Golden Apricot Daily - 2011, Day 5

DAY 5 THURSDAY JULY 14

2011

àêκ ÌÆð²Ü

Wojciech Marczewski:

'I cannot imagine a fully independent artist' ìáÛã»Ë سñã»õëÏÇ.

â»Ù å³ïÏ»ñ³óÝáõÙ ÉÇáíÇÝ ³ÝÏ³Ë ³ñí»ëï³·»ïÇ

ºñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³. λݳó ͳéÁ, ºë ù»½ ëÇñáõÙ »Ù

Interview Wojciech Marczewski

Øáõë³ÝÛ³Ý Ýáûñ, ÒÙ»é³ÛÇÝ ³ñÓ³Ïáõñ¹

The Journals of Musan, Winter Vacation, Suicide Club, I am Free, Sunday in the Country

гñó³½ñáõÛó. ìáÛã»Ë سñã»õëÏÇ

Master Class Derek Malcolm, Paradjanov Project

GOLDEN APRICOT DAILY | DAY 5 | 14 JULY | 2011

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

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

10:00 ÆÝùݳëå³ÝÝ»ñÇ ³ÏáõÙµ/ Suicide Club úɳý ¼³áõÙ»ñ/ Olaf Saumer, Deu, 96', FC

10:00 гñëÁ/The Daughter-in-Law ºñÙ»Ï ÂáõñëáõÝáí/Yermek Tursunov, Kaz, 80', CIS

Lang.: German, Subt.: English 12:30, 16:30

Lang.: Mandarin, Subt.: English 14:30 ÎÇñ³ÏÇÝ` ù³Õ³ùÇó ¹áõñë/A Sunday in The Country ´»ñïñ³Ý î³í»ñÝÛ»/Bertrand Tavernier, Fra, 90,

Lang.: French, Subt.: English and Armenian 18:30

12:00 ì³Ý³ ÍáíáõÝ ³ñß³ÉáõÛëÁ/ Sunrise Over Lake Van ²ñï³Ï Æ·ÇÃ۳ݫ ì³Ñ³Ý êï»÷³ÝÛ³Ý/Artak Igityan, Vahan Stepanyan, Arm, 93', AP/CIS

15:00 ÈáݹáÝóÇ Ù³ñ¹Á/The Man from London ´»É³ î³ñ/Béla Tarr, Hun/Deu/Fra, 145 ', R

15:00

10:00 ¶É³½·á/Glasgow äÛáïñ êáõµáïÏá/Piotr Subbotko, Pol, 30’, SC/FS

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

Lang.: Russian and Georgian, Subt.: English Ð³Û ï³ñ³·Çñ/Armenian Exile гÏáµ ¶áõ¹ëáõ½ Û³Ý/ Hagop Goudsouzian, Arm/ Can, 53', AP

Lang.: Armenian/English, Subt.: English

²ÝÑá· ïÕ³Ý/Lighthearted Boy سñÏá æ³Ýýñ»¹³/ Marco Gianfreda, Ita, 15', SC

ø»ñÉÇÝ·/Curling ¸ÁÝÇ Îáï»/ Denis Côté, Can, 92’, FC

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

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

Lang.: Italian, Subt.: English 11:30 ÈáñÓÝ¿³ÏÝ»ñ/Slugs سñdz ÈáõݹùíÇëÃ/Maria Lundqvist, Swe, 10', SC

No dialogues öÇûñ ¶ñ³ëÇ ÏñÏݳÏÇ... Ù³ÑÁ/Peter Grass is Dead...

Twice ijÝ-Ä³Ï ÎÛáõݳÏ/ Jean-Jacques Cunnac, Fra, 25’, SC

18:00 ÂéÇãùÝ»ñ »ñ³½áõÙ ¨ ³ñÃÙÝÇ/Flying Asleep and awake èáÙ³Ý ´³É³Û³Ý/ Roman Balayan, UKR, 92', R

Lang.: English

Lang.: Russian, Subt.: English 20:30 Øáõë³ÝÛ³Ý Ýáûñ/The Journals of Musan âáõÝ-µáõÙ ö³ñÏ/Jungbum Park, Kor, 127’, FC

Lang.: Korean, Subt.: English and Armenian λݳó ͳéÁ/The Tree of Life »ñ»Ýë سÉÇù/Terrence Malick, USA, 138’, YP

10:00, 21:00

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

ܳÇñÇ ÏÇÝáóïñáÝ Nairi Cinema

No dialogues

Lang.: Armenian, Subt.: English ÒÙ»é³ÛÇÝ ³ñÓ³Ïáõñ¹/Winter Vacation ÐáõÝóÇ ÈÇ/Hongqi Li, Chn, 91’, FC

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

ºÂÎäÆ/Institute of Theatre and Cinematography

öáùñÇÏ ù³ñ»ñ/Little Stones ³ٳñ³ êï»÷³ÝÛ³Ý/ Tamara Stepanyan, Dnk/Lbn, 27', AP

ÈáõÛëÇ ·áÕÁ/The Light Thief ²Ïï³Ý ²ñÇÙ Îáõµ³Ã/Aktan Arym Kubat, Fra/Deu/Nld, 80', CIS

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

Lang.: Kyrgyz, Subt.: English and Armenian 19:00

¶³É³Ã³/Galata ¸Ç³Ý³ γñ¹áõÙÛ³Ý/Diana Kardumyan, Arm/Tur, 10', SC/ DAB

No dialogues 16:00 öÇûñ ¶ñ³ëÇ ÏñÏݳÏÇ... Ù³ÑÁ/Peter Grass is Dead...

Twice ijÝ-Ä³Ï ÎÛáõݳÏ/ Jean-Jacques Cunnac, Fra, 25’, SC

21:00

¶³É³Ã³/Galata ¸Ç³Ý³ γñ¹áõÙÛ³Ý/Diana Kardumyan, Arm/Tur, 10', SC/ DAB

No dialogues

Lang.: Russian, Subt.: English

ÆÝùݳëå³ÝÝ»ñÇ ³ÏáõÙµ/ Suicide Club úɳý ¼³áõÙ»ñ/ Olaf Saumer, Deu, 96’, FC

Lang.: German, Subt.: English and Armenian

ì. ´ñÛáõëáíÇ ³Ýí³Ý ºñ¨³ÝÇ å»ï³Ï³Ý É»½í³µ³Ý³Ï³Ý ѳٳÉë³ñ³Ý Yerevan State Linguistic University After V. Bryusov 16:00 ̳éÁ/The Tree ÄÛáõÉÇ ´»ñïáõã»ÉÉÇ/Julie Bertuccelli, Deu/Fra/Ita/Aus, 100', FC

Lang.: English

ܳñ»Ï³óÇ ³ñí»ëïÇ ÙÇáõÃÛáõÝ/ Naregatsi Art Institute 15:00 ÊÕ×Ç ÏÇÝá/Films About Conscience, DAB 17:30 ²ÉÙ³½Á/Almaz ¾ÉÝáõñ³ úëÙáݳÉǨ³/Elnura Osmonalieva, Kgz, 53', DAB

Lang.: Kyrgyz, Subt.: English 18:30 ¸»åÇ ²ñ³ñ³ï/To Ararat îÇ·ñ³Ý ʽٳÉÛ³Ý/Tigran Xmalian, Arm, 33', DAB

