Lejano

"Uzak" was Nuri Bilge Ceylan's third film but it was the one that established him internationally and marked him out as a world class director. It's an astonishingly mature and imaginative picture displaying great visual acuity as well as a deep understanding of human nature. It's about two cousins, Mahmut, a photographer whose wife has left him and Yusuf, who has come to stay with him while looking for a job. At first their relationship is cordial and friendly but gradually Yusuf begins to get on Mahmut's nerves. Ceylan tells his tale with great empathy and a good degree of humour, despite the sadness at the centre and draws wonderful performances from Muzaffer Ozdemir as Mahmut and Emin Toprak as Yusuf. Tragically, Toprak was killed in a car accident just after the film was completed and posthumously shared the best actor prize at Cannes with his co-star. Absolutely essential viewing.

Mahmut (Muzaffer Ozdemir) is a successful photographer living in his middle-class apartment in Istanbul. His wife has recently left him, and he is suffering from feelings of isolation and loneliness. Mahmut's cousin Yusuf (Emin Toprak) loses his factory job (along with possibly 1000 others in his hometown) and travels to Istanbul to find work on the ships, where he hears the money is plentiful and easy. Yusuf moves in with Mahmut, and the social and emotional distance between the two is immediately apparent. As time goes by, Yusuf struggles to find work and desperately searches for love (or sex) to no avail, while Mahmut becomes increasingly frustrated with Yusuf's slobbish attitudes and lethargic attitude.

Director Nuri Bilge Ceylan's background is in photography, leading to a natural progression into films. His eye for photographic beauty is evident as Uzak is often astonishing in it's framing and colour saturation. Istanbul is shot with an aura of misery, and these two lonely souls gaze out to the grey sea with the rain and drizzle falling upon their slumped shoulders. However, amongst the greys and the browns, Uzak proves to be an extremely funny film, with Ceylan drawing humour from the most mundane of everyday occurrences. I found the most subtly funny scene is where Mahmut and Yusuf watch Tarkovsky's Stalker (1979), with Yusuf getting bored at what looks like around the twenty minute point. Yusuf leaves, and Mahmut quickly puts a porn video in. Yusuf re- enters causing Mahmut to quickly turn the channel over, only for Yusuf to linger over his shoulder mindlessly staring at the TV. It brilliantly captures the increasing tension between the two, while laughing at their ridiculous situation.

The title Uzak translates at Distant, referring to the social, emotional and spiritual distance between the two, but it also refers to the global distance that is appearing in society as the world gets smaller. Communication is easier yet harder. Although Mahmut and Yusuf are physically and geographically together, they are miles apart. Mahmut is sophisticated and clean (or at least he likes to think of himself like this and models himself on Tarkovsky, but as the aforementioned scene proves, he'd much rather watch a bit of porn) and Yusuf is uneducated and messy. Mahmut has sacrificed personal happiness to live out his idyllic middle-class lifestyle, and Yusuf lazes around expecting a job and money to come to him, leading him to live out his miserable, sexually inactive life. Uzak is occasionally grim and contains little dialogue, but Ceylan's amazing eye for humour and social commentary make it a wonderful experience. And special mention must go to the two leads, who are brilliant in their roles, making it all the more tragic that Emin Toprak was killed shortly after the filming was complete.

