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Nadide Hayat (2015)

A widow, who recently lost his husband goes back to college to graduate after 30 years.

Director:

Çagan Irmak
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1 nomination. See more awards »

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Cast

Credited cast:
Demet Akbag ... Nadide
Sevil Aki Sevil Aki
Batuhan Begimgil Batuhan Begimgil ... Bora
Burak Can
Sadi Celil Cengiz Sadi Celil Cengiz
Yetkin Dikinciler ... Kaptan
Gizem Erdem Gizem Erdem
Umit Erlim Umit Erlim ... Kerim
Suzan Kardes Suzan Kardes
Cansu Kurgun
Büsra Pekin ... Konusan Kaplumbaga (voice)
Eylül Su Sapan Eylül Su Sapan ... Nadide's Friend
Efecan Senolsun Efecan Senolsun
Nurcan Sirin Nurcan Sirin ... Asisstant
Emre Taskiran Emre Taskiran
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Storyline

A widow, who recently lost his husband goes back to college to graduate after 30 years.

Plot Summary | Add Synopsis

Genres:

Comedy

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Details

Country:

Turkey

Language:

Turkish

Release Date:

18 December 2015 (Turkey) See more »

Also Known As:

Редкая жизнь See more »

Filming Locations:

Istanbul, Turkey See more »

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Box Office

Cumulative Worldwide Gross:

$3,198,186
See more on IMDbPro »

Company Credits

Production Co:

TAFF Pictures See more »
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Technical Specs

Runtime:

Color:

Color
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Connections

Features Mutlu aile defteri (2013) See more »

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User Reviews

 
Familiar Tale Flatly Told
12 January 2016 | by l_rawjalaurenceSee all my reviews

European viewers of a certain generation will instantly recognize at least two intertexts in NADIDE HAYAT (THE LIFE OF NADIDE) - the Willy Russell double bill of EDUCATING RITA (1983) and SHIRLEY VALENTINE (1989). In Çağan Irmak's retelling of the story, widowed grandmother Nadide (Demet Akbağ) returns to complete her education at İstanbul University after a thirty year hiatus. After some initial teething troubles, she goes off on a research trip with some other learners and their professor (Sevil Aki) to the southeast coast. There she encounters her Costas figure, the captain (Yetkin Dikinçiler) and falls in love on the boat.

The tale undulates through familiar territory: Nadide is not accepted by the learners on account of her age, but eventually wins them over by diving with them and saving a sea-turtle. The fact that she nearly dies as a result only increases her reputation. Her family are skeptical about the whole idea of Nadide's education; it's just not done for an older woman to return to university. Once she obtains her diploma and subsequently opens a restaurant, they are quite happy to visit it. The captain is now the cook, while Nadide is the accountant.

Stylistically speaking NADIDE HAYAT is very flatly filmed in a series of shot/reverse sequences reminiscent of Turkish soap operas. The script is extremely wordy - at one point one of the learners criticizes Nadide for talking too much, and we tend to empathize with that view.

Thematically speaking the film includes stylistic devices characteristic of the director's earlier work, such as the use of animation sequences to denote Nadide's thoughts at any particular moment, and an apparently incongruous beginning that is only really explained towards the end of the film. There are lashings of sentimentality, especially when it comes to portraying Nadide as a woman more sinned against than sinning. The topic of education and the older person is an interesting one, especially in cultures where it is not really accepted (there are few mature learners in Turkish universities), but Irmak tends to shy away from analysis in favor of the cheap joke.

There is more material designed to appeal to Seventies nostalgics, recalling Irmak's earlier films, as one of the learners entertains everyone on the beach during a party. Through such techniques the director recreates a simpler world, one where love and hate are clearly distinguished, that seems so much more attractive than the cynical present-day society. The song provides a pretext for the film's most radical thematic device, in which one of the female learners goes off with a girlfriend, suggesting that all forms of sexuality should be permissible.

While the film shows how important it is for individuals to learn to come to terms with themselves and their inner promptings, despite the objections of others (especially their loved ones), we still feel that Irmak has spent too much time on sententious dialogue at the expense of thematc exploration. As such, NADIDE HAYAT represents something of a missed opportunity.


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