Turkish Director Fatih Akın says can’t visit Turkey because of Armenian Genocide film VIDEO

April 5, 2018 By administrator

Fatih Akın The Cut

Director Fatih Akın said he has not visited Turkey after the premiere of his film, “The Cut,” which depicts the Armenian Genocide, reported Turkish new site Artı Gerçek, according to Ahval.

“I am a German with Turkish origins and have always felt that I have been a potential victim,” said Akın, who recently won a Golden Globe with his film “In The Fade”, during an interview with the Turkish magazine.

“I have not been to Turkey since the premiere of my film “The Cut” about the Armenian Genocide three years ago,” said Akın and added “I really love Turkey”.

“I am really saddened by the fact that Turkey has been going through difficult times. Hatred and racism are poisoning the whole country; hatred and racism have been taking root in Turkey for a long time. The elites used to exploit the townsmen in old times, now townsmen have seized power and started taking revenge,” he continued.

“Nowadays I have to stay away from Turkey and I don’t have any plans to shoot a film there at the moment. Even if I had such plans, probably I would be arrested,” he said, noting that after directing “The Cut”, he thinks he is probably perceived in Turkey as an enemy of the people.

Fatih Akin talks Genocide-themed drama “The Cut” at Marrakech Fest

December 9, 2015 By administrator

Speaking to a packed auditorium during a 90-minute masterclass at the 15th Marrakech Film Festival, 42-year old German-Turkish helmer Fatih Akin provided fascinating insights into his inspirations and working methods, Variety reports.

One of the main focuses during the masterclass was Akin’s 2014 feature, “The Cut”, about the 1915 Armenian Genocide in Ottoman Turkey, which he had wanted to direct for many years because of his own Turkish origins and because this is a taboo subject in Turkey.

He explained that he tried to make a film that would be appealing to both Armenians and Turks but ended up receiving severe criticism from both sides.

“I used to think that a film can change the world, just like rock n’roll has changed the world. But I now realize that one film can’t do that. The most difficult thing for ‘The Cut’ was its reception. I received criticism from all over the world. Both sides beat the shit out of me. Which I suppose means it has something, right?”

Akin lensed “The Cut” in the style of a John Ford western – with moody clouds against the blue sky – and says that he is increasingly interested in the psychology of colors, having read widely on the subject, including writings by Goethe, and increasingly watches Asian cinema, precisely due to their use of colors.

The helmer says that growing up in Germany made him want to address the Armenian Genocide, in part because of the manner in which the Holocaust is a deep part of German culture, whereas the Armenian Genocide continues to be taboo.

“As I grew up, I used to think that the Holocaust had nothing to do with me or my parents, because I wasn’t born at the time and they didn’t live in Germany. But while making ‘The Cut,’ I realized that I had equal responsibility for both genocides. Also for the genocides in Laos, in Algeria and in North and South America. Whenever one group of human beings gangs up to kill another group.”

Although “The Cut” received a frosty critical reaction, especially in Turkey, Akin says that he views the Turkish audience as his brothers and sisters. “They are my audience. When you love somebody, you also have to have space to criticize them. That’s what my critics don’t understand. And I’ve given up trying to make them understand.”

Armenian Genocide movie ‘The Cut’ to screen at 2015 Fresno Film Festival

October 29, 2015 By administrator

Asbarez – A historical epic seven years in the making about the Armenian Genocide will make its Central Valley debut at the 2015 Fresno Film Festival.

“The Cut” will screen at 3:00pm on Saturday, November 14 at the historic Tower Theatre, as part of the November 13-15 Festival, which celebrates independent voices in cinema.

Beginning in Armenia in 1915, “The Cut” follows one man’s journey through the Ottoman Empire after surviving the Genocide. Nazaret (Tahar Rahim), a young blacksmith from Mardin, Turkey, is ripped from his family and is forced to work as a slave laborer. Years later, he begins a continent-crossing quest to reunite with his twin daughters.

