ARMENIA-TURKEY CINEMA PLATFORM WORKSHOP PROJECT BOOK YEREVAN, 2012
ARMENIA-TURKEY CINEMA PLATFORM WORKSHOP PROJECT BOOK YEREVAN, 2013
ARMENIA-TURKEY CINEMA PLATFORM WORKSHOP PROJECT BOOK ISTANBUL, 2014
AN OLD PLANE TREE BRANCH
Armenia/Turkey, Documentary, 30 min,
Director/Scriptwriter: Mariam Ohanyan
Co-Producers: Mariam Ohanyan, Tuna Yilmaz
Production Company: LIZA Foundation
Estimated Budget: $ 24280 USD
character of the film is Ani, who works as a photo journalist in the Armenian
branch of the National Geographic magazine and who collects information about
trees, all of which have had a long life and with many stories to tell. At one
point, the Chief Editor gives Ani a task to prepare an article and photo
reportage about a three- thousand year old plane tree, which is growing in
Kheder Bey village and now located on Musadag Mountain (Turkey).
grandmother lived in the village of Musaler (Armenia), which was established by
refugees from the six villages in the area of Musadag Mountain in Turkey. When
people from Musaler village learn about Ani’s trip, they come to her with their
various requests. One of them requests to have a branch of myrtle from their
garden, another one asks about a photo of their house, if it exists. Despite
the various requests, all of them want to have a branch from the plane tree,
which they hope to one day seed in their village, and which would serve as a
symbol of power and peace.
Ani flies to Istanbul and her travel
begins. The film will be a documentary about her travels to Musadag, where Ani
will see a unique plane tree and will collect stories about it. She will take
photos of the beautiful nature and learn about the daily lives of the local
people, tasting their local dishes, learning about their traditions and meeting
new friends. Importantly, she will find the last Armenian inhabitants of the village
who live in Vakef village on Musadag Mountain. Finally, at the end of the
story, Ani will return back with a seed from the old plane tree and will plant
it in her village in Armenia.
The project duration is to be 6 months
with the film to be shot in Armenia and Turkey.
DIRECTOR’S MOTIVATION LETTER
In modern life, when we all live in
this era of globalization, life changes so quickly that every moment should
have its unique value. Today, in Turkey, there is only one village where
Armenian inhabitants can be found. They have preserved their traditions and
language and they have maintained good relations with their neighbors. How they
live today and how they have found a solution and manner of peaceful
co-existence with their neighbors is the question to explore. I hope that the
film “An Old Plane Tree Branch” will help us to find the answer to this question.
Ohanyan (producer and director) was born in Yerevan in 1965. Graduated
from Yerevan State University Department of Applied Mathematics, and then was a
post-graduate student in the Department of Sociology, graduated courses of
filmmakers. Her films participated in different Film Festivals, receiving
Diplomas. Since 2004, she has been the director of International Women’s Film
DIRECTOR’S FILMOGRAPHY (Selected)
Sea Monster, short,
2012( dir., script.); Three Colors of the Women, doc, 2011 (dir., prod., script); The Butterfly, doc., 2010 (dir.,
prod., script); The Girl with Matches,
short, 2010 (dir., prod., script); Zone
of Silence, short., 2009(dir., prod., script); Jrarat, Miniatures, doc., (dir., prod., script); Son, Get Back Home; doc., 2007 (dir.,
prod., script); I am Taking Pictures if
Shushi, doc., 2005 (dir., prod., script); The Diary of Pregnant Women, doc., 2004 (dir., prod., script); We are the Colors of Our Earth, doc.,
2004 (dir., prod., script); The Voices, doc., short, 2002 (dir.,
Tuna Yilmaz was born in 1978, Tuna Yilmaz studied business at the university, and then did his master's degree on design studies. He has directed several film festivals in Turkey and in many different countries. He is the author of two books on cinema. He received awards, grants and honors from the British Council, European Cultural Foundation and the International Olympic Committee. He also has contributed to various films as producer, director and actor. He currently lives and works in Istanbul.
3 in 35, 2008
(dir., prod.); The Night, 2010 (dir.,
Tel: +374 10 52 44 19
Cell: +374 91 21 56 78
Armenia/Turkey, Short, 20 min, Redcam
Director/Producer: Arsen Arakelyan
Scriptwriter: Armen Chknavoryan
Estimated Budget: $ 20.000
At the station of one of the European cities a passenger on board of a leaving train helps a man who was late, to jump into the carriage. Then they appear in the same compartment.
During the conversation they find out that one of them is a Turk from Istanbul and the other passenger is an Armenian from Yerevan. The friendly atmosphere in the compartment becomes cool and they have to converse just as a courtesy. From time to time one of them tries to start a conversation on quite a neutral topic: hard winter, crisis in Greece, the purpose of coming to Europe or relations with friends, trying to avoid the topic painful for each of them. Yet they cannot turn away from it. At such moments they set about reading their book or newspaper to get away from the topic. The increasing tenseness, the cold they make by repeatedly setting about to read, everything tied up, repeated phrases, voice of the wheels. In any case they try to continue the dialogue. The last scene of the film is the following: At the station people are getting off the carriages. The Armenian and Turkish passengers stand among the crowd face to face, for a while looking at each other. Then they depart silently moving to opposite directions. For a second both the passengers stop and look up at the clock on the main building of the station. The clock shows 00:00 as a symbol that everything begins from all over again and then the seconds immediately start to run.
They meet, pass some way together, then they depart, but something stays inside them. This “something” stayed in them is the most important thing and my aim as a director is to make this “something” stay not only inside the heroes but also inside the viewers after watching the film.
