Golden Apricot Daily - 2011, Last Day

LAST DAY SUNDAY JULY 17

2011

Asghar Farhadi wins Golden Apricot

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Highlights from Golden Apricot 2011 Photos of the Award Ceremony

GOLDEN APRICOT DAILY | LAST DAY | 17 JULY | 2011

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17 ÑáõÉÇëÇ/ 17 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall

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

11:00 ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛÃÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/International Documentary Competition Program Winner

12:00 гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ ÙñóáõÛÃÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/Armenian Panorama Competition Program Winner

14:00 ¾ÏáõÙ»ÝÇÏ ÅÛáõñÇÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/ Ecumenical Jury Award Winner

15:00 γñ׳ٻïñ³Å ˳ճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/Short Film Competition Program Winner

16:00 ÄÛáõñÇÇ Ñ³ïáõÏ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙ/Special Jury Prize Winner 18:30 ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/International Feature Competition Program Winner

16:00 FIPRESCI ÅÛáõñÇÇ Ùñó³Ý³Ï³ÏÇñ ýÇÉÙÁ/ FIPRESCI Jury Award Winner 18:30 º½»ñù/The Edge ²É»ùë»Û àõãÇï»É/Alexey Uchitel, Rus, 119', CIS

Lang.: Russian, Subt.: English 21:00 ØÇ ³Ý·³Ù ²Ý³ïáÉdzÛáõÙ/Once upon a Time in Anatolia ÜáõñÇ ´ÇÉ·» æ»ÛɳÝ/Nuri Bilge Ceylan, Tur/Bih, 157', YP

Lang.: Turkish, Subt.: English and Armenian

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Goodbye, Golden Apricot!

Goodbye, Yerevan!

Supervising manager of transport Aram Khachatryan. Cartoon of Harutyun Chalikyan Editor in chief: Ando Wardyan (André Waardenburg) General supervising manager: Peter van Bueren ¶É˳íáñ ËÙµ³·Çñ` ²Ý¹ñ» ì³ñ¹»Ýµáõñ· úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý

Coordinator Daily: Jantje Maardenburg (Genofia Martirosyan)

Èñ³·ñáÕÝ»ñ` ²ñÍíÇ ´³ËãÇÝÛ³Ý, ð³ýýÇ ØáíëÇëÛ³Ý, سñÇ Ê»ñ³ÝÛ³Ý, ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, ²ñÙ»Ý Þ³ËÏÛ³Ý Èáõë³ÝϳñÝ»ñÁ` PanARMENIAN Photo, Photolur

Translations: Zara Safaryan, Murad Muradyan

¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ îå³·ñí³Í ¿` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

Journalists: Mariska Graveland, Evrim Kaya, Ronald Rovers

Design: Gayane Grigoryan Photos: PanARMENIAN Photo, Photolur

GOLDEN APRICOT DAILY | LAST DAY | 17 JULY | 2011

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GOLDEN APRICOT DAILY | LAST DAY | 17 JULY | 2011

4 GAIFF 2011

Highlights from Golden Apricot 2011

GOLDEN APRICOT DAILY | LAST DAY | 17 JULY | 2011

GAIFF 2011 5 Another day, another press conference

GOLDEN APRICOT DAILY | LAST DAY | 17 JULY | 2011

6 closing day

Quotes from Golden Apricot Daily reviews of the award winning films Nader and Simin, A Seperation (Asghar Farhadi, Iran, 2011) This Iranian film is based on a simple story, as the title suggests, reminding us of 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. EK 17-7, 18:30, Moscow Cinema, Blue Hall.

The World according to Ion B. (Alexander Nanau, 2009, Romania) Ion Barladeanu is a sixty something homeless man living in an alley next to an apartment building in Romania’s capital Bucharest. His life suddenly takes a dramatic turn when gallery owner Dan Popescu accidentally discovers some 800 collages Ion B. put together with magazine clippings, capturing anything from international pop culture to Romanian politics. A form of expression not allowed under communist rule but now a pop-art goldmine. So Popescu decides to introduce Ion B. to the international art-scene. (...)