Turkish-German filmmaker Fatih Akin directed and co-wrote the film with Armenian-American screenwriter Mardik Martin. Martin—best known for writing the Martin Scorsese films “Raging Bull,” “New York, New York” and “Mean Streets”—will make a special appearance to discuss the film, presented by Fresno Filmworks and co-sponsored by the Armenian Studies Program at Fresno State.

With few films touching on the genocide, let alone depicting it, Martin said in a news release: “A story about survivors of the Armenian Genocide is a sensitive subject to tackle. I never imagined anyone would have the courage to do it. Fatih has that courage. …I can only hope that the audience is able to delve into the feel of the era and its turbulence and upheaval. For me as an Armenian, this is an incredible adventure movie.”

With a large Armenian community in the Central Valley, Fresno Filmworks president Jefferson Beavers reiterated the importance of the screening.

“In this 100th anniversary year of the Genocide, I cannot think of a more culturally relevant or historically important film we could possibly show,” Beavers said. “It’s an honor and our duty, not just to our Armenian brothers and sisters, but to our entire community, to show this movie in Fresno.”

“It is wonderful that such an important film is being screened in Fresno. The Armenian Studies Program is pleased to be a co-sponsor. The film is especially timely and I think it will be well received in the community,” said Armenian Studies Program Coordinator Barlow Der Mugrdechian.

Dr. Sergio La Porta, Berberian Professor of Armenian Studies at Fresno State, said it can also be seen as a reflection of positive change within the Turkish community of artists and intellectuals.

“The idea that you have Armenian and Turkish people working together on this film—I think is a wonderful way in which art can bring two communities that have this historic injustice standing between them to bring them closer together to a point of mutual understanding,” La Porta said. “It’s especially great to have a Turkish director to be involved in this.”

Guest Review: ‘The Cut’ A story of love, human frailty, and genocide

October 2, 2015 By administrator

By Rebecca Romani kpbs.org

Guest blogger Rebecca Romani says Fatih Akin’s new film “The Cut” (opening this weekend at the Ken Cinema) may be one of the best feature films yet on the Armenian Genocide.

German-Turkish director Fatih Akin may say he didn’t intend his new film to be a “genocide film,” but Akin’s “The Cut” may well be one of the best films yet to address what befell the Armenians living under Ottoman rule between 1915 and 1918.

A beautiful and somewhat sprawling film, “The Cut” is a deeply felt, compassionate piece, just right, for this, the 100th anniversary of the beginning of the Armenian massacres, also known as the Armenian Genocide. “The Cut” joins a bare handful of films on what is one of the least commented upon modern massacres of the modern era.

Little known to many Americans, but much discussed in Europe, what happened to the Armenians in the Ottoman Empire concurrent with World War I, is generally considered the first genocide of the 20th century by many nations (Turkey and the U.S. are two of the exceptions). Starting in April of that year, the Ottoman Empire systematically deported and murdered between 800,000 and 1.5 million of its Armenian subjects over the course of about three years. Thousands more fled the empire, and the Ottoman State seized property and lands as well as Armenian children made wards of the state.

The Armenian solution was graphic and brutal and provided the blueprint for similar actions like the Holocaust, the Bosnian massacres and what is happening to theYazidi in Iraq today under ISIS, also known as Da’esh.

It is against this background that Akin’s “The Cut” follows Nazaret Manoogian (Tahar Rahim), a young Armenian blacksmith living a comfortable life in Ottoman Mardin with his beautiful wife, Rahel (Hindi Zahra), twin daughters, and an extended family. The year is 1915, and the new leaders of the Ottoman Empire, The Young Turks, have made secret and not so secret plans to rid the empire of its non-Turkoman people, especially the Armenians.

The Ottomans begin rounding up Armenian men like Nazaret as conscripts, only to use them to build the railroads as slave labor. Nazaret and his friends are slated be finished off by Turkish brigands and convicts, when the Ottoman Army is done with them, but at the last minute, a Turkish convict allows his hand to slip, merely piercing Nazaret’s neck instead of slicing his throat. Later, the convict, Mehmet (Bartu Küçükçaglayan), doubles back to save Nazaret, and together, they evade the Ottoman Army.