DIRECTOR’S MOTIVATION LETTER
All this helps the audience to comprehend the situation in which two civilized and cultured persons, initially having mutual respect for each other, are getting steeped in the pain of the historical past. Both of them try to keep away from the topic, so not to hurt each other. Yet it is not possible. The conversation is cut off whenever they touch upon the topic of 1915; otherwise the conversation will turn into unconnected monologues, exactly similar to the situation existing between Armenia and Turkey at this present time.
The movie will be made in partnership with a Turkish actor who will play the part of the Armenian character in the movie, and the part of the Turkish passenger will be played by an Armenian actor. This is a special approach of the director for the purpose of making the actors feel themselves in the place of the other, and at the same time the audience will see no difference between the characters, both are intelligent, cultured and European style men and what they need is a dialogue, even though a hard one, it is better than nothing.
Born 20.06.1976 in Yerevan, Armenia.1983-1993 the secondary school.1995-2000 Armenian State Pedagogical University, Culture faculty, Department of Cinematography as a director.1995-2002 the Yerevan State Dramatic Theatre as an actor.1998-2002 the Armenian National Radio as an anchorperson. From 2003 Doctor of Arts.2004-present Armenian Public TV as a director. 2002-present Armenian State Pedagogical University as a lecturer. Films: “Mother”1998, “Common instinct”2000, “Forgive us” 2002,“Game” 2004 “Chilo”2008 “The sun in our souls”2012.
The Sun in our Souls, art house, 2012; Chilo, 2008, short; Game, 2004, short; Forgive Us, 2002, short; Common Instinct, 2000, short; Mummy, 1998, short.
Address: 22 Svajhian Street, apartment 34,
0105 Yerevan, Armenia
Tel.: 00 374 91 50 76 21
DO YOU HAVE SOMETHING TO SAY?
Armenia/Turkey, Documentary, 15 min,
Director/Scriptwriter: Suzan Kalayci
Producer: Selin Murat
Production Company: Parabola Films
Estimated Budget: $ 38.800 USD
Do You Have Something to Say? Is a short length experimental documentary that explores a new history of the Armenian genocide through the sounds of remembrance and the theory of silence.
The documentary follows the unveiling of the powerful and controversial art exhibition "do you have something to say" as it opens in Istanbul, and then travels to Yerevan, Berlin and eventually around the world. The installation investigates the unspoken and unwritten by providing a platform that is free from national boundaries and nationalistic sentiments. The central piece of the installation is a book, resembling a guestbook with blank but marked pages. The walls of the installation room have the following sentences projected on the walls: "re-visit the past", "sign the guest-book of history with your own words", and "[armenian genocide]".
Part documentary, part experimental film, we follow the exhibition as it opens in Istanbul amidst loud protest, criticism and potential silencing by legal authorities. Many narratives exemplify the dichotomy of rich silence against speech. The deafening sound of protests juxtaposes with the quiet shuffling of the exhibition space. The legal spoken truths about the Armenian genocide clash with the writings of visitors. Their silence unveiled, the whispers of new truths clash with the silencing of the authorities. Throughout, a voice recites thoughts on the theory of silence, implores the audience to be critical of one country’s position and encourages nations to have an opinion on the events of 1915. As the exhibition travels from Istanbul to Yerevan and then to Berlin, where Talat Pasa, the mastermind behind the Armenian Genocide was shot by Soghomon Tehlirian, we follow the voices, silences and opinions as they are gathered in the book and around the exhibition to reveal a new consciousness about the power of our own individual silences. At Hardenbergstrasse, where Talat Pasa was killed, the film comes to its end but does not find closure. In its emptiness, lined with empty yet marked books, the street asks the ultimate questions: why and what now?
DIRECTOR’S MOTIVATION LETTER
With this project I want to investigate the silence surrounding the Armenian Genocide and find ways to break and voice these 'silences'. I submitted this project at last year's Armenia-Turkey Cinema Platform workshop and highly benefitted from the workshop and the exchange with the other film makers, both Turkish and Armenian. Even between us, there were silences. It seemed like an invisible wall of etiquette held us all back to talk, discuss and voice our opinions.
This invisible wall has punctuated our lives as pockets of silence or phases of verbosity (which essentially is the same as silence). Essentially, a room for example can be very loud and be very quiet. In both cases, it is hard to hear each other. It is also hard for a person to speak. Slowly, we should take down this wall and start facing each other. Only by that, will we come to a point where we can speak. And start to understand.
The importance of my work on silence and its wholesome approach of breaking politically imposed silences made me realize that this needs to be spread to a wider audience. Our film will propagate this exploration of truth and silence beyond the doors of the exhibition halls and my writing. It will live past the expiration of the exhibition and become a powerful tool to propose this questioning to all silenced people. As an artist and historian, extending this political/historical piece into a documentary film is a logical step, essential to the pursuit of this message.
Suzan Meryem Rosita is a historian working on the Armenian Genocide discourse in Turkey; Absence of Sounds will be her first film. She has worked on various film projects as historical consultant. She has studied at Boğazici, Yale and Cambridge University and received the Paul Harris Award for her humanitarian engagement. In 2010, her installation Do you have something to say? was officially ‘postponed ‘ in Turkey.
Istanbul – 1001 cities, TV docu, 2010 (historical consultant); Haymatloz, short TV doc, 2011 (historical consultant); Flying Horses, feature film, in production (historical consultant); About a Boy, short film; pre-production (script writer).
