Eric Nazarian: First Filmmaker to Use ‘Genocide’ In a Turkish Movie

AB: For the first time the word “genocide” has been used in a Turkish film. How did it happen? What was the reaction during the premiere in Istanbul?

EN: For me, it was absolutely fundamental that my film would clearly and openly use the word “genocide.” It is a part of my character’s psyche and history. It is what happened to my people, so of course I will speak about it very clearly. It was also a condition of my participation that I speak freely about the Genocide. I was not there at the premiere in Istanbul as I was finishing a dear friend’s film. My jigerov actors, Jacky Nercessian and Serra Yilmaz, were present. They told me that the entire audience was rapt in silence during the monologue scene. When Armenak’s character says, “…my grandmother’s entire family from Aintab and Arabkir disappeared during the Genocide,” Jacky painted a nice picture of the audience sitting in front of him. Nearly every head turned to its neighbor in disbelief over hearing the word. I was very moved to hear that the film resonated with a lot of people. My friends from Golden Apricot were present in the audience that night and wrote a very beautiful email to me, saying how touched the audience was. I really want to make films that can bridge the gap between Armenians and Turks. It is time to shake things up and find new ways to communicate through cinema. We have the potential to understand our common humanity through dialogue and discuss the past with whoever is open and willing to listen and share stories. This is one of many ways forward. Politicians will continue to argue, shake hands, sign documents and smile for the cameras. They are the international diplomats. Artists on the other hand, are the cultural diplomats and bridge builders between cultures. Let politics take its course and let the artists create freely. I must say how proud I am of the Armenian Turkish Cinema Platform at the Golden Apricot International Film Festival in Yerevan for continuing to push this dialogue by inviting Armenian and Turkish filmmakers to exchange ideas and make films together.

AB: The acting of two main characters is quite impressive. There could not be a better choice than Jacky Nercessian, but it was a surprise to see a Turkish actress, Serra Yilmaz, whom I have seen previously in two Italian films on gay issues.

EN: Jacky Nercessian I remember from when I was in junior high school from Henri Verneuil’s Mayrig film. I met him in Paris some years ago when I was screening my first feature film, “The Blue Hour.” I’ll never forget what an impression he made on me. He looks like the Armenian Ben Kingsley. Full of so much life. I am very grateful to Atom Egoyan who recommended Jacky at the Golden Apricot Film Festival. I reconnected with him and we pledged to work together. Also, my dear friend Vahe Berberian was a great inspiration. I initially wrote the role of Armenak for Vahe. My aunt, Parik Nazarian, was my hero and talisman throughout this entire journey, inspiring me with the music of Komitas and the song, Surp Garabed Em Gnatsel that opens the film. Serra Yilmaz is a barekam. She is a natural-born actress with such an incredible soul. I hope I will be making films with Jacky and Serra for years to come. We had an amazing working relationship on set. This experience would not have been the same without their total support of the story I needed to tell.

AB: I noticed that the bright and dark scenes are juxtaposed in your film. Have you done it purposely? Generally, the shadows play an essential role in film, they seems to symbolize that lots of things are shadowed in this city.

EN: My background is in photojournalism and cinematography so naturally everything begins with making the right images tell the story. I wanted to make “Bolis” an intimate and panoramic vision of the story. That’s why there are so many locations from the Bosphorus to the amazing antique shops in Kadikoy to the Zincirlikuyu cemetery to the back alleys of Cukur Cuma to a nightclub in the heart of Istanbul to the Armenian cemetery in Sisli. The entire city is light and shadow. In a color film shot on HD, I wanted to let the shadows sink into Jacky’s face when he talks about the dark chapter in his family’s history in the basement of the antique shop. Serra has such an evocative and expressive face. We tried to light her as minimally as possible because her eyes do all the talking; Jacky has such an incredible presence on screen. With HD, you can get away with not lighting too much which means you can shoot faster. That’s a blessing, especially if you have so many locations. I really enjoyed working with my production crew. We were zigzagging all over Istanbul making a movie about a Turk and an Armenian finding a common bond. I knew this was a special project and wanted it to be an ode to my family who inspired me to create cinema and a love letter to the heritage of Old Bolis.

AB: One of the important components in the films is music.

EN: Music is central to the film. I wanted to open with Surp Garabed over Jacky’s journey from the European side of Istanbul to the Anatolian side where he goes to an authentic oud shop to get his oud re-stringed. Then we cut to a haunting Turkish blues song by an Armenian lady from Erzeroum or Kayseri. We discovered the song on a very old LP that the gentleman who owned the antique store introduced me to. He was a rare collector of antique gramophones and Coca Cola knick-knacks from the ’40s and ’50s. I love the antique shops in Kadikoy. I could easily spend a month roaming through them in search of that lost past of the city that somehow never goes away. It is present on every corner in the city. Thanks to my dear friend Maral Aktokmakian from the amazing Aras Armenian publishing house in Istanbul, and her husband Arto Erdogan, they introduced me to Taniel Akhbareeg (little brother) who is the oud player from the wonderful band, Knar. Taniel Akhbareeg hails from Dickranagerd. He performed the solo of Sari Sirun Yar that closes the film. I am indebted to Maral, Arto and Taniel for their love and support during the making of this film. This film and my experience in Istanbul would never have been the same without them.

AB: And when we can see your film in Armenia?

EN: Hopefully we will screen it this year during the wonderful Golden Apricot International Film Festival.