Golden Apricot Daily - 2014, Day 5

DAY 5, THURSDAY, JULY 17

г۳ëï³ÝÂáõñùdz ÏÇÝáѳñóÏ

ػݳíáñ Ù³ñ¹áõ μ»ñÏñ³ÝùÁ

гñó³½ñáõÛó. ²Ùáë ¶Çï³Û

Interview: Amos Gitai

Still Life: Dying Alone

Alonso's Lost Paradise ²ÉáÝëáÛÇ ÏáñáõëÛ³É ¹ñ³ËïÁ

Armenia-Turkey Cinema Platform

GOLDEN APRICOT DAILY | DAY 5 | 17 JULY | 2014

2 Ă?ù³¡Çù/program 17 ÑåþÉÇÍÇ/ 17 july Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γüåþÛï š³ÑÉÇ×/ Moscow Cinema, Blue Hall 10:00, 20:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, γùÙÇù š³ÑÉÇ×/ Moscow Cinema, Red Hall 10:00

> # /Jauja @ /Lisandro Alonso Arg/108’/FC

Lang.: Danish/Spanish Subt.: English 12:30 Q /The Tribe

U > /Myroslav Slaboshpytskiy, Ukr/132’/FC

Sing Language

10:00, 19:00

'1 /Tevanik 7 /Jivan Avetisyan Arm-Ltu/81’/AP

Lang.: Armenian Subt.: English 12:00 2 /Resurrection /Alen Manukyan Arm/12’/AP

Lang.: Armenian Subt.: English 3

$ .

0) 4 # 2 / To start life anew. Đ? true story 8 /Ivan Tverdovskiy USA-Rus/97’/AP

15:00

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, ÜåÚù š³ÑÉÇ× 1/ Moscow Cinema, Small Hall 1

X /Russian Winter ^ , " D X , ` =, D #

D , D X,

X - / Cristina Picchi, Sandhya Daisy Sundaram, Benny Jaberg, Dieter Deswarte, Tristan Daws, Bernadett Tuza-Ritter Rus/90’/DC

Lang.: Russian Subt.: English 12:00, 17:00

14:00

/Brides # 4 /Tinatin Kajrishvili Geo-Fra/93’/FAB

Lang.: Chinese Subt.: English and Armenian 18:00 # #/Still Life ] ^ X /Uberto Pasolini UK-Ita/87’/FC

Lang.: English Subt.: Armenian 22:00 + ! /Barbaric Land 7 , 4 !! @ /Yervant Gianikian, Angela Eicci Luchhi Fra/65’/YP

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

Ă˜ĂĄĂŤĂ?Ă­Âł Ă?ÇĂ?ĂĄĂƒÂłĂŻĂąĂĄĂ?, ²Ù³Ê³ÛÇĂ? š³ÑÉÇ×/ Moscow Cinema, Summer Hall

Lang.: Georgian Subt.: English and Armenian

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

$ / Such Beautiful People D

/Dmytro Moyseyev Ukr/94’/FAB

Lang.: Armenian Subt.: English 20:00 ( # # /Free Zone /Amos Gitai Isr-Bel-Fra-Esp/90’/R

Lang.: Romanian/Russian Subt.: English and Armenian

Lang.: Armenian/French/Turkish Subt.: English and Armenian 15:30

22:00 ! ( # /Release < /Roman Musheghyan Arm/10â&#x20AC;&#x2122;/AP

Lang.: Armenian Subt.: English

ĂŞĂ&#x2021;Ă?ÂťĂ&#x2122;Âł ĂŤĂ&#x192;³ù/ Cinema Star

# /Star / Anna Melikyan Rus/128â&#x20AC;&#x2122;/AP

Lang.: Russian Subt.: English

Lang.: French Subt.: English

+ )

, $ /By Any Means - Aveilable + # + / Charlotte Schiøler Fra-Dnk/16â&#x20AC;&#x2122;/SC

Lang.: French/Danish Subt.: English

/Jealousy 0

1 ! -$ / Vladimir KharchenkoKulikovsky Rus/22â&#x20AC;&#x2122;/SC

Lang.: Russian Subt.: English 16:00

$ 0 / The English Teacher 2 3 4 5 , 0

/Nino Orjonikidze, Vano Arsenishvili Geo/56â&#x20AC;&#x2122;FoCa

Lang.: Russian Subt.: English 21:00 +

) [/The Subscriber is Temporarily Unreachable

> /Arman Yeritsyan Arm-Rus/22â&#x20AC;&#x2122;/AP

( [

,

/We Just Wanted to be Happy = $ /Seg Kirakosyan Arm/56â&#x20AC;&#x2122;/AP

Lang.: Armenian Subt.: English

/Jealousy 0

1 ! -$ / Vladimir KharchenkoKulikovskyĐą Rus/22â&#x20AC;&#x2122;/SC

Lang.: Russian Subt.: English ' (. /Taweez â&#x20AC;&#x201C; The Talisman Writer ' /Ali Hakim Tur/20â&#x20AC;&#x2122;/SC

Lang.: Dari Subt.: English and Armenian ! ) /Abderrahman ( /Elias Sfaxi Fra/20â&#x20AC;&#x2122;/SC

Lang.: French Subt.: English and Armenian 20:00

Ă?. Ă&#x2DC;ÂłĂ&#x2030;Ă&#x203A;ÂłĂ?Ă&#x2021; ÂłĂ?Ă­ÂłĂ? Ă?Ă&#x2021;Ă?嚝ù³Í³Ă?Ă&#x2021; Ă&#x192;³ïùåĂ?/ Theater-Studio of Cinema Artists After H. Malyan 14:00

. !