Selin Murat is a producer at Parabola Films and À St-Henri, le 26 août is her first credited feature. Currently, she is producing Ariel by Laura Bari, Cuando Suena El Clarin by Pablo Alvarez Mesa, Alpha Story by Nathalie Daoust and a series of musical shorts with Vincent Moon. She has also produced and directed several short films including The Lamb with Montreal artist Little Scream and Ginseng Empire that premiered at Big Sky Documentary Festival.
Day in the Life, fiction, 2007 (director); Imagining Duluth, doc, short, 2008 (director/producer); H2Oil, doc, 2009 (prod. manager); Ginseng Empire, doc, 2009 (director/producer); The lamb, experimental, 2011 (producer); St-Henri, the 26th of August, doc, 2011 (producer).
Suzan Meryem Rosita
LOOKING FOR MANUG
Armenia/Turkey, documentary, 52 min,
Director/Scriptwriter: Erdal Bilici
Producer: Dilek Aydin
Estimated Budget: EUR 46.750
Young painter, Metin Çelik decides to make a painting inspired by Arshile Gorky. While working on this on the canvas, he starts a journey to follow the past traces of Arshile Gorky in Istanbul, then in Yerevan and finally in Van, where Arshile was born as Vosdanig Manug Adoyan. In this artistic process, Metin tries to find out the forgotten facts about Gorky's tragic life starting from the time when he had been forced to leave Van.
In four parts and one epilogue, this docu-drama, aims at showing Arshile Gorky as a representative figure for many artists and intellectuals whose traces were erased from the past.
Metin Çelik is a young artist who graduated from Mimar Sinan Fine Arts University Painting Department. He worked as an assistant to acclaimed Turkish painter Ömer Uluç, and attended various exhibitions. He has grown an interest in the works of Arshile Gorky and decides to make a painting inspired from Gorky's life and works. Arshile Gorky is an artist who was born in Van in the early years of the 20th century. He was forced to leave this home land after 1915. Following this traumatic incident, he was confronted with the war and poverty in Yerevan and then migrated to America to become one of the most important painters of modern painting.
For Metin, this process becomes more and more of a journey into re-discovering Arshile Gorky as Vosdanig Manug Adoyan. Metin, while traveling from Istanbul to Yerevan and Yerevan to Van, he digs into Arshile Gorky’s life and faces the tragic history of Turkey, where he is also labeled as “the other” due to his ethnic identity.
DIRECTOR’S MOTIVATION LETTER
As a member of one of the communities living the consequences of being a minority in Turkey, I think that state policies that led to 1915 are still visible in a form of “forgetting the past.”
In this film project, I want to realize the genre of docu-drama which gives a new impulse to the documentary, by mixing the documentary with some fictional elements. I will let the movie flow within its natural course apart from some redirections that I will make at some points as the director of the movie. I decided to incorporate with Metin Çelik, one of the today’s young and successful painters whom I met during the period I had been developing the idea of the film. I preferred to place Metin as the conveyor of the movie also, because he is coming from an ethnic group defined also as a minority, like Gorky, due to his Kurdish origin. I am designing the movie as an elegy upon the past rather than seeing a painter simply painting or giving information. I want to emphasize a feeling of nostalgia, thus, I'll try to explore ways to make Metin a nostalgia-seeker.
Completing the movie with the canvas as an abstract layer on which we would realize our real search, will put an end to the movie. We leave the film with this idea of incompleteness which stems from both the incompleteness in the life and paintings of Gorky and in the idea of “A Gorky Museum in Van”, that may never be accomplished- at least during the process of this film. Maybe not finishing something, not forgetting and not putting them aside, opens new doors for us to talk upon them more.
He was born in Van in 1985. He is a student in a master’s program at the Department of Cinema and Television in Istanbul Bilgi University. He carried out some short film projects. In 2010, he started to be a part of the sine-yol film collective until 2012. With this motivation, he started to create documentaries. Now he is developing a documentary Project about the famous painter Arshile Gorky, born in Van.
Failler ve Meҁhuller, experimental, 2009; Transitions, experimental, 2010; Tekel51, doc, 2010; Yaşam (ki), doc, 2011; WE Hit the Road/We Lost the Village, doc, 2011.
Born in 1984, Ankara, Dilek Aydın studied Foreign Language Education and Film Studies in Boğaziçi University, and received her Master's Degree in Film and Television in İstanbul Bilgi University. She attended Karslruhe University of Arts and Design for a year with an Erasmus Scholarship, and developed her graduation project there. She produced various short films and documentaries. Recently, she has coordinated the audiovisual concept of Hrant Dink Foundation's documentary Habap Fountains: The Story of a Restoration.
Samolina Halva, doc, 2009; Two Cities, short fiction, 2010; Yakup Who is not Called, short fiction, 2010; Civilian, feature fiction, 2012.
Armenia/Turkey, Documentary, 70 min,
Director: Ӧzlem Sarıyıldız
Producer: Osman Şişman
Estimated Budget: $ 37.775 USD
Manuk's Voyage is a film about a brilliant Armenian musician and instrument maker, Manuk, who lives’ in Yerevan. He embarks on a sentimental trip in search of his past and also of what he loves, the music.
Manuk, a dark, thin and tall man, who looks and exists like a dervish, lives with his dog in a small room surrounded by a small garden in central Yerevan where I first visited him on April 24th, the Genocide Remembrance Day, 2011, and became really good friends beyond the borders of language and history with the help of music and drinking and eventually hugging together. Thus he accepted to make this harsh sentimental trip that he did not want to make alone, together with us.
