During a sweltering summer vacation on the Aegean coast, the relationship between middle-aged professor Isa (played by Ceylan himself) and his younger, television producer girlfriend Bahar (the luminous Ebru Ceylan, Ceylan’s real-life wife) brutally implodes.
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I watched this movie last night after having watched Once Upon a Time in Anatolia and Winter Sleep a couple of weeks ago. I have to confess I like this constrained Bilge better than the more saturated and baroque latter one. It definitely reminded me of Antonioni and Bergman's Scenes from a Marriage.
Coloristically, these climates move from greys that shimmer and veil to blizzards of white-out that erase, or revive the glamour of, nebulous connections between fragile selves uncertain of what but not that they desire. Typical touchstones for the hushed, charged relations between Ceylan's characters, his meticulous mise-en-scene, and his penchant for artful gloom are Tarkovsky and Antonioni. I see Tarr's Damnation.
Ceylan’s talent with visuals is clear, but I’ve yet to see a film of his that is great. This reveals that, paradoxically, trying to make a work as realistic as possible can lead to it become artificial. The moments that stand are the odd ones - Ceylan's habit of using bedside cabinet drawers as headrests, the sight of a peanut (?) on a floor – that are strange enough to feel far more real than the story.
much better than distant. it feels more precise and nuanced than his first. by occupying the roles behind and in front of the camera, he is able to articulate beautifully all the "little moments"---a blink, and movement of the head, etc.---that occur during interactions. his demeanor can range from playful to horribly cruel, like his gaze at watching his mistress laugh on too long. superb acting indeed!
Quiet,painfully honest storytelling,with an observation of the everyday.
At first,i didnt know what to make of the long silences and closeups,but it is for us to figure out the relationship between this couple.
Not surprised that Mr Ceylan is also a photographer,evidenced by scenes of different seasons.
Somehow, I didn't know why, I had bet myself I could predict every next shot and camera position in this film. At the end I stood up, and yes indeed, it happened to be the very last shot in the film. I said: "this can't be". I was really dissapointed.
I can call it "a correct" contemplative film. I must add, audience imagination needs much more than this. Tense relationships deserve a lot more of work.