Golden Apricot Daily - 2011, Day 3

DAY 3 TUESDAY JULY 12

2011

àêκ ÌÆð²Ü

Pawel Pawlikowski:

'I am a one-man Diaspora' ä³í»É ä³íÉÇÏáíëÏÇ.

ÆÝùë ÇÝÓÝáí ë÷Ûáõéù »Ù

Pawel Pawlikowski

ºñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³. §ØÇ ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ¦

Interview

§ä³ñ½ Ãí»ñÇ Ù»ÝáõÃÛáõÝÁ¦, §²Ù³é³ÛÇÝ ³ñáï³í³Ûñ¦

Curling, The Tree, Europolis, Sweet Evil

гñó³½ñáõÛó. ä³í»É ä³íÉÇÏáíëÏÇ

Summer Pasture, CIS Film Programme

GOLDEN APRICOT DAILY | DAY 3 | 12 JULY | 2011

2 Íñ³·Çñ/programm 12 ÑáõÉÇëÇ/ 12 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 10:00 òÇñáõó³Ý »Õ³ÍÝ»ñÇ ù³Õ³ù/City of the Scattered àõÛ·³ñ ²ë³Ý/Uygar Asan, Tur, 85', DAB

ØáëÏí³ ÏÇÝáóïñáÝ, öáùñ ¹³ÑÉÇ× Moscow Cinema, Small Hall 10:00, 18:00

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

Lang.: Italian, Subt.: English 12:30, 21:30

Lang.: German/Turkish, Subt.: English 16:00 ÈáõÛëÇ ·áÕÁ/The Light Thief ²Ïï³Ý ²ñÇÙ Îáõµ³Ã/Aktan Arym Kubat, Fra/Deu/Nld, 80', CIS

Lang.: Kyrgyz, Subt.: English and Armenian

15:00 ò³íÇ ½³í³ÏÁ/Sweet Evil úÉÇíÛ» ÎáõëÙ³Ï/Olivier Coussemacq, Fra, 90’, FC

10:00 ¨³íáñ å³ïñ³Ýù/Winged Illusion î³Ã¨ Æë³Ë³ÝÛ³Ý/ Tatev Isakhanyan, Arm, 24', SC

Lang.: French, Subt.: English and Armenian

Lang.: Turkish, Subt.: English 12:00 лé³ó³ÍÁ/When We Leave ü»á ²É³¹³Õ/Feo Aladag, Deu, 119', DAB

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, Ø»Í ¹³ÑÉÇ× Puppet Theatre, Big Hall

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

γٳíáñÁ/The Volunteer ²Ýݳ ÂáíÙ³ëÛ³Ý/Anna Tovmasyan, Arm, 36', AP

Lang.: Armenian, Subt.: English Æ ßñç³Ýë Ûáõñ/Revival ¶³·ÇÏ êï»÷³ÝÛ³Ý/Gagik Stepanyan, Arm, 37', AP

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

Lang.: Armenian, Subt.: English ÈÇÙáݳñÇáõÙ/Lemonary ì³ëÇÉÇ ü»ÝÇÝ/Vasiliy Fenin, Rus, 26', SC

17:00 º½»ñù/The Edge ²É»ùë»Û àõãÇï»É/Alexey Uchitel, Rus, 119', CIS

Lang.: Russian, Subt.: English ì»ñ³¹³ñÓ/Return гñÇ Ú. è³Ýï³É³/Harri J. Rantala, Fin, 19', SC

Lang.: Russian, Subt.: English 19:30 ØÇ ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ/ Once upon a Time in Anatolia ÜáõñÇ ´ÇÉ·» æ»ÛɳÝ/Nuri Bilge Ceylan, Tur/Bih, 157', YP

Lang.: Finnish , Subt.: English 12:00 Ø»ýÇëïá/Mephisto Èáñ³Ýë ì»ëÛ»ñ/Laurence Vaissière, Fra, 15’, SC

Lang.: Turkish, Subt.: English and Armenian

Lang.: French, Subt.: English î³Ý ׳Ù÷³Ý »ñϳñ ¿/It's a Long Way Home ¶ñ»·áñÇ è»ÝïÇë/Gregory Rentis, USA/ Grc, 8', SC

11:30, 21:00

̳éÁ/The Tree ÄÛáõÉÇ ´»ñïáõã»ÉÉÇ/Julie Bertuccelli, Deu/Fra/Ita/Aus, 100', FC

Lang.: English 14:30

18:00 ÎÛ³ÝùÇó µ³óÇ, áõñÇß áãÇÝã/ Life and Nothing But ´»ñïñ³Ý î³í»ñÝÛ»/Bertrand Tavernier, Fra, 135', R