Lang.: Armenian ºë 50 áã˳ñ ³ñÅ»Ç/I Was Warth 50 Sheep ÜÇÙ³ ê³ñí»ëï³ÝÇ/Nima Sarvestani, Swe, 72', DAB

Lang.: Dari, Subt.: English

15:00 ä³í»É ÎáëïáÙ³ñáíì³ñå»ïáõÃÛ³Ý ¹³ë/Pavel Kostomarov-Master Class 17:00 º½ñ»ñ/Edges Â³É ²íÇï³Ý/ Tal Avitan, Isr, 47', FS

Lang.: Hebrew, Subt.: English and Armenian

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

Lang.: Hebrew/Arabic, Subt.: English and Armenian 19:00 γɳµñdzÛÇó ÑÛáõëÇë/North From Calabria سñãÇÝ ê³áõï»ñ/Marcin Sauter, Pol, 67', FS

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

Lang.: Armenian, Subt.: English

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

ì³Û, ²ëïí³Í, ï»ñ ²ëïí³Í/ Oh God, Dear God ÚáõÉÛ³ äáåɳíëϳ/Julia Poplawska, Pol, 12', FS

гñëݳóáõÝ/Little Bride È»ëÉ³í ¸áµñáõóÏÇ/Leslaw Dobrucki, Pol, 14', FS

Lang.: Polish, Subt.: English and Armenian

îÇ»½»ñ³Ý³íÁ/The Spaceship ¾ÙÇÉ ØÏñïãÛ³Ý/ Emil Mkrttchian, Swe, 25', AP

Lang.: Swedish Subt.: English and Armenian

Lang.: Spanish, Subt.: English 12:00 Üáñ³Ý ¹»é áÕç ¿/Nora Is Still Alive سñïÇÝ Ú³µë/Martin Jabs, Deu, 70', DC

Lang.: German, Subt.: English 16:00 êïí»ñáï ¿ç»ñ. Ñݳ·ñ³í³×³é ì³Ñ³ÝÁ/A Shadow Among Pages: The Second-Hand Bookseller Vahan ¾ëñ³ ÚÁɹÁ½/Esra Yıldız, Tur, 110', FV

Lang.: Turkish, Subt.: English and Armenian 18:00 Üáñ³Ý ¹»é áÕç ¿/Nora Is Still Alive سñïÇÝ Ú³µë/Martin Jabs, Deu, 70', DC

Lang.: German, Subt.: English and Armenian 19:30 Êáë»Éáõ ³ñí»ëïÁ/ The Art of Speaking ¾Ù³ÝÛáõ»É ¸ÁÙáñÇ/ Emmanuelle Demoris, Egy/ Fra, 155', DC

Lang.: Arabic, Subt.: English and Armenian

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

Lang.: Uzbek, Subt.: English and Armenian 20:30 سïÝÇãÁ/The Spy èáÙ³Ý ´³É³Û³Ý/Roman Balayan, USSR (Ukr), 83', R

ºñ¨³ÝÛ³Ý ·Çß»ñÝ»ñ äáÕáëÛ³Ý ³Û·ÇÝ»ñáõÙ/ Yerevan Nights at Poghosyan Gardens 22:00

Lang.: French, Subt.: English and Armenian 17:30 Ìáí ó³ÝÏáõÃÛáõÝÝ»ñ/Sea of Desires Þáó Ô³ÙÇëáÝdz/ Shota Gamisonia, Rus, 28', SC

Lang.: Russian, Subt.: English ¨³íáñ å³ïñ³Ýù/Winged Illusion î³Ã¨ Æë³Ë³ÝÛ³Ý/ Tatev Isakhanyan, Arm, 24', SC

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

Lang.: English, Subt.: Armenian

Lang.: Armenian, Subt.: English лͳÝÇí/Bicycle ê»ñѳà γñ³³ëɳÝ/Serhat Karaaslan, Tur, 17', SC

No dialogues 19:00 öá˳ñù³Ý»ñÁ/The Viceres èáµ»ñïá ü³»Ýó³/Roberto Faenza, Ita, 120', RG

Lang.: Italian, Subt.: English and Armenian

¶ÛáõÙñÇ, ÐáÏï»Ùµ»ñ ÏÇÝáóïñáÝ Gyumri, October Cinema 18:00 ²Ûëï»Õ/Here ´ñ»Û¹»Ý øÇÝ·/ Braden King, USA, 120', YP

Lang.: English, Subt.: Armenian

Lang.: Russian, Subt.: English

19:30 öáùñÇÏ ù³ñ»ñ/Little Stones ³ٳñ³ êï»÷³ÝÛ³Ý/ Tamara Stepanyan, Dnk/Lbn, 27', AP

Lang.: Polish, Subt.: English and Armenian

Lang.: Polish, Subt.: English and Armenian

Lang.: Italian, Subt.: English and Armenian

18:00 Èùí³Í Ù³ÝÏáõÃÛ³Ý ·»ï³÷ÇÝ/On the Riverbank Where the Childhood Was Left ê³µÇñ ܳ½³ñÙáõѳٻ¹áí/ Sabir Nazarmukhamedov, Uzb, 98', CIS

Lang.: Swiss/German/English, Subt.: English and Armenian ²Ý׳ݳãÝ»ñÁ/Unrecognized Üá³ ¶ñÇÝ»ñ, ²¹Ç»É ü³¹Û³, ØǽÙáñ ì³Û½Ù³Ý, سñdz ìǹ»·áý, ¾Ù³Ýáõ»É Ȩ, ÈÇñ³Ý γå»É, Â³É Þ»Ù Âáí, ¾ñ»ó г¹³¹, úý»ñ ´»ãáñ, úýÇñ ´ÇÝá, ÚáõÉÛ³ ÎáñÇïÝÇ, èáÛ È¨Ç, èáÙ³Ý Ø³É³Ë, ¸ñáñ ÞÇýÙ³Ý, Ú³»É ¸»ù»É/Noa Griner, Adiel Fadya, Mizmor Weizman, Maria Videgof, Emanuel Lev, Liran Kapel, Tal Shem Tov, Erez Hadad, Ofer Bechor, Ofir Bino, Yulia Koritny, Roy Levi, Roman Malakh, Dror Shifman, Yael Dekel, Isr, 7', FS

Ø»ýÇëïá/Mephisto Èáñ³Ýë ì»ëÛ»ñ/Laurence Vaissière, Fra, 15’, SC

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

18:00

лéíáõÙ/Away ¸³ÉÇà ²éÝáɹ/ Dalit Arnold, Isr, 20', FS

10:00 ºë ³½³ï »Ù/I Am Free ²Ý¹ñ»³ èá·áÝ/Andrea Roggon, Deu/Cub, 87', DC

Lang.: English, Subt.: Armenian

16:00

Lang.: English, Subt.: Russian 13:00 ºë ù»½ ëÇñáõÙ »Ù/I Love You ä³í»É ÎáëïáÙ³ñáí, ²É»ùë³Ý¹ñ è³ëïáñ·áõ¨/ Pavel Kostomarov, Aleksandr Rastorguev, Rus, 81', YP

