A satiric reflection of our contemporary global society manifested in the near future, in which two seemingly ordinary couples sit down for a dinner party. The film cruelly and comically ...
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Welcome to the New Istanbul. A massive concrete jungle feeding on chaos and hypocrisy; it's inhabitants at the end of their tether. Tahsin is a burnt-out architect suffocated by his ... See full summary »
Onur is sacked from his job as manager of a pharmaceutical company and is not worried. But his wife Bahar is. Onur doesn't listen to her and becomes indifferent to her and the world around him. He'd rather be surrounded by more zebras.
Bülent Emrah Parlak
In action/comedy "You've Got Murder", homicide detectives are tasked to solve a very different case. The serial killer keeps creating crime scenes that are ridiculously decorated with ... See full summary »
WHAT WE LEFT UNFINISHED tells the story of five unfinished fiction feature films from the Communist era in Afghanistan (1978-1991), and the people who went to crazy lengths to make them, in... See full summary »
In the heart of Istanbul's prison, Zakir controls the letters prisoners receive. His average day is spent between the censorship office, his colleagues and his evening writing class. For a ... See full summary »
A female architect who wants to preserve her utopias realizes the only probable way to experience this in today's Istanbul is through dreams and parallel lives. Indeed, her dreams help her to continue, build new hopes and lives.
A satiric reflection of our contemporary global society manifested in the near future, in which two seemingly ordinary couples sit down for a dinner party. The film cruelly and comically shows how our contemporary culture might transform into a world of extreme hedonism, violence and desensitization.Written by
Although it has no nudity and is not a violent film, some audience members at the Antalya Golden Orange festival were angered and offended by the film and wanted it censored. Not only were these people booed by other audience members, but their outrage was talked about in the press, creating a positive buzz around the film. See more »
Grand Guignol-esque Satire of Contemporary Capitalist Society
With more than an intertextual nod to films such as LE GRAND BOUFFE (1973) and THE COOK, THE THIEF, HIS WIFE AND HER LOVER (1989), the MONSTER'S DINNER focuses on four bourgeois characters, none of whom actually have any names but are known by their initials. They spend an evening together talking about sex, masturbating, sucking one another's blood, eating meat like cannibals, beating up a little child, laughing maniacally at the casual violence taking place outside their apartment, and indulging in racist and sexist chat. Director Ramin Matin uses the entire film to satirize capitalist society and its tendency to destroy everything as well as sucking the blood out of their victims as well as themselves. Not much happens in the film; what we see on the whole is the four protagonists talking among themselves. The violence is implied rather than stated: gunshots ring out on the background, the characters are heard vomiting in the bathroom while the conversation continues uninterrupted in the living-room. Shot in deliberately washed-out colors, the film portrays a dark world with absolutely no hope of redemption. While understanding the director's perspective, I think the satire is a little obvious; although only eighty-five minutes long, THE MONSTER'S DINNER begins to drag after an hour, almost as if the screenplay had run out of things to say. Shot in English - rather unusually for a Turkish film - its message should be comprehensible to anyone.
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