Golden Apricot Daily - 2011, Day 4

DAY 4 WEDNESDAY JULY 13

2011

àêκ ÌÆð²Ü

èáÙ³Ý ´³É³Û³Ý.

лñáëÝ»ñÇ Å³Ù³Ý³ÏÝ»ñÝ ³Ýó»É »Ý Roman Balayan:

'The time of heroes has passed'

Roman Balayan:

Æï³ÉdzÛÇ ÙdzíáñáõÙÁ ϳ٠èÇëáñçÇÙ»Ýïá

Interview

§´»éÝ»Éáí ÏÛ³Ýùë¦, §²Ù»ñÇϳ¦, §ºñϳû ¹³ñå³ëÝ»ñ¦

Eternity, Invisible Eye, Nader and Simin ¨ A Separation, Melancholia, Here

гñó³½ñáõÛó. èáÙ³Ý

The Last Armenian, Film School Programme

´³É³Û³Ý

GOLDEN APRICOT DAILY | DAY 4 | 13 JULY | 2011

2 Íñ³·Çñ/programm 13 ÑáõÉÇëÇ/ 13 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 10:00, 14:30

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 12:00 ÈáõÛëÇ ·áÕÁ/The Light Thief ²Ïï³Ý ²ñÇÙ Îáõµ³Ã/Aktan Arym Kubat, Fra/Deu/Nld, 80', CIS

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

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

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

14:30

10:00 ºë ϳñáÕ ¿Ç Ó»ñ ï³ïÇÏÁ ÉÇÝ»É/I Could Be Your Grandmother ´»éݳñ î³Ý·Ç/ Bernard Tanguy, Fra, 20', SC

Lang.: Kyrgyz, Subt.: English

гíÇï»ÝáõÃÛáõÝ/Eternity êÇí³ñáç ÎáÝë³ÏáõÉ/Sivaroj Kongsakul, Tha, 105', FC

Lang.: Thai, Subt.: English 12:30, 19:00

15:00 ì³Ý³ ÍáíáõÝ ³ñß³ÉáõÛëÁ/ Sunrise Over Lake Van ²ñï³Ï Æ·ÇÃ۳ݫ ì³Ñ³Ý êï»÷³ÝÛ³Ý/Artak Igityan, Vahan Stepanyan, Arm, 93', AP/CIS

Lang.: Armenian, Subt.: English 17:00 ö³Ëáõëï §²½³ïáõÃÛáõݦ ÏÇÝáóïñáÝÇó/Escape From “Liberty” Cinema ìáÛã»Ë سñã¨ëÏÇ/Wojciech Marczewski, Pol, 87', R

Lang.: French and Romanian, Subt.: English

ØÇᯐ ¶.` ³ß˳ñÑÇ ïÇñ³Ï³ÉÁ/Michel G., King of the World êï»ý³Ý γ½³ÝçÛ³Ý/Stephane Kazandjian, Fra, 87', AP

ܳ¹»ñ ¨ êÇÙÇÝ. ³ÙáõëݳÉáõÍáõÃÛáõÝ/ Nader and Simin, A Separation ²ëÕ³ñ ü³ñѳ¹Ç/Asghar Farhadi, Irn, 123', FC

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

Lang.: Persian, Subt.: English and Armenian 17:00

12:00

ܳ˳ÝÓ³ËݹÇñÁ/Ambitious ²ÛÝáõñ ²ëϳñáí/Ainur Askarov, Rus, 23', SC

Lang.: Bashkir, Subt.: English ̳Õϳå³ñ/Flower Dance ÈáõëÇÝ» ê³ñ·ëÛ³Ý/Lusine Sargsyan, Arm, 19', SC

Lang.: Armenian, Subt.: English 11:30 àã áùÇ å³ïÙáõÃÛáõÝÁ/Story of Nobody سÝýñ»¹Ç Èáõãǵ»ÉÉá/Manfredi Lucibello, Ita, 15', SC

Lang.: Italian, Subt.: English

Lang.: Polish, Subt.: English and Armenian ²Ýï»ë³Ý»ÉÇ ³ãùÁ/The Invisible Eye ¸Ç»·á È»ñÙ³Ý/ Diego Lerman, Arg/Fra/Esp, 95’, FC

Lang.: Spanish, Subt.: English and Armenian 16:30

19:30 λóó» Æï³ÉdzÝ/Garibaldi èáµ»ñïá èáëë»ÉÉÇÝÇ/ Roberto Rossellini, Ita/Fra, 106', RG

Lang.: Italian, Subt.: English and Armenian 21:30 лé³ó³ÍÁ/When We Leave ü»á ²É³¹³Õ/Feo Aladag, Deu, 119', DAB

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

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 21:00

ºÂÎäÆ/Institute of Theatre and Cinematography 17:00 ä³ï³éÇÏÝ»ñ/Fragments ÚáÝ³Ã³Ý Ð³ÛÇÙáíÇã/ Yonatan Haimovich, Isr, 50', FS

лͳÝÇí/Bicycle ê»ñѳà γñ³³ëɳÝ/Serhat Karaaslan, Tur, 17', SC

No dialogues

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

Lang.: Armenian, Subt.: English öáñÓ³éáõÃÛáõÝ/Experience ì³ñ³Ý¹ êáõçÛ³Ý/Varante Soudjian, Fra, 19', AP

Lang.: Russian, Subt.: English 17:30

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

ػɳÝËáÉdz/Melancholia ȳñë ýáÝ ÂñÇ»ñ/Lars von Trier, Dnk/Swe/Fra/Deu, 136’, YP

19:00

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

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

17:30 ¶áñ»Éáíϳ. ¹ñí³·Ý»ñ ³ÝÑ»ï³óáÕ Ñ³Ù³ÛÝùÇ ÏÛ³ÝùÇó/Gorelovka-Episodes From the Life of a Disappearing Community ²É»ùë³Ý¹ñ ÊíÇñdz/ Alexander Kviria, Geo/UK, 48', DAB

Lang.: Turkish, Subt.: English 18:30 òÇñáõó³Ý »Õ³ÍÝ»ñÇ ù³Õ³ù/City of the Scattered àõÛ·³ñ ²ë³Ý/Uygar Asan, Tur, 85', DAB

Lang.: Turkish, Subt.: English and Armenian

16:00 àã áùÇ å³ïÙáõÃÛáõÝÁ/Story of Nobody سÝýñ»¹Ç Èáõãǵ»ÉÉá/ Manfredi Lucibello, Ita, 15', SC

Lang.: Italian, Subt.: English and Armenian ̳Õϳå³ñ/Flower Dance ÈáõëÇÝ» ê³ñ·ëÛ³Ý/Lusine Sargsyan, Arm, 19', SC

Lang.: Armenian, Subt.: English ȳ³ý/Laaf ÈáÇÏ î³ÝëáÝ, ÂÇ»ñÇ ´»ëÉÇÝ·/Loïc Tanson, Thierry Besseling, Lux, 16', SC

