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An f word: Demirkubuz is maybe the only director in nowadays Turkey,
who bothers himself with the everyday life, or life in general, of the
so-called damned. This is one of the most obvious features of his
filmography. Lives that are hidden behind the curtains, which go on
when 'we', the 'ordinary' people sleep or work, or lives which we read
about in the newspapers and blame (much more the case) or appreciate
them. Lives that are not familiar with some words like big money,
stocks, career, future plans, fame or how it is called in Turkey:
pacayi siyirmak (similar to get off the hook). Those characters do not
have or make plans for the next few months: they try to live the next
day through, and as in Masumiyet, some decide to not to. There are
always spontaneously opening doors in life, and it depends on you as
the observer, or the reader-watcher of those "far away lives" to try to
understand or to tell between seeing and looking. Masumiyet is a
lecture for this, too.
The acting: Haluk Bilginer, one of the most famous and also well playing actors of Turkey really had better performances. Derya Alabora, quite well acting and let me no words to say. And, Guven Kirac. You can observe how a talented actor can act. He is that successful in acting in this movie that his playing builds up a big shadow over the whole scene going on through this film. He and the others mentioned are quite fine and professionally acting, which gives this film a taste of artificiality; something you might understand when you watch Kader (2006). The Story: both at the same time: minimalist and extraordinary. An important critic of TV in our everyday life is mixed in this descriptive narration. The directing: superb. Demirkubuz, might be regarded as a bridge between Dogma "philosophy" and Italian neo-realism. But certain scenes exist which interrupt the fluency of the film. When Yusuf (Guven Kirac) and the little girl (also referenced unnecessarily to Chaplin's The Kid in the film) arrive in Ankara and go to the place called KralDisco, there is a song in the background of the kurdish music group "Koma Amed". One can think that this music comes from inside of that place, but a sort of music which is totally unrelated to such places. This scene turns a trivia to a goof.
Finally: Demirkubuz managed to open an anti-heroic era in Turkish cinema, after the long lag of Yilmaz Guney (ceased in 1984). Lives of the outsiders defined without abstractions is one of his main routes. And, god thanks, he is doing this. This is a movie about people who have nothing else to offer except love and solidarity in the very bottom. About people living in a society where there is a sharp line between interests such as daily stocks figures or supply of daily bread.
Demirkubuz seems like being aware of the place of gates in life. We all
open and close many doors throughout our lives. 'Masumiyet' begins with
an appearance of the manager's gate and we see Guven Kirac who offers a
satisfactory performance. And 'Kader' is closed with a half-open door
where Bekir grasps that 'this is his destiny'. It is impossible for
Bekir to close the door opened by Ugur on the day at the carpet store.
The audience may capture many details based on 'gates'. Now I want to talk about the spectacular preaching of Ugur with which she takes our breath for a while. At the motel room, Ugur warns Yusuf about the destiny waiting for him. But as Bekir does, Yusuf ignores this warning because he is already taken over by love.
See this movie, then 'Kader' (or the reverse if you like a chronological telling).
Turkish filmmaker Zeki Demirkubuz exploded onto the international scene
with this extraordinary sophomore feature which won him a legion of
admirers, and detractors, across Turkey as well as top prizes at the
Antalya Golden Orange and Adana Golden Boll International Film
Festivals and inspired a prequel a decade on.
Güven Kiraç puts in a wonderfully nuanced performance as the painfully lost sole at the centre of this narrative with powerful support from Derya Alabora and Haluk Bilginer, who both won Golden Orange awards for their performances, and the young Melis Tuna who gives a pitch perfect debut performance.
The contemporary director has a curious fascination with the sort of characters so often sidelined by Turkish filmmakers eager to show their country at its best and this comes through in his use of language, somewhat lost in subtitle translation, and the carefully woven back-story, which inspired a prequel, that drive this compelling film forward.
Let's get out of this place.
Probably one of the most depressing and strongest movie ever. But very enchanting scenario and poetic expression. That's where unrequited love would drift the man's life to rueful & how a man could have turned to be totally loser. Even for Haluk Bilginer's tirade-like dialog only , while sitting on the grass field at 42 min., it'd worth to watch. Theatrical acts, deeply heart-touching theme. Don't miss it. 9 of 10. After 6 years of this movie, director Zeki Demirkubuz, deeply impressed by Dostoyevski and Albert Camus' works, has directed a movie named Kader 'Fate' on 2006 which expresses the beginning of the story..I suggest you to watch both movie in a row..
You can see and feel life throughout the film with the help of players. All three have their choices for life, which they can fight for. And their choices bring them together in a strange world. Absolutely a wonderful story about pure feelings and life.
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