54/100 (Normalde iki cümleyi yan yana getiremeyecek insanların edebiyat yaptığı filmleri bi türlü sevemiyorum. Ayrıca Bekir'in aşkı fazlaca uçuk aynı zamanda oyunculukların kötülüğüyle birlikte sırıtıyor. Zeki Demirkubuz keşke sadece Masumiyet filmiyle kalsaydı da bunu onun devamı diye yedirmeseydi. )
A controlled exposé of emotional obsessions and their debilitating world of bad choices: where immaturity, violence, mental illness, personal fear, crime, babies, repression, and prison condemn those angels we had hoped to hear singing our own brand of Hallelujah instead to dig their own graves and kneel down. I could have used even more co-degradation and the ardent bonds it creates between mutual sufferers.
'Händler der vier Jahreszeiten' transposed to 21st century malaise; amour fou is the religion, but existential drift is the raison d'être. That first scene in the cabaret bar/nightclub/whorehouse is such an ecstatic, indescribable intermingling of style and emotion, totally unforgettable.
A misstep into melodrama from director Zeki Demirkubuz. Though technically a very well filmed project the central story veers to much into melodramatic tendencies giving the viewer very little to emphasize with especially since the central attraction certainly isn't so desirable. Demirkubuz has made a series of fine films but this entry is amongst the weaker.
They are both stuck with their true love and I think that she understand and at last she let him stay. The treatment of time in this movie is accurate. The director tell the story by tableau en utilisant beaucoup les élipses. Un découpage à l'image des protagonistes et qui traduit leur enfermement. Le temps ne coule pas il est coupé. belle manière de montrer la violence des sentiments.