Lang.: French, Subt.: English and Armenian 20:30 ²Ûëï»Õ/Here ´ñ»Û¹»Ý øÇÝ·/ Braden King, USA, 120', YP

Lang.: English, Subt.: Armenian

ºÂÎäÆ/Institute of Theatre and Cinematography ø»ñÉÇÝ·/Curling ¸ÁÝÇ Îáï»/ Denis Côté, Can, 92’, FC

Lang.: French, Subt.: English and Armenian 16:30 ²Ù»Ý ÇÝã ëÏëíáõÙ ¿ ³Ûëûñ/It All Starts Today ´»ñïñ³Ý î³í»ñÝÛ»/Bertrand Tavernier, Fra, 117', R

Lang.: French, Subt.: English and Armenian 19:00 ºíñáåáÉÇë/Europolis ÎáéÝ»É ¶»áñ·Çï³/Cornel Gheorghita, Rom/Fra, 100', FC

Lang.: Romanian, Subt.: English and Armenian

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/ Naregatsi Art Institute 15:00 ÎÇÉÇÏdzÛÇ Ñ³ÛÏ³Ï³Ý Ã³·³íáñáõÃÛáõÝ/Armenian Kingdom of Cilicia гÛÏ Ð³ñáõÃÛáõÝÛ³Ý, Øáíë»ë ¶³ëå³ñÛ³Ý/Hayk Harutyunyan, Movses Gasparyan, Arm, 124', DAB

Lang.: Armenian, Subt.: English

êáõñµ ˳ãÝ ³é³Ýó ˳ãÇ/ Holy Cross Without Cross ì³Ñ³Ý ʳã³ïñÛ³Ý/Vahan Khachatryan, Arm, 60', AP

Lang.: Armenian, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 16:00

Lang.: Hebrew Subt.: English and Armenian

¸³ßݳÙáõñÁ/The Piano ȨáÝ ØÇݳëÛ³Ý/Levon Minasian, Fra/Arm, 26', AP

Lang.: Armenian, Subt.: English

Lang.: Hebrew Subt.: English and Armenian

Lang.: French, Subt.: English and Armenian

öáñÓ³éáõÃÛáõÝ/Experience ì³ñ³Ý¹ êáõçÛ³Ý/Varante Soudjian, Fra, 19', AP

17:00

Lang.: Russian ²Ý·áñÍáõÃÛáõÝÇó ¹ñ¹í³Í (ÀÝï³Ý»Ï³Ý »ñç³ÝÏáõÃÛáõÝ)/Out of Sheer Boredom (Family Happiness) ê»ñ·»Û êáÉáí Ûáí/ Sergei Solovyov, USSR, 25', FS

Ð³Û ï³ñ³·Çñ/Armenian Exile гÏáµ ¶áõ¹ëáõ½ Û³Ý/ Hagop Goudsouzian, Arm/ Can, 53',AP

16:00 ÈáñÓÝ¿³ÏÝ»ñ/Slugs سñdz ÈáõݹùíÇëÃ/Maria Lundqvist, Swe, 10', SC

No dialogues öáùñÇÏÁ/The Baby Øáѳٳ¹é»½³ гçÇ÷áõñ/ Mohammadreza Hajipour, Prt, 12', SC

Lang.: Russian Subt.: English 20:00 гٵáõÛñ/The Kiss èáÙ³Ý ´³É³Û³Ý/Roman Balayan, USSR (Ukr), 63', R

Lang.: Portuguese, Subt.: English and Armenian ì»ñ³¹³ñÓ/Return гñÇ Ú. ȳÝï³É³/Harri J. Rantala, Fin, 19’, SC

Lang.: Russian, Subt.: English

22:00 öá˳ñù³Ý»ñÁ/The Viceres èáµ»ñïá ü³»Ýó³/Roberto Faenza, Ita, 120', RG

Lang.: Finnish , Subt.: English and Armenian 17:30 ÈÇÙáݳñÇáõÙ/Lemonary ì³ëÇÉÇ ü»ÝÇÝ/Vasiliy Fenin, Rus, 26', SC

Lang.: Russian, Subt.: English î³Ý ׳Ù÷³Ý »ñϳñ ¿/It's a Long Way Home ¶ñ»·áñÇ è»ÝïÇë/Gregory Rentis, USA/ Grc, 8', SC

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 ä³ñ·¨Á/The Prize ä³áõɳ سñÏáíÇã/Paula Markovitch, Mex/Fra/Pol/Deu, 115 ', FC

Lang.: Russian ÎáÝïñ³µ³ë/Contrabass ²Ýݳ Ø»ÉÇùÛ³Ý/Anna Melikyan, Rus, 22', FS

18:00 ²ëù í³ñ¹³·áõÛÝ Ý³å³ëï³ÏÇ Ù³ëÇÝ/The Tale of a Pink Bunny ü³ñѳï Þ³ñÇåáí/Farkhat Sharipov, Kaz, 106', CIS

ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens

üñ³ÛÙ³ÝÝ»ñÇ ËáѳÝáóáõÙ/ In The Freiman's Kitchen г¹³ñ ´³ß³Ý/Hadar Bashan, Isr, 56', FS

19:00 γ¹ñ»ñ »ñÇï³ë³ñ¹ ³ëåÇñ³ÝïÇ ÏÛ³ÝùÇó/Some Scenes From the Young Post-Graduate’s Life ²Ý¹ñ»Û êÇÙáÝáí/Andrei Simonov, Rus, 24', FS

¸³ßݳÙáõñ ɳñáÕÁ/The Piano Tuner úÉÇíÛ» îñ»Ý»/ Olivier Treiner, Fra, 14', SC

Lang.: French, Subt.: English

15:00 ìáÛã»Ë سñã¨ëÏÇì³ñå»ïáõÃÛ³Ý ¹³ë/ Wojciech Marczewski-Master Class 17:00 øÝÇ Å³ÙÁ/Schlafstunde ¼¨ÇÏ ¼»ÉÇÏáíÇã/Zevik Zelikovitch, Isr, 20', FS

Lang.: English

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

Lang.: English, Subt.: Armenian ²é³íáï, ó»ñ»Ï, »ñ»Ïá, ¨ ³é³íáï/Morning, noon, evening... and morning ¶³Û³Ý» ÄÇÅÇ/ Gayaneh Jiji, Fra/Syr, 19', SC

Lang.: Arabic, Subt.: English and Armenian 19:30 ²Éáݽ³Ýý³Ý/Allonsanfan ä³áÉá î³ídzÝÇ, ìÇïïáñÇá î³ídzÝÇ/Paolo Taviani, Vittorio Taviani, Ita, 115', RG

Lang.: Spanish, Subt.: English

Lang.: Greek/Turkish, Subt.: English

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

Lang.: Hebrew/English/Arabic, Subt.: English ÎáéɳïÇ ÑáíÇïÁ/The Corlat Valley êï»ý³Ý ÈÛáõÏáÝ/ Stephane Lucon, Rom, 54',

Lang.: Russian Ò»éùÁ Ù³ÛñÇÏÇÝ Ñ³ëóÝ»É/ Reaching Out to Mama úÉ·³ îáÙ»ÝÏá/Olga Tomenko, Rus, 33', FS

Lang.: Russian

12:00 ¸³í³×³ÝÝ áõ Ýñ³ ÁÝï³ÝÇùÁ/The Collaborator and His Family èáõÃÇ Þ³ó, ²¹Ç ´³ñ³ß/Ruthie Shatz, Adi Barash, USA/Isr/ Fra, 84', DC

Lang.: Hebrew/Arabic, Subt.: English 16:00 ²ÝïáõÝÇ/Anduni-Foreign Home ê³ÙÇñ³ è³¹ëÇ/ Samira Radsi, Deu/Arm, 89', FV

Lang.: German/Armenian/ Turkish, Subt.: English and Armenian 18:00 ²Ù³é³ÛÇÝ ³ñáï³í³Ûñ/ Summer Pasture ÈÇÝ Âñáõ, Ü»ÉëáÝ àõáù»ñ III, ò»ñÇÝ· ä»ñÉá/Lynn True, Nelson Walker III, Tsering Perlo, USA/Chn, 85', DC

Lang.: Tibetan, Subt.: English and Armenian 19:30 ¸³í³×³ÝÝ áõ Ýñ³ ÁÝï³ÝÇùÁ/The Collaborator and His Family èáõÃÇ Þ³ó, ²¹Ç ´³ñ³ß/Ruthie Shatz, Adi Barash, USA/Isr/ Fra, 84', DC

Lang.: Hebrew/Arabic, Subt.: English and Armenian 21:00 Ü»ñßÝãí³Í Ñá·ÇÝ»ñ. ³É³íÇ-µ»ÏóßÇÝ»ñÁ/Canlar, Alevis/Bektashis Üáõñ¹³Ý ²ñç³/Nurdan Arca, Tur, 59', DAB

Lang.: Turkish, Subt.: English and Armenian

¶ÛáõÙñÇ, ÐáÏï»Ùµ»ñ ÏÇÝáóïñáÝ Gyumri, October Cinema 18:00 ¶Çß»ñÁ Éáõë³íáñ ¿/Night is Bright èáÙ³Ý ´³É³Û³Ý/ Roman Balayan, Rus, 95', R

