Mommo: Men’s fear

“Mommo” (2009) starts with the scene that Kazim leaves his home and 2 children in order to love with his new wife. Then it continues in quite dramatic way with its touching music usage, cinematographic language and the prominence of yellow color. The notion of absence  is the important motif in the film as well as male characters. The absence of father for Ayşe, the absence of mother for Ahmet as in the psychoanalysis of Freud. While Ahmet hates his father because of leaving them, Ayşe is still coming after him, even asking whether her father would come if mother was alive.

En Mutlu Olduğum Yer (Kaan Erturan, 2010)

The movie; “En Mutlu Olduğum Yer” is written by Ümit Ünal and Gencay Ünsalan, and directed by Kaan Erturan. Genre of the movie is; romance and drama. The shots, which, reflect the authenticity of places, are the most attractive aspect of this movie. Audience feels the need of existing at those places, which are in the middle of nature. Subject of the movie mainly focuses on; two young people try to find out the meaning of life and the place, where they become the happiest. They decide have a journey, while they are moving on, audience starts to question the limits and the meanings of life. In other words; scenario can be counted as fastmoving but, on the other hand; shot lengths and narrative of the movie are so slow, the flow of the movie becomes stressing because of the lack of dynamism in the shots and in the narration. Even the obstacles appeared in the movie, are not sufficient for the survival of the audience from boredom. Also it should be mentioned that; the final scene of the movie is disappointing too. Audience expect a different ending because of those impressive shots and places but the movie ends like Yeşilçam melodramas. Even though, this movie has both positive and negative aspects, the poster of the movie is absolutely attractive and welcomes the audience for living the cinematic experience of “En Mutlu Olduğum Yer”.

Günışık Sungur

Ejder Kapanı (Uğur Yücel, 2010)

“Ejder Kapanı”, is third movie that Uğur Yücel has directed. Unlike his two previous movies; the scenario of  “Ejder Kapanı” has not written by Uğur Yücel, but it should be considered that; he has created a movie, that audience is given the ambiance especially for İstanbul’s caotic city scenes are very successful both technically and visually. Cinematographically; “Ejder Kapanı” has similarities with David Fincher’s “Se7en”, which is a crime movie. For Turkish cinema; it can be said that; genres of crime and action movies are not prevalent at all. Because; through out Turkish Cinema’s history; those genres, especially the genre of crime, are not oftenly produced, even in Yeşilcam movies there exist the element of action, comedy aspect of these movies are much more powerful. “Ejder Kapanı” is a movie, which mainly questions the notion of “justice”. Considering its genre and production techniques; “Ejder Kapanı” can be counted as a progressive movie for Turkish Cinema.

Günışık Sungur

7 Kocalı Hürmüz

Neslim Cansu Çavuşoğlu

After ‘Neredesin Firuze?'(2003) and ‘Hacıvat Karagöz Neden Öldürüldü?'(2005), Ezel Akay made his third length feature film ‘7 Kocalı Hürmüz'(2009).  In Turkish Cinema, there are still many blank pages and ‘7 Kocalı Hürmüz'(2009) fills the one of these pages and I can easily said that may be it seems classical but this film quite ‘interesting’.

Güz Sancısı

Neslim Cansu Çavuşoğlu

Güz Sancısı(2008) was adopted from Yılmaz Karakoyunlu’s book the same name titled and directed by Tomris Giritlioğlu.  If we remember back to Giritlioğlu’s other films; for example, like “Suyun Öte Yanı”(1991) and “Salkım Hanımın Taneleri”(1999), Güz Sancısı(2008) is also adopted from the book and taking over Turkey’s political history.  And the minority is explained in this political history.

Kabadayı

Neslim Cansu Çavuşoğlu

“Kabadayı”(2007) is a film that after watching it, you want to discuss and examine deeply some sequences.  The film’s plot, almost all native stone structure in place which  is dramatically successful, but some feelings have not fully shown.  But it is hard to detect where is the exact problem.  For example, relationship between Ali Osman(Şener Şen) and his son Murat(İsmail Hacıoğlu).  Ali Osman can not even be aware of his son until his whole life.  By mandatorily coming together Ali Osman and his son Murat, and Ali Osman breaks his oath and is forced to take gun again which are the conditions reflect very well.  However, relationship between father and son do not seem to me sufficient.  The first time they left one on one, they were in a good progress of their ”friendship” and also in a good progress in their dialogues.  But the atmosphere such as pastoral environment took refuge in fiction and all magic and the expectation of the audience are lost.  Not only benefit from the sound of two good actors, but also we need to see their faces and chaos in their efforts to make the father and son to each other.  They lost in everyday life seems insignificant in the moment.  Undoubtedly, Ali Osman died for his son but this is the inevitable end.  We as audience need to see deeply relationship between father and son.  The end of the film is really effective and dramatic.  Probably, powerful relationship make the end more and more powerful.

Eve Dönüş

Neslim Cansu Çavuşoğlu

‘Eve Dönüş’ is a period film that set out to right up from memories of the Ömer Uğur as a director.  First impressions in 43. Antalya Film Festivali and took the awards of ‘Best Actress’ and ‘Best Actor’. ‘Eve Dönüş’ dedicates the revolutionary of the September 12, 1980, and workers living in the suburb of Istanbul and the families.  In addition to this, Ömer Uğur dedicated this film to his close friend Seyit Konuk who was executed in 1980 revolutionary.  ‘Eve Dönüş’ mentions the the world outside of their small lives while developing the important events in the great struggle that times.

Review from SineCine: The Şakır Sırmalı’s influence on discourse about film in the 1950’s

Firstly, I would like to introduce you the first volume of the journal of film studies; SineCine which is refereed journal. It is started to publish this year and second issue is on the way. It includes various academical studies on the field. To read more about the journal you can visit the following official website: www.sinecine.org One more thing is that you can send your articles and works to be published in forthcoming issues. You can access it from “Dipnot” bookstores and Ankara University, Communication Department Bookstore where I have bought it for 7 TL with discount.

In its first issue, it treats some read-worth articles which concern on each of Turkish cinema, Iran cinema and feminism in film and media, including Ahmet Hoca’s researches on 2000’s Turkish film industry. I will try to give a review on the article of Tunç Yıldırım: “The Şakır Sırmalı’s influence on discourse about film in the 1950’s”. The article analyzes the controversial platform on Turkish film industry in 1950’s, by looking through textual discussion from film magazınes and newspaper supplements of that time, especially concerning on critic-film director Şakır Sırmalı’s writings, critics, letters and responses to him from film directors, critics.

“Reflection of Society” ?

When the “director” is the “point of interest” of a movie, can we also blame the director with the problems caused by the expression of the movie ? If “everything about a good movie starts with the director”, does this also mean “everything about a movie starts with the director” ? If director is counted as the “creator” of “art” and “aesthetics” in a movie, is he also the co-founder of all of the problems that are fed from a situation caused by a particular case about the movie ?

A Short Note on Sexism in New Turkish Cinema

When I saw Erdoğan’s post about how Nefes received the Golden Okra award, I was confused. What exactly is Golden Okra?  After doing a little search, I learnt that it is the English name for the “Altın Bamya” awards*. I had heard of these awards which are given to the films, screenplays, male and female characters that are found sexist by an academy composed of anonymous individuals. You can see their full manifest here.