/Ai WeiWei: Never Sorry /Alison Klayman Deu/91â&#x20AC;&#x2122;/CSC

/ Once Upon Another Time

/Alexandr Baev Geo/30â&#x20AC;&#x2122;/FoCa

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

Lang.: Georgian Subt.: English

15:00 "

/Workshop with Richard PeĂąa 18:00

/ Two Sides of One Horse

/Tatyana Soboleva Rus/35â&#x20AC;&#x2122;/FoCa

Lang.: Russian Subt.: English 16:00

/Before I Die

/Suren Tadevosyan Arm/23â&#x20AC;&#x2122;/IE

Lang.: English Subt.: Armenian

/Winter Apple /Armen Ronov Arm-Tur-Rus/61â&#x20AC;&#x2122;/IE " /Love Me

!, " # "

/Maryna Er Gorbach, Mehmet Bahadir Er Ukr-Tur/90â&#x20AC;&#x2122;/FAB

Lang.: Ukrainian/Turkish/ Russian/English Subt.: English and Armenian 20:00 # $ /Promised Land /Amos Gitai Isr-Fra/88â&#x20AC;&#x2122;/R

Lang.: Arabic/Hebrew/Russian/ English/German Subt.: English and Armenian 22:00 % /The Coast Guard $ - $ / Ki-duk Kim Kor/91â&#x20AC;&#x2122;/R

Lang.: Korean Subt.: English and Armenian

Lang.: Armenian Subt.: English

19:00

! ) /Abderrahman ( /Elias Sfaxi Fra/20â&#x20AC;&#x2122;/SC

18:00

9 0 /Crossroads

! / Anastasiya Miroshnichenko Blr-Swe/69â&#x20AC;&#x2122;/FAB

'1 /Tevanik 7 /Jivan Avetisyan Arm-Ltu/81â&#x20AC;&#x2122;/AP

Lang.: Dari Subt.: English

Lang.: Georgian Subt.: English

Lang.: English/Hebrew/Arabic/ Spanish Subt.: English and Armenian

Lang.: Ukrainian Subt.: English and Armenian 23:00 K% 4 /The Unsaved 8= $ /Igor Cobileanski Rom/82â&#x20AC;&#x2122;/FAB

14:00 Y ; $ ,/Before Breakfast ) / Amina Zhaman USA/23â&#x20AC;&#x2122;/FAB "1 /Little Black Fish X D X 3 /Azra Deniz Okyay, Tur/28â&#x20AC;&#x2122;/FAB

No Dialogues

21:00

) /The Beekeeper 1 / Mano Khalil, Che/107â&#x20AC;&#x2122;/DC

Lang.: English Subt.: Armenian

18:30 * ; /The Thorn

/Suren Babayan Arm/68â&#x20AC;&#x2122;/AP

& ! /Brother Dog

% /Maria ZbÄ&#x2026;ska Pol/30â&#x20AC;&#x2122;/SC Lang.: Polish Subt.: English ' (. / Taweez â&#x20AC;&#x201C; The Talisman Writer ' /Ali Hakim Tur/20â&#x20AC;&#x2122;/SC

13:00

Lang.: French Subt.: English

Lang.: Kurdish/Swiss/German Subt.: English

16:00 9

/Chantrapas 3# 8 /Otar Iosseliani Fra-Geo/122â&#x20AC;&#x2122;/R

10:00

12:00 * #/The Runaway ) - *

/JeanBernard Marlin Fra/23â&#x20AC;&#x2122;/SC

Lang.: Russian Subt.: English

+ ) 2 /Platform WX [\ /Jia Zhangke Chn/143â&#x20AC;&#x2122;/R

Ă&#x153;ÂłĂ&#x2021;ĂąĂ&#x2021; Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?/ Nairi Cinema

Ă&#x2DC;ĂĄĂŤĂ?Ă­Âł Ă?Ă&#x2021;Ă?ĂĄĂ&#x192;³ïùåĂ?, ÜåÚù š³Ă&#x2018;Ă&#x2030;Ă&#x2021;Ă&#x2014; 2/ Moscow Cinema, Small Hall 2

Lang.: Armenian Subt.: English 18:00 /Our Village

/Yelena Arshakyan Arm/96â&#x20AC;&#x2122;/IE

Lang.: Armenian Subt.: English 20:00

/Meeting with Hasmik Karapetyan

Ă&#x201A;ĂĄĂľĂ&#x2122;ĂĄ ĂŤĂŻÂťĂ&#x2022;Ă?³ù³ù ĂŻÂťĂ&#x2039;Ă?ĂĄĂ&#x2030;å¡Ă&#x2021;ÂłĂ?ùĂ&#x2021; Ă?ÂťĂ?ïùåĂ?/ Tumo Center For Creative Technologies 13:30

Ă&#x17D;ĂąĂ&#x192;ÂłĂ&#x2122;Ă&#x;ÂłĂ?ĂĄĂľĂ&#x192;ÂłĂ&#x203A;Ă&#x2021;Ă? Ă&#x2018;Ă&#x2021;Ă&#x2122;Ă?³šù³Ă&#x2122;/ "Union Of Folk Arts" Educational Cultural Fund 11:00 ; * ,

2

/A Night at Parajanovâ&#x20AC;&#x2122;s Museum /Roman Balayan Ukr/23â&#x20AC;&#x2122;/P

No Dialogues * , . ,

/Parajanov, the Last Collage

= >/ Ruben Gevorgyants Arm-Fra/70â&#x20AC;&#x2122;/P

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

@ 0/The Stone Cross @ 3 /Leonid Osyka Ukr/77â&#x20AC;&#x2122;/UPC

Lang.: Ukrainian Subt.: English and Armenian 15:30

/Lone Wolf /Roman Balayan Ukr/77â&#x20AC;&#x2122;/UPC

Lang.: Russian Subt.: English 17:30

/Meeting with Levan Koguashvili

GOLDEN APRICOT DAILY ÂśĂ&#x2030;Ă&#x2039;³íåù Ă&#x2039;Ă&#x2122;Ο³¡Ă&#x2021;Ăą` Ă&#x161;ĂĄĂŤĂ&#x192; ´ùåùĂ?