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

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` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý, ì³ñ¹³Ý ¸³ÝÇ»ÉÛ³Ý, êáõë³Ýݳ гñáõÃÛáõÝÛ³Ý, ¸Ç³Ý³ γñ¹áõÙÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ²ñÙ»Ý Þ³ËÏÛ³Ý, Þ³ñÅÁ` гñáõÃÛáõÝ â³ÉÇÏÛ³ÝÇ Þ³åÇÏÇ Éáõë³ÝϳñÁ` ì³Ñ³Ý êï»÷³ÝÛ³ÝÇ ©PanARMENIAN Photo ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ îå³·ñí³Í ¿` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

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

GOLDEN APRICOT DAILY | DAY 5 | 14 JULY | 2011

ûñ³·Çñ 3 »ñ»õ³ÝÛ³Ý åñ»ÙÇ»ñ³

ì³ñå»ïáõÃÛ³Ý ¹³ë

èáëïáíÛ³Ý ëÇñ³Ë³Õ §ºë ù»½ ëÇñáõÙ »Ù¦, ä³í»É ÎáëïáÙ³ñáí, ²É»ùë³Ý¹ñ èáëïáñ·áõ¨, èáõë³ëï³Ý ÐáõÉÇëÇ 14, ºÂÎäÆ (13:00) §ºë ù»½ ëÇñáõÙ »Ù¦ ýÇÉÙÁ ųٳݳϳÏÇó í³í»ñ³·ñ³Ï³Ý ÏÇÝáÛÇ Ý߳ݳíáñ é»ÅÇëáñÝ»ñ ä³í»É ÎáëïáÙ³ñáíÇ ¨ ²É»ùë³Ý¹ñ èáëïáñ·áõ¨Ç ³é³çÇÝ Ñ³Ù³·áñͳÏóáõÃÛáõÝÝ ¿, áñÇ Ñ³Ù³ß˳ñѳÛÇÝ åñ»ÙÇ»ñ³Ý ï»ÕÇ áõÝ»ó³í èáï»ñ¹³ÙÇ 40-ñ¹ ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝáõÙ: §ºë ù»½ ëÇñáõÙ »Ù¦-Ý Çñ Ùï³ÑÕ³óٳٵ ¨ Çñ³·áñÍٳٵ Ù»Í åáéÃÏáõÙ ¿ ÏÇÝáÛÇ Ñ³Ý¹»å ³í³Ý¹³Ï³Ý Ùáï»óáõÙÝ»ñÇ ¹»Ù: ÀÝïñ»Éáí ¹áÝÇéáëïáíóÇ »ñ»ù »ñÇï³ë³ñ¹»ñÇ` é»ÅÇëáñÝ»ñÁ Ýñ³Ýó ïí»É »Ý ï»ë³ËóÇÏÝ»ñ ¨ ËݹÇñ ³é³ ç³¹ñ»É` Ýϳ ñ³ Ñ³Ý»É Çñ»Ýó ³éûñÛ³Ý áõ Çñ³Ï³Ýáõ ÃÛáõ ÝÁ: ²Û¹ »ñ»ù Ñ»ñáëÝ»ñÁ, ÷³ëïáñ»Ý, ÙǨÝáõÛÝ Å³Ù³Ý³Ï ýÇÉÙÇ Ñ»ÕÇݳÏÝ»ñÝ »Ý: Üñ³Ýù Çñ»Ýó ³é³ç³¹ñí³Í ËݹñÇ Çñ³·áñÍÙ³Ý ×³Ý³å³ñÑÇÝ ãáõÝ»Ý áñ¨¿ ë³Ñٳݳ÷³ÏáõÙ: ´³Ûó å³ïÏ»ñ³ß³ñÁ ß³ï ѳÙá½Çã ¿, ¨ ÷³ëïÝ áõ ˳ÕÁ ½³Ý³½³Ý»ÉÝ ¿É ѳݹÇë³ï»ëÇ Ñ³Ù³ñ í»ñ³Í íáõÙ ¿ ÛáõñûñÇÝ³Ï Ë³ÕÇ: §ºë ù»½ ëÇñáõÙ »Ù¦ ýÇÉÙÝ Çñ ëï»ÕÍÙ³Ý ï³ñµ»ñ ßñç³ÝÝ»ñáõÙ áõÝ»ó»É ¿ ï³ñµ»ñ Ñ»ÕÇݳÏÝ»ñ: Üϳñ³Ñ³Ýí³Í »ñ»ù å³ïÙáõÃÛáõÝÝ»ñÇó Ûáõñ³ù³ÝãÛáõñÝ ³é³ÝÓÇÝ ýÇÉÙ ¿: ²Û¹áõѳݹ»ñÓ` ë³ ÎáëïáÙ³ñáíÇ ¨ èáëïáñ·áõ¨Ç Ñ»ÕÇݳϳÛÇÝ ýÇÉÙÝ ¿, ù³ÝÇ áñ áõÝ»ó³Í ÑëÏ³Û³Ï³Ý ÝÛáõÃÇó Ýñ³Ýù ÁÝïñ»É »Ý ³ÛÝ, ÇÝãÝ ³ÛÅÙ Ý»ñϳ۳óÝáõÙ ¿ §ºë ù»½ ëÇñáõÙ »Ù¦ ýÇÉÙÁ: §àëÏ» ÍÇñ³Ý¦ 8-ñ¹ ÏÇÝá÷³é³ïáÝÇ §ºñ¨³ÝÛ³Ý åñ»ÙÇ»ñ³¦ ß³ñùáõÙ Ñݳñ³íáñáõÃÛáõÝ áõÝ»Ýù ¹Çï»Éáõ §ºë ù»½ ëÇñáõÙ »Ù¦` íÇ׳ѳñáõÛó, ï»Õ-ï»Õ ³ÝÁݹáõÝ»ÉÇ, µ³Ûó ã³÷³½³Ýó óñÙ áõ ¹ñ³Ýáí ÇëÏ ß³ï ѳٳÏñ»ÉÇ ýÇÉÙÁ: ðØ

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GOLDEN APRICOT DAILY | DAY 5 | 14 JULY | 2011

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝ

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GOLDEN APRICOT DAILY | DAY 5 | 14 JULY | 2011