Lang.: Luxembourgish, Subt.: English and Armenian

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

Lang.: Hungarian, Subt.: English and Armenian

17:30 ܳ˳ÝÓ³ËݹÇñÁ/Ambitious ²ÛÝáõñ ²ëϳñáí/Ainur Askarov, Rus, 23', SC

Lang.: Bashkir, Subt.: English and Armenian ºë ϳñáÕ ¿Ç Ó»ñ ï³ïÇÏÁ ÉÇÝ»É/I Could Be Your Grandmother ´»éݳñ î³Ý·Ç/ Bernard Tanguy, Fra, 20', SC

Lang.: French and Romanian, Subt.: English and Armenian

18:00 гñëÁ/The Daughter-in-Law ºñÙ»Ï ÂáõñëáõÝáí/Yermek Tursunov, Kaz, 80', CIS

20:00 ºë ù»½ ëÇñáõÙ »Ù/I love You ä³í»É ÎáëïáÙ³ñáí, ²É»ùë³Ý¹ñ è³ëïáñ·áõ¨/ Pavel Kostomarov, Aleksandr Rastorguev, Rus, 81', YP

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/ Naregatsi Art Institute

Lang.: Turkish, Subt.: English

Lang.: English, Subt.: Armenian 19:30

¶É³½·á/Glasgow äÛáïñ êáõµáïÏá/Piotr Subbotko, Pol, 30’, SC/FS

Lang.: Polish, Subt.: English and Armenian

No dialogues

Lang.: English, Subt.: Russian

15:00 سÙáõÉ/Press 껹³Ã ÚÁÉÙ³½/Sedat Yılmaz, Tur, 100', DAB

Lang.: Luxembourgish, Subt.: English

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

Ò»ñ Ïñïë»ñ ¹áõëïñ è³ù»ÉÁ/ Your Younger Daughter Rachel ¾ýñ³Ã øáñ»Ù/Efrat Corem, Isr, 30', FS

Lang.: Hebrew, Subt.: English and Armenian

²Ûëï»Õ/Here ´ñ»Û¹»Ý øÇÝ·/ Braden King, USA, 120', YP

Lang.: French, Subt.: English ØdzÛÝ ÅÛáõñÇÇ Ñ³Ù³ñ/Only for Jury 16:00 ì³ñ¹³·áõÛÝ ù³Õ³ùÇ í»ñçÇÝ ÑÇåÇÝ/The Last Hippie of the Pink City ²Ý³ëï³ëdz äáåáí³/ Anastasia Popova, Rus, 56', AP

ȳ³ý/Laaf ÈáÇÏ î³ÝëáÝ, ÂÇ»ñÇ ´»ëÉÇÝ·/Loïc Tanson, Thierry Besseling, Lux, 16', SC

19:00 Ðñ³ÓÇ·Ý»ñÝ »Ý ·³ÉÇë/Here Come the Sharpshooters ÈáõÇçÇ Ø³ÝÛÇ/Luigi Magni, Ita, 120', RG

Lang.: Russian, Subt.: English Þ³Ý µÉáõñÁ/The Dog Hill ¶Å»·áÅ ¼³ñÇãÝÇ/Grzegorz Zariczny, Pol, 39', FS

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

Lang.: Polish, Subt.: English and armenian

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

¶É³½·á/Glasgow äÛáïñ êáõµáïÏá/Piotr Subbotko, Pol, 30’, SC/FS

Lang.: Polish, Subt.: English and Armenian 21:00 ²ÝÓ³ÛÝ/Soundless ÈÇÉÇà ØáíëÇëÛ³Ý/Lilit Movsisyan, Arm, 4', FS

Lang.: Armenian ºñÇï³ë³ñ¹ Ù³ñ¹Á, áí áãÇÝã ãï»ë³í/The Young Man Who Didn't See Anything ²ñáõëÛ³Ï êÇÙáÝÛ³Ý/Arusyak Simonyan, Arm, 24', FS

No dialogues

19:00 ´»éÝ»Éáí ÏÛ³Ýùë/Loading My Life гñáõà (гÞ) Þ³ïÛ³Ý/ Harut (HasH) Shatyan, Arm, 37', AP

Lang.: Armenian, Subt.: English ø³ñ»ñ/Stones ¾¹áõ³ñ¹ ³¹¨áëÛ³Ý/Eduard Tadevosyan, Rus/Arm, 30', AP

Lang.: Armenian, Subt.: English 20:30 Ø»Ýù »Ýù/We Are ²ßáï ²¹³ÙÛ³Ý, ¸³íÇà سèáëÛ³Ý/Ashot Adamyan, David Matevosyan, Arm, 70', AP

Lang.: Armenian, Subt.: English

Lang.: Italian, Subt.: English and Armenian

îÇÏÝÇϳÛÇÝ Ã³ïñáÝ, öáùñ ¹³ÑÉÇ× Puppet Theatre, Small Hall 10:00 ºñϳû ¹³ñå³ëÝ»ñ/Steel Gates ²ñÙ»Ý Ê³ã³ïñÛ³Ý/ Armen Khachatryan, Arm, 57', DC

Lang.: Armenian, Subt.: English 11:30 Êáë»Éáõ ³ñí»ëïÁ/ The Art of Speaking ¾Ù³ÝÛáõ»É ¸ÁÙáñÇ/ Emmanuelle Demoris, Egy/ Fra, 155', DC

Lang.: Arabic, Subt.: English 16:00 Æ٠ѳÛÏ³Ï³Ý Ã³ÕÁ/My Armenian Neighborhood ê³ÙÇÙÇïñ³ ¸³ë/Samimitra Das, Ind, 27', FV

Lang.: English, Subt.: Armenian ì»ñçÇÝ Ñ³ÛÁ/ÂáõñùdzÛáõÙ/ The Last Armenian/In Turkey êï»ý³ÝÇ ¹Á ´ñ³áõí»ñ/ Stefanie De Brouwer, Nld, 47', FV

Lang.: Turkish, Subt.: English and Armenian 18:00 ºë ³½³ï »Ù/I Am Free ²Ý¹ñ»³ èá·áÝ/Andrea Roggon, Deu/Cub, 87', DC

Lang.: Spanish, Subt.: English and Armenian 19:30 ºñϳû ¹³ñå³ëÝ»ñ/Steel Gates ²ñÙ»Ý Ê³ã³ïñÛ³Ý/ Armen Khachatryan, Arm, 57', DC

Lang.: Armenian, Subt.: English 21:00 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 Altinaş, Arm/Tur, 30', DAB

