PUNTUACIÓN EN IMDb
8,0/10
28 mil
TU PUNTUACIÓN
Un aspirante a escritor vuelve a su pueblo natal donde las deudas de su padre le encuentran.Un aspirante a escritor vuelve a su pueblo natal donde las deudas de su padre le encuentran.Un aspirante a escritor vuelve a su pueblo natal donde las deudas de su padre le encuentran.
- Premios
- 10 premios y 15 nominaciones
Dogu Demirkol
- Sinan Karasu
- (as Aydin Doğu Demirkol)
Argumento
¿Sabías que...?
- CuriosidadesAccording to Nuri Bilge Ceylan, The Wild Pear Tree is about a son's unavoidable slide towards a fate resembling that of his father.
- Citas
Sinan Karasu: When we learn we are not so important why is our instinct to be hurt? Wouldn't it be better to treat it as a key moment of insight? We engender our own beliefs. Thus we need to believe in separation as much as in beauty and love, and to be prepared. Because rupture and separation in wait for everything beautiful. In which case, why not treat these tribulations as constructive disasters that help us pierce our own mysteries.
- ConexionesFeatures Umutsuzlar (1971)
- Banda sonoraPassacaglia and Fugue in C minor, BWV 582
Composed by Johann Sebastian Bach
Performed by Leopold Stokowski
Reseña destacada
A step backwards in Ceylan's cinema
It has been 21 years since Ceylan shot his first feature film Kasaba, whose main theme was an intellectual young man's desperate, family-stuck life in the countryside with no way out. After this film throughout his film career he focused on different themes as well of course, from middle class criticism (Climates) to film noir (Three Monkeys). But, being from Turkey, eventually in his last movies he returned to the countryside tales again. Especially this movie, The Wild Pear Tree, seemed to me as if Ceylan suffered from a partial amnesia and forgot that he shot the movie Kasaba. So he blended this "brand new film idea" with his recently developed film aesthetics and here we have The Wild Pear Tree.
In his first movies Ceylan barely had a story, he only had "themes". The rest of the movie was wonderful photography and this is what he got famous for. Then, founding clever collaborations, he learnt how to tell stories as well. But the question here is: does he really have a new story to tell? Turkey has changed a lot since Kasaba, but Ceylan's representations look like they are here to stay eternally. For instance, while Ceylan still hold on to the "intellectual stuck in the countryside" stereotype, intellectuals in the Turkish countryside either made it to the metropolises or they are replaced/outdated by the emerging religious elite.
So instead of telling a new story, Ceylan seems like he chose to "garnish" what he already has, with neverending dialogues unattached to each other. Dialogue with the girl, dialogue with the mayor, with the businessman, with the writer, with the police friend, with the imams and with this and this and this. Kind of a video game, one "countryside monster" at a time. So I think this movie is a rococo remake of minimalist Kasaba.
So if you tolerate the theatrical lines in the first dialogues, the movie is a nice one to see. But in comparison to the last 2 movies of Ceylan, this is certainly a step backwards (and surprisingly, this backwardness is evident also in the photography).
In his first movies Ceylan barely had a story, he only had "themes". The rest of the movie was wonderful photography and this is what he got famous for. Then, founding clever collaborations, he learnt how to tell stories as well. But the question here is: does he really have a new story to tell? Turkey has changed a lot since Kasaba, but Ceylan's representations look like they are here to stay eternally. For instance, while Ceylan still hold on to the "intellectual stuck in the countryside" stereotype, intellectuals in the Turkish countryside either made it to the metropolises or they are replaced/outdated by the emerging religious elite.
So instead of telling a new story, Ceylan seems like he chose to "garnish" what he already has, with neverending dialogues unattached to each other. Dialogue with the girl, dialogue with the mayor, with the businessman, with the writer, with the police friend, with the imams and with this and this and this. Kind of a video game, one "countryside monster" at a time. So I think this movie is a rococo remake of minimalist Kasaba.
So if you tolerate the theatrical lines in the first dialogues, the movie is a nice one to see. But in comparison to the last 2 movies of Ceylan, this is certainly a step backwards (and surprisingly, this backwardness is evident also in the photography).
útil•6540
- sakarkral
- 4 jun 2018
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- How long is The Wild Pear Tree?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idioma
- Títulos en diferentes países
- The Wild Pear Tree
- Localizaciones del rodaje
- Yenice, Çanakkale, Turquía(location)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Recaudación en Estados Unidos y Canadá
- 34.014 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 4923 US$
- 3 feb 2019
- Recaudación en todo el mundo
- 1.696.258 US$
- Duración3 horas 8 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1
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By what name was El peral salvaje (2018) officially released in India in English?
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