interview 5

Wojciech Marczewski ä³ïí³íáñ ÑÛáõñ ìáÛã»Ë سñã¨ëÏÇÝ å³ïÙ»ó Ù»½ ·ñ³ùÝÝáõÃÛ³Ý, É»Ñ³Ï³Ý ýÇÉÙ³ñí»ëïÇ ¨ ѳٳß˳ñѳÛÇÝ ÏÇÝáÛÇ ³å³·³ÛÇ Ù³ëÇÝ: Ò»ñ ýÇÉÙ»ñÁ µ³½ÙÇóë »ÝóñÏí»É »Ý ·ñ³ùÝÝáõÃÛ³Ý: ƱÝã »ù ϳñÍáõÙ` ³ñí»ëïÁ ·ñ³ùÝÝáõÃÛ³Ý Ï³ñÇù áõÝDZ: γñÍáõÙ »Ù` áã, µ³Ûó ³é³Ýó ¹ñ³ ³ÝÑݳñÇÝ ¿: ¶ñ³ùÝÝáõÃÛáõÝ Ï³` ÝáõÛÝÇëÏ »Ã» ïíÛ³É »ñÏÇñÁ ãáõÝÇ å»ï³Ï³Ý ·ñ³ùÝÝã³Ï³Ý ÑÇÙݳñÏ: ä³ï׳éÝ»ñÁ µ³½Ù³ÃÇí »Ý` ÷áÕÁ, ßáõϳÝ, åñá¹Ûáõë»ñÝ»ñÁ... ÜáõÛÝÇëÏ ÇÝùÁ` ³ñïÇëïÁ, »ñµ»ÙÝ »ñϵ³ÛáõÙ ¿. §¶áõó» ß³±ï ÏáåÇï ¿ ëï³óí»É: ¶áõó» ³ÛÝ ã¿±, ÇÝã áõ½áõÙ »Ù¦: γñ»ÉÇ ¿ ³ë»É, áñ ÇÝùÝ»ñë Ù»½ ·ñ³ùÝÝÇãÝ»ñÇ å»ë »Ýù å³ÑáõÙ: ºñµ ³ñïÇëïÁ ѳݹÇë³ï»ëÇ Ñ³Ù³ñ ëÏëáõÙ ¿ ߳ѳ·áñÍ»É Çñ ÇëÏ ·³Õ³÷³ñÁ, ¹³ ³Ù»Ý³íï³Ý·³íáñÝ ¿: ò³íáù, »ë ã»Ù ϳñáÕ å³ïÏ»ñ³óÝ»É ÙÇ ³ñí»ëï³·»ïÇ, áí ÉÇáíÇÝ ³ÝÏ³Ë ¿: ¸³ Ù»ñ »ñ³½³ÝùÝ ¿: ºÏ»Õ»óÇÝ ÝáõÛÝå»ë ³Ñ»Õ ·ñ³ùÝÝÇã ¿: ê³Ï³ÛÝ ·É˳íáñ ·ñ³ùÝÝÇãÁ, ÇѳñÏ», åñá¹Ûáõë»ñÝ ¿, áñáíÑ»ï¨ Ù»Í Ù³ë³Ùµ Ùï³ÍáõÙ ¿ ÙdzÛÝ ß³ÑáõÛÃÇ Ù³ëÇÝ, áõ ݳ¨ û ÇÝãå»ë ¹ÇïáÕÝ»ñÁ ÏÁݹáõÝ»Ý ýÇÉÙÁ: Ø»ñ ųٳݳÏÝ»ñáõÙ ÷áùñÇÏ Ë³Õ ¿ÇÝù ϳ½Ù³Ï»ñåáõÙ ·ñ³ùÝÝÇãÝ»ñÇ Ñ»ï: úñÇݳÏ` ëó»Ý³ñáõÙ Ý»ñϳ۳óÝáõÙ ¿ÇÝù ³ÛÝåÇëÇ ï»ë³ñ³Ý, áñÝ áõÕÕ³ÏÇ ³ÝÃáõɳïñ»ÉÇ ¿ñ` Ç ëϽµ³Ý» ÇٳݳÉáí, áñ í»ñçÝ³Ï³Ý ï³ñµ»ñ³ÏÇó çÝç»Éáõ »Ý: ´³ÝÝ ³ÛÝ ¿, áñ ³Û¹ ï»ë³ñ³ÝÁ Ù»½ å»ïù ¿É ã¿ñ: ¶ñ³ùÝÝÇãÁ Ùdzݷ³ÙÇó ѳñÓ³ÏíáõÙ ¿ñ ³Û¹ ï»ë³ñ³ÝÇ íñ³` Ùáé³Ý³Éáí ³ÛÝ Ù³ëÇÝ, áñÁ Ù»½ ѳٳñ Çñáù ϳñ¨áñ ¿ñ: ÆÝãå»ë ï»ëÝáõÙ »ù` Ù»ñ ѳñ³µ»ñáõÃÛáõÝÝ»ñÁ ß³ï µ³ñÓñ ٳϳñ¹³ÏÇ íñ³ ¿ÇÝ (ÍÇͳÕáõÙ ¿): ¶ñ³ùÝÝáõÃÛáõÝÝ Çñ ɳí ÏáÕÙ»ñÝ ¿É áõÝ»ñ` ëïÇåí³Í ¿ÇÝù Ëáõë³÷»É ³ë»ÉÇùÁ ѳݹÇë³ï»ëÇÝ Ñ³ëóÝ»Éáõ Ñ»ßï ׳ݳå³ñÑÝ»ñÇó: ä»ïù ¿ñ »ñ¨³Ï³ÛáõÃÛáõÝÝ û·ï³·áñÍ»É, ³í»ÉÇ Ñݳñ³ÙÇï ÉÇÝ»É: ²Û¹ å³ï׳éáí ¿É É»Ñ³Ï³Ý ýÇÉÙ³ñí»ëïÁ å³ïÏ»ñ³ÛÇÝ ³éáõÙáí ѽáñ ¿: ¸Åí³±ñ ¿ñ 1981-ÇÝ §ºñÏÛáõÕÝ»ñÁ¦ Ýϳñ³Ñ³Ý»É: à±ñÝ ¿ñ ÑÇÙÝ³Ï³Ý Ýå³ï³ÏÁ: ºñµ ·ñáõÙ ¿Ç ëó»Ý³ñÁ, ѳÙá½í³Í ¿Ç, áñ ÇÝÓ ÃáõÛÉ ã»Ý ï³ Ýϳñ»É: ´³Ûó Ùï³Í»óÇ, áñ, ³ÛÝáõ³Ù»Ý³ÛÝÇí, ³ñÅ» ëó»Ý³ñÁ Ùß³ÏáõÛÃÇ Ý³Ë³ñ³ñáõÃÛáõÝ áõÕ³ñÏ»É: ºí, ÇѳñÏ», Ýϳñ³Ñ³ÝáõÙÝ»ñÝ ³ñ·»Éí»óÇÝ: ê³ È»Ñ³ëï³Ýáõ٠ѳٻñ³ßËáõÃÛ³Ý ß³ñÅáõÙÇó ÙÇ ù³ÝÇ ³ÙÇë ³é³ç ¿ñ: ²Ýó³Ý ûñ»ñ, áõ »ñÏñáõÙ ëÏëí»óÇÝ ·áñͳ¹áõÉÝ»ñÁ: ²Û¹Å³Ù Ýñ³Ýù ëïÇåí³Í ¿ÇÝ Ñ³ëï³ï»É §ºñÏÛáõÕÝ»ñǦ ëó»Ý³ñÁ: ²Ûë ýÇÉÙÝ ÇÝùݳϻÝë³·ñ³Ï³Ý ¿: ºë áõ½áõÙ ¿Ç óáõÛó ï³É ÏáÙáõÝÇëïÝ»ñÇ ÇëÏ³Ï³Ý ¹»ÙùÁ ¨ û »ñÇï³ë³ñ¹Ý»ñÇÝ ¹³ëïdzñ³Ï»ÉÇë ÇÝã Ù»Ãá¹Ý»ñÇ »Ý Çñ»Ýù ¹ÇÙáõÙ: üÇÉÙáõÙ µáÉáñ áõëáõóÇãÝ»ñÁ ß³ï ëÇñ³ÉÇñ »Ý ¨ ѳ׻ÉÇ, Ýñ³Ýù Çëϳå»ë áõ½áõÙ »Ý û·Ý»É ³ß³Ï»ñïÝ»ñÇÝ` ¹³éÝ³É ÇëÏ³Ï³Ý ÏáÙáõÝÇëïÝ»ñ: ø³ÝÇ áñ ·áÑ ã»Ý Çñ»Ýó ѳë³ñ³ÏáõÃÛáõÝÇó ¨ áõ½áõÙ »Ý ³ÛÝ µ³ñ»É³í»É, ëÏëáõÙ »Ý Ñ»Ýó »ñÇï³ë³ñ¹ ë»ñݹÇó: ê³Ï³ÛÝ í»ñçáõÙ ³Û¹ ³Ù»ÝÁ µ»ñáõÙ ¿ ³Ý·ÇÝ ³ñÅ»ùÝ»ñÇ` ÁÝï³ÝÇùÇ, ÁÝÏ»ñáõÃÛ³Ý, ѳí³ï³ñÙáõÃÛ³Ý ÏáñͳÝÙ³Ý: ºñµ Ù»Ýù Ýϳñ³Ñ³ÝáõÙÝ»ñÇ ¿ÇÝù, »ë ³Ù»Ý ûñ ³ñÃݳÝáõÙ ¿ÇÝ ÙǨÝáõÛÝ Ùïùáí. §ê³ ù³Õ³ù³Ï³Ý ýÇÉÙ ã¿: ²Ûë ýÇÉÙÁ ù³Õ³ù³Ï³Ý ѳٳϳñ·Ç ÍáõÕ³Ïáõ٠ѳÛïÝí³Í Ù³ñ¹áõ Ù³ëÇÝ ¿¦: γñ»ÉDZ ¿ ³ë»É, áñ ²Ýç»Û ì³Û¹³ÛÇ áõ ºÅÇ Î³í³É»ñáíÇãÇ ÝÙ³Ý é»ÅÇëáñÝ»ñÁ ÑáÕ Ý³Ë³å³ïñ³ëï»óÇÝ Ó»ñ ýÇÉÙ»ñÇ Ñ³Ù³ñ: â¿Ç ³ëÇ: ºë, ÁÝï³ÝÇùë áõ ·áñÍÁÝÏ»ñÝ»ñÇë Ù»Í Ù³ëÁ (áã ÙdzÛÝ é»ÅÇëáñÝ»ñ, ³Ûɨ ·ñáÕÝ»ñ áõ åá»ïÝ»ñ) Áݹ¹ÇÙáõÃÛáõÝáõÙ ¿ÇÝù: ÖÇßï ¿` ÷áÕáóÝ»ñáõÙ ã¿ÇÝù ÏéíáõÙ, µ³Ûó ¹»Ù ¿ÇÝù ïÇñáÕ Ñ³Ù³Ï³ñ·ÇÝ: ²å³·³ ýÇÉÙ»ñÇë ·³Õ³÷³ñÝ»ñÝ ³ñ¹»Ý ë³í³éÝáõÙ ¿ÇÝ: ö³ëïáñ»Ý ÇÝÓ ³í»ÉÇ ß³ï á·»ßÝã»É ¿ ÷áÕáóÁ, ù³Ý ÏÇÝáÝ: ÆѳñÏ», ë³ ãÇ Ý߳ݳÏáõÙ, áñ Ù»Ýù ã¿ÇÝù ѳñ·áõÙ Ù»ñ ³í³· ·áñÍÁÝÏ»ñÝ»ñÇÝ: γñÍáõÙ »Ù, áñ ÝáõÛÝÇëÏ »Ã» ì³Û¹³Ý ¨ γí³É»ñáíÇãÁ ãÉÇÝ»ÇÝ, Ù»ñ ë»ñáõݹÁ ÙǨÝáõÛÝ ¿` Ïëï»ÕÍ»ñ Çñ ýÇÉÙ»ñÁ: ²ÛÝáõ³Ù»Ý³ÛÝÇí, µáÉáñë ÙdzëÇÝ ¿ÇÝù, ù³ÝÇ áñ áõÝ»ÇÝù ÁݹѳÝáõñ ÃßݳÙÇ` ѳٳϳñ·Á: ºí Ù»ñ ÁÝÏ»ñáõÃÛáõÝÝ áõÕÕ³ÏÇ Ññ³ßù ¿ñ, 㿱 áñ »ñµ å³ïñ³ëïíáõÙ »ë ÇÝã-áñ µ³ÝÇ ¹»Ù ·Ý³É, ³í»ÉÇ É³í ¿` Ù»Ý³Ï ãÉÇÝ»ë: Ø»Ýù áõÕÕ³ÏÇ å³ñï³íáñ ¿ÇÝù ×ßÙ³ñïáõÃÛáõÝÝ ³ë»É: ê³ ¿ å³ï׳éÁ, áñ »ñÏáõ-»ñ»ù Édzٻïñ³Å ýÇÉÙ Ýϳñ³Ñ³Ý»Éáõó Ñ»ïá »ë ѳëϳó³, áñ Çñ³íáõÝù ãáõݻ٠ÇÝã-áñ éáÙ³ÝïÇÏ Ï³ï³Ï»ñ·áõÃÛáõÝ Ñ³Ý»É: ⿱ áñ Ù³ÙáõÉÇ ³ëáõÉÇëÇ Å³Ù³Ý³Ï Ù»ÏÁ ϳñáÕ ¿ñ Ï³Ý·Ý»É ¨ ³ë»É. §ä³ñáÝ