Editor-in-chief: Joost Broeren

úù³Ă&#x192;ùĂ&#x192;Ă&#x2021; Ă&#x2018;ÂłĂ&#x2122;ÂłĂ?³ù¡åĂ&#x2022;` ²ùĂ&#x192;åþù ϳùšĂ&#x2021;Ă?Ă&#x203A;ÂłĂ?

Armenian coordinator: Artur Vardikyan

²Ă&#x;Ă&#x2039;³ï³Ă?³½Ă&#x2122;` ²Ă?³Íï³ÍĂ&#x2021;Âł Ă&#x17D;ĂĄĂŤĂŻĂ&#x2021;Ă&#x;ÂłĂ?ĂĄĂľ, Ă&#x153;Ă&#x2021;Ă?Ă?Âť Ă?ÂłĂ&#x203A;ĂŻÂťĂ?¡³ Ă?ÂťĂ&#x2022;Ă&#x2021;Ă?ÂłĂ?Ă?ù` Ă&#x2DC;³ùĂ&#x2021;Âł Ă&#x201A;ĂĄĂšĂ&#x2122;³çĂ&#x203A;ÂłĂ?, Ă&#x2DC;Ă&#x2021;Ú³Ă&#x203A;ÂťĂ&#x2030; Ă&#x2DC;³ù¡³ùĂ&#x203A;ÂłĂ?, Ă&#x153;ÂłĂ?Âť ĂŞÂłĂ&#x2018;ÂłĂ?Ă&#x203A;ÂłĂ?, ²ùĂ&#x2122;ÂťĂ? ĂşĂ&#x2018;ÂłĂ?Ă&#x203A;ÂłĂ?, œåÊ ´³Ă&#x2022;š³Í³ùĂ&#x203A;ÂłĂ?

Staff: Anastasia Costianu, Nienke Huitenga Contributors: David Vardazarian, Michael Margaryan, Maria Tokmajyan, Gor Baghdasaryan

êùΟ³¡ùĂ&#x2021;ĂŁĂ?ùª Ă&#x2DC;³ùĂ&#x2021;Ă?Âť Ă&#x201D;³ù³Ă&#x2039;ÂłĂ?Ă&#x203A;ÂłĂ?, èĂ&#x2021;Ă&#x2122;Âł ²Ă&#x2022;ÂťĂ?Ă&#x203A;ÂłĂ?

Photographer: Sona Andreasyan

Ă&#x2C6;åþͳĂ?Ă?³ùĂ&#x2021;ĂŁ` ĂŞĂĄĂ?Âł ²Ă?šù³ÍĂ&#x203A;ÂłĂ?

General Supervising Manager: Peter van Bueren

¸Ă&#x2021;½³Ă&#x203A;Ă?ù` œ³Ă&#x203A;ÂłĂ?Âť ϝĂ&#x2021;¡åùĂ&#x203A;ÂłĂ? ÂśĂ&#x2030;Ă&#x2039;³íåù Ă&#x2039;ĂĄĂąĂ&#x2018;ùš³ïåþ` äĂ&#x2021;ïù Ă­ÂłĂ? ´Ă&#x203A;åþùĂ? Îü³¡ùí³Ă? Âż §Ă&#x153;ĂĄĂ&#x203A;Ă&#x203A;ÂłĂ? γü³Ă?ÂŚ êäĂ&#x20AC;-ĂĄĂľĂ&#x2122;

Design: Gayane Grigoryan

Printer: "Noyyan Tapan" Ltd.

ºù¨³Ă?Ă&#x203A;ÂłĂ? ¡Ă&#x2021;Ă&#x;ùĂ?ù äåĂ&#x2022;ĂĄĂŤĂ&#x203A;ÂłĂ? ÂłĂ&#x203A;¡Ă&#x2021;Ă?ùåþĂ&#x2122;/ Yerevan Nights at Poghosyan Gardens + )

, $ /By Any Means Aveilable + # + / Charlotte Schiøler Fra-Dnk/16â&#x20AC;&#x2122;/SC

= (

# / The Wall of Dreams

1 ! /Armen Khachatryan Arm/44â&#x20AC;&#x2122;/P

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

Lang.: Armenian Subt.: English

* #/The Runaway ) - *

/JeanBernard Marlin Fra/23â&#x20AC;&#x2122;/SC

Lang.: French Subt.: English and Armenian & ! /Brother Dog

% /Maria ZbÄ&#x2026;ska Pol/30â&#x20AC;&#x2122;/SC

Lang.: Polish Subt.: English and Armenian

21:00

22:00 > /Dumka = ?

4 /Sergei Parajanov Ukr/25â&#x20AC;&#x2122;/T

No Dialogues # ? /Natalya Uzhviy = ?