We will be recording our travel to Yerevan, Manuk’s daily life, relations and production there, drive to Kars together, where his ancestors used to live before they were exiled in 1915. Manuk did not have any chance to visit his ancestors' homeland. It is a difficult experience for him: Although he has never been there, he says it is as if he knows every street and every corner of these villages. After this visit, we will fly together to Istanbul, to record all the process of the album that will be released by Kalan Muzik.
This voyage will be quite a harsh one.Not only because of the physical difficulties it has, but also because of the psychological burden it contains. It is a voyage to his past, to his ancestors' homeland, to the resolution of the unbearable individual and social traumas and hopefully forgives for today and walk with music for tomorrow.
We are two Turkish directors from Turkey who have carried this burden between Armenians and Turks for a long time and realized and felt it even more after Hrant Dink was murdered. Thus this film is a healing for both sides. And it starts with a question, with the search of the answer of the question: Is it possible to apologize for something you haven't done? We believe that the answer is exactly YES and Manuk's Voyage tries to find how it is possible.
DIRECTOR’S MOTIVATION LETTER
The political conflict between Armenia and Turkey has repeatedly been discussed. We, the citizens of Turkey, were grown up with a dominant political discourse which prevented us from normalized everyday cultural experiences with the people living in Armenia and even the Armenians living in Turkey. The situation does not differ much for the friends in Armenia, as they tell us.
In my visit to Armenia, taking the PhD thesis as a surface motivation; one of the directors I met has given me an important clue about what I should do as a film-maker: ''It is you, the 'Turkish' film-makers who should start talking about genocide. We have done many, but 'empathy' you would possibly construct might have more to say to solve this.'' It sounds like an impossible 'duty'. Besides, I wouldn't choose to call it 'empathy' but rather 'persistence'; as I believe empathy with such a sorrow might never be possible like saying: “You Have Seen Nothing in Hiroshima, Nothing”. We believe that what happened is not containable in representation. However, uncovering the facts, and being persistent to shout them aloud; and finding our own crack to contribute to the flow might be a way.
Özlem Sarıyıldız (1978) has a BS in Industrial Design, and a MS in Media and Cultural Studies, both in METU. She worked as a research assistant at the University Mc Gill, Canada; and as a montage director in İzTV, a documentary channel in Turkey. She is on the PHD thesis level on the 'Armenian Cinema' in Bilkent University, Graphic Design Department. She has been making shorts and documentaries for over ten years now.
DIRECTOR’S FILMOGRAPHY (Selected)
Continuous, Tough, Silent, exp. doc, 2001; What a Fantastic Show, exp. video, 2004; A Movie with Wax, short, 2006; Revolution in Beauty, exp. video, 2006; The Hopping Ducklings, exp. doc, 2008; A General Might not Become a Painter, exp. video, 2009; Weaving Dream, doc, 2006; In Between, exp. video, 2008; Water, Salt, Flour, doc, 2011; Damn the Dams, doc, 2010.
Osman Şişman (1979) has a BA in Philosophy and a MS in Industrial Design both from the Middle East Technical University (METU). He continues his PhD in Industrial Design at the same university. He has studied and lectured in the UK from 2010-2011. Has been working in the Department of Industrial Design in Anadolu University since 2005 and also lecturing in METU, Osmangazi University and Gazi University. His first documentary with Özlem Sarıyıldız, 'damn the dams' was screened and shortlisted in many festivals; and awarded as the Best Documentary by 2.Nature Films Festival in 7.Mountain Films Festival, and Honourary Award from Yılmaz Güney Culture and Arts Festival.
Dams, doc, 2012.
Address: Avar Sok. No: 8/2
Deliklitas Mahallesi, Eskisehir, Turkiye
MY AND YOUR SUNDAY
Armenia/Turkey, Short, 15-20 min, Full
Director/Producer/Scriptwriter: Gagik Ghazareh
Production Company: NPAKINO
Budget: $ 65, 650. 26 USD
Ordinary Sunday. Similar portrait of two single people who are far from each other, and maybe will never meet each other, but have same hobbies, silence, sensibility and worries. Telephone rings but no one answers. Who is calling and why is he ignored? Phone call is ignored because no one wants to say life-proving words:
Hello, what’s up? What are you doing? ... Me? I am home…no, I am not planning to go out…maybe in the evening…no, nothing happened, just…maybe it’s a day for silence…or maybe something is not right (laughs) kisses…see you… never mind…ok.
It’s the moment, day or the choice of life, who knows. Meanwhile, they are so like each other; so many things to talk about...The hours of life are being dissolved in nothingness. Unspoken words, unlived laughter, unheard confession...
Why are they reading Orhan Pamuk's "Snow"? They are putting the book aside, thinking and then continue reading again. What are they looking: a reason for a phone call or an excuse for the barrier? Do the wonderings of Pamuk in Kars help to bring them together, or maybe they are distancing them? Where is Europe? What is Europe? Everyone speaks about it all the time. But these two people can get tired of words and just turn off the TV. Is Charles Aznavour’s voice a lifebuoy or just the regular joy of amnesia? To drink and silent the bitterness into the joyful body in order to live. It's possible they could meet each other one day. It's possible they will finally talk to each other. I don't really know.
These two worlds probably coexist near each other, know each other, even they share the same invisible hardships of joint life. These two worlds have more common for affinity. Hidden mutual love exists inside these worlds. And because they cannot hide the attraction towards each other, they are abandoned to meet sooner or later one day.
