»ñáõÙ Ñ³×³Ë Ù³ñ¹ÇÏ óáõÛó ã»Ý ï³ÉÇë Çñ»Ýó Çñ³Ï³Ý ¹»ÙùÁ (ÑÇß»Ýù §ø³ÙÇÝ Ù»½ ÏùßǦ ýÇÉÙÇ ÑÝ¿³µ³ÝÇÝ, ϳ٠Close-up-Ç Ø³Ëٳɵ³ýÇÝ): §ì³í»ñ³óí³Í å³ï×»ÝáõÙ¦ »ñÏáõ ëÇñ³Ñ³ñÝ»ñÁ ˳ÕáõÙ »Ý ÙÇ ¹»ñ, áñÁ Ù»½ ѳٳñ ³ÝѳëϳݳÉÇ ¿: ødzéáëóÙÇ. §ºë ã»Ù ϳñáÕ å³ï³ëË³Ý»É ÇÙ Ñ»ñáëÝ»ñÇ Ñ³ñ³µ»ñáõÃÛáõÝÝ»ñÇ µÝáõÛÃÇ Ù³ëÇÝ Ñ³ñóÇÝ, ù³ÝÇ áñ ã·Çï»Ù, û ÇÝã »ù ï»ë»É ýÇÉÙáõÙ: ²ÛÝ, ÇÝã ï»ë»É »ù, ¹³ñÓÛ³É Ý³ÛáÕÇ ³ãù»ñáõÙ ¿: Ê³Õ ¨ ÷³ëï, Çñ³Ï³ÝáõÃÛáõÝ ¨ Ï»ÕÍÇùª ëñ³Ýù »Ý ÇÙ ýÇÉÙ»ñÇ ÑÇÙÝ³Ï³Ý Ã»Ù³Ý»ñÁ¦: §ºë ÇÙ ýÇÉÙ»ñÇ Ù³ëÇÝ Ï³ñÍÇù ѳÛïÝ»É ã»Ù ϳñáÕ. ã»Ù ϳñáÕ ¹Çï»É ³ÛÝå»ë, ÇÝãå»ë ¹áõù: ÆÝÓ áñáß Å³Ù³Ý³Ï ¿ å»ïù, áñå»ë½Ç ϳñáճݳ٠¹ñ³Ýù Ýáñ ѳ۳óùáí ÁÝϳɻÉ: ¶áõó» »ñµ »ë ÙÇ »ñÏáõ ýÇÉÙ ¿É Ýϳñ³Ñ³Ý»Ù, ³ñ¹»Ý áã ³Û¹ù³Ý ëñï³ó³í í»ñ³µ»ñÙáõÝùáí Ïí»ñ³¹Çï»Ù §ì³í»ñ³·ñí³Í å³ï×»ÝÁ¦: ´³Ûó ÑÇÙ³ »ë ß³ï Ùáï »Ù ýÇÉÙÇÝ ¨ ã»Ù ϳñáÕ ³ÛÝ ûï³ñ ѳ۳óùáí ÁÝϳɻÉ: ºñµ»ÙÝ »ñϳñ Å³Ù³Ý³Ï ¿ å³Ñ³ÝçíáõÙ, ÙÇÝ㨠»ë ϳñáÕ³ÝáõÙ »Ù ÇÙ ýÇÉÙ»ñÁ ¹Çï»É ѳݹÇë³ï»ëÇ ³ãù»ñáí: úñÇݳÏ` §Ð³å³É³ëÇ Ñ³-

Often in his films, people don’t show their original face (think of the archaeologist in The Wind Will Carry Us (1999), and the Makhmalbaf copy in Close-up). Also in Certified Copy the two ‘lovers’ play a role we can’t decipher. Kiarostami: ‘I can’t give anyone an answer to the status of their relationship, I can’t tell you what you have seen in the film.

What you have seen is, again, in the eye of the beholder. Game and fact, real and fake, is the subject of most of my films.’

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Guest of honor Abbas Kiarostami talks about his Certified Copy, his new puzzle film about copies and originals, and his new project in Japan.