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I am very thankful that the small college town of Abingdon, Va.- near Bristol, TN. and home of the famous Barter Theatre where Gregory Peck once acted- managed to get an art film festival togather and show this film there. Abingdon is two and a hour hours from where I live, but the trip was worth it in every sense of the word. UZAK/DISTANT is an amazing, brilliant, jarring, emotional, captivating film. As a Turkish-American, this film was not only a testimony as to what life in Turkey is like; but on a larger scale it tells the world of what it is like to be Turkish whether one lives in Istanbul, Berlin, Montreal, New York, or Omaha. It may be two hours in length as opposed to five minutes, but this is effectively our Bob Marley song. There are so many wonderful scenes in this film. It is very difficult to choose just a random few. But, for me, one telling scene takes place in a Beyoglu (downtown Istanbul) cinema. The title character, played by Mehmet Emin Toprak who sadly died in a car accident shortly after this film's completion, follows a very attractive young woman down a staircase to the cinema's main auditorium. She goes into see "Vanilla Sky." As the image of Tom Cruise is reflected from a glass, we sense that Turkish men are competing with Tom Cruise for their own women's affections even though Tom Cruise is nowhere to found in Beyoglu. The scenes shot across the Bosphorous shores are also quite revealing as they symbolize the beauty, yet desperate empty gulfs, which are a painful fact of life in Turkey. In this film, the gulf separates lovers and families. A simple, empty packet of Samsun (Turkish brand) cigarettes and a dying mouse jump off the screen the way seagulls did in the 1982 Serif Goren-Yilmaz Guney film "Yol." Many of Guney's films, including "Yol," "Suru- the Herd" (1978- completed by Zeki Okten) and "Baba-The Father" (1971) have been considered by many to be the best Turkish films ever made. Without Guney's sometimes overblown social-political anger (especially in his last film, the 1983 prison drama "Duvar-The Wall"), "Distance" captures the essence of Turkish life quite remarkably. This is a crowning achievement for a director who in my view can already be proclaimed as the Turkish equivalent to directors like Tarkovsky, Bresson, and Ozu. I can't wait to see his other films!

Uzak (2002), a Turkish film shown in the U.S. as "Distant,"

was directed, produced, written, and filmed by Nuri Bilge Ceylan.

This movie is a gritty and somber version of the clash between a "city mouse," Mahmut, played by Muzaffer Özdemir, and a "country mouse," Yusuf, played by Emin Toprak.

Both men are superb actors, and the plot allows them to demonstrate their acting skill. (Tragically, Emin Toprak died in an automobile accident shortly after the movie was completed.)

In most country cousin/city cousin tales, the contrast between rural and urban life styles is portrayed in a humorous fashion. In this film, there's little humor or even warmth. Both men have lost touch with human society. Mahmut 's work as a commercial photographer for a tile company gives him no satisfaction. He has divorced a woman he clearly still loves, and has no satisfying human relationships.

Mahmut has lost his job because of a factory closing in his small town, and doesn't have the skills or the energy to find work in the city. His human interactions are primarily confined to silent observations of the other people who cross his path. He's clearly a warm and caring person, but can't express these qualities in an urban environment.

The cousins don't relate well to the world, and they don't relate well to each other. Neither makes an effort to act in a way that would provide an opportunity for bonding or closeness.

In a sense, this film portrays an opportunity wasted.

Conceivably, each cousin could have provided at least part of what was lacking in the other's life. Instead, they steer parallel unhappy courses. The two men are distant throughout, which is a situation suggested by the film's title.

One of my friends mentioned the masterful way in which Ceylan builds detail upon detail. These details ultimately tell us more about the characters than we might have learned by simple exposition.

Uzak was shown as part of the Rochester Labor Film series. It's not a "labor film" in the traditional sense of that genre. It is a labor film because it demonstrates the harmful effects of unsatisfying work (Mahmut) and unemployment (Yusuf).

This is a quiet, absorbing, dark film. Although it doesn't make for happy viewing, I walked out of the theater realizing that I had seen a truly creative and important movie. This film is worth finding and seeing!

People must learn to watch what is up there on the screen. This is a great film that is based on a slow, careful gathering of details which serve to establish the personalities of these two men. The passivity of Yusuf (Emin Toprak), the country cousin, is well described by his fear of talking to women. He has at least three chances to start a conversation with a young woman and loses all of them. He has many decades of bachelorhood ahead of him, and maybe unemployment as well.

Mahmut is a different case. He got out of the small town by working very hard (we imagine), and his resentment of slackers like Yusuf is palpable (he leaves crumbs on the expensive carpet--the slob!). We are shown a group of friends talking about Tarkovsky among other things, and we note that Mahmut feels regret--but only slight regret--that his work has become commercial over the years. The gulf between the cousins just gets wider and wider. The mouse trap theme is wonderfully vivid, it brings out the compassion and confusion of Yusuf, and the cold-blooded problem solving of Mahmut.

I was reminded of two classic films of men driving each other nuts: Les cousins by Chabrol (the rich boy with Hitlerian pretensions played by Brialy is always in my mind) and Kiss of the Spider Woman (William Hurt can't figure out why everybody's so mean). Nuri Bilge Ceylan takes his place among the dozen important directors now active. I just hope that in future he will come to rely on collaborators, instead of directing, writing and shooting his films himself.