4 / Sergei Parajanov Ukr/36â&#x20AC;&#x2122;/T

( # 2

0 /Beats of Freedom 0 ! q , @ /Wojciech Slota, Leszek Gnoinski Pol/78â&#x20AC;&#x2122;/CSC

Lang.: Ukrainian Subt.: English and Armenian

Lang.: Polish Subt.: English and Armenian

GOLDEN APRICOT DAILY | DAY 5 | 17 JULY | 2014

ýÇÉÙ»ñ »õ é»ÅÇëáñÝ»ñ 3

гٳ·áñͳÏóáõÃÛ³Ý åɳïýáñÙ ºñ»Ï »ñ»ÏáÛ³Ý »½ñ³÷³Ïí»ó гÛÃáõñù³Ï³Ý í»ó»ñáñ¹ ÏÇÝáåɳïýáñÙÇ ³ß˳ï³ÝùÁ, áñÁ ï»ÕÇ ¿ñ áõÝ»ÝáõÙ ÑáõÉÇëÇ 14-16-Áª §àëÏ» ÍÇñ³ÝǦ ßñç³Ý³ÏÝ»ñáõÙ: ÜáõÛÝ »ñ»Ïá ѳÛï³ñ³ñí»ó ѳÕÃáÕÁ: Ü»ñϳ۳óí³Í 10 ݳ˳·ÍÇó ÅÛáõñÇÝ ³é³çÇÝ Ùñó³Ý³ÏÁ ïí»ó §ä³ëï»ÉÇ ³Õáï ÝϳñÁ¦ ݳ˳·ÍÇÝ: Üñ³ Ñ»ÕÇݳϪ Ãáõñù é»ÅÇëáñ áõ åñá¹Ûáõë»ñ ꨹³ àõë³ÝáÕÉáõÇÝ ßÝáñÑí»ó 10 ѳ½³ñ ²ØÜ ¹áɳñ, áñÁ Ïû·ÝÇ ³Ûë ÏÇÝáݳ˳·ÇÍÁ í»ñ³Í»É ÉdzñÅ»ù ýÇÉÙÇ: гïáõÏ ÑÇß³ï³ÏÙ³Ý ³ñųݳó³í ݳ¨ Ø»ëáõà Âáõý³ÝÇ §âáõѳçÛ³ÝÇ ù³ÛÉ»ñáí¦ Ý³Ë³·ÇÍÁ: г۳ëï³Ý-Âáõñùdz ÏÇÝáåɳïýáñÙÁ ëï»ÕÍí»É ¿ª Ýå³ï³Ï áõݻݳÉáí ѳëï³ï»É ÙÇ Ñ³Ù³Ï³ñ·, áñÇ ßÝáñÑÇí »ñÏáõ »ñÏñÝ»ñÇ ÏÇÝá·áñÍÇãÝ»ñÁ Ñݳñ³íáñáõÃÛáõÝ ÏáõÝ»Ý³Ý Ñ³Ù³·áñͳÏó»É ¨ ÙdzëÇÝ ýÇÉÙ»ñ ³ñï³¹ñ»É: äɳïýáñÙÝ Çñ³Ï³Ý³óí»É ¿ §²Ý³¹áÉáõ øÛáõÉÃáõñ¦ ÐÎ-Ç ¨ §àëÏ» ÍÇñ³Ý¦ »ñ¨³ÝÛ³Ý ÙÇç³½·³ÛÇÝ ÏÇÝá÷³é³ïáÝÇ Ý³Ë³Ó»éÝáõÃÛ³Ùμ: ÎÇÝáÝ û·ï³·áñÍ»Éáí áñå»ë ëáóÇ³É³Ï³Ý ¨ Ùß³ÏáõóÛÇÝ »ñÏËáëáõÃÛ³Ý ÙÇçáóª гÛ-Ãáõñù³Ï³Ý ÏÇÝáåɳïýáñÙÁ ѳݹÇë³ÝáõÙ ¿ ³ß˳ï³Ýù³ÛÇÝ Ñ³ñóϪ »ñÏáõ »ñÏñÝ»ñÇ åñ³ÏïÇÏ ÏÇÝáÙ³ëݳ·»ïÝ»ñÇ Ñ³Ù³ñ: ÎÇÝáåɳïýáñÙÇ ³ß˳ï³ÝùÝ áõÕÕí³Í ¿ ϳñ׳ٻïñ³Å ¨ Édzٻïñ³Å ýÇÉÙ»ñÇ Ý³Ë³·Í»ñÇ ½³ñ·³óÙ³ÝÁ, ÷áñÓÇ ÷á˳ݳÏÙ³ÝÁ, ÇÝãå»ë ݳ¨ ÏÇÝáÛÇ μáÉáñ ³ëå³ñ»½Ý»ñáõ٠ѳٳ·áñͳÏóáõÃÛ³Ý ÁݹɳÛÝÙ³ÝÁ: ì»ñçÇÝ ÑÇÝ· ï³ñÇÝ»ñÇ ÁÝóóùáõ٠гÛ-Ãáõñù³Ï³Ý ÏÇÝáåɳïýáñÙÁ ýÇݳÝë³íáñ»É ¿ 15 ϳñ׳ٻïñ³Å ¨ í³í»ñ³·ñ³Ï³Ý ÏÇÝáݳ˳-

ijÙÁ 16:00-ÇÝ §ØáëÏí³¦ ÏÇÝáóïñáÝÇ Î³ñÙÇñ ¹³ÑÉÇ×áõÙ ï»ÕÇ Ïáõݻݳ é»ÅÇëáñ ¨ ÏÇÝá¹ñ³Ù³ïáõñ· úóñ Æáë»ÉdzÝÇÇ ýÇÉÙ»ñÇ Ñ»ï³Ñ³Û³ó óáõó³¹ñáõÃÛáõÝÝ»ñÇ Íñ³·ñÇ μ³óáõÙÁª §Ê³Å³ÙáõŦ ýÇÉÙáí: üÇÉÙÝ ³ñųݳó»É ¿ ÄÛáõñÇÇ Ñ³ïáõÏ Ùñó³Ý³ÏǪ §Ø³ñ ¹»É äɳï³ÛÇ ØÎö¦-áõÙ (²ñ·»ÝïÇݳ, 2010):