In the first foreign language film of the Iranian maestro Abbas Kiarostami Certified Copy (Copie conforme, 2010), people are not who they appear.

We have to constantly change our way of looking when observing the two protagonists of Certified Copy, the opening film of the Golden Apricot Film Festival.

The latest film of Abbas Kiarostami is full of roll games that serve as a brainteaser. In Certified Copy Juliette Binoche and William Shimell play a gallery owner and a British writer in Tuscany who pretend to be a couple. Or are they really a couple, who act as if they first meet each other? The confusion increases as they switch between game and fact, between real and fake, as they are talking about copies and originals in art.

A copy may have as much value as the original, argues the British writer James Miller in the opening scene of Certified Copy. The belief that fake can be as interesting as the real thing is part of all Kiarostami’s work, particularly in his fictional documentary Close-up (1990), where we follow a man named Ali who’s pretending that he is the filmmaker Mohsen Makhmalbaf.

Abbas Kiarostami, just arrived from Teheran, tells the Golden Apricot Daily: ‘We shouldn’t take copies for granted, we should also consider them, because they are of value. Copies give credit to the original: because of the copies the original work gets more attention. For example, I was making a

‘I didn’t see Certified Copy again. I cannot judge my films, I can’t see them the way you do. I need more time to review it, maybe if I made another film and then another film, I can go back again and see the film without any information, any judgement. But now I’m too close to the film to see it. It takes a long time before I can view my films as a spectator. For example, I saw The Taste of Cherry (1997) about 12 years ago. Because it’s one of my most personal films, I can’t see it yet.’

His next project is going to be shot in Japan.

‘We’ll start filming in October. It’s a love story, but not in an ordinary way. The ideas that I have for my next film are like a baby in a mother’s womb, they are developing, and we shall see what comes out.

But there will be similarities to my previous work, because I am the one who’s making it. Nothing is new, I tell the same story in different forms and ways. This time, I write everything down in a script, because when you’re working with the Japanese it’s very difficult to shoot spontaneously. They want to know everything beforehand, every detail, about the actors and people in front of the camera.

First they have to know if an actor comes from the left or from the right door at an exact time. If you said that will happen at seven, then you have to come at seven exactly, at the left door. So I write this down for them, but then I’ll ask the actor during the shooting to come from the right. I know that during the shooting I can change the things I want.

I like to be unpredictable.”

Mariska Graveland Certified Copy (Abbas Kiarostami, 2010, France/Italy).

10-7, 20:00, Moscow Cinema, Red Hall.

GOLDEN APRICOT DAILY | DAY 1&2 | 10/11 JULY | 2011

6 reviews

Riding a bike without brakes The Boy Mir (Phil Grabsky, 2011). 11-7, 11:00 and 18:00, Puppet Theatre, Small Hall.

An ordinary boy living in a extraordinary time, that’s how British documentary filmmaker Phil Grabsky describes Mir, the 8 year old boy who leaned into the frame of the camera on the first day of Grabsky’s arrival in Afghanistan. Grabsky travelled to Afghanistan to see for himself how this shattered land would pull itself together. By coincidence he encounters Mir’s family, and followed them for over ten years. Grabsky carefully switches between the reality of the newspapers and the consequences for Mir’s life, and in so doing knows how to give the anonymous victims of the messy war a vivid face.

Fleeing both the Taliban and drought in their village in the north, Mir’s family had arrived as refugees in Bamiyan. ‘If you stuck a donkey here it would run away, yet this is government property’, describes one of the family members their new ‘home’. The international community pledges 4 billion dollars in aid, but people have to fight over the food and drink, that’s constantly being snatched.

Over 200 refugee families live in Bamiyan’s caves.

100 families receive new houses. Mir’s family is not one of them. With no house, infrequent aid and little work, Mir’s family decides to leave Barmiyan. They return to their home village in the north.

A few years later, 2002-2005. Mir wants to become a headmaster, while the radio reports a dazzling news flow: ‘a thousand extra troops, the death of an Italian soldier and a young Afghan, US military officials have expressed concern about the ongoing fighting, a suicide bomb has exploded in Kabul killing 12 and injuring 22. The Taliban has claimed responsibility...’ In the meantime Mir can’t attend school, because he has to work in the coalmines, as a 13 year old boy.

