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Mahmut, a 40 year old independent photographer, is a "village boy made good" at least professionally in the big city - Istanbul in this case. After his wife leaves him, he falls into an ... See full summary »
Mertkan has a simple life in Istanbul: 'working' as an office-boy in his dad's construction company, hanging out with his male friends in malls and discos, cruising with his dad's 4-wheel ... See full summary »
Director:
Seren Yüce
Stars:
Bartu Küçükçaglayan,
Settar Tanriögen,
Nihal G. Koldas
Mahsun Supertitiz is an unemployed homeless man who steals cars at night so that he can sleep in a heated place during the winter. Mahsun lives in Rumelihisar, an old section of Istanbul, ... 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 »
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 »
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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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.