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

No dialogues

Editor in chief: André Waardenburg General supervising manager: Peter van Bueren Coordinator Daily: Genofia Martirosyan ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý Èñ³·ñáÕÝ»ñ` ²ñÍíÇ ´³ËãÇÝÛ³Ý, ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý, ²ÝÇϳ гñáõÃÛáõÝÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ²ñÙ»Ý Þ³ËÏÛ³Ý, øñÇëïÇÝ» øÛáõñùÉÛ³Ý Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ Þ³åÇÏÇ Éáõë³ÝϳñÁ` ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ ©PanARMENIAN Photo ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ îå³·ñí³Í ¿` §ÜáÛÛ³Ý 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 4 | 13 JULY | 2011

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ºñ¨³ÝÛ³Ý 2 åñ»ÙÇ»ñ³ ¸ÇïÇñ ³é³çÇÝÁ. ųÙÁ 20:00-ÇÝ Ï³ñáÕ »ù ³Ûó»É»É §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³ñÙÇñ ¹³ÑÉÇ× ¨ ¹Çï»É ¹³ÝdzóÇ È³ñë ýáÝ ÂñÇ»ñÇ` γÝÝÇ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ Ùñó³Ý³Ï³ÏÇñ §Ø»É³ÝËáÉdz¦ ýÇÉÙÁ: γ٠ϳñáÕ »ù ÁÝïñ»É ä³í»É ÎáëïáÙ³ñáíÇ ¨ ²É»ùë³Ý¹ñ è³ëïáñ·áõ¨Ç §ºë ù»½ ëÇñáõÙ »Ù¦ ýÇÉÙÁ, áñÁ Ïóáõó³¹ñíÇ ØáëÏí³ÛÇ ï³ÝÁ, ųÙÁ 21:00-ÇÝ:

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GOLDEN APRICOT DAILY | DAY 4 | 13 JULY | 2011

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ ѳÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ

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GOLDEN APRICOT DAILY | DAY 4 | 13 JULY | 2011

