The film is pure melodrama, with Osman's pride broken up with shots of Hasan constantly bedding his new bride, Bahar (Hülya Koçyiğit) and the brotherly strife leading to almost ludicrous ruin, but Erksan's direction never settles too long on classical framing. Instead of fully static, intercut shots or smooth tracks, Erksan spends many shots panning after any movement or dialogue, adding a percussive visual punch to every gesture and line.
Jake Cole
diciembre 9, 2013