It’s 2008, and an English voice on the radio is telling us that ‘we know it’s not getting better in Afghanistan, it’s getting worse’. Mir is a big boy now and is riding a bike – without brakes, a succinct metaphor for the situation in Afghanistan, you might say.

One year later we see teenager Mir riding a scoot-

documentary competition

er. He borrowed a mobile phone to call the girls in Kabul – teenage life goes on, whatever happens. But the telephone reception is so bad he has to go to another mountain to get connected. Back home the connection between the family members is getting worse too. Mother is sick and doesn’t get her medicine from

Pop-art from Romania The World according to Ion B. (Alexander Nanau, 2009, Romania). 10-7, 13:00 and 20:00, Puppet Cinema, Small Hall.

The Mexican Mussolini The General (Natalia Almada, 2009, Mexico).

11-7, 12:00 and 20:00, Puppet Theatre, Red Hall.

Ego documentaries dealing with the filmmaker’s family have become a very popular subgenre. But that they can still feel very fresh is proven by The General, directed by the great granddaughter of the Mexican General Calles. He was called the Mexican Mussolini, the Latin American Lenin, the priestburner – Calles was furiously anti-clerical.

The General is inspired by six hours of audiocassette recordings that the filmmaker’s grandmother made about her life as daughter of Plutarco Elías Calles, a general in the Mexican Revolution and president of Mexico from 1924 to 1928.

‘Considering that everyone thought my father was an imposing despot, I’m trying to make you see the image of General Calles as I see him, as a father, as a Mexican, as a man’, his daughter said. She never finished her father’s biography, so her granddaughter, the filmmaker Natalia Almada, is left with the tapes.

This intriguing documentary alternates between her grandmother’s fractured memories of her father, a contentious figure in Mexico’s history, and her present-day wanderings through Mexico City, where she meets raincoat sellers and women who are constantly winding toys as a job.

Alamada’s eloquent essayistic observations are mixed with a lot of interesting facts. In her greatgrandfather’s archives, Almada found a letter from the Soviet filmmaker Eisenstein who traveled to Mexico in 1930 to make his film Que Viva Mexico. The Mexican Revolution had captivated his imagination.

For the ending he asked Calles to supply 350 infantry soldiers, 50 cavalrymen and artillerymen, 10 landmines and a military train for 5 days. But Eisenstein ran out of money and never finished the film.

The General is both a family memoir and a portrait of Mexico then and now. How do we reconcile the contradictions between our personal family memories and our country’s collective memory?

How is this memory and history fabricated? Almada cites the narrator of the film Sans soleil by Chris Marker, ‘We do not remember, we rewrite memory, much as history is rewritten.’ Making films like The General is a way of remembering and creating a memory where one is absent. MG

Stranger than fiction, they say about life. The thought may cross your mind when watching Alexander Nanau’s bittersweet documentary The World according to Ion B. Ion Barladeanu is a sixty something homeless man living in an alley next to an apartment building in Romania’s capital Bucharest. For decades he’s kept to himself, trying to avoid the communist secret police of Ceausescu’s regime. His life suddenly takes a dramatic turn when gallery owner Dan Popescu accidentally discovers some 800 collages Ion B. put together with magazine clippings, capturing anything from international pop culture to Romanian politics. A form of expression not allowed under communist rule but now a pop-art goldmine. So Popescu decides to introduce Ion B. to the international art-scene.

Through Barladeanu’s collages and stories we catch glimpses of Romania’s turbulent communist past, but Nanau’s documentary doesn’t seem primarily concerned with opening up historical vistas.

The camera stays focused on Ion B. and his personal memories, accompanying him when he eventually visits his rural childhood village.

The newly found artist himself seems to reluc-

her shouting husband, and Mir skips school too often.