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Honorary guest Wojciech Marczewski shared his thoughts on censorship, Polish cinema and the future of cinema.

Your films have been repeatedly censored, because they were about things which were forbidden to be talked about at that time. Do you think art needs censorship?

‘I think not, but that’s impossible. Censorship exists even if the country doesn’t have a censor’s office. Censorship exists because of the money, the market and the producers. Even the artist sometimes thinks: “Maybe it’s too harsh, maybe it’s not exactly what I want”. You can say that we behave like censors ourselves. That’s probably the most dangerous thing, when the artist starts to manipulate his own idea for the audience. Sadly, I cannot imagine a fully independent artist. That’s our dream. But of course there are some political themes that for certain reasons most artists don’t want to talk about.

The church is also a powerful censor. Religious matters make borders for the artist. But the main censor is the producer, because he mostly thinks of the profit or how the viewers might react.

In my times we used to play a little game with the censors. For example, we used to write a scene, which was completely unacceptable, and we knew from the very beginning that it was going to be deleted from the final draft. But the trick was we didn’t even need that scene. The censor of course jumped on that scene, and his attention was distracted from the part which was really important to us. As you can see, our relations were on quite a high level (laughs). Censorship had its good sides too. We had to avoid easy ways for delivering our message to the audience. We had to use our imagination, be cleverer. That’s why Polish cinema in terms of visual language is very strong.’

Was it hard to make Shivers in 1981? What was the main goal of the film?

‘When I wrote the script, I knew that I had no chance to make the film. But I thought that it wouldn’t harm to send the script to the Ministry of Culture anyway. And of course the answer was a categorical no. That was a couple of months before the Solidarity movement began in Poland. A few weeks later the strikes started, and now they were forced to accept the script.

The film is pretty much autobiographical. I wanted to show the face of the communists and what kind of methods they used to educate young people. All the teachers in the film are very polite, very nice; they really want to help the students to become true communists. They’re educating the student, because they are not satisfied with the community, but they believe that they can make it better, so they’re starting from the young generation. But in the end all that brings the destruction of priceless values, such as family, friendship and of course loyalty. When we were shooting, I used to start each day with the same sentence: “This is not a political film. It’s about a human being who’s trapped in the system.”’