Get rid of hidden identity, open the chasing silent barrier. Overcome alienation from each other and discover new identity, new life and a consious choice for dialogue. And desire to answer the phone calls like this:
- Where are you? Wait, I'll be there, I am close.
DIRECTOR’S MOTIVATION LETTER
The Sunday of a young woman and a young man. They are different: different countries, different cities, different cultures which have formed their individuality. Istanbul and Yerevan. Yet they are linked by the human routine
No difference between the ways they wake up, feel the cool air and the noise of the street, wash, read, stay alone in the room, ignore the phone calls, wish to rest, explore the inner world, experience unknown emotions and finally cook the Sunday breakfast and eat it with a unique pleasure. No difference between how the two dream or dreamingly dance to rhythm of tango in the living room. The way they get bored of their own loneliness and start crying: no difference. No difference between the losses they’ve had, their expectations, the eternal human feeling of incompleteness and their self-explorations. Because different as they are and from different cities, they are anyway humans who live through the whole weight and delight of their time. Summer.
Gagik Ghazareh was born in 1973 in Vardenik, Armenia. In 1995 he graduated from Yerevan State Pedagogical Institute, Department of Culture, majoring in Cinema. Since 2000 he has been the Director of Cinema, Theatre and Video Department in the ACCEA/NPAK. He is also the founder of “NPAKTHEARE” Cinema-Theatrical Group (1999), “NPAKINO” film production (2001), “ONE SHOT” ISFF (2003), “ONE SQUARE METER” Theatre Festival (2006). Since 2011, he is the Artistic Director of ACCEA.
DIRECTOR’S FILMOGRAPHY (selected)
Hopes of Death, Fiction, 1995, (prod., dir., script.); “What a Foolish Thing #1 – Our Barn” Fiction, 1998, (prod., dir., script.); Motherland, Documentary, 2002, (prod., dir., script.); In the Room, Experimental Fiction, 2002, (prod., dir., script.); Zhirayr Avetisyan, Documentary, 2003, (prod., dir., script.); The Play Fiction, 2004, (prod., dir., script.); The Wall, Fiction, 2005, (prod., dir., script.); Untitled, Documentary, 2005, (prod.); Instants, Documentary and Fiction, 2006 (prod.); “Boogie Woogie” Fiction, 2009, (prod.); Beautiful New World, Fiction, 2010, (prod.); Dialogues, Documentary, 2010, (prod., dir., script.); Mood, Documentary, 2010, (dir., script.):
Tel: +374 10 56 82 25
Cell: +374 91 57 54 58
ONE LIFE, ONE LOVE
Armenia/Turkey, Short, 50 min, film,
Director: Gagik Harutyunyan
Co-Producers: Sona Grigoryan, Ozlem Sarıyıldız
Co-Writers: Gagik Harutyunyan, Ozlem Sarıyıldız
Production Company: Armenian National Film Centre
Estimated Budget: $ 99196 USD
Rich master Khacher drives out his brother, childish Marsup, for eating meat, and Turkish servant Mehbare for giving Marsup a piece of meat. Every day Marsup comes to the market bringing them water. The sellers repay him by giving him pieces of bread, and cheese. He spends nights with homeless-ownerless dogs. Mehbare lives alone in a half-built cabin. Once, a seller gives Marsup a piece of bread saying that it is pakhlava cake. Marsup eats it with such appetite as if he was eating real pakhlava. Noticing this, the seller gives Marsup a piece of a magazine saying that he can buy bread by it.
Since then Marsup is repaid only with the pieces of the magazine. For Marsup, they had real money value and he bought food from the shops. Thus, starting some game in the market. Everybody believes that it is real money, but is legal only for Marsup. The game has its rules.
Once Mehbare comes to the market and gathering the remains of the food, she goes. Marsup follows the woman, enters the cabin and says that he brought her para pouring papers on the table.
Mehbare seeing the papers cries and throws him from the house.
The next day Marsup brings foods, breaks into the cabin, and puts everything on the table surprising the woman.
Since then Marsup stays there living as usual. Once Mehbare tells the neighborhood women about Marsup's manly strong abilities. The news spreads through the city. One of the master's women pretending to give him money pulls him to their woodshed and owns forcibly. The young servant notices this and the next day the case becomes the talking point of the whole city.
In a cold autumn evening Mehbare removes Marsup from the house. Marsup sits at Mahbare's fence as a faithful dog. Then Mehbare finds Marsup hardly breathing under the snow. She brings him home. After two-three days Marsup dies. A week later Mehbare goes to market to buy something by Marsup’s money but there she is told that the money was valuable only for Marsup.
Returning broken, the papers pour onto the ground from Mehbare's bag and dance in the air with the wind.
As fate willed it, Mehbare and Marsup happen in the street. Once, a seller gives Marsup a piece of a magazine assuring him that it is real money. The case becomes turning in Marsup’s life. He meets and stays with Mehbare, who also drags out her existence. He has a roof above his head, wears clean clothes, and the most important thing is that both are sated. They live a new love and happiness in their venerable age.
But the fate appears not to favor them. Once, Mehbare tells her neighbors about Marsup’s supernatural abilities. From here, their happiness turns to misfortune. Marsup stays outside, catches cold and dies. His wife stays alone and unlucky as before.
The story itself reminds us of tragedy but I think that it can be embellished with soft artistic plays filled with naivety and simplicity, and such directory attitude, so that tragedy and comedy could be mixed and from the cry and laughter would appear feelings like happiness and misfortune. I make important also the fact that money, as to Engels became the reason of all problems of humanity, in this story loses its power and becomes a secondary thing. That is, the hero got happy from simple pieces of paper that had value only in his hand.