One of the last things we hear from him is when he says in June 2010 that ‘we did not benefit from the foreign troops, rather they leave us alone.’ The time when the innocent boy hoods the donkeys, who don’t do what he tells them, is definitively over. MG

tantly enjoy the attention, even when it’s obvious he can’t just shed his suspicions that this absurd story is not really happening. Stylistically conventional but emotionally heart-warming, Nanau’s portrait serves up a mix of troubled national en personal histories and somehow seems to point to all the hidden stories to be found just around the corner. RR

directors across borders

Ardant with the Roma Absent Dreams (Fanny Ardant, 2010, France/Portugal/Romania). 11-7, 20:00, Moscow Cinema, Red Hall.

French actress Fanny Ardant is the guest of the Golden Apricot Film Festival 2011 and along with her charm, she brings two films where she sat on the director chair. Ashes and Blood from 2009 is her first feature film as a director. The second film that will be shown is Absent Dreams. It is part of a longer feature project Then and Now — Beyond Borders and Differences, composed of seven short films by Idrissa Ouedraogo from Burkina Fasso, Iranian director Jafar Panahi, Masbedo (an amalgam from the names of two Italian video artists), Portuguese Tata Amaral, Huseyin Karabey from Turkey and Robert Wilson from the United States in addition to Ardant. The common inspiration for all eight directors was article 18 of the Universal Declaration of Human Rights: ‘Everyone has the right to freedom of thought, conscience and religion’. Each film is based on the themes of non-violence, tolerance and respect for differences.

In Absent Dreams Ardant was both before and behind the camera that was pointed towards the Roma community in Italy, conveying a message of tolerance and call for freedom. Another noteworthy short is Karabey’s animation based upon Rakel Dink’s speech at Hrant Dink’s funeral, the wife of Turkish writer and activist of Armenian descent killed in 2007. The première was held on March 7 at the International Film Festival and Forum on Human Rights (FIFDH) in Geneva in the presence of the directors Fanny Ardant and Huseyin Karabey, as well as of Mrs Rakel Dink. EK

GOLDEN APRICOT DAILY | DAY 1&2 | 10/11 JULY | 2011

films and makers 7

þHuman issues that trouble and delight usþ Artistic director Susanna Harutyunyan In a way a film festival has to reinvent itself for each new edition. Famous directors are always a major source of attraction but the audience also has to be tempted to come and see new films, to experience cinema from another perspective. The eighth edition of the Golden Apricot International Film Festival certainly has changed focus from previous years, explains artistic director Susanna Harutyunyan just one day before Sunday evening’s official opening.

‘Traditionally the festival is focused on European cinema. But when I visited Locarno last year I saw 8,000 people watching a film from Kyrgyzstan and I realised we as a festival have to shift our focus to the countries in the region. It’s part of an important and vital discussion on identity.

Armenia’s culture has strong European influences but our neighbouring countries are part of that heritage as well. We celebrate this in our Cinema of CIS Countries, Twenty Years of Independence program. After eight years of hard work we’re well connected to festivals and filmmakers all over the world. Now it’s time to also explore the cinema that is made directly around us.’

‘And we have other neighbours as well. Iran and Turkey are also part of that shared history. So we’re very happy to be able to welcome Iranian director Abbas Kiarostami for presenting his opening feature Certified Copy. For the second time I might add, because he also visited the second edition of the festival in 2005. As for Turkey, each year several Turkish directors visit the festival – Reha Erdem even won the top prize last year for Kosmos – and this year

Nuri Bilge Ceylan will accompany the screening of his award winning Once Upon a Time in Anatolia.

This festival is one of the few places where our relationship with our Turkish neighbours is discussed in a free and open spirit. Things certainly have changed over the years in that regard.’

What didn’t change, Susanna Harutyunyan says, is the festival’s focus on human issues.

‘Action films and science fiction can be seen elsewhere all year round. The festival intents to show what troubles and delights us in our everyday lives, what motivates and enriches us. But to be able to present those films is hard work for the festival. Sponsors and other sources of income are increasingly hard to find. Contracts are often signed in February while we have to invite directors and book films at least a year in advance.’

