Isa is beaten up after being accused of stealing $50. When his landlord demands the back rent, Isa gets angry and shoots him. The police round up the tenants, but are not suspicious of him.... See full summary »
Musa, who works as a bookkeeper in the customs office, believes in the emptiness and absurdity of life. He doesn't struggle to change his life; he lets himself flow along with events ... See full summary »
Zeki Demirkubuz plays the lead character Ahmet who wants to make a film about Dostoyevsky's 'Crime and Punishment'. He falls into a deep depression, loses interest in the film and life, ... See full summary »
A dowdy university instructor Isa is an inattentive husband to his younger, TV-business wife Bahar. Self-absorbed and selfish, Isa only communicates in the most rudimentary way, while she, similarly, detaches into crying jags and juvenile behavior.
This is a movie within movie, which is almost recursive, i.e., the movie inside looks like director Ceylan's previous movie, Kasaba. It is about the movie director, Muzaffer, going back to ... See full summary »
Hayat, her father and bedridden grandfather live in a riverside shack near the dangerously dark but breathtakingly beautiful waters of the Bosphorus. Hayat's father owns a small boat that ... See full summary »
A high school graduate, Yusuf could not pass the university entrance exam. Writing poetry is his greatest passion and some of his poems are being printed in various obscure literary ... See full summary »
Itiraf, the fifth film of Zeki Demirkubuz, is not satisfactory as the previous works of the director, especially as Yazgi or Masumiyet. However, concerning the topic itself, since it focuses on a quite absorbing subject matter i.e. confession as a one of day-to-day problems of mutual relationships, the film deserves much more attention. On the other hand, particular technical deficiencies, especially too long scenes and shortage of a holistic standpoint in the screenplay make it average. It is easy to say Demirkubuz's films are usually concentrate on acting. However, in Itiraf, although the performances in the leading parts, of Taner Birsel and Basak Koklukaya, are above average, they cannot make the film better off. Simply because, Demirkubuz is better in making films on specific events. When he attempts to make a film on one of perplexing issues of human relations, he is bound to heavily trust on the performances of the cast and extraordinary events in the screenplay. For instance, despite having a claim of being a realist tragedy, the film has several exaggerated and surrealist events simultaneously. In my opinion, by using the same scenario, surely after cutting the unnecessary parts of it, it had better make a short film; because the film by this version seems to be a preliminary work frankly.
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