Saved, but now mute, Nazaret searches for his family on a journey through the horrors of the Armenian “refugee camps” in Ras-al-‘Ayn to the safety of a Muslim Syrian’s soap factory turned refugee sanctuary in Aleppo. Along the way, Nazaret, a devout Christian who wears an Armenian cross tattooed on his wrist in memory of his pilgrimage to Jerusalem, will lose his country, his people and his faith. He will learn why his sister-in-law is no longer able to see God as merciful, and he will be told of the fate of most of his family — like hundreds of thousands of Armenians — deported in death marches toward the Euphrates, raped, beaten, shot, or left to die. All have perished but his twin daughters.

Their fate becomes Nazaret’s obsession and his eight-year search for them leads him along the threads of the Armenian diaspora — from the orphanages of Aleppo to the Benevolent Societies of Havana, to the icy plains of North Dakota. What Nazaret finds will break your heart.

A word of caution, while Akin does not indulge in splatter action, the scenes of executions and the death marches are shot with such quiet attention to detail that they feel all the more horrific.

Akin’s last film in his trilogy of “Love, Death, and The Devil” is both an ode to the power of parental love and the moral quandary that is human nature. In his trilogy, Akin sees people as being capable of love, compassion, and horrific cruelty driven by ideology or the need to survive. In “The Cut” not all Ottomans are horrible, and Nazaret is no saint — several times he ignores opportunities to save others in favor of pursuing his dogged quest, nonetheless learning that small mercies can be found in the most unexpected of places. It is against the backdrop of one of the most depraved State-sanctioned massacres that Akin gives the Devil his due.

As a director of Turkish origin, Akin is also reaching across a divide with “The Cut.” Until recently, discussing what some Turkish officials called “The Armenian Question,” could lead to censorship at best, death at worst in Turkey. Hrant Dink, a Turkish-Armenian journalist was killed in 2007, by a young Turkish nationalist. Akin himself has received death threats from ultra right Turkish nationalists. The Turks have steadfastly refused to recognize the massacres, saying, in part, this was committed under the Ottoman Empire, and not an issue of the current modern state. They have yet to acknowledge the deportations, seizure of property, and assassinations. Only recently has the President of Turkey, Recep Tayyip Erdogan, inched toward recognition and apology.

If Akin is looking back 100 years at unspeakable violence against a population, he is also addressing our times and the current state of affairs in Syria and Iraq. The Armenian Genocide set not only the tone but also laid out the blueprints for similar actions throughout the 20th century. Now, 100 years later, when you see the scenes of forced marches and the Armenian slave girl, you cannot help but think of ISIS and its abuse and enslavement of the Yazidi people and Christian minorities. Akin, himself familiar with being a religious and ethnic minority in Germany, clearly sees the parallels.

Akin wrote the script with Mardik Martin, an Armenian-American scriptwriter, who also co-wrote Martin Scorsese’s “New York Stories” and “Raging Bull.” Martin adjusted the script, adding details. Akin and Martin even named the main character after Haig Manoogian, the Armenian-American film professor who co-produced “Raging Bull.”

And again, this might be part of the issue with the film. By focusing on one person, Nazaret, and peeling back the layers of the fate of the Ottoman Armenians, Akin gives his story a weight and compassion that sheer facts and numbers cannot do. However, if a story like this is not told, when it is finally explored, every detail begs to be let in, there is a need to do justice to the enormity of the event. As a result, “The Cut” loses focus at times and wanders through the landscape.

Akin has engaged in exhaustive research which lends his epic an unusual level of accuracy from the Armenian cross tattooed on Nazaret’s wrist to the streets of Havana. Lest you think the refugee camp scenes are exaggerated, dozens of photos taken at the time show scenes of greater horrific detail and the contemporary reporting out of the region is more graphic still.