Lang.: Russian, Subt.: English

General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan

гݷÇëï ûñ å³ï»ñ³½ÙÇ ³í³ñïÇÝ/A Quite Day at the End of the War ÜÇÏÇï³ ØÇ˳ÉÏáí/ Nikita Mikhalkov, USSR, 38', FS

21:00 سÛñÇÏ/Mother ÆÉ Û³ γ½³ÝÏáí/Ylya Kazankov, Rus, 20', FS

Lang.: Tibetan, Subt.: English

Editor in chief: André Waardenburg

19:30

¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

Lang.: Russian 18:30 ÆÝÝ ûñ ì³Ñ³Ã ³Éê³É³ÙáõÙ/Nine Days in Vahat Al-Salam ²Ñɳ٠ÞǵÉÇ/Ahlam Shibli, 149', DAB

10:00 ²Ù³é³ÛÇÝ ³ñáï³í³Ûñ/ Summer Pasture ÈÇÝ Âñáõ, Ü»ÉëáÝ àõáù»ñ III, ò»ñÇÝ· ä»ñÉá/Lynn True, Nelson Walker III, Tsering Perlo, USA/Chn, 85', DC

Lang.: Italian, Subt.: English and Armenian

Lang.: Russian 17:30 ØÛáõë ù³Õ³ùÁ/The Other Town Ü»ýÇÝ ¸ÇÝã/Nefin Dinç, Grc/Tur, 45’, DAB

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet Theatre, Small Hall

ÒÇóí³×³éÇ áñ¹ÇÝ/The Son of the Olive Merchant سÃÛá ¼»ÛÃÇÝçÇûÕÉáõ/ Mathieu Zeitindjioglou, Fra, 77', AP

Lang.: English/French/Turkish, Subt.: English and Armenian

Èñ³·ñáÕÝ»ñ` ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý, سñÇ Ê»ñ³ÝÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ²ñÙ»Ý Þ³ËÏÛ³Ý Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ Þ³åÇÏÇ Éáõë³ÝϳñÁ` ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ ©PanARMENIAN Photo ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ îå³·ñí³Í ¿` §ÜáÛ³Ý î³å³Ý¦ êäÀ-áõÙ

Journalists: Mariska Graveland, Evrim Kaya, Ronald Rovers Translations: Zara Safaryan, Murad Muradyan Caricature: Harutyun Chalikyan Cover photo by Vahan Stepanyan/ ©PanARMENIAN Photo Design: Gayane Grigoryan

GOLDEN APRICOT DAILY | DAY 3 | 12 JULY | 2011

ûñ³·Çñ 3 ºñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³

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GOLDEN APRICOT DAILY | DAY 3 | 12 JULY | 2011

4 ÙÇç³½·³ÛÇÝ ÙñóáõÛà ˳ճñϳÛÇÝ ýÇÉÙ»ñ

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GOLDEN APRICOT DAILY | DAY 3 | 12 JULY | 2011

interview 5

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British filmmaker and feature competition jury member Pawel Pawlikowski talks about his films and his love for strange landscapes.

Most people probably know Pawel Pawlikowski through his 2004 hit film My Summer of Love that introduced him to a large international audience. Its brooding atmosphere and increasingly tense relationship between two girls on the verge of adulthood won him and its actresses Natalie Press and Emily Blunt a slew of prizes. But by the time of his feature debut Last Resort in 2000 the British Polish director was already renowned for his outstanding documentary work. Let’s take a closer look at the man who considers every new film a dance with his collaborators and for a while worked in ‘a fool’s paradise’ at the BBC. ‘When I was 14 I left Poland. Well, I didn’t know I was actually leaving. My mother married an Englishman and took me to London. After a while I discovered we weren’t going back. But London was exciting and I liked British music so that was fine.

Later on I ended up in a horrible place in the British countryside. So I saw these two faces of England.

London as a city full of mysteries and opposite a total provincial backwater, where people didn’t have a clue about what was going on in the outside world.’

So Pawlikowski went to Germany where his father had landed after having escaped to Western Europe and ended up in Wuppertal, ‘the place Wim Wenders immortalised twice.’ Eventually he left, lived for two years in Italy and came back to England.

As for languages and moving, the man who speaks English, Italian, French, Russian and German and some Serbo-Croatian and Spanish admits he’s reached the point of saturation. ‘At a certain age the place you live is no longer part of your identity. Your life’s achievements like children and work become more important. I know roots are important for a place like Armenia, where many people live outside the country they came from. But I’ve always considered myself an outsider, a world citizen, even though you could consider me a one-man Diaspora.’

In Oxford, where he studied Literature, he joined a filmmaker’s workshop out of boredom. To his own surprise his work didn’t go unnoticed and he came into contact with the BBC, back then ‘a slightly ramshackled gentlemen’s club.’ Novelist, screenwriter and playwright Nigel Williams brought him to the company and gave Pawlikowski the freedom to play around. ‘It was the time when the ratings

weren’t the alpha and omega of television making.