interview 5

Roman Balayan §ºë ѳÛÏ³Ï³Ý Í³·áõÙáí ËáñÑñ¹³-áõÏñ³ÇÝ³Ï³Ý ÏÇÝáé»ÅÇëáñ »Ù¦,— Çñ Ù³ëÇÝ ³ëáõÙ ¿ èáÙ³Ý ´³É³Û³ÝÁ, áñÇ ÛáóݳëݳÙÛ³ÏÁ Éñ³ó³í ³Ûë ï³ñÇ: ²Û¹ ϳå³ÏóáõÃÛ³Ùµ §àëÏ» ÍÇñ³ÝǦ ßñç³Ý³ÏÝ»ñáõÙ Ïϳ۳ݳ Ýñ³ ýÇÉÙ»ñÇ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝÁ: ºñ¨³Ý Å³Ù³Ý³Í Ñáµ»ÉÛ³ñÇ Ñ»ï áõÝ»ó³Í ѳñó³½ñáõÛóáõ٠ݳ å³ïÙ»ó Çñ ýÇÉÙ»ñÇ, ųٳݳÏÝ»ñÇ áõ Ýñ³ÝóáõÙ µ³ó³Ï³ÛáÕ Ñ»ñáëÝ»ñÇ Ù³ëÇÝ: §Ðáµ»ÉÛ³ÝÝ»ñ Ýᯐ ã»Ù ëÇñáõÙ, ù³ÝÇ áñ ÇÙ ÏáÉ»·³Ý»ñÇó ß³ï»ñÁ ¹Åí³ñÇÝ å³ÛÙ³ÝÝ»ñáõÙ »Ý ³åñáõÙ, ¨ ¹³ ×Çßï ù³ÛÉ ã¿ñ ÉÇÝÇ Ýñ³Ýó Ýϳïٳٵ: ÆëÏ ýÇÉÙ»ñÁ óáõó³¹ñ»É ϳñ»ÉÇ ¿¦,— ³ë³ó èáÙ³Ý ´³É³Û³ÝÁ: ²ÛÝ Ñ³ñóÇÝ, û Çñ áñ ýÇÉÙÝ ¿ ѳٳñáõÙ É³í³·áõÛÝÁ, ݳ å³ï³ë˳ݻó. §È³í³·áõÛÝ ýÇÉÙë 1978-ÇÝ Ýϳñ³Ñ³Ý³Í §´ÇñÛáõÏݦ ¿: ²Û¹ ï³ñÇÝ»ñÇÝ ÇÙ ·ñ³Í ëó»Ý³ñÝ»ñÁ, ·³Õ³÷³ñ³ËáëáõÃÛ³Ý ³éáõÙáí ÏÝùíáõÙ ¿ÇÝ áñå»ë áã åÇï³ÝÇ: ²Û¹ å³ï׳éáí áñáß»óÇ ýÇÉÙÇ ÝÛáõà ÁÝïñ»É ¹³ë³Ï³Ý ·áñÍ»ñÇó: лïá ¹³ ëÏë»ó ÇÝÓ ¹áõñ ·³É, ù³ÝÇ áñ ¹³ë³Ï³Ý ·áñÍ»ñÝ áõÝ»Ý ÙÇ Ù»Í ³é³í»ÉáõÃÛáõÝ` Ýñ³Ýù ¹ÇÙ³ó»É »Ý ųٳݳÏÇ ÷áñÓáõÃÛ³ÝÁ: ºë ϳñáÕ ¿Ç ³ÙµáÕç Å³Ù³Ý³Ï â»Ëáí ϳ٠îáõñ·»Ý¨ Ýϳñ»É, ¨ ãÑá·Ý»É Ýñ³ÝóÇó: §´ÇñÛáõÏǦ ¹»åùáõÙ îáõñ·»Ý¨Ç 3 ¿ç³Ýáó ·ñí³ÍùÁ ϳñáÕ³ó³ í»ñ³Í»É Édzٻïñ³Å ýÇÉÙÇ: üÇÉÙÝ Çñ ï»ë³Ïáí ß³ï ¿ ï³ñµ»ñíáõÙ, ù³ÝÇ áñ Ù»Í Ï³ñ¨áñáõÃÛáõÝ ¿ñ ïñíáõÙ å³ïÏ»ñ³ÛÇÝ ß³ñùÇÝ, Ù³ëݳíáñ³å»ë` å»ïù ¿ñ ÏÇÝáųå³í»ÝÇÝ ÷á˳Ýó»É ³Ýï³éÇ ³ÙµáÕç í»ÑáõÃÛáõÝÁ, ÑÙ³ÛùÝ áõ ·»Õ»óÏáõÃÛáõÝÁ: ´ÇñÛáõÏÇ ¹»ñ³Ï³ï³ñÇÝ ¿É ÁÝïñ»óÇ ³ÛÝåÇëÇÝ, áñ Ýñ³ Ù»ñÏ Ù³ñÙÇÝÁ ï»ëÝ»ÉÇë ѳٻٳïáõÃÛáõÝÝ»ñ ͳ·»ñ Çñ ³ñÙ³ïÝ»ñáí ÑáÕÇÝ ³Ùáõñ ϳéã³Í ϳÕÝáõ Ñ»ï: ¸³ ݳ¨ ÇÙ ³é³çÇÝ Ñ³Ù³·áñͳÏóáõÃÛáõÝÝ ¿ñ ûå»ñ³ïáñ ìÇÉ»Ý Î³ÉÛáõï³ÛÇ Ñ»ï: Üñ³ ѳٳñ ß³ï ¹Åí³ñ ¿ñ ѳñÙ³ñí»É ÇÙ á×ÇÝ, ù³ÝÇ áñ ÙÇÝã ³Û¹ ³ß˳ï»É ¿ñ ³ÛÉ ÏÇÝáÙï³ÍáÕáõÃÛ³Ý é»ÅÇëáñÝ»ñÇ Ñ»ï: ê³Ï³ÛÝ Ñ³Ù³·áñͳÏóáõÃÛáõÝÝ ëï³óí»ó, ¨ ѻﳷ³ÛáõÙ Ù»Ýù ÙdzëÇÝ Ýϳñ»óÇÝù ¨ë »ñ»ù ýÇÉÙ, áñáÝù §´ÇñÛáõÏǦ Ñ»ï »ë ѳٳñáõÙ »Ù ÇÙ É³í³·áõÛÝ ëï»Õͳ·áñÍáõÃÛáõÝÝ»ñÁ: ÆÙ ÏáÉ»·³Ý»ñÇó ß³ï»ñÁ ÝáõÛÝå»ë ϳñÍáõÙ »Ý, áñ §´ÇñÛáõÏÁ¦ é»ÅÇëáñ³Ï³Ý ï»ë³ÝÏÛáõÝÇó èáÙ³Ý ´³É³Û³ÝÇ É³í³·áõÛÝ ýÇÉÙÝ ¿¦: §´ÇñÛáõÏÇݦ ѻ層óÇÝ ³ÛÝ ÑÇÝ· ï³ñÇÝ»ñÁ, »ñµ é»ÅÇëáñÁ áãÇÝã ãÝϳñ»ó: ²Û¹ ï³ñÇÝ»ñÇ ÙïáñáõÙÝ»ñÝ áõ Ïáõï³ÏáõÙÝ»ñÁ µ»ñ»óÇÝ ¹³ñ³Ï³½ÙÇÏ` §ÂéÇãùÝ»ñ »ñ³½áõÙ ¨ ³ñÃÙÝǦ ýÇÉÙÇ ëï»ÕÍÙ³ÝÁ, áñï»Õ, ´³É³Û³ÝÇ ßÝáñÑÇí, ³ÙµáÕçáíÇÝ µ³ó³Ñ³Ûïí»ó úÉ»· Ú³ÝÏáíëÏáõ ï³Õ³Ý¹Á, áñÝ ³ÛÝáõÑ»ï¨ ¹³ñÓ³í é»ÅÇëáñÇ ³Éï»ñ-¿·áÝ: §Ø»Í ѳí³Ý³Ï³ÝáõÃÛáõÝ Ï³ñ, áñ ýÇÉÙÁ Ï÷³Ï»Ý, ù³ÝÇ áñ ëÛáõÅ»Ý åñáíáϳóÇáÝ ¿ñ: üÇÉÙÝ ÇÙ ó³íÝ ¿ñ` áñå»ë ù³Õ³ù³óÇ, ³ÛÝ ó³íÁ` áñ ÍÝí»É ¿ñ µ³½áõÙ ë³Ñٳݳ÷³ÏáõÙÝ»ñÇó áõ ³Ý³ñ¹³ñáõÃÛáõÝÝ»ñÇó: лﳷ³ÛáõÙ` ÊêÐØ ÷Éáõ½áõÙÇó Ñ»ïá, »ñµ Ù»Ýù ëï³ó³Ýù ³½³ïáõÃÛáõÝ, Ïáñ³í ÏÇÝá Ýϳñ»Éáõ ó³ÝÏáõÃÛáõÝÁ: Þ³ï»ñÇë ѳٳñ ѳÝϳñÍ ³ÝÑ»ï³ó³Ý ³ÛÝ å³ï»ñÁ, áñáÝù å»ïù ¿ñ ù³Ý¹»É: ÐÇÙ³` Ù»ñ ûñ»ñáõÙ, Ñ»ñáëÝ»ñ ãϳÝ, ³Ýó»É ¿ Ñ»ñáëÝ»ñÇ Å³Ù³Ý³ÏÁ: ²ÙµáÕç Ñ»ïËáñÑñ¹³ÛÇÝ ï³ñ³ÍùáõÙ ÝϳïíáõÙ ¿ ³ñÅ»ùÝ»ñÇ ³ÝÏáõÙ, Ù³ñ¹ÇÏ Ùáé³ó»É »Ý µ³ñá۳ϳÝáõÃÛ³Ý, ËÕ×Ç, Çñ³ñ ѳݹ»å ѳݹáõñÅáÕ ÉÇÝ»Éáõ Ù³ëÇÝ: Þ³ï»ñÝ ³ëáõÙ »Ý, áñ ¹³ ųٳݳϳíáñ »ñ¨áõÛà ¿: ê³Ï³ÛÝ í³Ë»ÝáõÙ »Ù, áñ ³Ûë ³Ù»ÝÁ í³ï ѻ勉ÝùÝ»ñ áõݻݳ: ÆÝÓ Ñ³Ù³ñ Ñ»ï³ùñùÇñ ã¿ Ù»ñ ûñ»ñÇ Ù³ëÇÝ ýÇÉÙ Ýϳñ»É, áñï»Õ ïÇñáõÙ ¿ ÏáéáõåódzÝ, µáÉáñÁ ·áÕ áõ ³í³½³Ï »Ý, ϳï³ñíáõÙ »Ý Ù»Í áõ ÷áùñ ëñÇϳÛáõÃÛáõÝÝ»ñ: ¸³ Ññ³å³ñ³Ï³Ëáë³Ï³Ý ÝÛáõÃÇ Ã»Ù³ ¿¦: §úÉ»· Ú³ÝÏáíëÏÇÝ ÇÙ ÁÝÏ»ñÝ ¿ñ ÏÛ³ÝùáõÙ ¨ ³Éï»ñ-¿·áÝ` ýÇÉÙ»ñáõÙ: Üñ³ Ñ»é³Ý³ÉÁ ³Ý¹³éݳÉÇ Ïáñáõëï ¿ñ: ´³óÇ ³Û¹, »ë ÏáñóñÇ ÇÙ ÏáÕÙÝáñáßÇãÇÝ, 㿱 áñ ëó»Ý³ñ ·ñ»ÉÇë »ë Ùdzݷ³ÙÇó Ýñ³Ý ¿Ç å³ïÏ»ñ³óÝáõÙ: ÆÝùݳáñáÝÙ³Ý Ã»Ù³Ý ëå³éí»É ¿, ¹ñ³Ýáí ½µ³ÕíáõÙ ¿ñ úÉ»·Á, ³Û¹ å³ï׳éáí ¿É ó³ÝϳÝáõÙ »Ù ýÇÉÙ Ýϳñ»É å³Ñ³å³Ý Ññ»ßï³ÏÇ Ù³ëÇÝ: ê³Ï³ÛÝ ÙÇ ¹Çåí³ÍÇ å³ï׳éáí Ï³Ý·Ý»É »Ù ÷³ÏáõÕáõ ³éç¨: ¸»é¨ë ÇÝÝëáõݳϳÝÝ»ñÇ ëϽµÇÝ ·ñ»É ¿Ç ÙÇ ëó»Ý³ñ, áñÇ ·áñÍáÕáõÃÛáõÝÝ»ñÁ ϳï³ñíáõÙ »Ý ϳÙñçÇ