Can it be said, that directors like Andrzej Wajda or Jerzy Kawalerowicz prepared the ground for your films?

No, I wouldn’t say it like that. I, my family and most of my colleges (not only filmmakers, but also poets and writers) were all in the opposition. We weren’t fighting in the streets, but we were against the system. The ideas of my future films were floating in the air. So you can say I was more influenced by the streets, rather than the cinema. Of course this doesn’t mean we didn’t respect our elder colleagues.

I just think that my generation would’ve made its films, even if there was no Wajda or Kawalerowicz.

But anyway we were all together, because we all had one mutual enemy: the system. And our friendship was fantastic, because when you’re going against something, it’s much better to know that you are not alone. We all felt that we are obliged to tell our viewers the truth. That’s why after making two or three feature films I understood that I couldn’t direct a silly romantic comedy, because during a press conference someone might stand up and say: “Mr. Marczewski, I came to see your film because I thought you wanted to discuss serious problems with me on a certain intellectual level. What’s happened to you?”’

Many directors of your generation say that their audience has left the film theatres long ago.

Do you agree with them?

When I was shooting my films, society and culture were different. There has been a really big change in the mentality of people. It’s natural that the new generation thinks differently.

Young filmmakers are more selfish. But I think that the real problem is that the enemy has disappeared. My generation had a clear, strong enemy, which was the system. The new generation doesn’t have an enemy. That’s why there’s much more business in cinema than it used to be. We used to make films, now were producing them.

Cinema has become a product, which needs to be sold to somebody. It’s not bad that modern filmmakers think about the audience, but most of the times this results in the making of narrow-minded, sentimental fairy tales. This keeps the viewers on a low intellectual level. What’s the real reason to make a film? Making money or… to tell something serious? If we keep on like this in a couple of years the audience won’t accept the so-called serious cinema.

Many years ago I was living in London. One evening I was sitting on a bench on Trafalgar Square, and there were many theatres nearby, where they showed all the new American blockbusters. I remember I thought: “I don’t want to be part of this”. But in two or three metro stations from this place there is another part of London called Hampstead, which is full of small cinemas. And I thought: “That’s the place, where I would like to see my films”. Of course I would love to have many viewers, but if not now, then maybe in 5 years some people would watch my films and it’ll be important for them. It’s my personal decision that I make a film only when I’m sure I have something really important to say. AV

GOLDEN APRICOT DAILY | DAY 5 | 14 JULY | 2011

6 reviews Frozen in time Winter Vacation (Li Hongqi, China, 2010).

14-7, 12:30 and 16:30, Moscow Cinema, Blue Hall.

Li Hongqi’s wonderfully absurd and dry witted Winter Vacation, last years winner of the Golden Leopard in Locarno, delves into the repetitions of life in a desolate town in northern China during the last days of, well, winter vacation. Its fixed camera position with long panning shots and slow moving action creates a sense of suspended animation in which the world has come to a halt and characters seem trapped in the Groundhog Day motions of provincial oblivion.

School-kids talk about leaving and seeking their fortune elsewhere while sitting on worn-out couches in the snow outside, clearly realizing they will never leave. They move in and out of the frame with deadpan expressions, hands in pockets, infusing the concept of slackers with a sedentary quality as if they’re just another layer to the earth, waiting to take their place in the ground. Elsewhere in town daily rituals take place, whose repetition creates great comic effect. The same boy is hassled by the same bully, ordinary encounters dissolve into slightly bewildering situations. ‘What do you want to be when you grow up’, a grandfather asks his grungy grandson. ‘An orphan’, he responds.

It all adds up to a view of modern Chinese society where economic prosperity is celebrated at the cost of many. Somewhere in the distance fireworks are lit but not for these people to see. Li’s cinematic restraint delivers a harsh message, without, as celebrated critic Tony Rayns noted, using any images the Chinese censor can object to.

The director’s timing is impeccable, something that becomes apparent when you allow yourself to be taken in by the film’s deliberate pace. Beyond the actual happenings in the foreground another dimension opens up where quarrels between relatives and ordinary conversations between friends are given a more existential quality. Though buildings and streets suggest decay, implying things have a beginning and an end, everything human seems to find itself locked in endless cycles of repetition. A tragic reality effectively countered by Li Hongqi’s wordless sense of humour. The title’s holiday period becomes something darkly comical when the viewer wonders whether this state of inertia will ever end. RR

Quietly unhappy Sunday in the Country (Bertrand Tavernier, 1984, France), 14-7, 14:30, Moscow Cinema Blue Hall.

The film classic Sunday in the Country (1984) feels like a pleasant stroll on a quiet Sunday afternoon, but underneath the beautiful surface, there are subtle hints of sadness. With great finesse, French master Bertrand Tavernier, subject of a retrospective at the festival, shows us one day in a life of a family with a long history of issues with one another, though hardly spoken out aloud. In an idyllic country house near Paris, 1912 – it’s almost autumn – an old distinguished painter waits for his siblings to arrive on their Sunday visit. He’s well off and respected as a painter, but never pushed the limits in his work and life. While impressionistic painters explored new territory, Monsieur Ladmiral only draws the paint strokes he knew, is suggested. He passed on his risk avoiding attitude to his son Gonzague, who lives a life of adjustment to all the dominating people around him, especially his father and his pious wife. Gonzague once wanted to be a painter too, but, ‘If I failed,’ he says to his wife, ‘it would've upset papa. I'd just have been in his shadow. Otherwise, I'd have become his rival.’ The unmarried, independent sister Irène, who arrives at the house like a whirlwind, did break out. In a couple of short supernatural scenes, her deceased mother re-appears and says to her: ‘When will you stop asking so much of life, Irène?’ She better does, or she’ll end up quietly unhappy just like the rest of the family.

Sunday in the Country, with its fluid, graceful camera work, earned Tavernier a Best Director award from the Cannes Film Festival. The appropriate pastel colours of the film were achieved by a bleaching process during the development of the film negative.

The bitter sweet disappointment, the melancholia, it’s all there in the end, but Tavernier never for-

A Dog's Life in the South The Journals of Musan (Park Jungbum, 2010, South Korea). 14-7, 20:30, Moscow Cinema, Red Hall; 15-7, 12:30, Moscow Cinema, Blue Hall.

Although their armies don’t fight any more, The Democratic People’s Republic (25 million inhabitants) in the North and the Republic of Korea (50 million inhabitants) in the South are technically still at war, since a peace treaty after the Korean War (1950-1953, with at least 2.5 million victims) was never signed. Yearly about 20.000 people from the North find, via China, their way to the South, but they don’t arrive in the expected paradise. They get a social security number starting with 125, which indicates that they come from ‘the other side’. Officially it gives them access to social welfare, but in fact it blocks their entrance into society. Nobody wants to hire people with that mark. With a ‘125’ you are an outcast instead of welcome.

ces these feeling onto the viewer. Finally, it’s never too late for Monsieur Ladmiral to start with a new blank canvas, just like Tavernier himself did with every new film. MG

Into the Land of Wolfs The Son of the Olive Merchant (Mathieu Zeitindjioglu, 2010, France). 14-7, 16:00, Moscow Cinema, Video Hall.