If “The Cut” has a major weakness for American audiences, it is because Akin has chosen not to analyze what happened but to let Nazaret the Blacksmith guide the viewer through some of the horrors of the Ottoman solution to the Armenians and the goodness of people. While many Europeans and some Turks already know many of the details of what happened to the Armenians, Americans tend not to, which might make Akin’s film a little less accessible.

Nonetheless, “The Cut” is a beautiful and deeply compassionate film. Shooting across four countries, Akin lenses his scenes in deep focus, beautifully exposed 35mm. His vistas are gorgeous even when you know heartache and tragedy may lie just over the hill. The camera loves the faces of his cast and the bounced lighting and careful use of filters makes even scenes such as when Nazaret’s sister-in-law, Ani (Arevik Martirosyan) is mercifully released from her degraded state in the camps, horrifically beautiful. And the haunting, circling melody underscores Nazaret’s search for information about his daughters, always on the verge of finding them, always coming up short.

However, Akin’s sweeping vistas also stretch out the film a little too long. At a run time of about 138 minutes, much of it spent in the company of the mute Nazaret, the deserts, beaches, and winter plains start to drag on. A more tightly edited journey would allow the film to focus more on Nazaret’s reaction to his surroundings as opposed to endlessly stranding him in a gorgeous tableau.

Akin has called upon a stellar cast, many Armenian and the rest of Middle Eastern descent. The versatile and expressive French Algerian actor, Tahar Rahim (“The Prophet,” “Free Men”) is amazingly supple with his eyes and face once Nazaret is made mute and the shifts in his expression as he watches Charlie Chaplin for the first time deeply underscore the very real tragedies Nazaret has seen. The very talented French-Armenian actor Simon Abkarian does a nice turn as the refugee, Krikor, who has lost everything and unlike Nazaret, discovers the hidden cruelty of the oppressed, while Israeli-Arab actor Makram Khoury, seen recently in “Homeland” and “Miral” brings a weary compassion to his role as Omar Nasreddin, the Syrian soap seller who protects the refugees.

Of all of Akin’s recent films, “The Cut” is possibly his most ambitious and least constructed films. It overreaches in part of the story and leaves some important stones untouched. Nonetheless, it’s a telling commentary on how past can become prologue if not dealt with properly and it is clear from Akin’s portrayal of the brutalities Nazaret witnesses, that Akin is drawing clear connections to today’s headlines from Syria and Iraq. “The Cut” may not be the best film you watch all year, but it may well be one of the most important.

“The Cut” opens Friday, Oct. 2, at the Ken Cinema.See the Ken Cinema website for times and details.

Source: kpbs.org

Review Film: ‘The Cut’ Depicts the Armenian Diaspora Through a Searching Father

September 18, 2015 By administrator

Tahar Rahim as an Armenian refugee in “The Cut.” Credit Gordon Muehle/Strand Releasing

By NICOLAS RAPOLDSEPT. 17, 2015,

Fatih Akin’s “The Cut” brings the monumental scale of an epic to the Armenian genocide of 1915 without toning down the murderous cruelty and upheaval of the events.

The film depicts the forced diaspora and mass suffering through the grueling search of a bereft, wandering father. Nazaret (Tahar Rahim) is a well-off craftsman in the Ottoman Empire when he is wrenched away from his family one night by Turkish soldiers during a mass roundup of Armenian men. He proceeds to survive forced labor and marches and an execution attempt that cuts his vocal cords. Reports that his twin daughters may be alive lead him to Aleppo and refuge in a soap factory; from there, he chases tips overseas to Cuba, the American South and beyond.

Nazaret’s inability to speak makes him especially tragic (and may double as a reference to the longtime silence maintained by Turkey concerning the genocide). It’s a considerably risky move by Mr. Akin, and it echoes the unevenly balanced priorities of the film.

Great care is taken with the panoramic vistas of Turkish badlands and richly detailed interiors, the searchingly cyclical motif of the score and the portrayal of the wearying, touch-and-go ordeals of encountering friends and enemies on the road. But there’s a recurring — and frankly mystifying — shortfall when it comes to the screenplay, by Mr. Akin and Mardik Martin. Too many scenes feel routine or clichéd, sometimes even those depicting extreme experiences.

