Kosmos is a thief and a miracle-worker. He appears one morning in a tiny, snowbound border village where he is welcomed with open arms – on account of arriving just in time to resuscitate a small boy who would otherwise have drowned. Neptün, the boy’s sister, and Yahya, his father, are all too willing to take the stranger under their wing. But Kosmos values his independence too much. He often gives a wide berth to the tea house where they have decided to put him up, and flatly refuses to take on any work there. He queers his pitch still further when he openly declares himself to be in search of love. When it transpires that Neptün is the object of his amorous desire her enraged father burns a hole in Kosmos’ hand with his cigarette. Strangely, the next morning, the cigarette burn has all but disappeared. —Berlinale
Other weird things begin to occur: ever since the stranger arrived, the number of thefts increases; moreover, Kosmos is apparently able to climb the highest of trees effortlessly, and leap from branch to branch like a bird. He and Neptün imitate birdsongs together. Kosmos nonetheless becomes a genuine member of the village community, even though a border conflict claims much of the villagers’ attention.
In the meantime Kosmos brings about more miracles: he manages to heal a teacher’s migraine, and a patient’s asthma and soon anyone with a complaint is in hot pursuit of Kosmos. But the mood turns sour for the stranger when, after first having healed a mute boy, he trudges for hours through the snow with him and the boy’s health deteriorates rapidly … —Berlinale Film Festival
Born in Istanbul in 1960, Reha Erdem graduated from the Cinema Department of Paris 8 University. He obtained his M.A. in Plastic Arts at the same university. He shot his feature debut Oh Moon in 1989, as a French-Turkish co-production. He wrote and directed Run for Money in 1999, Mommy, I’m Scared in 2004, Times and Winds in 2006 (Toronto, Tribeca, Rotterdam), My Only Sunshine in 2008 (Berlinale, Toronto) and Kosmos in 2009 (Berlinale). His latest film Jin is the Opening Film of the Generation 14plus Competition at Berlinale 2013. He also has short films and directed a theater play, Maids (Les Bonnes) by Jean Genet.
Achieving what L'humanité did not,this film offers its viewers a series of free-spirited memorable moments of instantaneous charge.The visuals remind one of Uzak and above that it captures life and it captures spirit - the life of a society, rituals and the thoughts of its inhabitants - regarding social and external issues.The scenes with the animals are especially emotionally painful at times, powerful and poignant.
This is a weird film. It isn't what you expect, the main character seems to go from one person to the next and heals them, maybe or maybe not! He may be making them worse or may be doing nothing at all, who knows? Ok, the bit that stuck with me, and I just knew it was coming, was the pain in the cow's eye as it was being ritually slaughtered, you could see the pain in close-up, so no-one tell me that ritual slaughter doesn't hurt, barbaric! I am not sure what the director was trying to convey in that scene, was it sympathy for the cows or something else, again, who knows? It has left me feeling anger for our system allowing ritual slaughter to be legal in this country for the sake of medieval religious dogma.
Great example of 'How to misinterpret what cinema can be when images only become images for their own sake and the cosmos of film collapses because elements in the film don't talk to each other. Acting is stupidly theatrical, actors and non-actors stick out like shit on snow. Even though Tarkovsky's spirit is emulated here, I find the same fingerprints of forgery as Lars Von Trier. The same smell of set.
Above: the first Golden Donkey winner, Reha Erdem's Kosmos (2009). Little did the Ferroni Brigade anticipate the earth-shattering importance