The childish playfulness and warmth of The Son of the Olive Merchant by Mathieu Zeitindjioglu makes it outshine many documentaries done on the subject of the Armenian Genocide. It starts with an animation, which tells the story of the son of an Armenian olive merchant living in Erzurum at the beginning of the 20th century. What starts as a fairytale quickly turns into a violent nightmare with the events of 1915.

Some 90 years after the incident the director, being the grand-grand son of the olive-merchant, feels haunted by the Turkish name that the son of the olive merchant adapted as a cover for his identity. This cover is very likely to be the reason why he was able to survive the genocide and start a new life in France where migrated to. Yet for Mathieu this is like covering yourself with the skin of the wolf – the enemy – and for that he feels that all his family is damned forever. This is why the director as the grand-grand child hides himself behind a picture of a boy with wolf ears.

The documentary is the manifestation of the honeymoon trip he takes across the country of wolfs with his friendly and beautiful polish wife Anna. It is Anna who convinced Mathieu to take the trip, hoping to lift the burden he seems to be carrying – the original sin attached to him in the shape of wolf ears. So begins a journey through Istanbul, Ankara, Erzurum, Tunceli, Van and lastly the west coast. We follow them while they meet and befriend Turks all over Anatolia, who

As a student Park Jungbum (1976) met Jeong Seung-chul, a ‘125’-guy from Musan, a county in the North. By his close friendship with Seung-chul he realized the life of those neighbours, who came for food but also looked for happiness, was not easy to find at the bottom of one of the economical most developed countries in Asia, as the by USA dominated South-Korea is. Jeong Seung-chul died by stomach cancer and Park felt obliged to honor him with a short film, called 125 Jeong Seung-chul .

Park studied physical education to become a teacher, but changed his destiny by choosing the uncertainty of being a filmmaker. He worked as an assistant on Lee Chang-dong’s Poetry, last year voted for as best Asian film, awarded in Cannes and screened at the Golden Apricot Film Festival. Lee encouraged Park to extend his short into feature length. It cost him four months and about 75.000 dollar. Park decided to play the main character himself, not only to avoid spending money for a professional actor, but also because he knew Seung-chul better than anyone and felt he would not be able to explain to someone else the habits and feelings of his late friend. Furthermore, he didn’t want another

one to suffer the beatings which were necessary to undergo during the shooting.

Park’s acting is one of the strengths of the film.

He convinces in such a naturalistic way that following him makes you fully aware of the situation of the man from the North, and how Korean society is treating him. Most of the time we see Park on his back, as if he guides us, although sometimes you have the unpleasant feeling of being a burden on his shoulders.

There are no obvious political messages, but the simple story is full of details that make it a sort of documentary about real people who are exposed to difficult situations in a modern democracy, where equal rights are not for all. Seung-chul tries to find a place and goes ahead, but his only real friends are a dog he finds on the street, and (maybe) the girl he watches in church and who works with him in a karaoke bar. You could find a lot of easily understandable metaphorical details in a film that shows but doesn’t explain.

It doesn’t teach but instead raises questions. Not only about Korea, but also about society and human beings in general. Even questions about a dog’s life: would the dog be better of if he did not die like in the film but was delivered to a certain Korean restaurant? PvB

don’t really believe or somehow deny being wolfs.

They have a chance to observe how effective the denial policies of the government were over the citizens. They look friendly when encountered from a certain angle, but mostly they have no doubts about the issue and blame the Armenians for another genocide. At the end it is hard to decide whether Mathieu is finally at ease with his past, but it is cheerful that at least he shows his human face without the ears.

Mixed with animation and mostly shot with a handheld camera this intimate film is very attractive in its childlike honesty. EK

and exceptional soundtrack supplement the stories told in this production by Baden-Württemberg Film Academy student Andrea Roggon. The people shown in the film are not those speaking. We watch them as they get crammed onto the bus, or wash their hair. We see puddles on the street, rolling waves, like mirrors. Through this documentary and Sánchez’s blogs, these faces, sounds and voices from Havana can now be seen and heard. MG

Freedom as a lie

Suicide Club (Olaf Saumer, Germany 2010) 10:00 and 21:00, Moscow Cinema, Blue Hall.

I am Free (Andrea Roggon, 2010, Cuba/ Germany), 14-7, 10:00, Puppet Theatre, Small Hall.

Adapted from the collection of stories The Suicide Club by Robert Louis Stevenson and a previous Japanese and English film adaptation German director Olaf Saumer directs this stripped bare version of the story about a group of people looking to end their lives.

But ending a life just by yourself isn’t an easy thing to do, so five men and women who know each other only through the internet decide to meet up early one morning on top of an apartment building. Someone throws away the key to the staircase door while waiting for the final countdown, but problems keep piling up and the moment is never right. They can’t jump but can’t leave the building either so they decide to wait until evening. Living in extra time, as it were, they are confronted with each other’s stories and realise all may not be lost. Suicide Club then changes course after a sixth character enters the group.

Visually and narratively straightforward Saumer’s debut feature film packs comic and tragic elements in equal measure, allowing the protagonists to explore backgrounds and empathize with their fellow travellers while launching a joke or two before the next jump. RR

Cuba’s public enemy number one is Yoani Sánchez, a well-known female blogger who exposes the nature of the system in her acclaimed, influential articles. The aim of her widely translated blog, Generación Y, is to overcome her apathy and silence. ‘Freedom is the freedom to scream in public that you are not free,’ she says off screen in the documentary I am Free (Soy libre).

Anonymously and with complete honesty, Cubans tell us about their idea of freedom. ‘It is a lie I have repeated so often, I have started to believe it: I am free.’ They are very well aware of the restrictions placed on them as human beings: ‘I can do whatever I want, but only within a clearly defined context, place and time.’ Many desperate Cubans dared the hazardous crossing to the United States. But in the words of poet Konstantinos P. Kavafis you will always be walking the streets of Havana wherever you go – you can't shake off the past.

The peaceful, beautifully framed street scenes

The final countdown

GOLDEN APRICOT DAILY | DAY 5 | 14 JULY | 2011

films and makers 7

'The worse the film, the more money it makes' Master Class Derek Malcolm

Director Pavel Kostomarov is the third 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. Pavel Kostomarov (1975, Moscow) visits the Golden Apricot IFF to present his new film experiment I Love You. He graduated from the VGIK’s Cinematography Faculty in 2002. He worked as a cinematographer with directors like Sergei Loznitsa and won a Silver Bear for his camerawork in How I Ended This Summer by Aleksei Popogrebsky. Since 2004 he works as a director himself. Three of his documentaries participated in Golden Apricot IFF. His Together won the Best Documentary Award of Golden Apricot in 2010. The free Master Class is open for all film students and festival guests. Tomorrow, a master class will be given by jury member and filmmaker Pawel Pawlikowski (My Summer of Love).

The message Derek Malcolm delivered to his master class audience wasn’t pretty. But it was honest. The feature competition jury member and London Evening Standard film critic introduced them to the harsh world of international film criticism by talking about the threats and demands by media juggernauts who demand the brightest spotlight be put on Hollywood blockbusters while nearly silencing the richer and more interesting arthouse cinema.

