Iz

"Iz" is the 1995 debut feature film of Yesim Ustaoglu, a director I adore. Although the screenplay doesn't belong to Ustaoglu, it still bears traces of her cinematic vision. The story follows a police officer about to retire who investigates a case that appears to be a suicide. This simple plot thickens with complex characters and subtle dialogues.

One of the most striking aspects of the film is the masterful acting. Aytac Arman gives an impressive performance as Kemal, the lead police officer. Serra Yilmaz leaves a lasting impression with her character Nevra. The other actors in the film also do justice to their roles and contribute to the film's realism.

"Iz" offers early examples of Yesim Ustaoglu's cinematic style. The director uses long takes and a minimalist aesthetic to draw the viewer into the characters' inner worlds. The locations where the story takes place are also carefully chosen and play an important role in creating the atmosphere.

The film's screenplay is written by Tayfun Pirselimoglu. Pirselimoglu keeps the audience engaged until the very end by creating complex characters and a mysterious atmosphere. Although some aspects of the story are not fully explained, this adds to the film's mystery.

"Iz" is a must-see for fans of Yesim Ustaoglu. It's an ideal film to see the first traces of Ustaoglu's cinematic vision, although it's a shame that the film hasn't been restored. Considering my admiration for Yesim Ustaoglu and the film's intellectual level, I find it appropriate to give "Iz" 4/5 stars.

Pros of the Film:

Masterful acting Early examples of Yesim Ustaoglu's cinematic style Realistic and mysterious atmosphere High intellectual level Cons of the Film:

Not being restored Some aspects of the story are not fully explained My Admiration for Yesim Ustaoglu:

I admire Yesim Ustaoglu's cinema. Her films are full of strong female characters, realistic stories, and impressive visuals. Ustaoglu's cinema also does not ignore the social and political realities of Turkey. "Iz" is a film that offers the first traces of Ustaoglu's cinema and therefore holds a special place for me.

Very bad and dull acting, mediocre shots, non-flowing script, good nothing is full, time is stop, dilm is very dull. Directors other films is better than this film, it is very weak film, screen is. The footage and camera shots are very bad, the lead and other roles are very bad, I wish I had never watched this movie, I didnt enjoy this film. Scenes are very simple and cheap. I think the director has started to make good films over the years, and she has reached more successful films in her directorial life, which she started with this worst film. (feminine) I think the director has started to make good films over the years, and he has reached more successful films in his directorial life, which he started with this worst film. (masculine)

Well, one has to admit at the beginning that the movie belongs to a minor sub-group of Turkish movies which carry certain noir elements. There are not many such movies by Turkish directors. As a coincidence, I watched it before I watched Angelheart and the similarities were unbelievable for me! A police detective (Kemal) starts to investigate a suicide. A musician is found in his apartment shot at his face (So he has no face. Nor anybody has his photograph). The police believes it is a suicide (He has gunpowder remnants on his hands). Nevertheless, "something" (unlike money as in Angelheart) urges Kemal to investigate the case more deeply. As the impotent, misogynist detective gets deeper in his quest, he faces disturbing events and facts that make life burdensome together with the pressures from the "organization", i.e. a secret sect in the police department. The movie has certain elements of noir at the plot and stylistic levels. The dark city at night is reflected through expressionistic camera angles and lighting, while stairs and other 'symbols' provide the audience with a psychic atmosphere. Finally, the act is not close to the cinematography at all. This movie is worth to see only because it is one of the few Turkish noirs and it has a clear semblance to Angelheart, which I deem as one of the (at least at the philosophical level) best neo-noirs together with Blade Runner dealing so disturbingly with the question of identity.