Filler ve Çimen

The idea of showing the corruption in modern Turkey, where your enemy becomes my enemy and your interests becomes mine just because the other side doesn't serve my interests anymore, is basically a very good and promising idea. But in order to succeed you need 2 things. 1. A character that his or her involvement in the story will touch us so we can identify with him or her. 2. Surprises in the story. Those 2 things are missing from the film. The character from point 1 is to weak and not so much involved in the story for us to care about and the surprises become none when you understand in early stage that what you see will turn around 180 degree's at some point. And it happens too much and too often. There are elements in the story that seem to be there just because the writter and the director thought they will add to the story while they have no justification in the story itself and are not fully dealt with nor do they form any clear story line which contribute to the the whole story.

It is not as bad as it seems. Director Dervis Zuim show that he can handle the story well and it is a shame he didn't go for an attitude which says less is more. This is clear case of good intention goes wrong. The potential is there but the result is unsatisfactory.

From the very beginning to the end, this movie maintains a rhythm that never falls short. The story is familiar to those living in Turkey, and it's masterfully balanced with a character drama, though unable to elaborate on neither because of too many characters and story details. But it's a rare success for the Turkish cinema, whose films so far were usually made to "amuse the crowd" or to emphasize the overlooked poor peasant life in the East. Filler ve Cimen also has an insight on many social and political issues; but what makes it a success is the uneasy way it tells the story (contrary to the common failure in Turkish films). The symbols are meaningful and offer a whole new perspective, but they were too very obvious to make sure they're understood. But anyway, it's a good movie, one of the best of the Turkish movies ever..

Too long and mixed up ! look like a Deli Yurek series with out and headliner Kenan Imirzalioglu. i got very boring a specially second half and i wish to finish but did happen... Too long which makes us sleepy. So i was expect level around "Masimiyet" but not even close. i can say easy worse movie of Haluk Bilginer. I can watch Haluk Bilginer 24/7 but not in movie.

The director made the politics, not art. It tells about illegal structures in the state. But he's very confused. There are too many characters. Excuse me, there are people, not characters. It looks like South American political films.

FILLER VE ÇİMEN returns to a theme already explored in TABUTTA RÖVAŞATA - the nature of corruption and its effect on ordinary people. Superficially it can be seen as a political satire, with the Minister (Bülent Kayabaş) being heavily involved in drug- trafficking and other nefarious activities, while publicly proclaiming his commitment to the public good. He becomes involved with various gang leaders including Sabit (Haluk Bilginer), and Camoka (Ali Sürmeli), as well as an intelligence chief (Ezel Akay). Inevitably such dealings come to no good, with the Minister meeting a bloody end.

Zaim shows how the media deliberately misrepresents the Minister's dealings so as to put a positive spin on them, and by doing so leaves the majority of the people in the dark as to what really happens in the halls of government. Although released at the beginning of the century, the film's political content remains as significant today: even though the government has changed, the level of institutional corruption, and its deliberate suppression by the media, remains extremely high.

Yet perhaps the film's main interest centers on Havva (Sanem Çelik), a runner who inadvertently becomes involved in the political shenanigans. She tries to look after her crippled brother by working first in a marbling workshop, and subsequently in an eraser factory. Both jobs are significant - in the first, she deliberately makes patterns in water, without actually polluting it. In other words, she is trying to make her mark on the world without destroying it, rather like the Ottoman craftspeople in the past. The job in the eraser factory represents the obverse; she is involved in creating an object that removes all traces of human action, such as writing.

The ending is one of guarded optimism - in the wake of the corruption, Havva returns to her marbling job, suggesting a willingness to contribute to the world in a positive way. Zaim's camera tracks upwards to show the sight of dark spots on a snow- covered landscape, thereby associating Havva's marbling with the workings of the universe. Despite all attempts to suppress her (including being branded a terrorist, even though was never involved in such things), her spirit remains unquenched.