It was also the time of very long lunches that we used as brainstorms, paid for by the British public. Scandalous. For five years I worked in a fool’s paradise. Whatever idea I got in my head, the BBC provided some money for. That was my real film school.’ So he started making documentaries.

Then the awards came. Moscow Pietushki, a poetic journey into the world of Russian cult writer Venedikt Erofeev, won an Emmy and a Prix Italia, amongst others. It was followed by Dostoevsky's Travels, a tragicomic road movie with the only living descendant of Fyodor Dostoevsky, as he travels rough around Western Europe to raise money to buy a second hand Mercedes. The highly acclaimed Serbian Epics (1992) showed the Serbian war cabinet at the height of the Bosnian War. ‘We just used one camera on a tripod and you could see the whole row of faces in that one shot. The balance of power within the cabinet became immediately clear: Mladic ruled and Karadzic wasn’t taken seriously at all.’ For the absurdist Tripping with Zhirinovsky Pawlikowski joined Russian would-be dictator Zhirinovsky on a surreal boat journey down the Volga. It earned him the Grierson award for the Best British Documentary in 1995.

Back home things went less smoothly. ‘In 1995 the BBC got shaken up when the accountants took over. I didn’t get sacked but it became a hostile environment. The ratings became all powerful. One day I came into my office, which I hardly ever visited, and two accountants had moved in.’ Fool’s paradise was no more. That change in atmosphere made the director look for other forms of expression, which led to his first feature Last Resort.

What strikes the viewer in Pawlikowski’s films is his love for strange landscapes, as he puts it. There’s a strong sense of environment. ‘But it’s not about pretty landscapes. I want landscapes that can express a state of mind. Like in my documentaries I’m looking for landscapes that are rich in history but also show a sort of vacuum. My quest is to dramatize that vacuum.’

‘When I saw the landscape I used in Last Resort for the first time I had a feeling that this was the end of the road. I felt a total lack of love. Those feelings I tried to show in the film. Lots of people thought the film was documentary-like but it was completely stylized.’

‘That style came from Twockers, which I made two years earlier in 1998, where I’d tried to create a strange reality. I used wide shots combined with intense close-ups. I avoided the medium shots that in traditional storytelling are used to reveal the plot.

This way we really got inside the main characters, while the wide shots created atmosphere out of the landscape.’

The same method – a few characters and a landscape – Pawlikowski used in My Summer of Love.

Though the film’s a book adaptation, he started out with basic thoughts on the moral and erotic possibilities of having this intense friendship between two girls and went from there. The landscape took him six months to find, which again stresses the importance of it in Pawlikowski’s films.

The director just finished his latest film The Woman in the Fifth, with Kristin Scott Thomas and Ethan Hawke that is set in Paris. Not the ‘creamy white Paris that’s full of itself,’ as he puts it, ‘but the ambiguous Paris that can express a mental state.

Which proved very hard to find.’ It’s a book adaptation, but again only certain elements from the book are used. ‘I like building storied from basic elements and not let plot get in the way of the characters. Just see what happens in front of the camera and take it from there.’

His films, as he says, often express a mental state but they’re also about loveless-ness. ‘Love and religion are the two possibilities for transcendence directly accessible to humans. My new film is also about love. But not romance. I don’t like social observations. They’re too mechanical. I’m looking for something else. I just love showing people wanting the impossible. AW/RR Pawel Pawlikowski has his own website where you can download for free most of his documentaries and watch some film clips. www.pawelpawlikowski.co.uk

GOLDEN APRICOT DAILY | DAY 3 | 12 JULY | 2011

6 reviews feature competition

Destruction and reincarnation The Tree (Julie Bertuccelli, 2010, France/Australia).

12-7, 12:30 and 21:30, Moscow Cinema, Blue Hall.

A mighty fig tree that cracks in its bark forms the simultaneously terrifying and comforting core of The Tree, the Australian film by French director Julie Bertuccelli. After Depuis q'Otar est parti... she again made a beautiful film, this time on destruction and reincarnation.

Although The Tree deals with spiritual matters, it remains rooted firmly in the earth, just like the tree from the title. The film is as down to earth as the Australian outback family that gets a big blow to endure: the father/husband dies and each family member has to cope with his death in his or her own way. While mourning, anger and loneliness are woven through the film, this book adaptation never gets too dramatic, even when it explores esoteric matters: the film suggests that the father was reincarnated into the mighty tree in the garden. Bertuccelli knows how to mix big drama with sobriety and brings the idea with enough finesse to even engage the more skeptical viewer. The steps the young widow takes to move towards independence – by taking a job as a secretary of a plumber and by falling in love with him – are followed closely and give the film solid ground. The fine acting by Charlotte Gainsbourg (Antichrist) keeps The Tree straight on its feet.

