Koza

This short film was included on the DVD for Uzak (2002) [aka: Distant], and wisely so. In that film (Uzak) we plainly see the director honor one of his major influences by putting The Mirror (1975) and Stalker (1979) on the TV in a couple of scenes. Seeing Koza (1995) absolutely seals the deal for showing just how much Nuri was influenced by Tarkovsky early in his career. But even though he visually emulates Tarkovsky (and uses the same music) in his earliest film, Nuri cannot help but emphasize the relationships between characters in his own unique way. While Tarkovsky always rode a near mystical connection between characters that often required no words culminating in some cosmic violence; Nuri shows a great gulf between them, a struggle between isolation and the desire to connect, and their near futile efforts to communicate. Certainly recommended for fans of Nuri Bilge Ceylan, but perhaps a delicious footnote - rather than an introduction to his work. (Side note: The one image that stopped me in Koza, involved a kitten that at first appeared to be dead with ants crawling in it's mouth, but upon closer inspection can clearly be seen breathing and is only napping.)

Nuri Bilge Ceylan's first film. We'd better say a short film. Because it's only 20 minutes. What can one say about 20 minutes when you think about it? It can say. I couldn't figure it out. You feel something. There are fine details such as being black and white, raining, death of living things. This kind of thing really leaves you with a feeling of despair. Maybe it's in a message. The shoot is quite successful. You definitely feel that you are in a depressive environment. It gives a distinct flavor to the sounds and music used. I wouldn't want to rate this movie because it could tell a lot of things. I recommend you find a dark room and watch this movie. Just watch for 20 minutes. This film will pump you into a feeling. Just feel it!

⭐ 100/66

Produced in association with state broadcaster TRT, KOZA (COCOON) is director Nuri Bilge Ceylan's first film, where he sets forth his major preoccupation with humanity's relationship to the elements.

The action, such as it is, focuses on an elderly woman and man (Fatma Ceylan, Mehmet Emin Ceylan), living in an isolated dwelling at the edge of a forest. They never exchange one word with one another, but prefer instead to live a life of total silence trying to communicate with the elements. The old man warms his hands by a fire, or stands next to a tree; the old woman sits on an improvised hammock dozing or listening to the sound of bird-song or the trees rustling.

Despite their best efforts, they find themselves locked in a cocoon of their own making. This sense of imprisonment is emphasized by repeated shots of both of them staring outside through open windows, as if close to yet unable to commune with nature. The strain proves too much for them: Ceylan includes repeated close-ups of the old man staring to the right or left of the camera, while in one climactic scene a tear drips forth from the old woman's eye as she tries to sleep.

Around them life continues regardless. A little boy (Turgut Toprak) looks up at the trees and indulges in occasional acts of mischief (such as upsetting one of the old man's beehives). A little duckling tries to swim for the first time. A cat feeds happily from a bowl, but dies later on. These shots emphasize the continuity of the universe; life is inevitably followed by death and rebirth. The elements always exist - water, fire, air - and it is up to us to enjoy them.

However it is part of the human tragedy that we focus on worldly things rather than the fundamentals of life. Ceylan emphasizes this through the use of old photographs, depicting the past frozen in time - an unrecoverable period that stimulates yearning within the old man and the old woman alike. Perhaps if they just accepted the reality of the life-cycle, and enjoyed the landscape for what it is, then perhaps they could have escaped from the cocoon.

Brilliantly photographed with a soulful score of tunes from J. S. Bach (among others), KOZA is an ideal introduction to the oeuvre of a great director.

Nuri Bilge Ceylan was a famous photographer before he became a promising Turkish director. Nuri Bilge Ceylan's short movie shows how talented he is as a photographer. It is also an evidence for the following films of him. It is in black and white and catches great pictures. Faces of the old couples are wonderful. You have to watch it as any other Ceylan movie: just sit, be patient and watch all the beautiful scenes and feel the story. For instance, in KOZA you gonna feel the death and born. It is definitely warming watching KOZA after all fast, cuts effects movies. If you like Distant, you gonna love KOZA.

As many people know, Nuri Bilge Ceylan is one of the most successful Turkish directors. In this movie, we are seeing his apprenticeship work. I did not fall for this short movie, however, it is an expectable and acceptable performance for the first movie of a director.

Ceylan who known for his photographic usage for the movie's cinematographic construction used this technique so much in Koza. He started to use more narrative techniques after this movie.