Mr. Akin made his name with the dramatic vim and vigor of films like “Head-On,” and one can only wish “The Cut” had gone that extra mile.

Fatih Akin’s Film THE CUT Opens September 18th in NY & LA

September 12, 2015 By administrator

THE CUT

Directed by Fatih Akin (Head-On, The Edge of Heaven, Soul Kitchen)

Written by Fatih Akin and Mardik Martin (Mean Streets, New York, New York, Raging Bull)

Starring Tahar Rahim (A Prophet)

Opens in New York (Lincoln Plaza and Landmark Sunshine) and Los Angeles (Sundance Sunset Cinema, Laemmle Playhouse 7 and Laemmle Royal Theatre) on September 18th followed by a national rollout

THE CUT is Fatih Akin’s epic drama about one man’s journey through the Ottoman Empire after surviving the 1915 Armenian genocide. Deported from his home in Mardin, Nazareth (A Prophet’s Tahar Rahim) moves onwards as a forced laborer. When he learns that his daughters may still be alive, his hope is revived and he travels to America, via Cuba, to find them. Co-written by Armenian screenwriter, USC professor and Martin Scorsese collaborator Mardik Martin (Raging Bull, Mean Streets, New York, New York)THE CUT was an official selection of the Venice and Film Festival, and opens on Friday, September 18 in NY and LA followed by a national release. This year marks the 100th anniversary of the Armenian genocide.

One night, the Turkish police round up all the Armenian men in the city, including the young blacksmith, Nazaret Manoogian, who gets separated from his family. Years later, after managing to survive the horrors of the genocide, he hears that his twin daughters are still alive. Determined to find them, he sets off to track them down, his search taking him from the Mesopotamian deserts and Havana to the barren and desolate prairies of North Dakota. On this odyssey, he encounters a range of very different people: angelic and kind-hearted characters, but also the devil incarnate.

One of his generation’s most influential European directors, German-Turkish filmmaker Fatih Akin was born in Hamburg to Turkish immigrant parents. His 2004 breakthrough film Head-On, a Hamburg-set love story between two young self-destructive Turks in revolt against tradition, won the Berlin Film Festival’s Golden Bear, The European Film Award and the National Society of Film Critics Award for Best Foreign Language Film. Next came Akin’s documentary about the music scene in Istanbul, Crossing the Bridge – The Sound of Istanbul, followed by The Edge of Heaven, winner of the 2007 Cannes Film Festival’s Best Screenplay; New York, I Love You, the compilation film for which he directed an episode; the comedy Soul Kitchen, winner of the Venice Film Festival Special Jury Prize; and Polluting Paradise, a documentary about environmental damage in the Turkish village of his ancestors. THE CUT is Mr. Akin’s final film in his trilogy about “Love, Death and the Devil” following Head On and The Edge of Heaven. THE CUT’s production designer is Academy Award winner Allan Starski (Schindler’s List.)

French-Algerian actor Tahar Rahim won two Césars for Most Promising Actor and Best Actor for his breakthrough role in Jacques Audiard’s A Prophet. He has worked with Chinese director Lou Ye (Love and Bruises), Scottish director Kevin MacDonald (The Eagle) as well as Belgian director Joachim Lafosse’s (Our Children). Rahim was most recently seen by US audiences in Asghar Farhadi’s The Past.

“THE CUT is a genuine, hand-made epic, of the type that people just don’t make anymore. In other words, a deeply personal response to a tragic historical episode, that has great intensity, beauty and sweeping grandeur. This picture is very precious to me, on many levels.” — Martin Scorsese

OPENS IN LA ON FRIDAY, SEPTEMBER 18

SUNDANCE SUNSET CINEMA

8000 Sunset Blvd.
Los Angeles, CA. 90046
(323) 654-2217
For Tickets and More Information

LAEMMLE ROYAL THEATRE
11523 Santa Monica Blvd.
West L.A., CA 90025
(310) 478-3836
For Tickets and More Information

LAEMMLE PLAYHOUSE 7
673 E Colorado Blvd.
Pasadena, CA. 91101
(310) 478-3836
For Tickets and More Information

Q&As with Armenian-American screenwriter Mardik Martin Opening Weekend at all theaters!
See theater websites for details.