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·ÇÍ, áñáÝóÇó ß³ï»ñÁ ѻﳷ³ÛáõÙ ½·³ÉÇ Ñ³çáÕáõÃÛáõÝÝ»ñ »Ý ·ñ³Ýó»É ÙÇç³½·³ÛÇÝ ÏÇÝá³ëå³ñ»½áõÙ: úñÇݳÏ, ¸»ñÛ³ ¸áõñÙ³½Ç ¨ ¾ÙÇÝ» ÚÇɹÇñÇÙÇ §Ìdzͳݦ ϳñ׳ٻïñ³Å Ù³ÝÏ³Ï³Ý ýÇÉÙÁ, μáÉáñáíÇÝ í»ñç»ñë ÉáõÛë ï»ëÝ»Éáí, ³ñ¹»Ý ѳëóñ»É ¿ Ùñó³Ý³Ï ëï³Ý³É γÝÝÇ ÏÇÝá÷³é³ïáÝÇ Ñ³ïáõÏ Íñ³·ñáõÙ ¨ ÉÇÝ»Éáõ ¿ îáÏÇáÛÇ Ù³ÝÏ³Ï³Ý ýÇÉÙ»ñÇ ÷³é³ïáÝÇ μ³óÙ³Ý ýÇÉÙÁ: Ü߳ݳϳÉÇ ÷³é³ïáݳÛÇÝ ÏÛ³Ýù ¿ ³åñáõ٠ݳ¨ ÈáõëÇÝ ¸ÇÝùÇ §ê³ñáÛ³Ýɻݹ¦ Édzٻïñ³Å í³í»ñ³·ñ³Ï³ÝÁ, áñÁ, Ç ¹»å, ׳ݳãí»É ¿ñ 2013 Ãí³Ï³ÝÇ §àëÏ» ÍÇñ³Ý¦ ÏÇÝá÷³é³ïáÝÇ É³í³·áõÛÝ Ñ³ÛÏ³Ï³Ý í³í»ñ³·ñáõÃÛáõÝ, ÇëÏ ³ÛÅÙ Ý»ñ³éí³Í ¿ ÙÇ ß³ñù Ñ»ÕÇݳϳÛÇÝ ÏÇÝá÷³é³ïáÝ»ñÇ ÙñóáõóÛÇÝ Íñ³·ñ»ñáõÙ:

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GOLDEN APRICOT DAILY | DAY 5 | 17 JULY | 2014

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ

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GOLDEN APRICOT DAILY | DAY 5 | 17 JULY | 2014

interview 5

Amos Gitai I think the Middle East is too male-oriented.

Maybe this is even one of the reasons for the many conflicts in the region – like little roosters pecking at each other. I think we need to inject female energy, and hope that they will not convert themselves into men. We should use some of the wisdom of women; perhaps only then can we pacify this region. The people involved in the conflicts have the perception that ‘this guy’ is completely angelic, and ‘the other’ totally devilish. The truth of course is that actually, each side is both. So I think peace will only be achieved by recognizing the other. If people aim for perfection through Allah or God or whatever, it enforces repression, for instance of the Palestinian memory of their territory or the abuse of women

by Arab husbands. I want to escape the notion of perfection. Life is full of contradictions, full of disagreement. Peace is about accepting the other even if you’re not in agreement.

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Originally trained as an architect, Israel’s most controversial filmmaker Amos Gitai started his career making documentaries.

Inspired and driven by the disruptive ArabIsraeli conflict, Gitai’s films question and comment on existing attitudes in the Middle East. Themes like exile, religion and homeland have been at the heart of his work from the 1970’s to this day. His rise to fame started when he transposed his documentarist sense for raw reality to feature films. His work is known for its lengthy shots and use of classical or Israeli folk music.

Often he confronts the audience by putting you right in the middle of the situation at the beginning of the film. His work has been celebrated outside of Isreal by film festivals all over the world like Berlin and Cannes. His latest film Ana Arabia, an ambitious portrait in a single take of a settlement in Jaffa where Arabs and Jews live together peacefully, was selected for the official competition of the Venice Film Festival last year.

There have been many retrospectives of your work the last few years. How do you feel about looking back on your carreer?

I think that’s fine. In my own work I make journeys back and forth, too: I often make references to my previous films. In that way, I’m still an architect, in the sense that I’m not a story-oriented director. The cinema connects story, theme and form. So a good film has to do all of this and really say something, because we have too many words which are empty of meaning. We should use film as a way to reflect, but at the same time we cannot neglect the form.

Although you say you’re not a story-oriented director, throughout your work your characters share a lot of memories and tell stories.

My mother was a great thinker and my father was an architect, so I am between narrative and form.

Also, cinema is about memory. It conserves it. I think we digest memory too quickly. So cinema is a good way to reflect on things once more.

Female characters often determine the movement in your films and are at the center of your stories. What brings you to this choice?

This viewpoint is very clear in Ana Arabia. Is it meant to be symbolic that the main character, the young journalist Yael, seems to only listen passively to the habitants of this settlement in Jaffa?

In the 1960s and 1970s some documentary filmmakers thought that if they would go and film some underprivileged community they needed to become members of that community. For me that is fake. I really wanted Yael to be a stranger; that’s why she’s dressed like a modern young woman and not melting into the environment. In the beginning she’s even a little disinterested. Along the way she gets more involved in the stories the habitants tell her. I think actress Yuval Scharf plays this very graciously. It’s one of the most difficult things: having two actors in the frame where one has to act more passively. She doesn’t steal the show, but I think Yuval gives a very tender performance.

Part of the thematic unity in Ana Arabia is also expressed in its form, as it is filmed in a single shot. What was that like?