With three times as many Armenians living abroad as there are in the country itself The Golden Apricot Film Festival aims to be a vibrant showcase of films by Armenian filmmakers, Harutyunyan says. ‘Even though each year we have intense discussions about which films should be included. Usually we just focus at artistic achievement. But in this section, that includes documentaries, short films and feature films, nationality steers the selection. Admittedly, that doesn’t always deliver the strongest films. But for us it’s very important to keep in touch with all these filmmakers and to provide them with a platform that enables them tot stay in touch with each other.’ RR

Opening Guests On Sunday evening at 20:00 pm, the great Iranian director Abbas Kiarostami will attend the opening of the 8th edition of the Golden Apricot International Film Festival.

For an interview with Kiarostami, see page 5 of the Golden Apricot Daily. The French actress and director Fanny Ardant will also be present at the opening ceremony. At 13:00 she will give a press conference in the Red Hall of Moscow Cinema. Her feature film Ashes and Blood (2009) and short film Absent Dreams (2010) will be shown at the festival on Monday.

Before the opening, there’s a free jazz concert in the open air at Charles Aznavour Square at 18:00 pm. An hour later the Red Carpet in front of the Moscow Cinema will be busy with (international) guests and invitees to the opening.

Blessed Apricots No Golden Apricot Film Festival is complete without the Blessing of the Apricots. Buses will be ready in front of the Golden Tulip Hotel, Sunday at 14:30 pm, to transport festival guests to the St. Zoravor Church.

Directors Across Borders The festival’s co-production forum Directors Across Borders (DAB) will be opened on Monday, at 14:00 pm in Hotel Ani, Dvin Hall.

Master Class Natalia Almada, director of the Mexican documentary The General (see page 6), will give a master class on Monday, at 14:30 pm at YSITC.

French Film Day Abbas Kiarostami and Juliette Binoche on the set of Certified Copy

The eccentric humor of Dmitry Kesayants

Dmitry Kesayants’ (1931-2001) brilliant short-length debut The Master and his Servant (1962; based on a fairytale by Hovhannes Tumanyan) was one of the films that was instrumental in securing the ascent of Armenian cinematography in the 1960s. Before to proceed to full-length films he made two more short films: the ironic comedy Avdo’s Car in 1966 (based on a short story by Walter Aramyan) and King Chakh-Chakh in 1969 (also based on a fairytale by Hovhannes Tumanyan) – all three shorts, full of his typical eccentric humor, are shown on Monday in the Red Hall of Moscow Cinema.

Avdo’s Car had all features to become an important achievement in Armenian cinematography, but state-appointed censors appeared unable to evaluate the director’s idea correctly, and went as far as to subject it to sweeping criticism, thus blocking Kesayant’s creative advancement.

Nonetheless, he proceeded with his work, but at a lower flying height.

Avdo’s Car was a joke-like grotesque, reflecting the permanent struggle between the new and the old. The short film is about coachmen in Yerevan who in the 1920s hatched a ridiculous and absurd conspiracy against Avdo, the first driver of an automobile in the Armenian capital, whom they viewed as their major competitor. The coachmen succeed in disabling the first ‘iron horse’ in Yerevan.

Kesayants was a graduate of the Moscow State Institute of Cinematography (VGIK) and a student of the famous director Grigory Kozintsev. SG The Master and his Servant.

11-7, 16:00, Moscow Cinema, Red Hall Avdo’s Car. 11-7, 16:25, Moscow Cinema, Red Hall King Chakh-Chakh. 11-7, 17:00, Moscow Cinema, Red Hall

On Monday it’s French Film Day. It kicks of at 18:00 pm with a screening of Bertrand Tavernier’s The Princess of Montpensier (2010) at Moscow Cinema, Red Hall. A retrospective of four Tavernier films will be shown during the festival.

Tributes On Monday there are tributes to French actress and director Fanny Ardant, who will be present at the screening of her feature film Ashes and Blood (2009) and short film Absent Dreams (2010). It starts at 20:00 in the Red Hall of Moscow Cinema.

Another tribute will be given to Armenian director Dmitry Kesayants, who died exactly ten years ago, with a screening of three short films he made in the 1960s.

Yerevan Nights Yerevan Nights at Poghosyan Gardens returns this year, with an open air screening of the German film Suicide Club by Olaf Saumer at 22:00.

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Editor in chief: André Waardenburg General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan

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