Near the Bosporus, Eyüp and and his wife live in a modest flat. Eyüp’s boss, a wealthy businessman, hits a pedestrian on a lonely road. He drives off and offers money to Eyüp if Eyüp will take the fall.
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Really liked this film. The framing is sublime and together with the lighting, gives the film a real painterly quality. The use of colour too is very subtle and clever. The static camera with the characters walking in and out of frame adds to the intensity of the character studies. I love films of this pace. The performances are excellent.
The story proceeds through ambiguous details creating an emotional landscape as well as a nicely plotted story. The patient shooting style and devastating close-ups thrust the viewer into the world of the characters. This is a great example of how world cinema can tell a powerful story filled with ambiguities, paradoxes, and delectable ironies.The final image is a stunner. Possibly larger metaphor?
Probably Ceylan's bitterest, most acidic film, with human ugliness played out against beautiful landscapes and crisp digital compositions. But unlike a lot of arthouse sourpusses, Ceylan has the skill to make his disgust feel vital instead of facile. Those looking to see him in a more charitable mode should go to CLOUDS OF MAY, DISTANT, hell, even CLIMATES. I've yet to see a film from him that isn't exceptional.
wow, of what i have seen, this is his most "action" film. compared to uzak, it's hollywood. the drone scene with the man in front of the ventilator was fantastic. seeing it on big screen is a must. you can almost hear the myriad thoughts and fragments of emotions moving under the skin, passing through like a vortex of smashed glass through a wire nexus. loved it.
Ceylan won the director prize at Cannes in 2008 with this intricately plotted work written by himself Ebru Ceylan and Ercan Kesal. The plot may not be far from film noir archetypes but the characterization elevates this to deeper meaning. The camera work of Gokhan Tiryaki is excellent here with fine use of camera placement, lighting and desaturation of image. Amongst Ceylan's finest works.
There is so much happening behind and between the pictures; some aspects of the story are told only by means of sound. It's a fascinating way of narrating events which have to do with concealment. The use of light is also fine.
When the ripple effect of one misguided action can hurt. The many scenes of introspection will require patience from viewers used to drama a la Hollywood, usually with intense dialogue and music to move it along.