Cenneti Beklerken

Dervis Zaim, is an intelligent Turkish Republic of Northern Cyprus born director who has been doing some very important films without any great notice. His first feature "Tabutta Rovasata" was highly rewarded in international festivals, then the "Filler ve Cimen" was a brave attempt to criticise one of the most politically embarrassing scandals in Turkish history.

In Filler ve Cimen, Zaim had used the tile art of old Turkish tradition and now with Cenneti Beklerken, he has the art of miniature at the center of his plot. He says that this is for a reason: "To be able to have a cinema with a backbone, Turkish movies has to feed from the traditional arts of its history, tradition." Well, this is not Dervis Zaim at his best, the story is not very inspiring, has some flaw problems but the miniature animations are perfect. The film is technically surprising (except some 2D backgrounds). Actors are more than acceptable maybe except young Melisa Sozen.

All in all, Cenneti Beklerken is a must for anyone who wonders what Turkish cinema in 21st century is about. Zaim, is one of the most important Turkish film-makers around. He has the ability and heart to show that Turkish culture HAS a "Great Tradition" and he has the "Individual Talent" necessary...

To date CENNETI BEKLERKEN has been the only totally historical drama in director Dervis Zaim's oeuvre.

However, as expected from a director so preoccupied with temporal relationships, the action consciously oscillates between different levels of reality. It is basically a quest-narrative focusing on hard-pressed miniaturist Eflatun (Serhat Tutumler) who is forced on an expedition to quell a rebellion against the Sultan, and to draw the head of the rebel, once he is eventually killed. Unwilling to undertake the duty, he is forced to on pain of death. He eventually completes his task, but finds the Sultan's reaction is not what he anticipated.

Within this structure director Zaim offers a meditation on the miniaturist's art. It was said that a good artist was in contact with the divinity; Zaim does not go that far, but does suggest that he is equipped with the power to deconstruct realities. This is suggested through a remaking of Velazquez's "Las Meninas," which appears as a work dedicated to rebel leader Danyal (Nihat Ileri), using the original Velasquez form, but adapted to Ottoman cultures. Through this device Zaim makes us reflect on whom art belongs to, and the role of the viewer in the artistic exchange.

Like many of Zaim's films, CENNETI BEKLERKEN is a work that befits repeated viewings, so as to uncover its subtleties. It is not an easy watch, but ultimately a rewarding one.

The director Dervis Zaim used a different technique, combining the modern cinema with an ancient art Miniature, never consists of light, shadow, volume and perspective, to explain the unknown situation in 17th century of Ottoman Empire. While watching the movie every scene seemed as a part of art in terms of color, costumes, light and impression. The audience may either find some clues about the system of the Empire such as life style, architecture, desires of Sultan's son to govern the empire and janissaries which are peculiar to Ottomans, or feel philosophical notions which are hidden behind abstract concepts like dreams, life, death, art and heaven. The sentence of Vizier (Vezir) "Both justice and beauty are necessary for Universe" is the sentence which can be counted as favorite quote of movie.

Most people who watched the movie sought historical truth in the script.

However, this movie is a 'fairytale' fiction.

Examining a work in such detail sometimes causes the things it tells to go unnoticed.

"Waiting for Heaven" (Cenneti Beklerken), directed by Dervish Zaim, is a visually captivating and intellectually stimulating Turkish film that premiered in 2006. Set against the backdrop of the 17th century Ottoman Empire, the story follows Eflatun, a miniaturist commissioned to create a watercolor portrait of a rebellious leader in a Western style, which will help confirm the leader's identity. As Eflatun undertakes this task, he finds himself caught in a complex web of political intrigue and personal conflicts.

The film excels in immersing viewers in a richly textured historical environment, beautifully showcasing the essence of the Ottoman period through its breathtaking cinematography and careful production design. Zaim's meticulous attention to detail shines through in every scene, from the elaborate costumes to the exquisite artwork that Eflatun produces.

Yet, "Waiting for Heaven" is more than just a visual delight; it explores profound themes of faith, artistry, and the search for life's meaning. Eflatun's journey is both a physical and symbolic one, as he confronts his beliefs and the societal pressures that challenge his moral compass. Having lost his wife and children, he encounters an enslaved woman with whom he falls in love. The film prompts viewers to reflect on the role of religion in society and the individual's duty to maintain their principles amidst challenges.

The performances are compelling, particularly Serhat Tutumluer's portrayal of Eflatun, which is both nuanced and reflective. While some may find the pacing slow, those who enjoy a contemplative and philosophical narrative will appreciate the depth of "Waiting for Heaven."

This thought-provoking film provides a distinctive viewpoint on a captivating historical era, celebrating the power of art and the timeless human quest for truth and enlightenment.