A man and a woman seeking refuge from the world: Nihat at a remote forest fire tower, Seher in her room at a rural bus station. When their lives collide, each now has to fight their battle of conscience before the other.
When some people from the other side of the mountain invade the territory of a farming family, the family head tries to unite the family and fight back. But then problems within the family start to appear as well.
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 »
Nihal G. Koldas
10 to 11 is the story of a passionate collector Mithat and the concierge of the building, Ali. For Mithat Istanbul is as vast as his collections and for Ali is nothing more than a few ... See full summary »
A strange man with otherworldly talents becomes both a friend and a pariah in a small Turkish town in this drama from writer and director Reha Erdem. Yahya is nearly in a panic when his ... See full summary »
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 »
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This is a provisional comment on "Mold/Küf," since I'm not much of an expert on the Turkish arts, and I cannot explain the title. But a word about the notion that the film is slow, even at just 94 minutes. Compare Ceylan's "Once upon a Time in Anatolia" at 150 minutes. Aydin's film has a very good story, as if from classic Russian fictiona friend suggests Gorkyand the film narrates the story the best way. The protagonist is fixed on an indeterminate quest, in which he is like characters in the works of Orhan Pamuk, for whom the fundamental Turkish way of being is melancholy. He is a square-shouldered aging man. He does not easily leave a room, so a cut cannot come too early. If he is being interrogated for the umpteenth time by a new police inspector, there's no reason for the camera to swing around while he explains his life he feels is fate, while there is a slight change in the camera angle when he falls into an internal monologue. At the beginning of the movie he does break into a trot, and elsewhere he acts forcefully. More often there is stasis, and that's the nub of the story.
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