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

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

The Journals of Musan (Park Jungbum, 2010, South Korea)

17-7, 11:00, Moscow Cinema, Blue Hall.

Yearly about 20.000 people from North Korea find, via China, their way to South Korea, 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. (...)

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

London, Switzerland The plane landed from Europe at five in the morning, and there was the small matter of procuring an on-the-spot visa. By the time I reached my hotel room it was 6.45 am. The first film I had to see was at 11am. The life of a festival juror is not always a bag of sweets. Could I possibly keep awake after two hours sleep? Maybe.

The Festival was the Golden Apricot Festival at Yerevan, the capital city of Armenia, and to write that one didn’t know what to expect is not an exaggeration. I wasn’t even sure where Yerevan was on the map or even what the Armenian language sounded like. The world may be becoming a giant village but this small corner of it was entirely new to me. If I could have got out of my promise to chair the international jury, made many months ago, I probably would have.

In the event, I need not have worried. The hotel was comfortable, the welcome warm and the competition films were shown decently in a good hall.

What is more, the calibre of the 10 choices was better than that of many other festivals I have attended — no names, no pack drill — though it has to

be said that unlike the main European festivals, the choices shown did not have to be premieres, except in Armenia, which left a pretty wide choice.

Armenia is not a rich country, though there seem to be plenty of rich people in it with very expensive cars along with the Lada rather than a Lexus festival, sustained more by private sponsorship than the Government. Now in its 8th edition, it shows as much of world cinema as it can cram into a week’s viewing together with as many Armenian shorts, documentaries and features it can find. In short it does a surprisingly good job in difficult circumstances and any film-maker or critic can be sure of a worthwhile visit, even if you might well get tired of the first question invariably asked, which is “Is this your first visit to Armenia?”

Chairing an international jury is not always a comfortable business, particularly if there is one juror who won’t be denied and speaks against the majority.

You have sometimes to keep the peace even if the results don’t turn your way. And after the results are announced, there are always six or seven conspiracy theories as to why you did what you did, from pressure from the festival boss to downright bribery. They are almost all baseless, or else I’d be a very rich man.

Fortunately this time all was sweetness and light, despite the fact that we did wonder why the even-

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. PvB

The Prize (Paula Markovitch, Mexico/France/Poland/ Germany, 2011)

to reveal us the essential longing at the heart of her film. Another crucial thing about the film shows itself in this scene too: Markovitch’ film may be about politics, as it will turn out to be, but first and foremost The Prize is about childhood. (...)

The Prize then shows us a little girl that carries a dangerous secret. But children don’t fully realize the horrors of a dictatorship. How can they? The brutal contrast between Cecilia’s innocence and the destructive and deadly forces with which adults shape their world deliver a sharp warning for all to hear. RR 17-7, 16:00, Moscow Cinema, Blue Hall.

Director Paula Markovitch based parts of the script on her own childhood memories, while using the actual location of San Clemente de Tuyu where she lived for a number of years. The film’s opening shot shows a truly moving scene in which Cecilia walks with roller-skates on the beach, a shot that symbolically states she doesn’t have the freedom of movement a child should have. Then follows a close-up that immediately tells us the girl is looking for something. Markovitch only needs half a minute

tual winner was in the competition at all, having already won the Berlin Festival earlier in the year. Who would want a Golden Apricot after a Golden Bear? But Asghar Farhadi’s Nader and Simin, A Separation was so obviously the most fully achieved of the competition films that it had to be the choice.

