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Distant (2002) More at IMDbPro »Uzak (original title)

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Up 74% in popularity this week. See why on IMDbPro.
Nuri Bilge Ceylan (scenario)
Cemil Kavukçu (additional writing)
View company contact information for Distant on IMDbPro.
Release Date:
20 December 2002 (Turkey) See more »
After his wife leaves him, a photographer has an existential crisis and tries to cope with his cousin's visit. Full summary » | Full synopsis »
Plot Keywords:
28 wins & 3 nominations See more »
User Reviews:
The loneliness of long-distance runners from relationships… See more (60 total) »


  (in credits order) (complete, awaiting verification)
Muzaffer Özdemir ... Mahmut
Emin Toprak ... Yusuf (as Mehmet Emin Toprak)
Zuhal Gencer ... Nazan (as Zuhal Gencer Erkaya)
Nazan Kesal ... Lover (as Nazan Kirilmis)
Feridun Koc ... Janitor (as Feridun Koç)
Fatma Ceylan ... Mother
Ebru Ceylan (as Ebru Yapici)
Bahaltin Surler (as Bahattin Serter)
Nazli Aydin
Engin Hepsev
Ercan Kesal
Asli Orhun
Ahmet Bugay
Arif Asçi
Cemal Gülas
Ahmet Özyurt
Erhan Ersoy
Hakan Kuldan
Ayhan Ergürsel

Directed by
Nuri Bilge Ceylan 
Writing credits
(in alphabetical order)
Nuri Bilge Ceylan  scenario
Cemil Kavukçu  additional writing

Produced by
Nuri Bilge Ceylan .... producer
Feridun Koc .... line producer
Cinematography by
Nuri Bilge Ceylan (director of photography) (as N. B. Ceylan)
Film Editing by
Nuri Bilge Ceylan  (as N. B. Ceylan)
Ayhan Ergürsel 
Production Management
Feridun Koc .... production manager (as Feridun Koç)
Second Unit Director or Assistant Director
Serkan Cindoruk .... second assistant director
Art Department
Adnan Sahin .... color supervisor
Sound Department
Erkan Aktas .... sound mixer
Ismail Karadas .... sound
Richard Welsh .... dolby sound consultant
Camera and Electrical Department
Turksoy Golebeyi .... assistant camera (as Türksoy Gölebeyi)
Zafer Saka .... set & lighting utility
Editorial Department
Tuncay Koçtürk .... negative cutter
Mustafa Oruç .... negative & positive bathing
Erol Sahin .... printing
Mustafa Sahin .... negative & positive bathing
Zekeriya Sahin .... printing
Eyüp Yildiz .... negative cutter
Yahya Öztürk .... negative & positive bathing
Alaeddin Aksoy .... thanks
Asiye Aksoy .... thanks
Arif Asçi .... thanks
Necmi Aykar .... thanks
Asiye Bodur .... thanks
Ebru Ceylan .... thanks (as Ebru Yapici)
Emine Ceylan .... thanks
Zeki Demirkubuz .... thanks
Sadik Incesu .... thanks
Cemil Kavukçu .... thanks
Temel Kerimoglu .... thanks
Kadir Kubasik .... thanks
Hakan Kürtür .... thanks
Cemal Okan .... thanks
Serdar Pehlivanoglu .... thanks
Keriman Ulusoy .... thanks
Ahmet Çadirci .... thanks
Kamer Çelik .... thanks
Reis Çelik .... thanks
Yüksel Öztürk .... thanks
Ahmet Özyurt .... thanks
Metin Üstündag .... thanks

Production CompaniesDistributors

Additional Details

Also Known As:
"Uzak" - Turkey (original title)
See more »
110 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Mahmut's house is actually the director's own house.See more »
Movie Connections:
Features Cocoon (1995)See more »


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18 out of 19 people found the following review useful.
The loneliness of long-distance runners from relationships…, 2 June 2007
Author: Roger Burke from Brisbane, Australia

This is a film about loneliness and how the distance – physical and emotional -- between people tends to stultify relationships.

The narrative is simple to the point of banality: a young man Yusuf (Emin Toprak), from a rural village, arrives in Istanbul to stay with his older and successful cousin Mahmut (Muzaffer Ozdemir); Yusuf wants work in the big city. After trying for a few weeks to find work without any success, the strain of having Yusuf living with him is too much for Mahmut. They quarrel – nothing physical, just verbal. Eventually, Yusuf goes, leaving Mahmut alone again. End of story...

Except for the fact that the performance of the two men as relatives is one of the best on film. Much is said visually; dialog is used to bring out disagreement, distrust, hostility, and insecurity that exist within and between the two men.

There are many visual gems in this film. For example, while searching for work, young Yusuf, needing a relationship, tries in vain to gain the attention of various young women around the city. The look on his face, as he is thwarted every time, says it all.

Or, wanting a cigarette, Yusuf opens the door to the balcony of Mahmut's apartment and lights up in the frigid December air, leaving the door open; Mahmut, eventually gets up from his work desk, walks to the door (all glass) and the cousins just look at each other for what seems way too long a time. Then Mahmut closes the door, leaving Yusuf out in the cold. The metaphor is complete.

Or, Mahmut cleaning up after Yusuf, grudgingly and with increasing anger; and all the while, Yusuf wastes his time chasing skirts instead of looking seriously for work, and spends Mahmut's money on a toy for a nephew… Yusuf is emotional, untidy, impulsive, and vulnerable. Mahmut is rational, logical, self-confident and a demanding control freak: the right-brain, left-brain dichotomy beautifully played out by two actors who say more with a look, a gesture, a frown than any words can convey.

But, Mahmut is not completely emotionless: he still loves his ex-wife who tells him that she's off to Canada with her husband-to-be. Mahmut affects a distant and confident friendship with his ex, and makes sure that she is okay about going. He wishes her well. He says goodbye. He leaves the coffee shop where they were talking. Later when she calls to say a last goodbye, on the way to the airport, Mahmut goes there and secretly watches as she leaves. The poignancy of the emotion on his face, as she disappears through a door, is worth the wait.

All in all, this is a standout piece of work by the two main actors and the director, Nuri Ceylan. Some might argue that the pace is too slow; but life goes slowly for much of the time, especially for those who are alone. The camera work is relatively simple also: choose the scene, set up the camera and lighting, and let the actors move across the scene, enter the scene and leave the scene, all the while keeping the camera still. There were a few panning shots, some high-angle tracking shots, a few rural scenes – but much of the film is shown as though on a stage with a fixed camera and a wide angle lens. Except for TV and radio music within the story, there is no music sound track. And, there are those many long silences as the two men sit and watch TV together and/or engage in very limited conversation.

I saw this movie on TV so I was amused to see that, on a few occasions, I was watching TV as they were watching TV also. The silence in the movie matched the silence in my house (I was awake, all others in bed); my chair and position matched that of Mahmut's as he watched TV. Quite eerie, giving me a sense of almost 'being there' with him… And, I guess I was, in a sense.

I'll say no more, because I want you to savor the other scenes that I haven't described. It's not a movie for everybody, for sure. More than any movie I've seen, it shows just how much we die when we are all alone – just as we are all alone when we die. Mahmut's face, as it fades to black in the final scene, will stay with me for a long, long time...

Highly recommended for serious movie buffs.

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Recent Posts (updated daily)User
Uzak: a masterpiece about alienation and loneliness... rpizzeghello
Recommendations for fans of Uzak and Ceylans films??? arkid77
To the Director ay9a
What an excellent film zoelat
Worth rewatching? Skritek-mk
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