Very interesting. It was something I decided from the beginning. There are sequence shots in many of my films, but this time I wanted to try and make an entire film in a single shot. We did nine takes, five of which were no good at all, I had to stop them in the middle. At the premiere, someone said to me that they didn’t notice it was one shot, which I considered a big compliment, because it means that the formal elements and the technology didn’t take over. I also think it shows conversations between people in another way. As a citizen of Israel, I think the relation between Jews and Arabs should not be interrupted. So when I translate this to my own language of film, to the syntax of cinema, I also don’t want to interrupt. Therefore I don’t cut. It had to be one shot. Filming digitally has opened op this option, and a lot of other.

What are your ideas about that, the future of filming digitally?

The problem of film schools is that they recycle too much stuff, which oppresses the younger generation, who are not rebellious enough. They should give the older generation a kick in the ass. That’s good!

That’s the way culture is made. People can really try to make another kind of cinema. The problem is also that they are sometimes ambitious in too limited a manner: looking for ‘success’, aiming for the red carpet. But that’s not what filmmaking is about.

Which filmmakers do you think are ‘kicking ass’?

Some dead ones, like Fassbinder! (laughs) I am inspired by directors, by bodies of work, not necessarily by a single film. It’s about opening perspectives to different interpretations. So the person is more interesting. I actually don’t consider myself a professional.

You wouldn’t call yourself a filmmaker?

Yes, I do. But I didn’t study ‘filmmaking’. I think it’s more valuable to study something to develop your own ideas and then transpose them to the medium you want to work with. NH

GOLDEN APRICOT DAILY | DAY 5 | 17 JULY | 2014

6 reviews

Stumbling Through a Lost Paradise Jauja (Lisandro Alonso, Argentina, 2014), 17-7, 10:00 and 20:00, Moscow Cinema, Blue Hall The first shot of Lisandro Alonso’s fifth feature Jauja, presented as a kind of prologue, already contains the essential elements of the film that will follow. After a series of title cards which briefly introduce the mythical land of Jauja, a paradise on earth that many have tried in vain to find, we focus on two figures sitting on a rock, the wide grasslands of the Patagonian landscape behind them.

They are a father, Danish captain Dinesen who has come to this land that will become Argentina as part of a mission to clear a path for Western colonists, and his daughter Ingeborg. Inge, as he affectionately calls her, wants a dog, one that follows her everywhere she goes. Her father says she will get one when they return home to Denmark.

And there we have it: a father and a daughter.

And: the return home, a dog’s loyalty, and most of all that landscape, captured by Finnish cinematographer Timo Salminen in an old-fashioned square frame with rounded corners. These are the elements that Alonso uses to weave his beguiling, meditative tale. In terms of its plot, the film consists of nothing more than Dinesen’s desperate search for his daughter, after she runs off from the encampment with a young Spanish soldier. Formally, too, Alonso sticks to his trademark minimalism, capturing the action (or lack thereof) in long, mostly static shots, with the grandiose landscapes often overshadowing the human figures moving through it.

Still, Alonso makes some marked departures from his previous work. For one, Jauja is his first period piece: although the film does not specify its period, the story takes place during the European genocide of indigenous South American people in the late 19th Century. Nevertheless, as Dinesen’s search grows more desperate, and the landscapes

he moves through become more overbearing, time seems to lose its grasp on things as well. This marks a second departure for Alonso: while his previous films told earthbound stories of characters stuck in the mud and muck of the world, Jauja builds on this with a more mythical, even mystical atmosphere. Thirdly, Alonso has for the first time worked with a professional actor: Viggo Mortensen. The two met at the Toronto Film Festival, and Alonso claims he had wanted to work with Mortensen ever since, “the way you could fantasize about playing on the national soccer team.” Mortensen’s casting is not as big a stretch as it may seem, though: having an American mother and Danish father, Mortensen lived in Argentina

for most of his childhood and is fluent in Spanish.

His character’s muddled Spanish pronunciation, with a thick Danish accent that’s part of a general air of clumsiness that surrounds Dinesen in the first half of the film, was therefore a challenge for the actor. “I think I’m going to have to imitate my father!”, he joked before filming started.

Beneath Jauja’s minimalist surface shimmers a complex heart, full of rich ideas. Ideas about the colonial past and its results in the present. Ideas about the transcendence of human life. Ideas about what þparadiseþ means. None of these are laid on thick; in stead, we have to work for them, tease them out of the film’s rich and mysterious textures. And what marvelous work it is. JB

Too Much Compassion Still Life (Uberto Pasolini, UK/Italy, 2013), 17-7, 18:00, Moscow Cinema, Blue Hall

From Moscow to Vladivostok Cinetrain: Russian Winter (Cristina Picchi, Sandhya Daisy Sundaram, Benny Jaberg, Dieter Deswarte, Tristan Daws & Bernadett Tuza-Ritter, Russia, 2013), 17-7, 10:00 and 19:00, Moscow Cinema, Small Hall 1 “Drinking replaces the process of searching for one’s identity.” Vodka is one of the seven stereotypes of the Russian people which are explored in the impressive anthology of short documentaries Cinetrain: Russian Winter, filmed across remote and wild Siberian landscapes.

The project is a follow-up of a 1930s venture, in which Soviet director Alexandr Medvedkin traveled across Russia with a film crew to document the industrial achievements of the Soviet Union. While doing so, however, he also managed to depict the reality of marginalised communities he encountered on the way. In 2013, 21 young filmmakers from across the world set out on a similar quest to create

a dialogue with the Russians, crossing the country by train from Moscow to Vladivostok and back. The result is a profound compilation which lays bare the Russian spirit, flavour and rites, endured at minus 35 degrees Celcius.

