Post by Capo on Apr 7, 2007 13:49:11 GMT
Iklimler
Climates
Nuri Bilge Ceylan 2006 Turkey
A university lecturer breaks up with his younger wife when the two become bored by marriage and commitment.
Ceylan's films are obviously very personal; and all share the same world, the same vision, you see the same core entourage of actors from film to film, many of whom are friends and family. Here, in perhaps his most personal film yet (dedicated to his son), he and his real-life wife star as a couple whose marriage has already crumbled when the film begins, and generally dives into further despair as it goes along. His style is very unique and very difficult to describe - it doesn't resemble anybody else's, it's visual without being excessive, and his way of editing from scene to scene is very ambiguous. There is a scene early on, for instance, at the beach, in which the director watches his wife swimming in the sea and talks to himself, imagining that he is breaking up with her... only, he moves and behind where he was we see his wife is really next to him (a bit like the mirage scene in Gerry), and she begins to talk back, and so you'd expect to cut to a wide shot at the end of the scene, showing him alone again, with his wife in the sea, so that the conversation is confirmed to have been a dream, an illusion. But it doesn't, it cuts to the next scene, and it's very ambiguous and effective, the way things happen - similar to Julio Medem's dives in and out of realities, but a lot more subtle and casual. Climates is a fantastic film, full of great, individual scenes which unfold in lengthy bouts of silence, of emotional constipation, of lingering looks and close-ups. There are two incredible, ambiguous sex scenes, one in which two-way seduction turns into aggressive lust verging on rape, the other shot in out-of-focus, slow-motion close-ups, so that the intimacy is held at a distance. Tracing his work as a whole, Ceylan seems to have become more controlled, more disciplined with each film he's made; this shows signs of a more deliberate, self-aware and excessive self-indulgence (as opposed to the seemingly natural, instinctive way his previous films unfold), and it's his best film yet.
Climates
Nuri Bilge Ceylan 2006 Turkey
A university lecturer breaks up with his younger wife when the two become bored by marriage and commitment.
Ceylan's films are obviously very personal; and all share the same world, the same vision, you see the same core entourage of actors from film to film, many of whom are friends and family. Here, in perhaps his most personal film yet (dedicated to his son), he and his real-life wife star as a couple whose marriage has already crumbled when the film begins, and generally dives into further despair as it goes along. His style is very unique and very difficult to describe - it doesn't resemble anybody else's, it's visual without being excessive, and his way of editing from scene to scene is very ambiguous. There is a scene early on, for instance, at the beach, in which the director watches his wife swimming in the sea and talks to himself, imagining that he is breaking up with her... only, he moves and behind where he was we see his wife is really next to him (a bit like the mirage scene in Gerry), and she begins to talk back, and so you'd expect to cut to a wide shot at the end of the scene, showing him alone again, with his wife in the sea, so that the conversation is confirmed to have been a dream, an illusion. But it doesn't, it cuts to the next scene, and it's very ambiguous and effective, the way things happen - similar to Julio Medem's dives in and out of realities, but a lot more subtle and casual. Climates is a fantastic film, full of great, individual scenes which unfold in lengthy bouts of silence, of emotional constipation, of lingering looks and close-ups. There are two incredible, ambiguous sex scenes, one in which two-way seduction turns into aggressive lust verging on rape, the other shot in out-of-focus, slow-motion close-ups, so that the intimacy is held at a distance. Tracing his work as a whole, Ceylan seems to have become more controlled, more disciplined with each film he's made; this shows signs of a more deliberate, self-aware and excessive self-indulgence (as opposed to the seemingly natural, instinctive way his previous films unfold), and it's his best film yet.