Australia: Armenian genocide panel cancelled as minister withdraws amid ‘denial’ claims

May 21, 2015 By administrator

By Philippa Hawker,

NSW Treasurer Gladys Berejiklian has withdrawn from a panel to discuss the film The Cut,

A post-screening discussion of the Armenian genocide has been cancelled after NSW Treasurer Gladys Berejiklian, a senior figure in the Armenian-Australian community, withdrew, allegedly in response to the presence of Turkish “genocide deniers” on the panel.

The panel discussions had been planned to accompany screenings at the German Film Festival in Sydney and Melbourne of the film The Cut, from acclaimed German-Turkish director Fatih Akin.

The Cut opens in 1915, just before the events that led to the death of more than a million Armenians living in the Ottoman Empire. The film focuses on the story of an Armenian blacksmith searching for his two daughters, years after he was separated from them.

The atrocities depicted have come to be known as the Armenian genocide, but that is a term rejected by many Turks.

According to Dr Arpad Solter, director of both the film festival and the Goethe-Institut, “the minister was concerned about appearing on a platform with genocide deniers”.

A spokesman for the Treasurer refused to confirm that was the case. “It’s fine for the organisers to say that, but we’re not actually commenting on it at all,” the spokesman said.

Dr Solter said that once the minister pulled out, other Armenian representatives did too. “If there’s no dialogue possible, and that’s what we were aiming for, then the decision had to be made to cancel.”

A scene from Fatih Akin’s The Cut, starring Tahar Rahim (centre).

He said the panel was “meant to offer Armenians and Turks in Australia a forum to share and discuss their most painful history and to open new, fresh avenues for exchange, open debate and mutual understanding”.

The need to cancel, Dr Solter said, indicated that the subject is, after 100 years, “still a minefield”.

“It’s too sensitive, and too painful, most of all. I believe at the end of the day, reason and research and enlightenment will prevail, but it will take time.”

The CEO of the Australian Turkish Advocacy Alliance, Ertunc Ozen, who was to be one of the Sydney panellists, said he was disappointed at the cancellation, and the missed opportunity for “open and respectful dialogue with people of a different point of view”.

He said no one was disputing the fact that “hundreds of thousands of civilians lost their lives and were uprooted and moved throughout this period. There’s never been any denial of that.” However, he added that he “absolutely” disputed the term “genocide”.

Author and historian Robert Manne, one of the Melbourne panellists, said he regretted the cancellation.

“Given that the Armenians have been trying for 100 years to have the astonishing crimes committed against them acknowledged, the fact that a panel discussion about a straightforward film on the genocide is cancelled, that’s a matter of great dismay.”

“The Cut” by Fatih Akin screened in 10 theaters in Almaty (Kazakhstan)

February 21, 2015 By administrator

“The Cut” Film

Thursday, February 19 was presented in “first” in Almaty (capital of Kazakhstan) the film “The Cut” of the German-Turkish director Fatih Akin. Ara Sahakian, the Armenian Ambassador to Kazakhstan attended the premiere. The next day, “The Cut” came out in 10 cinemas of Almaty and a dozen other cities such as Atriaou, Bavlodar, Petropavlovsk, Uralsk and Ust Kamenokorsk. The Armenian community of Kazakhstan is estimated at between 30 000 and 40 000 members.

Krikor Amirzayan

CINEMA: “The Cut” triumph in Marseille

January 9, 2015 By administrator

Presented in Films Caesar, in the preamble of the 7th edition of International Amnesia, the premiere of the film by Fatih Akin was a success.