The other features of the film are also kind, and somehow funny. This is a settlement where Armenians and Turks living next to each other have nothing to share with each other besides daily problems.
The film must be shot, consisting of professional actors, operators, a sound operator, a composer, an artist, and with other specialists.
Gagik Harutyunyan was born in 1967. From 1984-1989 he graduated from the Theatrical College faculty of director’s in Echmiadzin. From 1990-1995 he graduated from the Armenian State Pedagogical Institute faculty of Culture Artistic film director’s and from 1994-2000 worked there as a lecturer.
From 1997-1998 he was the author and director of the program “Esti Hameceq” in “Nork” TV.
From 2007-2008 worked at the university after Anania Shirakatsy. Since 2010 is a lecturer at the Yerevan State Pedagogical University.
The Inspector, feature, 1994; Relative Peace, doc, 1995; Crossnotes, doc, 1996; return before Leaving, feature, 1997; X.Y.Z., doc, 1998; The Steam Bath of Neso, fictionl, 1999; Entrance/Padyezd, feature, 1999; Thorn Crown of Ogienko, doc, 2000; Who is he, doc, 2000; Taras, doc, 2001; Yarkhushta, feature, 2004; Snare, feature, 2005; Incense, feature, 2007; Sasun in the Hearts, doc, 2008; Cockfighting, soap-opera, 2009-2010.
Sona Grigoryan was born in 1989. From 1996-2012 she studied at YSLU, in the department of faculties of foreign languages and International tourism.
In 2007, she participated in work “Incense” a feature film, in 2008 in “Sasun in the hearts” a documentary film, from 2009-2010 in “Cockfighting” a serial, now she works as a producer in reorganizing works of a documentary feature film about Vazgen Sargsyan.
She works as an organizer-interpreter in Yerevan Perspectives and as a General tour-manager in a Travel Company.
Ozlem Sarıyıldız (1978) has a BS in Industrial Design, and a MS in Media and Cultural Studies, both in Middle East Technical University, Turkey. She worked as a research assistant at the University Mc Gill, Canada; and as a montage director in İzTV, a documentary channel in Turkey. She is on the PHD thesis level on the 'Armenian Cinema' in Bilkent University, Graphic Design Department. She has been making shorts and documentaries for over ten years now.
Sona Grigoryan - Incense, feature, 2007; Sasun in the Hearts, doc, 2008; Cockfighting, soap-opera, 2009-2010;
Ozlem Sarıyıldız –Continuous, Tough, Silent, exp. doc, 2001; What a Fantastic Show, exp. video, 2004; A Movie with Wax, short, 2006; Revolution in Beauty, exp. video, 2006; The Hopping Ducklings, exp. doc, 2008; A General Might not Become a Painter, exp. video, 2009; Weaving Dream, doc, 2006; In Between, exp. video, 2008; Water, Salt, Flour, doc, 2011; Damn the Dams, doc, 2010.
Cell: +374 77 80 30 12, +374 55 80 30 12
Cell:+374 94 84 10 44, +374 55 07 10 44
Armenia/Turkey, Documentary, 30 min, DVCAM 3:4
Director/Scriptwriter: Ashot Mkrtchyan
Producer: Anahit Mkrtchyan
Production Company: IFAM LLC
Estimated Budget: .000 USD
This is a character driven documentary about a poly-profile person. His cultural searches urged him to bring together representatives of nations having antagonistic historical heritage.
Iraqi immigrant composer Salem Abdul-Karem meets an Armenian producer and establishes SAKO orchestra (Salem Abdul-Karem Orchestra) with Armenian musicians to perform the “Qatar Symphony” created by himself upon the request of the emir of Qatar. This is the first-ever symphonic piece to come out of the Arab world. Another novelty was to employ the eastern nuances of the clarinet in a symphonic orchestra. The next challenge was to invite Turkish musicians to play together with Armenians. “Music fills the gap in understanding between people and we musicians must let it do its work”. So we see him in the image of a peace builder.
The film shows how the conductor works with 85 musicians - none of them speaking Arabic. We see the Qatar Symphony performed by Armenian musicians in Istanbul, Berlin, Madrid, London; then performed by Armenian conductor Karen Dourgaryan.
The film shows the various images of the hero:
composer; conductor; oud guru; musical curriculum developer, mathematician, and
we hear his philosophy of life.
In the last scene we see three musicians playing oud : Salem Abdul –Karem , his Armenian and Turkish colleagues.
The film starts in Istanbul. We follow the hero observing the life in the great city, the Blue Mosk, the Temple of Aya Sofia, the sound of muezzins. This is accompanied with the music played by oud. We join the hero on the beach of Marmara Sea and hear his thoughts: “I love this great city, the people, this sea, the oud melody which seems to be generated by this eternal sea.” Turning to the camera he tells his story: “My name is Salem Abdul- Karem. I am a musician, I hope… “I was born in Baghdad … My family wanted me to study medicine to become a doctor…” These texts go with retro photos - the hero’s childhood, younger hero playing oud, war episodes merged in the music played by SAKO, ovations, tours etc.
We see the hero with Turkish oud masters, teaching and learning to play. Salem -working on Qatar Symphony –the first to come out of Arabic World.
Then he meets an art producer from Armenia requesting to perform the symphony with the help of Armenian musicians. We see the cooperation between Karen Dourgaryan and Salem, Turkish clarinet players, concerts in Berlin, Qatar, Madrid, and London.