In the majestic, intimidating and bleach-white northern landscape, there’s a thin line between life and death. Civilization negotiates its struggle with nature. In this harsh enviroment, vodka stimulates imagination and teleportation becomes an achievable goal. A drifting 1984 Lada freezing even on the inside is a family talisman and the only means of transportation. The traditional Epiphany, a bare-naked dip in a freezing lake, is a deeply intimate, purifying event. Russian fairytales about bears become more precious the longer they are retold. Happiness means having healthy children, grandchildren and parents, al the while nostalgically pining for lost Soviet times.

At it’s core, Russian Winter is a consistent weave of seven different interpretations, ranging from ludicrous humor to sinister trance. The prevailing taste at the end of this search for the Russian character is a bitter void, filled with personal failures and distilled dreams. AC

The English language allows for multiple interpretations of the title of Uberto Pasolini’s second feature Still Life. Does it deal with a person standing still? Or is it a person experiencing life once more?

A still life, of course, is also a classic genre in painting and photography, in which tableaus of collected items are portrayed. The film’s main character John May (Eddie Marsan) does the same, in a way: as a council worker his job is to find the next of kin of those who have died alone. His work entails going through personal items like photo albums and bills to trace, like a detective, any lawful heirs to the deceased’s posessions. But May goes beyond the call of duty: his compassion for the dead leads him to write personal eulogies and select music only he will hear, as the only visitor at their funerals.

A Taste of Honey The Beekeeper (Mano Khalil, Switzerland, 2013), 17-7, 12:00 and 17:00, Moscow Cinema, Small Hall 1 Mano Khalil’s The Beekeper (Der Imker) tells the story of a Middle-Eastern refugee in Europe.

But not one that is typical for our times, in which refugees from Iraq and Syria are becoming one of Europe’s prime concerns. In what the director himself has described as a docudrama, Khalil (himself a Syrian emigree of Kurdish descent, who moved to Switserland in the 1990s) portrays Ibrahim Gezer, a Kurdish refugee from Turkey.

Gezer fled to Europe from troubled Turkey in the early 1990s, when the Kurdistan Workers’ Party started its activities. Gezer’s extended family was heavily involved in the conflict and he still suffers the consequences, even in Europe. Through his story we see the private side of geopolitical conflict, with Gezer speaking of the horrors he lived through from peaceful Switzerland, where he has tried to become part of the community. The one thing that has remained constant is his job as a beekeeper.

Gezer’s story can be seen as a manual on how to survive when you lose everything, and on how to integrate and overcome so-called cultural differences. His story goes beyond those kinds of differences, in large part due to his profession and its subjects: the bees. These companions are perhaps the only thing Gezer has kept, as a piece of his previous life in his new life. It seems it brings a little taste of honey to his bitter background. DV

Pasolini paints May’s world in bleak colors, though there’s room for some dry British humor, epitomized by an upbeat morgue worker who often deals with Mr. May’s cases. While Pasolini, best known as the producer of hit comedy The Full Monty (1997), mostly steers away from comedic material, the light-hearted editing still places Still Life in a similar style of storytelling.

Pasolini spent several months visiting houses of the recently deceased with real council officers in various London districts to create his main character. A horrible conclusion dawned on him from this research: Western society treats its dead, and thus the living, as disposable and unworthy of attention. Case in point: May’s boss, who prefers an efficient cremation and thinks May’s empathy is too costly. He’s allowed one last case before he’s made redundant. When his neighbor Billy Stoke is found dead, May visits the flat to search for clues and sees a mirror image of his own – except that Stoke’s is full of garbage and dirty dishes. While finding connections, May will have an unexpected encounter with someone who confronts him with the stillness in his own life. NH

GOLDEN APRICOT DAILY | DAY 5 | 17 JULY | 2014

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A Platform for Collaboration Sevda Usanoğlu wins Armenia-Turkey Cinema Platform Award Last night, the 6th Armenia-Turkey Cinema Platform came to a festive end with the announcement of the winning project.

Of the ten selected projects, the jury gave first prize to A Blurry Pastel Painting

by Turkish director/producer Sevda Usanoğlu, who was awarded $10.000 to help her turn the project into a full-fledged film.

A second project, On the Steps of Tchouhadjian

by Mesut Tufan received a special mention from the jury, consisting of Gideon Koppel (director, UK), Cigdem Mater (Anadolu Kültür, Turkey), Melek Ulagay Taylan (writer/director/producer, Turkey), Emine Yildirim (director, Turkey), Manana Aslamazyan (journalist, Armenia), Gevorg TerGabrielyan (president of the Eurasia Foundation, Armenia) and Naira Sultanyan (Political Officer at the British Embassy, Armenia).

The Armenia-Turkey Cinema Platform, an initiative of the Turkish non-profit company Anadolu Kültür and GAIFF, was created in 2008 to establish

Sevda Usanoğlu (left) on the set of her previous film

a system through which filmmakers from these two countries get a chance to collaborate and produce films together. Using film as a means for a social

and cultural dialogue, the Armenia-Turkey Cinema platform is aimed at cinema specialists from both sides of the border.

The power of the screen Following yesterday's screening of Presumed Guilty in the Cinema for Social Change program, a public discussion was held. Polish anti-communist protester and ideologist for the Solidarnost movement Adam Michnik and film theorist Richard Peña took the floor, in a talk moderated by journalist Nune Sargsyan.

Peña spoke first. “Since I specialize in film history and I know what totalitarianism and dictatorship are, I feel it’s important to have this discussion in Armenia, which has now been independent for 20 years. The experience of countries which have been on a similar path can be very instructive.” Michnik added that in his view, “we are all freedom and justice fighters. In a democratic society the masters of the country are the citizens, so you must not accept everything. You must protest, rise up and fight, just like the hero of the film we just saw. He’s a nonconformist, a brave individual.”