The large audience in the three rooms where the film was screened, waiting impatiently. And when they arrived, the audience stood up to applaud the length. Around Fatih Akin, Simon Abkarian and the film crew met with Marseille after the screening. Joy, pride and emotion were the dominant feelings Wednesday night in Marseille.

I had long been the project of a film about the Armenian Genocide. It took me seven years to realize it. The history of the Genocide is part of the common history of Turks and Armenians, says Fatih Akin. The film is based on my relationship with the land of my parents, Turkey, which is in denial and refusal to think about the Genocide. The silence of the hero, Nazaret Manoogian losing speech, is a symbol of freedom of expression is threatened and we must defend it. The silence still dominates on the Armenian issue in Turkey, says Fatih Akin. This film is not a turning point in Turkish society. The turning point, it was the assassination of Hrant Dink in January 2007. His death caused a shock wave but also opened a hope and demand the right to dialogue between Turkish and Armenian. The movie explains Akin passes in twenty-four rooms in Turkey. He did not make waves and caused no outcry.

With actor Tahar Rahim who plays the role of Nazaret Manoogian, Simon Abkarian points out, “the actor that I am, it is also the story that I carry with me. Armenians are haunted by this story. I was told that Fatih Akin preparing a film about the Armenian Genocide. I can not suspicious of him because he is an artist. The film touched me and I am proud to have participated as an actor and as an Armenian. If Akin offers me to work with him again, I’ll tell him yes and we share bread together, like in the movie, “insists Simon Abkarian.

In the introduction to the evening, Pascal Chamassian, head of International Amnesia declared that “the premiere had been maintained despite the attack Charlie Hebdo because you should never back away from barbarism and face the madness of men” and make an appointment “23 & 24 January for International Amnesia at Camp des Milles at MuCEM and Dock des Suds, in order to revive the memory” President of the JAF, Julien Harounyan presented the film “as an act of strength and bravery that brings a message of truth and justice.

Co-Chair of CFC-South, Simon Azilazian stated that the screening of “The Cut *” was within the framework of the events of the centenary of the Armenian Genocide in Marseilles, cosmopolitan city that has hosted many survivors families. »

Gilbert DULAC * The Cut means cutting, cut the notch in English

Report by: Nouvelles d’Arménie en Ligne

Cinema full house for “The Cut” by Fatih Akin screened last night in Valencia preview

December 6, 2014 By administrator

Friday, December 5 as part of the launch of the Armenian Heritage Centre program, offered in Films Valencia Ship (Drôme) preview screening of the film “The Cut” by Fatih Akin. The public responded in large numbers because instead of a single room “The Cut” was screened in two halls that hosted more than 300 people.

During more than two hours, the audience impressed by Fatih Akin film on the moving story of an Armenian family decimated by the Armenian Genocide held its breath. At the end of the film, he made a large ovation with applause.

Cyril Desire, film director The ship then called one of the producers of “The Cut” the French Stéphane Parthenay which gave new Fatih Akin returned the same day in Istanbul where he oversaw the film in near twenty rooms in Turkey. Stéphane Parthenay who claimed that Fatih Akin held in Valencia this projection that identifies an important Armenian community then answered many questions from the public.

“Fatih Akin expectations of the distribution of the film in France in view of the large Armenian community and the genocide issue which is more sensitive in France compared to Germany,” he said and added ” by addressing the issue of the Armenian genocide, Fatih Akin hopes to raise awareness in Turkey.

“ The mayor of Valencia, Nicolas Daragon welcomed this event, which is one of the first of a long series of 2015 program Armenian Heritage Centre. Piatton Laure, director of the Armenian Heritage Centre also mentioned the rich program that CPA offer throughout 2015. Annie Koulaksezian-delegated Romy Community Advisor CPA stressed the many events scheduled at the CPA. Annie Koulaksezian Romy-like Nicolas Daragon stressing that 2015 will mark the 100th anniversary of the Armenian Genocide by the city and the metropolitan area have decided to encourage multiple events.

Krikor Amirzayan