The hero speaks about his experience with Armenians: “I consider Aram Khachaturyan my great teacher. He helped me to understand the structure of western music”. He speaks about his relations with Turkish music.
We see him working with the Armenian conductor rehearsing the “Qatar Symphony”, discussing with the Turkish clarinet player, ovations, gratitude, happiness and triumph. In the last scene we see three musicians playing oud : Salem and his Armenian and Turkish colleagues on the Marmara see beach.
“Music fills the gap in understanding between people and we musicians must let it do its work”.
Ashot Mkrtchyan - experienced Director of Photography. 25 years in filmmaking - six 35 mm Feature films in “Armenfilm” . Also Film Director and producer of over 60 doc films. Credits: “SEVEN INDIAN BOYS”- Golden Apricot, 2007; “WINTER MELODY”-Isfahan festival, 2005; “PRISON ART” – First Prize, “Lazurnaya Zvezda”, Sochi, Russia 1998; “LOST PARADISE” – American Film Institute Prize, 1992, “COMRADE PANJOUNI”. Author: “AVETIS”, “KAJARAN EPITAPH”, “NON-STOP”, “WINTER MELODY” etc.
DIRECTOR’S FILMOGRAPHY (Selected)
Accused of Committing Suicide, doc, 2012 (DOP); I am Called Bard, 2011 (DOP); Avetis, doc, 2010 (DOP, director); Reichsoffen, doc, 2010 (DOP); Shikahogh Reserve, doc, 2010 (DOP, director, producer); Model of Hope, doc, 2006 (director, DOP, producer); Trafficking, featured doc, 2002 (director, DOP); Prison Art, featured doc, 2002 (DOP).
Anahit Mkrtchyan is a PR specialist and made her first educational film “Textbook Revolving Fund” in 1997. She is the producer of the films Education Quality and Relevance, Shikahogh, Seven Indian Boys, Milk is Black. She is one of the founders of the Production Company IF, Independent Filmmakers, founded in 2001. The Company produces documentaries, short films and public service announcements. Independent Filmmakers is a dynamically developing company ambitious to implement large and complicated film projects.
Avetis, doc, 2010; Shikahogh, doc, 2010; Edication Quality and Relevance, 2009; Listen to Me…, doc, 2008; Debate of the Generations, doc, 2007; Seven Indian Boys, 2007; Model of Hope, doc, 2006; ABC of Rights, animation, 2006; Armenian Women or… Milk is Black, 2002; Special Service Provision at Schools, 2002 (executive producer, scriptwriter); Textbook Revolving Fund, 1998 (scriptwriter, executive producer).
Address : 9 A, Arabkir 51, # 41, Yerevan, Armenia
Cell : +374 93 27 25 28
Address: Qanaqer , Sherjantsik Tunnel 5/1
Cell: +374 93 42 68 97
Armenia/Turkey, Documentary, 70 min, HD
Co-Directors: Zeynel Koç, Cenk Örtülü
Co-Producers: Zeynel Koç, Cenk Örtülü
Scriptwriter: Cenk Örtülü
Production Company: Asi Film
Estimated Budget: 16.575 USD
Photography artist Selim is working on a project about mass graves. He interviews people who have never found the graves of their relatives and tries to document the effects of the “gravelessness” by photographing and recording these sessions. Selim, whose own son died as a guerrilla and also remains graveless, recites his own story, as well as the stories people tell him.
He participates in the mass grave detection researches organized by non-governmental organizations such as Human Rights Association and MEYA-DER (Mesopotamia Relatives of the Lost People Association).
First, Selim interviews Bedriye Örhan, whose husband and two sons had been taken into custody and then gotten lost. He witnesses the historical aspect of mass graves as he listens to uncle Heme telling him the stories of two Bingöl mass graves dating back from 1925 and 1990. Heme also tells him about how he had escaped the massacre in 1925.
Mother Şerife, who hadn’t heard from her son (who had joined the guerrilla’s) in years tells him about her trip to the mass grave her son is in and the moment she saw the mass grave. Selim finds himself in the emotional and traumatic atmosphere that occurs when mothers meet their children.
Selim goes on a trip with Hanifi, who has been searching for his father for years, to the Kasaplar stream. The Kasaplar stream is an area where Kurds were intensively buried in mass graves in the 1990s. Another characteristic of this area, is that it is also the mass grave of Armenians who had been massacred in 1915.
Selim comes across similar feelings to his when he hears people say things like “In which mass grave lies my husband?”, “If only my daughter had a grave stone, at least I would lost the hope to see her again,” “Is my father going to return one day?” and so on. He witnesses the commonality of the unending lamentation and trauma the mass graves cause.
DIRECTOR’S MOTIVATION LETTER
Since the 1980s, a low-intensity war between the Turkish state and the movement of ethnic Kurds has taken place in the east and southeast region of Turkey. In this war, many guerrillas have been killed in clashes and civilians taken into custody, to which they have been lost. Some families have found their relatives’ remains in mass graves.
The presence of mass graves indicates a huge problem. Children, spouses, relatives—thousands of people—are living in great pain because they don’t know if their relatives are dead or alive. Democratic efforts to disclose the truth have been made by the relatives of these lost people, but they have been largely ignored. We directors believe in democracy and the possibility of solving social problems, so we would like to explain the Turkish state policy of mass graves and the traumas they cause living victims.
Nationalist and racist policies are not only effective at creating social conflict and divisions; they also pose the biggest obstacle to human rights, democracy and freedom. We documentarists believe in peace and in the importance of using the power of art to promote peace and human rights. We think that telling the stories of people who have relatives in mass graves will contribute to a culture of peace and coexistence. Most importantly, people have a right to be provided with accurate and unbiased information with regard to how these mass graves came into being.