Being on the jury, of course, you get the best treatment, being wined and dined almost to distraction. But sometimes you can come a cropper. When on the Berlin jury some years ago, I was so aghast that nobody was prepared to vote for the Bresson film (The Devil Probably) for any kind of prize that I said I would have to resign, being a critic whose reputation would be flattened if it was thought I had failed to support so great a director. I was saved by none other than Rainer Werner Fassbinder who immediately got up and said: ‘And if he goes, I go!’

Now it wouldn’t have mattered much, except to me, if I had resigned. But the exit of Fassbinder would have caused a sensation. We duly got Bresson the Special Jury Prize.

Fassbinder was, however, not entirely without criticism during the jury screenings since, if he didn’t like the film, he fell asleep and snored loudly. But the veteran lady who looked after the jury would have none of it. ‘Mr Fassbinder’, she said in a loud voice, ‘Please pay attention to the films! You

are here to work, not sleep!’ I have to say he tried to obey her every word, like a small boy about to be given 100 lines for insubordination.

Nothing like that happened at Yerevan. Nobody resigned and, though some occasionally took a nap, including myself in the longer films, everyone behaved.

Fassbinder, by the way, came to London for the Festival there at a time when I was its director. He said he would only come if I could procure him a ticket for the Arsenal versus Spurs match on the Saturday his film was being shown. I duly did, only to find him sulking in his hotel room after the match because Arsenal won. ‘I can get you a ticket’, I complained, ‘But I can’t get you the result’. In the end he presented his film at the National Film Theatre. Like any decent Spurs fan, he was eventually magnanimous in defeat.

As for The Golden Apricot Festival, about which I have already admitted a certain lack of knowledge when I arrived, the boot was on the other foot when an Armenian I met asked me where I came from. I told him London.

‘London, Switzerland?’, he replied.

Derek Malcolm, film critic and head of jury

GOLDEN APRICOT DAILY | LAST DAY | 17 JULY | 2011

closing day 7

Feature Film Competition ʳճñϳÛÇÝ ýÇÉÙ»ñÇ ÙñóáõÛÃ

Golden Apricot: Nader and Simin, A Separation – Asghar Farhadi (Iran, 2011)

Silver Apricot: The Journals of Musan – Park Jungbum (South Korea, 2010) Special Jury Prize: The Prize – Paula Markovitch (Mexico/France/Poland/ Germany, 2011)

Documentary Competition Golden Apricot: The World according to Ion B. – Alexander Nanau (Romania, 2009) Silver Apricot: Summer Pasture – Lynn True, Nelson Walker III, Tsering Perlo (China/USA, 2010) Special Mention: Magnificent Nothing – Ahmad Seyedkeshmiri (Iran, 2011)

Armenian Panorama Golden Apricot for Best Armenian Film and Best Short Film: Loading My Life – Haroutyun Shatyan (Armenia, 2011) Silver Apricot: The Spaceship – Emil Mkrttchian (Sweden, 2010) Special Mention: The Last Hippie of the Pink City – Anastasia Popova (Russia, 2010)

Golden Apricot Stone Golden Apricot: Glasgow – Piotr Subbotko (Poland, 2010) Special Mention: Bicycle – Serhat Karaaslan (Turkey, 2011)

§àëÏ» ÍÇñ³Ý¦` §Ü³¹»ñ ¨ êÇÙÇÝ. ³ÙáõëݳÉáõÍáõÃÛáõݦ. ²ëÕ³ñ ü³ñѳ¹Ç (Æñ³Ý, 2011) §²ñͳû ÍÇñ³Ý¦` §Øáõë³ÝÛ³Ý Ýáûñ¦. ö³ñù âáõÝ-µáõÙ (гñ³í³ÛÇÝ Îáñ»³, 2010) ÄÛáõñÇÇ Ñ³ïáõÏ Ùñó³Ý³Ï` §ä³ñ·¨Á¦. ä³áõɳ سñÏáíÇã (Ø»ùëÇϳ/üñ³Ýëdz/ Ȼѳëï³Ý/¶»ñÙ³Ýdz, 2011)