The old tree in the yard and its swaying branches crack when a hurricane races across the country.

This devastating storm is the dramatic culmination of the mourning process and is very exciting to watch.

Destruction and reincarnation are united, whereby the grand gesture is not shunned. Meanwhile the daughter clings to the tree and refuses to come down, because she heard her father’s voice in it. The storm does not end her stubbornness. She wants to go to the bitter end. We ultimately understand why she does this act of despair. MG

Sweet as Pepper Sweet Evil (Olivier Coussemacq, France, 2010).

10-7, 13:00, Moscow Cinema, Blue Hall; 12-7, 15:00, Nairi Cinema; 15-7, 19:00, Moscow Cinema, Blue Hall.

Set in the French province, Olivier Coussemacq’s debut Sweet Evil follows an unpretentious story of adolescence salted with classstruggle. When the prosperous middle aged Van

The Long Goodbye Curling (Denis Côté, Canada 2010). 12-7, 14:30, Moscow Cinema, Blue Hall; 14-7, 15:00, Nairi Cinema.

Curling is an absolute must-see. Its setting and actions are remarkably modest – not a lot is happening, even director Denis Côté himself stated in an interview – but its emotional reach is profound, even mysterious.

The story revolves around single father JeanFrançois and his 12-year-old daughter Julyvonne who live on the outskirts of a small Canadian town in French speaking Quebec.

As in other films by Canadian filmmaker Côté the figure of the outsider is crucial. Not only do father and daughter literally exist outside the world of man in their isolated home, Jean-François’ shyness and inability to connect to others creates an unconquerable distance between their reality and even that of the people nearest to them. Only by chance do we learn

Eycks discover that Céline (fifteen years old, run away from foster parents) has been spending the night at their storeroom for two weeks already, they resist shortly. The husband is an honorable judge, the wife a respected social-elite engaged in more delicate matters like women’s rights and antiques. But sooner than expected, the vulnerable pretty girl with a hidden agenda is welcomed into their household despite the inconsistencies of her story. She seduces the judge, while charming the wife enough that she would consider adopting her. When her true story is revealed, it is also clear that she is not the only one with dirt on her hands. Yet her childish innocence doesn’t lose the power it has over the wife, and the husband is too weak to resist the kicking hormones of a usual midlife crisis.

Coussemacq handles this very much ‘chabrolien’ story delicately if not in a very original way.

What can be easily made into a thriller, he stops at the edge of a noir and keeps his distance to all three of the parties. The judge as the victim of his passions is the weaker leg of the tripod compared to the prudent wife as portrayed by a bright

what happened to Julyvonne’s mother but we’ll never get to know why.

The film’s distinct strangeness is one of its major attractions. Jean-François refused to let his daughter go to school because he perceives the world and everything in it as a threat. Better to play it safe and never leave the house than to risk confrontations, an irrational fear that has tragically also determined his daughter’s life. The film’s dynamic is created not by any sort of anger but

by Julyvonne’s steady growing longing for contact with other human beings. A harrowing scene with frozen bodies in the snow delivers a brutal image of that yearning.

The fine balance between father and daughter begins to shift as Julyvonne opens her eyes to the world and slowly tries to break free of her father’s constraints. Jean-François is given his own crisis after a sudden accident forces him to reconsider the life he’s giving his daughter. Must he allow her to visit the bowling alley where he works as a repairman? Is it time to let go? And then there’s Isabelle,

his boss’s niece that sees through him but out of respect never really confronts him.

One of the film’s major fascinations is the fact that it never makes explicit what Julyvonne feels for her father. Is she still putting up with him out of pity? Out of love? Or have the years of reclusion made her lose sight of what’s normal? And what is normal?

Do we need to engage with others to be considered normal? What about the relationships other characters engage in? Are those more real, healthier?

One of the film’s other strengths is the feeling of restlessness we sense throughout. There is a definite longing for each other but also for a way out. There is the sense that goodbyes are inevitable but also the feeling that nobody knows where to start, as if they’re all caught in the same loop, elegantly distilled by Côté’s images of Quebec’s endless snow fields.

Curling is a beautifully layered, moving film evoked by implicit direction and three strong lead performances. It lifts you up and puts you down in a place you’ve maybe never been before and it does so with originality and conviction. RR

Ludmila Mikaël, who is the most developed character of the film but paradoxically gets the least attention. The sweet evil Céline is heartbreaking but cruel, warm but ice-cold, predictable but unreachable at the same time, a combination that leaves the viewer with a fragile feeling of uneasiness. EK

ing to be found. Or maybe it was found by the now deceased Luca before he parted for Paris for good.