‘The probability that the film would be banned by censors was very big because a Soviet citizen could not behave like the characters in the film. The plot was provocative. It was actually my pain of a citizen that was born out of numerous restrictions and injustices. Later, after the disintegration of the Soviet Union when we got freedom I actually lost my desire to shoot films. The walls that we had dreamt of destroying disappeared overnight. Now the time of heroes has passed. The decline of values is apparent across the entire former Soviet Union, people have forgotten their morals and having developed extremely intolerable.’

‘Many people say this is not going to last too long, that this is typical of any transitional period. But I am afraid that this is going to have bad consequences. This is why I do not want to make a film about the present time, plagued with corruption, when people commit small and large lowdown acts. This is not a subject of a political essay.’

‘Actor Oleg Yankovsky was my friend in every day life and my alter ego in my films. His death was a great loss. With his death I have lost perhaps the most important orientation in cinema, because when writing a script I imagined him playing the main character. The self-search theme is exhausted in me. It was Oleg Yankovsky’s domain. This is why I would like to make a film about my guardian angel. In the 1990s I wrote a script in which events take place on a bridge, but several years ago I found that Luc Besson had made a film based upon a similar script. We are trying to eliminate common lines, but have not progressed so far. My fears are linked to the fact that the script is moving too far from the original one and that kills my original desire to translate it into a film.’

íñ³: ê³Ï³ÛÝ ÙÇ ù³ÝÇ ï³ñÇ ³é³ç ÝÙ³Ý ëó»Ý³ñáí ´»ëëáÝÁ ÙÇ ýÇÉÙ ¿ Ýϳñ»É: Ø»Ýù ÷áñÓáõÙ »Ýù í»ñ³óÝ»É ÁݹѳÝáõñ ·Í»ñÁ, ë³Ï³ÛÝ ³é³ÛÅÙ ³é³ç˳ճóáõÙ ãáõÝ»Ýù: ºë í³Ë»ÝáõÙ »Ù, áñ ëó»Ý³ñÁ ëϽµÝ³Ï³ÝÇó ß³ï ¿ Ñ»é³ÝáõÙ, ¨ ³Û¹ ¹»åùáõÙ ³ñ¹»Ý ÇÙ Ù»ç ÏáñãáõÙ ¿ ³ÛÝ ýÇÉÙÇ í»ñ³Í»Éáõ ëϽµÝ³Ï³Ý Ù»Í ó³ÝÏáõÃÛáõÝÁ¦:

‘I am a Soviet-Ukrainian film director of Armenian descent,’ prominent film director Roman Balayan says of himself.

Balayan turned 70 this year. To mark this anniversary the Golden Apricot Film Festival prepared a retrospective of his films.

Êáë»Éáí Ïáõéù»ñÇ Ù³ëÇÝ, èáÙ³Ý ´³É³Û³ÝÝ ³é³çÇÝ Ñ»ñÃÇÝ ï³ÉÇë ¿ ê»ñ·»Û ö³ñ³ç³ÝáíÇ ³ÝáõÝÁ: §ÆÝÓ Ñ³Ù³ñ ö³ñ³ç³ÝáíÁ ÙÇ µ³ñÓáõÝù ¿: ºñµ ͳÝáóó³Ýù, »ë ¹»é ã¿Ç ï»ë»É §Øáé³óí³Í ݳËÝÇÝ»ñÇ ëïí»ñÝ»ñÁ¦, ÇëÏ »ñµ ¹Çï»óÇ, ³ÛÝ ÇÝÓ áõÕÕ³ÏÇ óÝó»ó: ܳ ÷³ÛÉáõÝ ÇÙåñáíǽ³ïáñ ¿ñ, ϳñáÕ ¿ñ Ùdzݷ³ÙÇó å³ïÙáõÃÛáõÝ ÑáñÇÝ»É ó³Ýϳó³Í µ³ÝÇ Ù³ëÇÝ: ºí Ç٠ϳñÍÇùáí ö³ñ³ç³ÝáíÇ Ñ»Ýó ³Û¹ í³ÛñÏ»Ý³Ï³Ý é»³ÏódzÝ, å³ï³ëË³Ý ï³Éáõ ѳïÏáõÃÛáõÝÝ ¿ñ ³Ù»ÝÇó ß³ï Ù³ñ¹Ï³Ýó Ù»ç ݳ˳ÝÓ ³é³ç³óÝáõÙ: ÆÙ ¹ÇåÉáÙ³ÛÇÝ ³ß˳ï³ÝùÝ ³ÙµáÕçáíÇÝ ÷³ñ³ç³ÝáíÛ³Ý ¿ëûïÇϳÛÇ ¨ á×Ç ÝٳݳÏáõÙÝ ¿: ê³Ï³ÛÝ »ë ϳñáÕ³ó³ ·ïÝ»É ÇÙ áõÕÕáõÃÛáõÝÁ¦:

‘I do not like celebrating anniversaries. I do not think it is appropriate, especially now when many of my colleagues live in dire conditions, but I do not object to screening of my films,’ he said.

Asked to name his best film he mentions Lone Wolf (1978). The scripts he wrote in those years were dubbed ideologically unfit and that was the reason that prompted him to turn to classical literature in search of a theme. Later he began loving it because ‘classical works have a great advantage — they have endured the trials of time.’

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‘I could make films of Turgenev or Chekhov’s stories and never get tired. Turgenev’s Lone Wolf is a three-page story, but I made it into a feature film. It was a special film because one of our goals was to show the whole beauty and splendor of the forest. When choosing an actor for the role I wanted his naked body to trigger associations of man deeply rooted in his own soil. It was my first project with director of photography Vilen Kalyuta, who had some problems in getting adapted to my style because previously he had worked with directors with different outlook, nonetheless, our first cooperation proved successful and later we did three more films together, which, along with Lone Wolf are my best films. This opinion is shared also by many of my colleagues.’