ì³í»ñ³·ñ³Ï³Ý ýÇÉÙ»ñÇ ÙñóáõÛà §àëÏ» ÍÇñ³Ý¦` §²ß˳ñÑÁ` Áëï ÚáÝ ´.-Ǧ. ²É»ùë³Ý¹ñ ܳݳáõ (èáõÙÇÝdz, 2009) §²ñͳû ÍÇñ³Ý¦` §²Ù³é³ÛÇÝ ³ñáï³í³Ûñ¦. ÈÇÝ Âñáõ, Ü»ÉëáÝ àõáù»ñ III, ò»ñÇÝ· ä»ñÉá (²ØÜ/ âÇݳëï³Ý, 2010) ÄÛáõñÇÇ Ñ³ïáõÏ Ï³ñÍÇù` §Ðá۳ϳå áãÇÝã¦. ²ÑÙ³¹ ê»Û»¹ù»ßÙÇñÇ (Æñ³Ý, 2011)

гÛÏ³Ï³Ý Ñ³Ù³Ûݳå³ïÏ»ñ §àëÏ» ÍÇñ³Ý¦` È³í³·áõÛÝ Ñ³ÛÏ³Ï³Ý ýÇÉÙÇ ¨ È³í³·áõÛÝ Ï³ñ׳ٻïñ³Å ýÇÉÙÇ Ñ³Ù³ñ` §´»éÝ»Éáí ÏÛ³Ýùë¦. гñáõà ޳ïÛ³Ý (г۳ëï³Ý, 2011) §²ñͳû ÍÇñ³Ý¦` §îÇ»½»ñ³Ý³íÁ¦. ¾ÙÇÉ ØÏñïãÛ³Ý (Þí»¹Ç³, 2010)

FIPRESCI Jury Mandoo – Ebrahim Saeedi (Iraq, 2011)

FIPRESCI ÅÛáõñÇ

Ecumenical Jury Europolis – Cornel Gheorghita (Romania/ France, 2010)

¾ÏáõÙ»ÝÇÏ ÅÛáõñÇ §ºíñáåáÉÇë¦. ÎáéÝ»É ¶»áñ·Çï³ (èáõÙÇÝdz/ üñ³Ýëdz, 2010)

British Council Prize for Best Short Film Loading My Life – Haroutyun Shatyan (Armenia, 2011)

´ñÇï³Ý³Ï³Ý ËáñÑñ¹Ç Ùñó³Ý³Ï` É³í³·áõÛÝ Ï³ñ׳ٻïñ³Å ýÇÉÙÇ Ñ³Ù³ñ §´»éÝ»Éáí ÏÛ³Ýùë¦. гñáõà ޳ïÛ³Ý (г۳ëï³Ý, 2011)

§Ø³Ý¹áõ¦. ¾µñ³ÑÇÙ ê³ÛÇ¹Ç (Æñ³ù, 2010)

ÄÛáõñÇÇ Ñ³ïáõÏ Ï³ñÍÇù` §ì³ñ¹³·áõÛÝ ù³Õ³ùÇ í»ñçÇÝ ÑÇåÇݦ. ²Ý³ëï³ëdz äáåáí³ (èáõë³ëï³Ý, 2010)

àëÏ» ÍÇñ³ÝÇ Îáñǽ §àëÏ» ÍÇñ³Ý¦` §¶É³½·á¦. äÛáïñ êáõµáïÏá (Ȼѳëï³Ý, 2010) ÄÛáõñÇÇ Ñ³ïáõÏ Ï³ñÍÇù` §Ð»Í³ÝÇí¦. ê»ñѳà γñ³³ëÉ³Ý (Âáõñùdz, 2010)

Photos by Sedrak Mkrtchyan. ©PanARMENIAN Photo

GOLDEN APRICOT DAILY | LAST DAY | 17 JULY | 2011

8 Ñáí³Ý³íáñÝ»ñ