After fifty years of silence a telegram from France arrives for Magdalena and her son Nae, saying her brother Luca has died. It also asks them to come to France to make funeral arrangements and transport Luca’s body back to Romania to be buried in the old cemetery on the outskirts of Luca’s Black Sea hometown of Sulina. Magdalena and Nae then embark on an adventure to the other side of the Atlantic coast, not suspecting the major changes that are about to take place.

Corneliu Gheorghita’s first feature film after two documentaries is a road movie that imagines the development of young protagonist Nae in the tradition of the classical Bildungsroman. Thanks to Gheorghita’s implicit style the film’s mysteries and mysticism, based upon Romanian folklore, are presented in a fairly modest way. Which is no surprise, as the director seems guided by very earthly concerns as well. Except as an entertaining road movie, Europolis can be seen as a sober critique on the state of contemporary post-soviet societies. EK

On the Romanian Road Europolis (Corneliu Gheorghita, 2010, Romania). 12-7, 19:00, Moscow Cinema, Blue Hall.

The Romanian film Europolis is mainly set among the Danube Delta: ‘the eastern Venice’ is the second largest river delta in Europe and has a multicultural history going back to ancient times.

This was the city where Europe came to be built as it is meant to be today: as a union of different origins. Although not much is left besides a cemetery and a museum that the locals don’t care about, the rumour is that there is a rich hidden treasure wait-

GOLDEN APRICOT DAILY | DAY 3 | 12 JULY | 2011

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The work of honorary guest Wojciech Marczewski will be celebrated with a retrospective and a Master Class, which will be held today at 15:00 in the Yerevan State Institute of Theatre and Cinematography. Wojciech Marczewski (1944) directed 12 films between 1968 and 2001. His 1981 film Shivers, about a boy who is sent to a summer training school, won the Silver Bear Special Jury Prize and the FIPRESCI Prize at the 32nd Berlin Film Festival. Escape from ‘Liberty’ Cinema was screened in the Un Certain Regard Section of the 1991 Cannes Film Festival. This comedy references Woody Allen's Purple Rose of Cairo, by following a Communist-censor who is the victim of anarchistic movie characters who speak to him from the silver screen. In Marczewski’s last film Weiser (Golden Bear nomination 2001) a man is haunted by the disappearance of a childhood friend. The Master Class is open for all festival guests.

During the opening ceremony Iranian director Abbas Kiarostami handed French actress Fanny Ardant a Lifetime Achievement Award. On the right Festival director Harutyun Khachatryan.

documentary competition

Modern China invades Tibet Summer Pasture (Lynn True, Nelson Walker, Tsering Perlo, USA, 2010). 12-7, 10:00 and 18:00, Puppet Cinema, Small Hall.

Some spiritually inclined westerners tend to see the life of Tibetan nomads as pure and simple.

Having crossed the vast green hillsides of their disputed country for thousands of years these seemingly closed off and humble shepherds apparently live the quiet life, far from the fast lane of mundane society. But as Summer Pasture shows, this Yak-herding reality is not as esoteric as many people choose to believe. The work is hard – especially that of the women – and the payment often low.

Moreover, their way of life is threatened by economic hardship. Some 90 per cent of Tibetan Yak herders in the last decades were forced to move to the city in the hope of finding work.

For their analysis of Tibetan society the three directors of Summer Pasture chose an intimate behind-the-scenes look into the traditional lives of Yak herder Locho and his wife Yama, whose existence has increasingly become invaded by modern Chinese society. The camera mainly stays at Yama’s tent, observing her preparing food – which takes up most of her day – or accompanies Locho on his the six hour journey to the nearest town. Sometimes the weather is kind and the hillsides look astonishingly beautiful. At other times the weather is harsh and unforgiving and even threatens the life of Locho and Yama’s little daughter. Summer Pasture unveils a way of life kept hidden from most eyes for a long time. But romantic as that may sound, for the inhabitants of the Tibetan Kham region the question is: how much longer will they be able to resist the relentless forces of modernity? RR

DAB ¨ ATCP STARTED Cinema in CIS Countries The Armenia-Turkey Cinema Platform (ATCP) officially started on Monday with the first meeting at the Dvin Hall, Ani Plaza Hotel. GAIFF director Harutyun Khachatryan welcomed the guests along with more than fifty participants of the parallel programs, ATCP and Directors Across Borders — DAB. Khachatryan was followed by the welcome speeches of Susanna Harutyunyan (GAIFF Artistic Director and DAB & ATCP Director), Narek Tovmasyan (British Council), Cigdem Mater (Anadolu Kultur), Nurdan Arca (Ajans 21) as well as director-actor Serge Avedikian who was present as a trainer part of the training program being

held for the first time this year. Susanna Harutyunyan described the two projects in parallel that also emerge sometimes and their development throughout the years — two programmes that are jealous of each other as Khachatryan humorously noted. For Avedikian, the common practice of filmmaking denotes the chance for a solution of the ‘pathological’ symptoms present in both parties of the conflict and a way of dealing with the ‘joint fate’ of Turkey and Armenia. After many years spent trying to encourage communication between young filmmakers from Turkey and Armenia, he developed the expectation that the most important film about genocide will be made by a young Turkish director one day.

