In the middle of the 1970s, Sergei Parajanov was killing time. Imprisoned for what the authorities considered subversive activities, the filmmaker began carving figures into milk bottle lids with the one tool he had: his fingernails. Much of that collection still survives, housed in a museum in Yerevan that bares his name. And every year or so, wars and pandemics notwithstanding, one or two are picked out, cast in silver, and awarded at the Golden Apricot Film Festival.
One of this year’s recipients, Albert Serra, took the stage at the festival’s opening ceremony to receive his award and delivered a speech as succinct as it was selective—which is to say, some previous honourees were noted and some were not. “I mentioned the ones I really love,” Serra explained to me, sipping coffee in the atrium of the Grand Hotel the next morning, “Ulrich Seidl is a master.
One of this year’s recipients, Albert Serra, took the stage at the festival’s opening ceremony to receive his award and delivered a speech as succinct as it was selective—which is to say, some previous honourees were noted and some were not. “I mentioned the ones I really love,” Serra explained to me, sipping coffee in the atrium of the Grand Hotel the next morning, “Ulrich Seidl is a master.
- 10/3/2022
- by Rory O'Connor
- The Film Stage
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