According to Malcolm there are three types of critic. The first works for a newspaper and has to write every week about the new releases. A second subspecies of criticus cinematograficus works for film magazines, has more time to write and is usually somewhat more of a specialist. The last subgroup is made of academic critics who write long essays about cinema in academic magazines. ‘A whole different kind of game’, Malcolm added.

Last year Malcolm reviewed 537 different films.

‘The problem is’, he said, ‘that at the end of the year some 50 of those are worth being remembered. Some would even go as low as fifteen.’

‘The problem in writing for a newspaper is that very often the worse the film, the more money it makes. Some of the best films often disappear very quickly from the cinemas. Why? Because the general public on the whole doesn’t like to reed subtitles. So every film that is not in their own language is a problem for them. In the UK a staggering 80 percent of films shown in the cinema is American. Ten percent is made in the UK and the final ten per cent comes from all over the world.

Britain is very lucky it speaks the same language as the Americans because we can occasionally sell films to the Americans and that keeps the British film industry alive.’

‘The French, the Russians and the Germans have great difficulty selling their films to the US. So what the Americans do is buy a French film and make it into a Hollywood film. Which annoys the French very much. The reason that British cinema survived until now, and it has been in hospital for quite some time, is that each year there are one or two films that make a lot of money

Roman Balayan Nader and Simin, A Separation

in America. Recently it was The King’s Speech.

Before that Slumdog Millionaire. But your average British film makes very little money. One British film recently made 270 pounds in cinemas.’

If you’re not interested in people, what’s the point of writing about them? All in all it’s quite a hard job being a good critic under the circumstances that exist today.’

‘To be a newspaper critic today, you have to write entertainingly. Otherwise nobody will read you. And sometimes you have to write very fast.

At Cannes I have to see the most important film of the day at 8.30 in the morning and my review has to be in the paper at eleven. That gives me something 20 minutes to review one of the best films of the festival. There’s no time for second thoughts.

Not much for first thoughts either. So you have to be a good journalist also.

The second thing is that you have to know about the history of the cinema. And the third is that you have to know something about the other arts. Because film doesn’t exist in a vacuum.

And the last thing, which maybe sounds rather stupid, is that you have to be a decent human being. Cinema is about people and their stories.

Anyone wanting to become a critic or a filmmaker should go see a lot of films, Malcolm said.

That might not sound very surprising but the last thing many young filmmakers at festivals do is actually watch the films, Malcolm knows from experience. ‘Also at this festival there several good films you should absolutely go and see.

The best films are often very simple. Not always, Melancholia and The Tree of Life are not simple at all. But there are also very simple films which are just as good, maybe even better. I’m thinking of the Iranian film Nader and Simin, A Separation: a lot of talk, little action, but a very good film. You’ll get a lot of ideas from them. I’m not asking you to like them, but you’ll probably recognize how well they’re made. So you need to see them!’ RR

Paradjanov, Lover of Beauty

Armenian born French actor/director Serge Avedikian and co-director/producer Olena Fetisova presented their Paradjanov, Lover of Beauty feature film project to the press on Tuesday at the French embassy. The biopic will celebrate the life and work of legendary Georgian director Sergej Paradjanov who died in 1990 and built an international reputation with Shadows of Forgotten Ancestors and The Colour of Pomegranates.

According to Avediakian ‘Paradjanov created a unique language in cinematography. He made films that no one in the USSR dared to make before him.’ Paradjanov subsequently spent years in prison and suffered serious physical injury in a Russian labour camp.

Avediakian, who befriended Paradjanov, was approached by co-director and writer Olena Fetisova to play the lead role. ‘It’s as if Paradjanov himself had given me a sign, saying “You must tell the next generation all that you knew about me, about the cinema that I love and about the life that I lived.”’

Master Class

Avediakian and Fetisova both agreed that the film shouldn’t resemble Paradjanov’s lyrical style. ‘In our film we will see how Paradjanov created, how he fought for his art, how he loved, what he lived for and what he made of it. This will be an extravagant film like the main character was, luminescent and eclectic, like the elements Paradjanov used in his work.’

The film will contain sequences from Paradjanov’s own films, in which the character will act as if he’s directing the scenes. Other scenes will have animations of the director’s drawings, made by Avediakian who’s renowned for his own animations and shorts.

In 2010 Avediakian won the Palme d’Or for best short film at the Cannes Film festival with his Barking Island. According to the filmmakers, ‘great attention will be paid to the recreation of the atmosphere of the forever gone Soviet era of the 70’s and 80’s.’

The project, with a release set for 2013, will not unravel Paradjanov, Avediakian and Fetisova announced. ‘We are going to present him as a mystery and be astonished by it.’ RR

Apricot Stone This year, The Golden Apricot International Film Festival has a new section, called Apricot Stone, a short film competition. Everyone knows that fruit has a stone, Gagik Ghazaryan, coordinator of the contest, says, adding that any film director begins as a rule with short films, which are the ‘stone’ of his or her creative life.

The organizers of the Apricot Stone competition, directors Aram Shahbazyan, Vardan Hakobyan, Gagik Ghazaryan, Lusine Sargsyan and scriptwriter Astghik Simonyan, say the Golden Apricot Film Festival has provided them with an opportunity to materialize their ideas, to independently formulate the requirements for selecting the short films. Out of 135 applications they have selected 25 shorts from 18 countries.

The director of the film that will be recognized as the winner of this section will be awarded a proposal to join a film shooting as a partner and also technical support for making his or her next film.

Thierry Lenouvel, a French producer is the chairman of the Apricot Stone jury. Other jury members are film critic Olga Shervud from Russia and Garine Torossian, a Canadian-Armenian film director.

The selected 25 short films are screened at Puppet Theater’s Large Hall.

With the screening of Flying Asleep and Awake (1982) at Moscow Cinema Red Hall at 18:00, the Roman Balayan’s retrospective will be opened today. Flying Asleep and Awake is a tragicomedy with a provocative plot at that time, about a man who celebrates his 40th birthday at the countryside but is unable to leave his childhood-like behaviour behind.

Roman Balayan (1941, Nagorno-Karabakh) graduated from the Cinema School of the Kiev State Theatre Institute as a film director and has been living and working in Kiev and Moscow as a film director, script writer and producer.

Besides Flying Asleep and Awake the festival shows Lone Wolf, The Kiss, Guard Me, My Talisman, The Spy, A Night at the Paradjanov’s Museum, The Night is Bright, Birds of Paradise, and a documentary about Balayan, Let Us Be Partial towards our Friends.

Yerevan Premiere After the Dolma Festival at 17:00 at Sardarapat, you can attend the Yerevan Premiere of the winner of the Golden Palm in Cannes, The Tree of Life by Terrence Malick at Moscow Cinema, Blue Hall, 18:30.

Press Conferences At 11:00 there will be a press conference with Cornel Gheorghita, the Romanian director of Europolis.

At 12:00 the press can talk to Li Hongqi, the Chinese director of the darkly comical Winter Vacation, last year’s winner of the Golden Leopard about life in a desolate town in Northern China.

At 13:00 he is followed by Martin Jabs, director of the documentary Nora Is Still Alive, about a girl who is going to die soon, Ahmad Seyedkeshmiri, the Iranian director of Magnificent Nothing, and Nacho Martín (El nino Miguel).

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 America drama Here by Braden King, which is set in Armenia.

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.

Glasgow

GOLDEN APRICOT DAILY | DAY 5 | 14 JULY | 2011

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