After filming Lone Wolf Balayan was without work for five years. But the ideas and reflections accumulated in those years eventually resulted in his landmark Flying Asleep and Awake, a film that revealed the entire talent of prominent actor Oleg Yankovsky, who became the director’s alter ego.

Roman Balayan is a buoyant person, always surrounded by friends. ‘In fact I enjoy the time between my films. It is a time full of various cheerful events – meetings with friends, banquets and so on. In short, life is nice. It may seem empty but I like that emptiness. When you shoot a film you feel kind of obliged.’

‘It is not that I only transform the script into a film. I add a lot during the shooting process when you begin to better feel the mood of the film and accordingly make some changes. An example of it we had in the last scene of Flying Asleep and Awake.

It all looks like a game and when there is a chance to play it, everything gets better. It can be seen in I have done before 1978. But that gradually was lost and I began just to shoot films. It is also due to toughened conditions of producers.’

Speaking about ‘idols’ Roman Balayan mentions Sergey Paradjanov. ‘When we were introduced I had not seen yet his Shadows of Forgotten Ancestors and when I watched it, it was a shock, leaving a great impression on me. He was a brilliant improviser able to invent a story about anything. I think it was this ability of quick reaction, of immediate response that made other directors envy. My graduation work was a replica of Paradjanov’s esthetics and style, but I could find my own direction.”

Paradjanov has reappeared in Balayan’s life. He is a co-producer and art director of a new international project about Paradjanov. Already back in 1998 Roman Balayan shot A Night at Paradjanov's Museum, a film that was paying tribute to his friend and teacher. This film will be also screened during Balayan’s retrospective at the Golden Apricot Film Festival. VD The Balayan Retrospective consists of:  Lone Wolf (1978)  Flying Asleep and Awake (1982)  The Kiss (1983)  Guard Me, My Talisman (1987)  The Spy (1988)  A Night at Paradjanov’s Museum (1998)  The Night is Bright (2003)  Birds of Paradise (2008)

GOLDEN APRICOT DAILY | DAY 4 | 13 JULY | 2011

6 reviews feature competition

A loved one far away Eternity (Sivaroj Kongsakul, 2010, Thailand). 13-7, 10:00 and 14.30, Moscow Cinema, Blue Hall; 15-7, 15:00, Nairi Cinema.

Thai debutant filmmaker Sivaroj Kongsakul made a very personal film about the memory of his father and the way he met his mother. With subtle hints Kongsakul calmly observes the life and afterlife of his father. The first part is inspired by the Thai belief that the spirit of the dead will return after three days to ‘walk the footsteps’ of the place it cherished. After the beautiful long shot of this crying man, the film switches to the time when he met his future wife, he as an insurance seller, she as a teacher from the big city who has to move to the country side to stay with her lover. Their long walks and gentle conversations are moving in their simplicity. This second part is the recreation of the story Sivaroj Kongsakul’s mother always told him when she missed his father.

The third part is about the daily life of his family in the days following his father’s death when they felt his spirit was still with them. The locations are the real locations where Kongsakul’s parents met and where he has spent his childhood. The wide shots of the mountain range give much room to your own thoughts and interpretations. The silence that surrounds his father stands for the mourning, the feeling of emptiness. It’s Kongsakul’s personal interpretation of the distance he feels between him and his dad, as a loved one far away.

Although the Thai version of an afterlife may sound strange for non-Thai viewers, the process of loss is something that concerns us all. The natural look and implicit style don’t force the viewer in a certain direction. Calm images of ducks, fish and flock of birds in the sky complete this meditative film, winner of a Tiger Award at the 2011 International Film Festival Rotterdam.

Kongsakul began his career as an assistant director for Penek Ratanaruang, Wisit Sasanatieng, and Aditya Assarat on many of their short films, television commercials, and music videos. He was also the cinematographer for Apichatpong Weerasethakul’s short Worldly Desires. Eternity proofs his talent as a sharp observant of spiritual matters that normally remain unseen. MG

Planets collide Melancholia (Lars von Trier, Denmark, Sweden, France, Germany, 2011) 21:00, Moscow Cinema, Blue Hall.

Who else besides Lars von Trier would destroy the entire world to get rid of a depression? The Danish director’s notorious mental state served as the twisted inspiration for one of the year’s more grotesque cinematic adventures. Antichrist’s genital disfigurement seems pale in comparison. The Apocalypse closes in with an almost sardonically slow pace.

Melancholia opens with minute-long stunning freeze-frame images that serve as a prelude to the actual end-to-all-things later on in the film. Von Trier is an absolute master at grabbing our attention, proven also earlier this year by the row he caused at the Cannes film festival after jokingly declaring himself a Nazi. Hysterically overreacting, the festival declared him persona non grata.

But what the man says is not important, it’s his films that should be discussed. And in Melancholia, there’s certainly much to talk about.

ders. Socks have to be blue, hair has to be cut, and one has to keep an exact distance to the other one in the row. ‘The secret of good discipline is permanent surveillance, a watchful eye on every detail’, says Maria, fully dedicated. Her task is to catch the boys smoking in the bathroom. But she peeps under the toilet doors in such a lustful way that we begin to suspect that her real goal might be different. Her hidden agenda stays a secret to those who surround her, and who are carefully being watched. Maria is a minor cog, just as the headmaster who believes that subversion is like a cancer: ‘First it takes an organ, like youth, and it infects it with violence and strange ideas’.

Julieta Zylberberg (The Holy Girl, 2004) gives a tense performances as Maria, while Lerman (Suddenly, 2002) pulls the strings even tighter towards the end, without the help of much dialogue.

The quiet tension is subtle, fueled by many silent moments, like Maria sitting in the school banks or walking around silently. Lerman uses many cross-

cuts between the protagonists who are staring to each other secretly. Everybody is watching everybody. In this miniature society, the outside world comes in fragments: the classes have to leave the school via the back door because of the troubles at the Plaza de Mayo. The theories of Machiavelli are being cited often, like a faint echo of the real world outside.

In that real world, the failure of the Falklands War put an end to the sudden nationalist outbreak and caused the end of the military dictatorship. In December 1983 a democratically elected president took power after more than seven years of military government. Lerman looks back, to the people like Maria and her headmaster, who were only powerless devices in a much larger scheme, planned by the real crooks. Just like Chilean director Pablo Larraín (Tony Manero, Post Mortem), Lerman shows us which tragedy happens when servants desperately want to become masters. MG

Mapping Armenia

Polaroids of the landscape, to preserve the things that could disappear. She believes that not everything has to be mapped, especially the hidden cove where they have a sensual encounter: Gadarine asks him to ‘leave it off the map’.

