In his first full-length film Ceylan introduces many subjects and figures that reappear in his later films. It tells the story of three generations of a family living in the provinces. The film’s structure follows the course of a day which for its part reflects the cycle of the four seasons. The first part is set in the winter and follows a girl and her little brother at school. In the afternoon they wander through springlike nature and discover animals and their secrets, and by the evening time they reach their family, which has set up camp on the edge of a field. Their grandparents, parents and older cousin all sit around a campfire where, as the night goes on, a discussion ensues about life’s central issues. —Berlinale
Nuri Bilge Ceylan (born 26 January 1959 in Istanbul) is a Turkish photographer and film director. He is married to the filmmaker, photographer, and actress Ebru Ceylan, his co-star in İklimler.
Ceylan learned photography at age 15, and developed an interest in film at 22. After graduating from Boğaziçi University with a BSc degree in Electrical and Electronics Engineering, he went on with his studies on cinema for two years at Mimar Sinan University.
Ceylan’s first short film Koza (Cocoon) was screened in the Cannes Film Festival in 1995. He received many awards with his debut feature Kasaba (Small Town). His third feature Uzak (Distant) received many awards including the Grand Jury Prize and the Best Actor Prize at Cannes, and was praised internationally. His 2006 film Iklimler (Climates) won the FIPRESCI Movie Critics’ Award at the 2006 Cannes Film Festival and received international praise by critics and experts. The film won 5 awards at the 2006 Antalya Golden Orange… read more
Every critic is bound to be, more or less, subjective. You may find the storytelling boring or the landscapes too doom for your tastes, but that's the kind of film that revives childhood memories in the most honest and painful way. The life in the country, its unparallel troubles and the simplicity of its people. It's a humbling reminiscence.
The movie begins with a wonderful appreciation of childhood and its urban locations under a scope that seems to attain so much more, but by the time Ceylan shifts his narrative towards a lenghty, enclosed discourse between the members of a family dealing with rather broad subjects, the transition between the visual grandeur of the first part and the strictly dialogical one in the rest of the film feels a bit rough.