Local experts were also present for the debate.

Avetik Ishkhanyan, Chairman of the Armenian office of the Helsinki Committee, highlighted the importance of cinema in the context of making social changes: “Film is the most popular of arts, and documentary cinema in particular contains in it a great emotional energy. Watching films by Wajda and Kawalerovicz, we understand that we can live our lives differently.” Armenian journalist Zaruhi Mejlumyan added: “We are a post-Soviet country and the influences of the old formation can still be seen. The young generation gives us a lot of hope, because it doesn’t carry the weight of the past and is able to fight. This shows that our democratic country indeed has a future.”

Journalist and blogger Temik Khalapyan concluded by extending Peña’s thought. “Yes, experiences from Europe and the rest of the world will indeed help us. A field of constructive critics is forming in Armenia. Thank God there are people in the media who are devoted to their job and unafraid, who continue to make journalistic invastigations.” MT/MM

The platform is mainly focussed on the development of short and feature-length projects, the exchange of experience between colleagues, and increasing coproduction in all aspects of moviemaking. Over the last five years, 15 short documentary projects have been financed through the platform, some of which have gained considerable recognition in the international film arena. For example, rhe documentary Saroyanland

by Lusin Dink is also having festival succes: awarded as the Best Armenian Documentary at the Golden Apricot International Film Festival in 2013, the film has since been selected in competition at several other festivals.

The short children’s film Ziazan by Derya Durmaz and Emine Yildirim won both the audience award and the jury prize at a short film showcase in Cannes and will be the opening film of the Tokyo Children’s Film Festival. It is one of two former ATCP project screening at GAIFF this year, along with Diyar by Devrim Akkaya. Here’s hoping we can welcome this year’s winners at next year’s festival! GB

Apricot Talks at Tumo A Georgian day at the TUMO Center for Creative Technologies, with not one buy two Apricot Talks. At 12:00, Otar Iosseliani will speak about his work preceding the official opening of his Retrospective program (see below). Then at 17:30, director Levan Koguashvili (Blind Dates, selected for the GAIFF Feature Competition) will take the stage. A bus service is available to and from the TUMO Center, located about 20 minutes from the Moscow Cinema.

Bring the Peña 15:00, Nairi Cinema. Richard Peña, professor in Film Studies at Columbvia University New York and one of the curators of the CInema for Social Change program at GAIFF, will give a workshop entitled “The Beginnings of Independent African American Cinema”.

Adam Michnik

Otar Iosseliani Retrospective

Unfinished Business The Subscriber Is Temporarily Unavailable (Arman Yeritsyan, Russia/Armenia, 2014), 17-7, 21:00, Moscow Cinema, Small Hall 1 (with We Just Wanted to Be Happy) and 18-7, 12:30, Moscow Cinema, Red Hall

Slumdog Star Star (Anna Melikyan, Russia, 2014), 16-7, 21:00 and 17-7, 19:00, Cinema Star A story of two women in the modern world.

Masha is a frivolous young girl with dreams of fame and stardom. For her, the most important thing to achieve these goals is to be good-looking; everything else is secondary. She constantly visits a plastic surgeon, changing her appearance day by day.

She’s relentless in her pursuit of money, using everyone around her.

Parallel to this, we see life in the luxurious Rublyovka area in the west of Moscow. Remove the smokescreen of money and diamonds, and you see that this reality doesn’t differ that much from life on the outskirts of the city. Money is master and com-

mander in this world; if you’re rich you can organize an exhibition in an art gallery or a charity for the homeless, as meager ways to justify your lifestyle. This is the life of an oligarch, his wife Rita, and his son from a former marriage. Rita desperately wants to get pregnant, but alas. When she finds our she’s incurably ill, nothing seems to matter to her anymore, leading her husband to kick her out on the street. Through a coincidental meeting, Rita ends up living with Masha. Together they start a new life, simply trying to enjoy every moment as if it was their last.

Ten years from now, Masha will perhaps become famous, appear on the covers of magazines and maybe even be the new Bond girl. But then she’ll go underground, because her oligarch husband will trap her in a golden cage just like Rita was trapped.

She’ll have all the money she desires, but she’ll need an entirely different kind of surgery. MT

It took seven years for Armenian documentary director Arman Yeritsyan to finish his latest film, which portrays a simple undertaker. At first the director thought that everything was going according to plan. He soon realized, however, that the film simply would not work. Reality mirrored on film did not become art. To deal with this, he decided to make a short movie about how the movie he had intended to make failed.

Here are the producers of the failed project, scolding Yeritsyan, shouting that in seven years he could have adapted Tolstoy’s War and Peace if he had wanted to. Here is the accountant of the film, calling about the many problems during production. Here is a critic, constructively and thoughtfully analyzing the material and the reasons for Yeritsyans failure.

Later on the film enters the realm of fiction, which begs the question if there really is no art, no film, if the main characters doesn’t have an inner conflict. If he did, this would inevitably have lead to a cleansing catharsis – the basis of true art, according to Aristotle. Yeritsyan’s experimental documentary seeks an answer to this issue, which is central to modern-day cinema. MT

16:00, Moscow Cinema, Red Hall. The Otar Iosseliani Retrospective will open with a screening of Chantrapas, the most recent film by the 80-year-old Georgian/French director.

An interview with Iosseliani will be published in tomorrow’s Daily.

Midnight Wrap-up 24:00, The Club. Film gurus and GAIFF guests are invited for a daily wrap-up meeting over drinks.

CONVERSATION Critic: Why does your wife always act in your films?

Director: Not true.

Critic: In all your films except one.

Director: Does that one not count?

Critic: You’re right, this film without your wife counts too. Why do you think this film was your most successful one?

Peter