This travelogue begins and ends with beautiful optically printed abstractions that capture the world in a more surreal way. These sequences reveal the experimental background of Braden King, who has also directed music videos and visual live concert accompaniments for Will Oldham, Tortoise and Low. King likes to travel to remote places himself: his debut Dutch Harbor: Where the Sea Breaks Its Back (1998) is an examination of the life and landscape of an Aleutian Island community off of the west coast of Alaska. Just like Will, he might want to find the edge of the world. MG

Here (Braden King, 2010, US). 13-7, 17:00, Nairi Cinema; 14-7, 22:00, Yerevan Nights at Poghosyan Gardens.

Trial and error

being pushed around by the more cultivated, luckier minorities all his life? And if you knot the strings in one dramatic twist of events, ‘a crime’ let’s say, can you really tell: what happened?

Nader and Simin, A Separation by Iranian director Asghar Farhadi (About Elly, 2009) is based on a simple story, as the title suggests, reminding us the universal fact that there are no simple stories in life.

This winner of Berlin’s Golden Bear starts with a divorce trial. Simin asked for it, but why? Nader is a decent man, nobody can claim otherwise. He is not an addict, doesn’t beat his wife and gives her allowance; none of the reasons a judge can use for justifying a divorce apply. Her only motivation is a disagreement. They decided to go abroad in order to give their 11 year old girl Termeh a better life, but Nader changed his mind, reluctant to leave his father who suffers from Alzheimer’s behind. Simin has forty days before the expiration of the visas so she has to act quickly if she doesn’t want to lose the chance of leaving Iran.

Captured in the mist and pain of a break-up, Nader looks quiet. When he hires the lower class Razieh for taking care of his sick father, he gives the impression that he is trying to move on with his life.

The daughter doesn’t want to take sides. She tries desperately to make them swallow their pride. She is heartbreaking in her strategies of keeping them together. When pregnant Razieh loses the child after a struggle with an overstressed Nader who is, with good reason, worried about his father’s health, the foetus becomes the centre of a murder trial. Being treated as a proper human being, the foetus raises many questions. Each person has a different point of view and each question about truth, love, faith, morality, honour and pride will be answered differently until there is the inevitable reconciliation. If there is so much at stake, can we really reconcile? EK

The Invisible Eye (Diego Lerman, 2010, Argentina/France/Spain). 13-7, 12:30 and 19:00, Moscow Cinema, Blue Hall.

Based on the novel Moral Sciences by Martin Kohan, Diego Lerman’s political allegory of dictatorship The Invisible Eye delves into the life of Maria Teresa (Julieta Zylberberg), a 23 year old teaching assistant at an Argentinean elite private school. Her voyeuristic character is reminiscent of Michael Haneke’s The Piano Teacher. The oppressed Maria is secretly obsessed with the young males that are her subordinates. Her tightly knotted hair says it all.

It’s March 1982, and the sanguinary dictatorship governing the country for six years begins to crumble down. But not at this elite school, where orders are or-

The film plays out in two parts. The focus is on sisters Justine and Claire, played by Kirsten Dunst and Charlotte Gainsbourg. The film’s first half revolves around Justine’s disastrous wedding party, the second constitutes Claire’s utter collapse as the world will apparently be destroyed by a head-on collision with planet Melancholia.

Everything must go. Science proves useless, and family is only a source of pain and despair. It’s impossible not to think of the director’s own situation.

Von Trier conquered his real-life depression but had to settle afterwards with a state of continued melancholia. He used his mental state to great effect as the inspiration for the film. RR

The two globetrotters in the American drama Here both seem to be escaping something. While in Armenia to map the territory, the American cartographer Will meets the Armenian photographer Gadarine. They decide to go on a journey through Armenia that leads them from small villages to Yerevan, Nagorno-Karabakh and Iran. Will measures and defines the contours of the world, while Gadarine makes pictures of it. Mapping is a way to scratch the surface of our world, but Gadarine wants to delve deeper into it. Both want to be more than only physically present in the landscape.

In mapping the territory, Will possibly has a hidden agenda. His maps might change the landscape, because there’s money to be made exploiting the territory. Gadarine on the other hand, takes endless

Nader and Simin, A Seperation (Asghar Farhadi, Iran, 2011). 13-7, 14:30, Nairi Cinema.

How many sides can a story have? Start with the question: how many different people are involved and multiply the answer with at least a million for each passing second, a million for every glimpse of thought that passes through one’s mind, for every detail about someone’s past, social and economical background. What if there is a man who is been taught to keep his feelings to himself for a lifetime?

What if there is a woman who wants to hear that she is being loved? Or what if there is another one who has to calculate carefully before every meal that she will put on the table? Another man who is tired of

GOLDEN APRICOT DAILY | DAY 4 | 13 JULY | 2011

films and makers 7

A fragile relationship

Polish Film Day The Polish Film Day will be opened today at 17:00, with the retrospective of Wojciech Marczewski and the screening of his film Escape from ‘Liberty’ Cinema at Moscow Cinema, Red Hall. Wojciech Marczewski (1944) directed 12 films between 1968 and 2001. 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.

The Last Armenian/In Turkey (Stefanie de Brouwer, 2011, The Netherlands). 13-7, 16:30, Puppet Theatre, Small Hall; 15-7, 17:00, Puppet Theatre, Small Hall.

With a copy of one of famous Turkish writer Orhan Pamuk’s books in his hand, the Dutch journalist Bram Vermeulen bravely walks into a typical Turkish coffee house, where old men are drinking tea and playing cards. They immediately get into a heated discussion with him. They denounce Nobel Prize winner Pamuk as a traitor, because he was one of the first Turks to publicly raise the touchy subject of the Armenian genocide of 1915. In an interview with a Swiss paper in 2005 Pamuk stated: ‘Thirty thousand Kurds have been killed here [In Turkey], and a million Armenians. And almost nobody dares to mention that. So I do.’ He was immediately dragged to court by an extreme nationalist Turk for having insulted the honor of the Turkish Republic.

After a long legal battle he actually lost the case in 2011 and had to pay a fine of 6000 Turkish liras.

The scene in which Vermeulen starts his discussion in the coffee house opens the episode ‘The Last Armenian’, which formed the 4th episode of the television series In Turkey, a collaboration between the Dutch TV broadcaster VPRO and NRC Handelsblad, the newspaper Vermeulen is Turkish correspondent of. It is shown at the festival as part of the Foreign Vision programme: how do foreigners see Armenia?

In the episode Vermeulen also travels to Kars, the snowy town on the border between Turkey and Armenia. There he visits the Statue of Humanity, commemorating the friendship between Turkey and Armenia. But this gesture of reconciliation, designed

by Turkish artist Mehmet Aksoy, was deemed a ‘freak’ when Turkish Prime Minister Erdogan visited Kars in January 2010. Although there were protests, the statue that stood high on a hilltop overlooking both Turkey and Armenia was demolished in April 2011. Once again, proof that the relationship between the two neighbouring countries is very fragile.