Zeynel Koҁ (producer and director) was born in Zara, Sivas. He was imprisoned for political reasons for ten years. He participated in film workshops taught at the Free University by Hüseyin Karabey. He participated in a project development workshop in 2011. He has been making documentary films for four years.
Cenk Örtülü ( Producer, Director) was born in 1976 in Istanbul. Cenk Örtülü graduated from the Department of Economics at Anatolia University. He participated in a short film workshop by Hüseyin Kuzu and Hüseyin Karabey at Baska Cultural Centre. He taught editing and camera at the Film and Human Rights workshop between 2007-2008 at the Free University. He has been working with Asi Film since October 2006.
Zeynel Koҁ - We have Seen Torture, doc, 2012 (director); Daha Fazla Işık, doc, 2011 (director); Brutal Consciences, doc, 2010 ( director); Camera Obscura, doc, 2010 (production assistant); Beş Yaş Sendromu, short, 2009 (production assistant); Gitmek, feature, 2008 (production assistant).
Cenk Örtülü (selected) – We have Seen Torture, doc., 2012 (dir.); Brutal Cosciences, doc., 2010 (dir.); Gitmek (My Marlon and Brando), feature, 2008 (prodution assistant).
Address: Elmadağ Cad. No.4/5. Taksim/IST/TR
Tel.: +90 212 225 39 44
Short, 10 min, DCP and/or HDCAM
Director/Scriptwriter: Derya Durmaz
Producer: Yoel Marenda
Estimated Budget: $ 36.000 USD
Ziazan is a little girl at the age of four. Her uncle makes his living on the shuttle trade between Armenia and Turkey. Each time he comes back from Turkey, he also brings his beloved niece little gifts. Among the gifts, Ziazan’s favorite is the cookies with the blue package. She shares these cookies with her friends from the neighborhood, which makes her very popular.
Because of her uncle’s travel stories and her love for the tasty blue packaged cookies; Ziazan makes a plan to go on a big adventure: She will sneak in her uncle’s bag, go to Turkey with him, buy tons of blue packaged cookies and bring some back to the kids on the block.
One day, she wakes up at dawn, carefully and silently prepares her luggage - a plastic bag with her underwear, her old little toy unicorn, some milk and the blue packaged cookies - and sneaks in her uncle’s old leather suitcase.
The old leather suitcase now sits under the sun in the back of the pickup truck. Inside, ZIAZAN excitedly listens to the sounds from outside as she peeps out of a tiny part of the suitcase she has unzipped. With the truck rocking like a cradle, she falls asleep, ready for the beginning of her adventure…
DIRECTOR’S MOTIVATION LETTER
In 2011, I read about the price hike by a leading cargo company operating on the Yerevan-Istanbul route, which caused a raise of prices in Armenia. The report said, due to closed borders between Turkey and Armenia, Armenian shuttle traders transport goods through passenger busses and cargo companies, on a 36-hour route that passes through Georgia.
This got me thinking about how “officially” politics doesn’t let people cross borders, but “unofficially” let’s them even have trade; as long as it’s kept unregulated. Ambiguousness is the core of manipulation: when there are no regulations, lives of people depend on the good will of authorities.
Then, I went back to my childhood memories about a grandfather and an uncle coming to visit from Germany with exciting gifts and stories about different places, which made me want to run away with them. I even did try it once at the age of four.
Through Ziazan, I want to express the contrast between the dirtiness of politics and the pureness of a child. I want to look at the world through Ziazan’s eyes, to create a fairy tale-like cinematographic environment, where it is possible to follow your imagination, even to cross closed borders…
Derya Durmaz received her masters degree in Human Rights Law from Bilgi University with a full scholarship from Open Society Foundation. She received her acting education in Şahika Tekand Acting Studio in Istanbul. In 2005, she took the stage in the EU funded Turkish-Greek co-production “Clytemnestra’s Tears”.
Apart from her acting career in films and television series, Durmaz is a board member of NGOs Support to Life and Turkish Actors’ Collecting Society.
Earth Angels, drama, 2012 (scriptwriter); Love and Revolution, drama, 2011 (actress); Do not Forget me Istanbul, drama, 2011 (actress); Hair, drama, 2010 (actress); Tales from Kars, drama, 2010 (actress); Seven Courtyards, drama, 2009 (actress); Not Worth a Fig, drama, 2009 (actress); Refugee drama, 2007 (actress & refugee rights consultant); The Chinese are Coming, drama, 2006 (actress).
Yoel Meranda was born in Istanbul on 1981. After receiving his undergraduate degree at Northwestern University, he worked at the Film-makers' Cooperative in New York. In 2011, he cofounded Kamara Film in Istanbul, where he produced short films, documentaries, web series and music videos. He is developing Theron Patterson’s (director of “Dark Cloud”) second feature. Yoel's experimental videos have screened at Toronto, Edinburgh, Thessaloniki and in !f Istanbul international film festivals.
Glimmer, short drama, 2011 (producer); A Gift, short drama, 2011 (director); Recording Beethoven, doc, 2011, producer); Recording Liszt, doc, 2011 (producer); Izliyorum with Engin Gϋnaydın, Grant Major, Kutluğ Ataman and Cemal Kafadar, Web Series, 2011-2012 (producer).
Address: Gumussuyu Mahallesi, Kutlu Sokak, No: 9/1
Beyoglu, 34437, Istanbul/TURKEY
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Tel: + 902122929237