Near the Bosporus, Eyüp and and his wife live in a modest flat. Eyüp’s boss, a wealthy businessman, hits a pedestrian on a lonely road. He drives off and offers money to Eyüp if Eyüp will take the fall.
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Probably Ceylan's bitterest, most acidic film, with human ugliness played out against beautiful landscapes and crisp digital compositions. But unlike a lot of arthouse sourpusses, Ceylan has the skill to make his disgust feel vital instead of facile. Those looking to see him in a more charitable mode should go to CLOUDS OF MAY, DISTANT, hell, even CLIMATES. I've yet to see a film from him that isn't exceptional.
wow, of what i have seen, this is his most "action" film. compared to uzak, it's hollywood. the drone scene with the man in front of the ventilator was fantastic. seeing it on big screen is a must. you can almost hear the myriad thoughts and fragments of emotions moving under the skin, passing through like a vortex of smashed glass through a wire nexus. loved it.
Ceylan won the director prize at Cannes in 2008 with this intricately plotted work written by himself Ebru Ceylan and Ercan Kesal. The plot may not be far from film noir archetypes but the characterization elevates this to deeper meaning. The camera work of Gokhan Tiryaki is excellent here with fine use of camera placement, lighting and desaturation of image. Amongst Ceylan's finest works.
When the ripple effect of one misguided action can hurt. The many scenes of introspection will require patience from viewers used to drama a la Hollywood, usually with intense dialogue and music to move it along.
As ever, but also as never before, Ceylan shines (while brooding, of course) as a cinematic meteorologist in Three Monkeys, or else as a climatician, or, more simply, a watcher of the skies. The oneiric intensity of the image-making, equally foreboding and forlorn, attains a pitch of beauty and gravity that transforms a kitchen sink drama, whether or not it deserves it, into the stuff of tragic myth.
neo noir at its best. Celyan's camera and editing style takes what would normally be a traditional noir thriller into something deeper with the sense of the metaphysical.. great film with a great visual vocabulary.
Ceylan shoots some amazing visual pieces. By using a mild desaturation and tinkering a tad with color correction to nudge each shot toward a more ideal visual finish, he's able to reign in all the messy anomalies that normally occur in sunlight. This film and 'Climates' utilize this technique to the fullest. Both, also, feature an unwavering eye that fixates on the subject, catching all of the often missed mannerisms