While in Kars Vermeulen hears that there is one last

survivor of the Armenian genocide living somewhere high in the hills surrounding Kars. What follows is a combination of thriller and road movie: will he find the old man? A thrilling ride through snowy mountains and small villages follows and the last Armenian is found. Vermeulen is welcomed in his wooden hut, where the man is sitting in the corner. He won’t talk about his grueling experiences and sits there silently. What he witnessed can’t be put into words. The camera respectfully tracks back and keeps a distance.

There is nothing more to say... AW

Viva lþItalia!

Film School Programme

Wednesday sees the opening of Risorgimento-150 Film Programme with the screening of the film Garibaldi (1961) at Moscow Cinema, Red Hall 19:00.

The programme consists of five Italian films that are all set around the same era of Italian Unification in 19th century known as Il Risorgimento – this year 150 years ago..

Garibaldi, originally entitled Viva l’Italia! by the great Roberto Rossellini depicts the life of Italian patriot Giuseppe Garibaldi. The Taviani brothers are included in the programme with two films. Allonsanfan (1974) is a historical drama revolving around the nihilistic Lombard aristocrat Fulvio Imbriani (played to Marcello Mastroianni) who tries to leave his Jacobin extremist past behind. Despite his repeated attempts, he is unable to draw a line keeping his former comrades away who are eager to go to south and ‘die for the peasants that don’t know who they are or what they are fighting for’. His confusion and reluctant betrayal will lead to his own downfall. The second Taviani classic, St. Michael had a Rooster (1972), is an adaptation of a Tolstoy short story with a similar theme, the testing of a former revolutionary with solitude and madness.

Luigi Magni’s Here Come the Sharpshooters (1980) takes the viewer towards the end of the Risorgimento period to the aftermath of the conquest of Rome. It is a tragic story of love and revenge in a confused society. The most recent piece of the program is Roberto Faenza’s The Viceres (2007) covering the story of an influential family through a long period of time. EK

Master Class

On the right: Bram Vermeulen

Renowned British film critic Derek Malcolm is the second festival guest this year to give a Master Class, which will be held today at 15:00 in the Yerevan State Institute of Theatre and Cinematography. Film critic and historian Derek Malcolm worked for 30 years as a film critic for The Guardian. He published a series of articles, The Century of Films, about his favourite films from around the world. He also wrote a book about Robert Mitchum. In 2003 he published an autobiographical book, Family Secrets. Malcolm now works as a film critic for the Evening Standard. Later this week, master classes will be given by Pavel Kostomarov (I Love You) and jury member and filmmaker Pawel Pawlikowski (My Summer of Love). The free Master Class is open for all film students and festival guests.

Risorgimento

The Last Armenian

This year, the Golden Apricot International Film Festival devotes a special programme to three famous Film Schools: Andrzej Wajda Master School of Film Directing (Poland), the Film and Television School of Sapir College (Israel) and the VGIK (Moscow).

Andrzej Wajda Master School of Film Directing ‘From Script to Screen’ — this was the main idea of Andrzej Wajda and Wojciech Marczewski when they founded the Film School in 2001. The School offers a unique combination of education and production, artistic supervision, focus on development and contact with internationally acclaimed masters of cinema.

The School also works as an independent production studio continuing the tradition of the famous Polish studios such us TOR, KADR and X. Over the last 10 years they have produced more than 50 documentaries and short fictions and over 200 student shorts.

The core of Wajda’s system is to help young directors shorten the path from concept to implementation.

Three or four times a year students from all over Europe gather in Poland to develop and implement immediately their scripts. The Wajda School also teaches producers and acts as a co-producer for international projects of its students.

Film and Television School of Sapir College In its promotional brochure, Sapir College calls itself ‘a lighthouse in the Negev’. Since 2002 the school has been holding the Cinema South Film Festival every year with a particular focus on graduation films of its students and invited guests from around the world.

One of the most distinctive departments of the Sapir College is its Film and Television School, now recognized as one of the leading film schools in Israel.

The student body is made up of men and women from challenged neighborhoods and development towns, new immigrants from the former Soviet Union, Ethiopia, Europe and North America, Bedouins, Kibbutzniks and Moshavniks as well as students from across Israel. Each student comes with his or her own personal narrative, life experience, heritage and individual story. With professional training, professors and teachers providing hands-on experience, these students go on to tell the story of Israel from many different angles and perspectives.

VGIK The Russian State Institute of Cinema, better known as VGIK for short, is the oldest film school in the world, opened in 1919 in Moscow as State Cinema College. VGIK is not only the oldest but probably the most fertile film school. Film directors including Aleksey Batalov, Sergey Eisenstein and Vsevolod Pudovkin were among its faculty. Alumni include Sergey Bondarchuk, Elem Klimov, Sergey Paradjanov, Alexander Sokurov, Andrei Tarkovsky, Leonid Gaidai, Alexander Mitta, Artavazd Peleshian, Dmitry Kesayants, Albert Mkrtchyan, Rudolph Vatinyan and many others. VGIK trained also cinema specialists for the former Communist countries of Eastern Europe and third world countries. To become a student of VGIK applicants have to go through a very difficult set of exams. For example, out of 600 applicants in 1919 only 40 were enrolled. The Golden Apricot International Film Festival features several graduation films shot by VGIK students in recent years, but also screens Tarkovsky’s graduation film The Steamroller and the Violin (1959). AV/GB

With the screening of the film Garibaldi a.k.a.

Viva l’Italia! today at 19:00, Moscow Cinema, Red Hall, the Risorgimento-150 Film Programme will be opened. Robert Rossellini directed this 1961 film about the military Giuseppe Garibaldi, who defeated the Burbon army and became an Italian hero. The Risorgimento-150 Film Programme celebrates the founding of Italy 150 years ago, with films from Paolo and Vittorio Taviani, Rossellini, Luigi Magni and Roberto Faenza.

Two Yerevan Premieres Be the first to see it: at 20:00, you can attend the Yerevan Premiere of the well received Cannes-competition film Melancholia

by Danish enfant terrible Lars von Trier at Moscow Cinema, Blue Hall (see the review on page 6). Or you could choose to go to the Yerevan Premiere of the Russian documentary I Love You by Pavel Kostomarov and Aleksandr Rastorguev at 21:00 at Moscow House.

Press Conferences At 11:00 there will be a press conference with Braden King in the presence of US Ambassador.

King directed the American love drama Here, which is set in Armenia. At 12:00 the press can talk to Maria Meira, scriptwriter of the Argentinean drama The Invisible Eye. At 13:00 she is followed

by Roman Balayan (Birds of Paradise), whose work will be screened in a retrospective.

Open Air 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 films The Piano by Levon Minassian and The Piano Tuner by Olivier Treiner, about a piano tuner who witnesses a murder.

Midnight Wrap-up For guests and film lovers 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). The first beer is for free.

GOLDEN APRICOT DAILY | DAY 4 | 13 JULY | 2011

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