ATCP will continue its schedule on the 12th and 13th of July in Dvin Hall- Ani Plaza Hotel with presentations by filmmakers of 9 films in the workshop, which were chosen from many as a result of a bigger competition compared to previous years as well as contributions of filmmakers, producers, lecturers from all over the world. EK

The collapse of the former Soviet Union led to a dramatic change in the way of film making. Before that the film industry was financed entirely by the government and to make a film one had to get special training. That was the reason that almost all films shot in those years looked professional. In 1991 a group of adventurers emerged in CIS territory who amid growing permissive society looked at the cinema industry as a means of money making. This led to disappearance of elementary marks of professionalism.

A part of the seasoned directors of the ‘old school’ failed to get adapted to the new reality and stopped shooting films. Nonetheless, some of films shot in those years were good enough but they were unavailable for audience. Some were shown at the biggest European film festivals winning prestigious awards. For example, Kosh ba kosh by Bakhtiar Khudojnazarov, The Sun of Sleepless People by Temur Babluani and Burnt by the Sun by Nikita Mikhalkov.

The following period could be termed as a period of new technology consumption that was assisted by contacts with foreign counterparts as some U.S. and European companies chose to shoot their films in locations in the former Soviet Union.

In addition to being sort of exotic, CIS countries were also available in terms of film production costs. That contributed to joint film production that came as a life buoy for these countries’ cinema industry.

To our joy, at this year’s Golden Apricot Armenian film lovers can see a string of films shot over the last years by directors in former Soviet republics. Some are debuts and others have a record of being screened at some film festivals, particularly, Alexei Uchitel’s The Edge and Roman Balayan’s Birds of Paradise. VD  The Tale of a Pink Bunny (Farkhad Sharipov, Kazakhstan).  Fortress of War (Alexander Kott, Russia/ Belarus).  Birds of Paradise (Roman Balayan, Ukraine).  The Edge (Alexey Uchitel, Russia).  The Light Thief (Aktam Arym Kubat, France, Germany, Netherlands).  Where the Childhood was Left (Sabir Nazarmukhamedov, Uzbekistan).  Wedding in Bessarabia (Napoleon Helmis, Moldova).  The Daughter-in-Law (Yermek Tursunov, Kazakhstan).  Sunrise over Lake Van (Artak Igityan, Vahan Stepanyan, Armenia).

With the screening of the film The Light Thief today at 16:00, Moscow Cinema, Red Hall, the CIS Film Programme will be opened.

The countries from the CIS (Commonwealth of Independent States) that contributed to the program are Kazakhstan, Russia, Belarus, Ukraine, Tajikistan, Uzbekistan, Moldova and Armenia.

In The Light Thief an electrician not only brings electric light to the inhabitants of his town but also spreads the light of love and laughter.

At 11:00 there will be a press conference with the representatives of CIS Program. At 12:00 the press can talk to Serge Avedikian, Levon Minasian, Hagop Goudsouzian and Mathieu Zeitindjiouglou.

At 13:00 they are followed by Wojciech Marczewski, whose work will be screened in a retrospective.

The director Braden King will be present at the Yerevan Premiere of his film Here, at 20:30 at Moscow Cinema, Red Hall. In Here, an American cartographer in Armenia falls in love with an Armenian woman. Festival guests will certainly recognize the filming locations in Yerevan.

And at 16:00 there will be a Paradjanov Project Presentation by Serj Avetikyan and Olena Fetisova at the French Embassy.

For those who like a fresh breeze, a free Open Air Concert at Charles Aznavour Square will be held at 21:00, just outside the Moscow Theatre.

At 22:00, the Poghosyan Gardens will be lightened up by the Yerevan Nights screening of the film The Viceres by Roberto Faenza, part of the Italian Risorgimento Programme. The saga The Viceres follows the powerful and ruthless family Uzeda between 1850 and 1882.

For guests who don’t want to go to sleep, the Midnight Wrap-up at THE CLUB (AKUMB), 40, Toumanyan Street is the place to be at 24:00. There also will be late night drinks at CROSSROAD CLUB – Lounge Bar (Teryan Street 3a).

GOLDEN APRICOT DAILY | DAY 3 | 12 JULY | 2011

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